# Sripts for QLSO!!!



## Leandro Gardini (May 21, 2008)

Hey people, I´ve never payed much attention to the scripts function and only now I´m starting using it :oops: ...so, of course I´m a bit lost how to make my own setup using the SIPS legatos for the QLSO strings...can someone share your custom script???Please!!!


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## kotori (May 21, 2008)

Here's an overview (PDF) that I wrote. Maybe it can be of help.


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## gmet (May 22, 2008)

leogardini,

At the moment SIPS does not work with release samples, however, Big Bob has intimated that version 2 (about a month away) will trigger the release samples.

I have written a custom script that sits before SIPS which essentially incorporates humanising, ensemble maker, TKT and several other midi alternation deveices. I did this because most scripts wont work along side each other. I have also built in a automatic legato function which alternates between TKT and SIPS depending on the speed of the notes.

Having said all that, it would take quite some time to try and explain how it functions as it is set to my own preferences.

Justin


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## Leandro Gardini (May 22, 2008)

Kotori, thanks, it was very nice from you!!!
Justin, I understand itps hard to explain what you´ve done, but actually I´m looking for simpler solution...it´s been quite easy to make a realistic legato for programs with slow attacks playing slow phrases...but I´m having difficult making the legato sound realistic with fast passages...the notes seems to never really conect each other!!!
What I´m looking for is any tip or setup you´ve made that has been successful!!!
Also, QLSO don´t have all the attacks of the same program fairly equal...than I realised that some intervals work good with a certain custom script but others don´t...how did you solve this problem???


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## gmet (May 22, 2008)

If you set up CCs for BTime and XTime and reduce the value in faster passages that will help. I also set up a script that reduces the attack time (in modulation) in faster passages.

Justin


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## tarzana (May 22, 2008)

Hi Justin M.,

Would you consider sharing your custom script 
with us.

That would be awesome. 

Regards,
Tarzana


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## gmet (May 22, 2008)

I will have to make the script slightly more user friendly as otherwise it would make no sense whatsoever to you. I will tweak it and then post it here.

Justin


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## Leandro Gardini (May 22, 2008)

Fernando Warez @ Thu May 22 said:


> leogardini @ Thu May 22 said:
> 
> 
> > Kotori, thanks, it was very nice from you!!!
> ...


Fernando, sorry I´m stupid...where is this source module???I´ve tryed loading the intrument in th sample mode before but I don´t know how to do that :? !!!


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## Leandro Gardini (May 22, 2008)

Big Bob @ Thu May 22 said:


> > The long and short of it is that if you want a good sounding, synthesized legato, you need to use a fairly dry library and then add the desired reverb after the legato effect is produced. Trying to synthesize a decent legato effect with a 'reverby' library will inevitably result in 'clobbering' the reverb. Trying to 'make up for this' by inserting RT sounds in the crossfades (as some kind of 'audio glue' ) is a little like trying to put Humpty Dumpty back together again. So, you either have to swamp out the recorded reverb with yet more added reverb (not a very satisfying effect either), or put up with the 'bruised' reverb sound.
> >
> > So, if you are hoping that SIPS 2 will have a 'magic bullet' that will allow you to synthesize a beautiful legato with a 'reverby library', I'm afraid you will be disappointed. But, for those of you with dryer libraries that also have release samples, the new RT feature of SIPS 2 will add another authentic touch of realism.
> >
> > ...


Do you mean we should not use the release tail only or that we also should use the close mic in QLSO???


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## Fernando Warez (May 22, 2008)

leogardini @ Thu May 22 said:


> Fernando Warez @ Thu May 22 said:
> 
> 
> > leogardini @ Thu May 22 said:
> ...



Ha ha! I was like you at the very beginning. And i still am, ..to a lesser degree i hope...

First you need to enter edit mode by clicking the wrench icon. The source module is right up there below the instrument name, midi channel etc... Below the source module you have the group insert FX module and below that you have the amplifier module etc..

BTW, once you have loaded your instrument in sampler mode you can offset the attack directly in SIPS, so i don't think you need to do all the instruction I've given you earlier. Reed SIPS manual to make sure. The benefit of doing this directly in SIPS is that the first note will have its normal attack and only the following(legato) notes will have their attack shorten. At least i think that what it is. I don't use that very often.

P.S. Make sure you have enough ram available before loading in sampler mode because sampler mode use a LOT! more ram. But i think it's worth it for fast passages.


