# Diminuendo al niente



## ptram (Mar 3, 2017)

Hi,

I've been playing with a couple libraries (VSL Special Edition and XSample Library) to do mockups of modern classical/contemporary orchestral music. One of the most obscure techniques, for me, is the way "diminuendo al niente" is implemented.

If I understand correctly, both libraries avoid going to al niente with the regular volume control. For example, if the modulation wheel is used to crossfade dynamic layers, you can usually go down to a pp or ppp, but not make the sound disappear into silence. To go even down, you need either the Expression (in VSL) or the Breath control (in XSample).

Am I correct in thinking that this is done to increase the resolution in the ppp-niente area? I've done some tests to let the modulation wheel control the whole dynamic range, and in fact the lower area sounds a bit too steep to me. I can even hear the volume going down by steps. The additional control required by both libraries makes going to al niente much smoother.

Any idea on this?

Paolo


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## brunodegazio (Mar 3, 2017)

ptram said:


> Hi,
> 
> I've been playing with a couple libraries (VSL Special Edition and XSample Library) to do mockups of modern classical/contemporary orchestral music. One of the most obscure techniques, for me, is the way "diminuendo al niente" is implemented.
> 
> ...




In VSL, you can adjust the "VelX" control (the Mod Wheel in your example) to go all the way down to niente if you set the Dynamic Range Scaler (the "DynR" slider) to 127. Or use the Expression ("Exp") slider to supplement the VelX control, as you describe.


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## Living Fossil (Mar 3, 2017)

Keep in mind that while "diminuendo al niente" is often used it's sometimes an idealistic requirement.
Clarinets can perform it very well in some registers, other instruments not really.
It's the same with indications as "_pppppp"_ or _"ffffff"_ (you will find them quite often in Ligeti's scores). Their reason is either to indicate to the musician that you _really_ wish to play something as quiet/loud as possible or just to make him nervous.


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## Rodney Money (Mar 3, 2017)




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## ptram (Mar 3, 2017)

The Dynamic Range Scaler in VSL has always been a mistery to me, but now I see how it works – thank you!
What I still don't fully understand is _why_ it is not always set to the maximum, or nearer. I guess this is sort of a safety setting, to avoid going so low to be inaudible. Setting it near the maximum, but not really at the maximum, should prevent going really to "al niente", and remaining in the pppp range.

In XSample things are a bit different. Some simpler articulations can use the same trick (dynamic range slider, in the modulation pane, all to 100%), but in more complex articulations things are different. Dynamic tables, and I think some scripting in the background, prevents this linear behaviour. In some cases you can trick it by lowering the Envelope dynamic range (another of the modulations activated in Kontakt) and simulate a realistic "quasi al nulla" (near silence). But often there is that bump when moving the wheel in the range between silence and ppp, that makes using the two controllers solution better, if you need smooth sounding al niente.

The piece I'm working on is full of al niente/dal niente dynamics. I have to choose between smooth sounding, and easier to program.

Paolo


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