# Lord of the Rings: Anduril - Anne-Kathrin Dern Mockup Tutorial



## Kony (Apr 1, 2021)

Really like the sound Anne-Kathrin Dern gets with the selection of libraries she's layered in this mockup.


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## SlHarder (Apr 5, 2021)




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## mybadmemory (Apr 5, 2021)

She's fantastic!


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## Lassi Tani (Apr 5, 2021)

Great videos thanks! Though I still wonder why people use CC11. Wouldn’t she get the same results with just CC1? Or is it because of some libraries behave better with massaging both CC1 and CC11?


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## mybadmemory (Apr 5, 2021)

Lassi Tani said:


> Great videos thanks! Though I still wonder why people use CC11. Wouldn’t she get the same results with just CC1? Or is it because of some libraries behave better with massaging both CC1 and CC11?


They control different things. Cc1 usually fades between recorded dynamics layers and cc11 is just a volume fader on whatever layer is currently playing.

Many seem to like to mirror similar motions on both to extend the recorded dynamics with even more perceived dynamic range from the added volume multiplier.


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## b_elliott (Apr 5, 2021)

Absolutely enjoying the LOTR show and tell. Damn fine 'splainer.

So far I agree 100% on not shying away from midi input vs playing in. Settled.

CC1 and CC11 remain a challenge for me since I normally draw in and sculpt the velocities after input (ignoring CC1s and 11s).

One thing I need clarity on (perhaps some kind soul could chime in): AK leave velocities at a set level (not much variation). Would it be a true statement that her cc1 and cc11 envelopes are sculpting these velocities. I am guessing this is more standard practice than my method (tweaking 100s of velocity handles). More standard and a better performance payback? True? Or I am missing something here?


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## mybadmemory (Apr 5, 2021)

b_elliott said:


> Absolutely enjoying the LOTR show and tell. Damn fine 'splainer.
> 
> So far I agree 100% on not shying away from midi input vs playing in. Settled.
> 
> ...


Velocities only affect the dynamics of shorts, where she also does use different velocities. For longs, dynamics are controlled with CCs, and velocities usually control other things, like legato transition types or articulation overlays. Hence not as much velocity variation on longs.


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## b_elliott (Apr 5, 2021)

mybadmemory said:


> Velocities only affect the dynamics of shorts, where she also does use different velocities. For longs, dynamics are controlled with CCs, and velocities usually control other things, like legato transition types or articulation overlays. Hence not as much velocity variation on longs.


Getting it now. So on CC1s and 11s I am using it create the natural fade-outs players do as a phrase ends; long duration notes. Or, to give a quick crescendo at an end if called for. 

Makes sense. 

Didn't know about velocity used to control legato transitions or articulation overlays; but, I am guessing here it is being used to mask sample short-comings.

Hoping AK sees my level of confusion so it can be addressed on part 3... maybe?


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## Kony (Apr 5, 2021)

b_elliott said:


> Didn't know about velocity used to control legato transitions or articulation overlays; but, I am guessing here it is being used to mask sample short-comings.


Velocity controls legato speed on the CSS + CSSS libraries - AK Dern explains in the first video how she will use a slow legato (low velocity) on the first note and faster legato (higher velocity) on the remaining notes in the phrase. The slower legato at the start of the phrase fits better and sounds more natural.


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## SlHarder (Apr 5, 2021)

b_elliott said:


> Didn't know about velocity used to control legato transitions or articulation overlays;


Each sample library may have its own schema for how velocity is utilized. There are some commonalities between libraries but reading each manual is the best path to successful playing.


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## b_elliott (Apr 5, 2021)

SlHarder said:


> Each sample library may have its own schema for how velocity is utilized. There are some commonalities between libraries but reading each manual is the best path to successful playing.


Thank you and Kony. I am glad you pointed this out because the reductio ad absurdum is I rotely apply my small grain of knowledge to ALL libraries ALL samples, same way regardless == more confusion....

Pays to read the manual.

BTW For the curious, I have applied cc1 and cc11 in my latest song Respighi's Bach Reveries 
under member's composition. Cheers, Bill


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## Saxer (Apr 5, 2021)

Looks like she is using the classic legato patches of CSS/CSSS. There's no muddle with different delays for the different legatos. One size fits all: copy/paste to four libraries, done.


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## BassClef (Apr 5, 2021)

b_elliott said:


> Absolutely enjoying the LOTR show and tell. Damn fine 'splainer.
> 
> So far I agree 100% on not shying away from midi input vs playing in. Settled.
> 
> ...


Talking about long articulations here... all libraries are not the same... HOWEVER... most use cc1 for going through the various dynamic layers, WHICH ALSO INCREASES VOLUME as you go up. So if your particular string library gives you enough dynamic range (from quietest to loudest with ONLY varying cc1, then that's all you need to use... done!

However, some libraries do not get soft enough even with cc1 all the way down, so riding cc1 AND cc11 at the same time, you will get a wider dynamic range from "niente" (nearly silent) all the way to triple forte. 

Therefore, I suggest that for each library/instrument that you use, start with cc1 and see if you are pleased with the dynamic range. If not, add cc11 as well.

And when using these long articulations, most libraries negate the velocity midi data, so it makes no difference because the volume is determined by cc1 and cc11. Although some libraries like Cinematic Studios, will use velocity to select different legato styles. Short articulations are different, with the volume controlled by velocity.


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## b_elliott (Apr 6, 2021)

BassClef said:


> Talking about long articulations here... all libraries are not the same... HOWEVER... most use cc1 for going through the various dynamic layers, WHICH ALSO INCREASES VOLUME as you go up. So if your particular string library gives you enough dynamic range (from quietest to loudest with ONLY varying cc1, then that's all you need to use... done!
> 
> However, some libraries do not get soft enough even with cc1 all the way down, so riding cc1 AND cc11 at the same time, you will get a wider dynamic range from "niente" (nearly silent) all the way to triple forte.
> 
> ...


Great stuff.
This morning I finally looked at the BBCSO Discover user manual. For this library, SA describes using CC1 along with CC11. Their differences are spelled out as:
1. Volume = simple level meter
2. Dynamics = adjusts dynamic layers. Used in conjunction with #1 for a "musical performance".

My only other string library is L&S Chamber Strings. Its manual states:
1. XFADE (CC1) = useful for transitions between long notes
2. CC11 = overall volume, useful for balancing multiple notes on same articulation.

So there are differences, aside from practical uses!? Who knew...

Honestly, I would have let the above pass straight on by, without the Dern videos and posted comments above. Again, thank you BassClef et al. for taking time to help sort out this matter.

Edit: A rewatch of AK Dern's videos is on today's to do list.


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## SlHarder (Apr 14, 2021)




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## marclawsonmusic (Apr 15, 2021)

These videos are awesome. I've learned a lot from them!


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