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## gmet (May 22, 2008)

Ok here we go, but be warned, it is setup to my own preferences.

Page 1
Solo Mode (solo instrument)/Tutti Mode (set no of players and stereo spread) n.b. Legato & TKT do not work in Tutti mode

Auto Legato/TKT - switches between the two at the trigger speed (RepBPM) and alternates by (RepVAR) number of intervals. n.b. Release is automtically switched off in Auto Legato/TKT

Legato - switches on and off manually

Release - switches release samples on/off

Vel2Mod - translates all velocity messages into CC1 messages.

Sampled - Number of chromtically sampled semitones (to enable TKT to work properly)

CC7/10 Block - Blocks volume and pan messages from being recieved.

Learn Range - Press to set range.

ReMap Info - shows incoming and outgoing notes.

Speed - shows speed (to help set RepBPM)

Offset/Fade In - only work in sampler mode

Delay - in ms (used as part of my other Stage Modelling Script)

Humanise - self explanatory (I hope). In Tutti mode the humanise settings are very useful to separate voices.

Page 2
Alternate All Notes - set chromatic interval

One Note Alternate - set interval and note number

Transpose - set chromatic interval

Re-Map - chose in and out notes

CC Alternate - Self Explanatory

General Points
The following CCs are set up in the script:
Mode = 109 
Players = 110
Legato Manual On/Off = 117
Vel2Mod On/Off = 113
Release On/Off = 115
Block CCs On/Off = 106

You MUST load the scripts in the correct order and set the Legato Mode CC# to 117 in SIPS.

If you don't want auto TKT set RepVAR to 0

If you don't want auto legato, but do want TKT, set RepBPM to 0.

I removed the Auto Attack and Auto BTime/XTime a while back but if you want it let me know and I'll stick it back in.

Justin


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## gmet (May 22, 2008)

Here is a quick cue (that took me about 10 mins so apologies for the cheese!) to highlight my two scripts (Stage Modelling and Instrument Control). This is done totally in Sibelius 5 with Kontakt VST and Ozone.

http://www.scoringfilm.co.uk/audio/Remembrance.mp3 (www.scoringfilm.co.uk/audio/Remembrance.mp3)

Justin


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## KingIdiot (Jun 2, 2008)

Hey Big Bob, I havent really messed with SIPs I'm sorry to say. Alot of people have good things t say about it, but I've been busy with creating my own toys and ideas lately. However I started reading a few threads here, and had a thought about the "reverb" problem.

(I havent read this thread fully, but want to get m idea down before I get distracted)

I havent delved into using scripting to control all of Kontakts features, but would it be possible to take control of the "effects send" levels on Kontakt Outputs? If so, then wouldnt it be possible t create code that would raise the effect send level to a specific level only when the "legato/pitch bend" is occuring. If you load a convolution reverb as a send effect, you can have it act as some "glue" for reverbed library (obviously a good impulse would be needed), or you could TRY to fake it with the kontakt verb, but I doub that'd sound good.

I'm guessing that SIPS switches back and forth between duplicate groups or something similar to achieve the legato effect (I dont know, as I said I havent really messed with it much). If it only used duplicate groups for the pitching effects then itd be easy to just make group outputs and toss reverb on the pitched effects, but as convenient as that sounds, it doesnt make for an efficient way to program the legato, so I'm in very much doubt that you programmed it that way 

anywho, its a thought I'd share, since my brain has been in the legato out of no legato trenches lately. 
.


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## Big Bob (Jun 2, 2008)

Hi KI,

The problem in a nutshell with 'reverby' libraries is that SIPS simulates legato primarily by crossfading the old note with the new note and simulaneously warping the pitches. When this is done with a fairly dry sample library, you can add the needed reverb after the crossfading is performed and the whole business works out to be very musical sounding.

However, with libraries having heavy recorded reverb, the crossfading badly 'bruises' the reverb between note transitions. And, unless you now swamp that with extra heavy reverb, it doesn't sound too hot. What you are suggesting is something alone the same lines that many others have suggested, what amounts to adding some reverb to the 'inside note' crossfades to act as some sort of 'audio glue' to try to put Humpty Dumpty back together again. 

All the things like this that I have tried have produced less than satisfying results in general. So, I go back to my original position, don't use sample libraries recorded with a lot of reverb, add the reverb later and it will give you much more flexibility for things like synthesizing legato, and so forth. 

Anyway, thanks for the suggestions.

God Bless,

Bob


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