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  1. S

    Underappreciated....the Cubase syths and HALion content

    At least on my part I was referring to full halion. But I'm also interested to hear what third party instruments are available for halion and how people like them
  2. S

    Is this correct?

    As a violin player myself many years ago, the usual convention is the other way around. String players will follow the slurring as written, usually will only do bow changes when there is no slur. Occasionally performer will do bow changes inside of a slur, but only when needed or when a...
  3. S

    Need some help with brass programming

    I think you can do whatever works best like other people have suggested. What to listen for: If the release decay awkwardly blurs with other nearby notes, it can sound unrealistic and bad. You can try to find an articulation that avoids this weird blur, then great. If that requires separate...
  4. S

    VSL Dimension Strings mix matched with Berlin Strings tree mic?

    Anyone have experience mixing VSL Dimension Strings to match the tree mic from Berlin Strings? What do you find works well? I feel that most VSL dry libraries have a very tricky high frequency region that sounds a little piercing. but when I EQ that piercing feeling away (usually a dip around...
  5. S

    Underappreciated....the Cubase syths and HALion content

    Just curious, do any of the Cubase offerings use FM synthesis with multiple operators? I'd be interested to take a second look at something like that. Halion is definitely on my list to buy at some point. I have Falcon which I think is the most similar to compare, and I enjoy using that.
  6. S

    Delivering MP3 for smart phones - whats recommended bit rate (quality vs filesize) etc..?

    AAC should be almost as universal on modern devices as mp3 is. For example: https://stackoverflow.com/questions/1761460/supported-audio-file-formats-in-iphone (sorry didn't find a direct page from Apple) And https://developer.android.com/guide/topics/media/media-formats for Android. However...
  7. S

    Thoughts on OT Berlin Strings

    By the way, I'm curious if anyone knows. Was the development for Spitfire's player or for EWQL's Play done by in-house devs that are on their team long term, or were those players more like limited time contract work? Is OT going to be doing this with an in-house dev team? It seemed like it...
  8. S

    Thoughts on OT Berlin Strings

    Yeah I remember you explaining that, it was brilliant. My thought here was in reference to a few pages back, people feeling like the main library didn't have large enough section size for occasional needs.
  9. S

    Thoughts on OT Berlin Strings

    Does it work to layer the sul tasto and normal articulations to get something thicker and more lush sounding?
  10. S

    Why is there a difference between the volume within my DAW and the rest (example: Foobar2000)

    What file format is the soundtrack? Maybe a Dolby codec or BWF, by chance? It does sound like a normalization + DRC situation. I wouldn't be surprised if foobar does normalize with dialnorm or replaygain. For example a soundtrack from a movie might have a dialnorm of -27 or -31, so if foobar...
  11. S

    Synchron-ized Special Edition

    The added articulations in the plus library - I would not have enjoyed my VSL special edition without the "plus" part, they were critical for me. Fortepiano has a more rounded attack than sfz. So between sustain, sfz, fortepiano, and velocity xfade, it becomes possible to sculpt a large...
  12. S

    Why is there a difference between the volume within my DAW and the rest (example: Foobar2000)

    What rms/loudness levels are you getting on your Cubase out? I'd bet your hovering around -23 to -27? A lot of the internet is loud compared to production levels. If you can route and mix Cubase separately from your other usage on your computer, try setting everything else 10 dB lower...
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    What makes a mix sound wide if its bad practice to pan orchestral samples?

    I think @thevisi0nary was asking whether the phase differences you're configuring would cause unintended issues like comb filtering, or some kind of "chorusy" effect, or mono compatibility issues, due to the phase differences. Also something else that is keeping me awake at night... Whatever...
  14. S

    Dimension Strings III, thought?

    I'm interested to know too. Anyone?
  15. S

    One String Library to Rule Them All

    Yeah, I knew about the poly key switching, but I hadn't thought about using two instances in parallel though, very clever. Thanks very much for sharing!
  16. S

    One String Library to Rule Them All

    Can you please elaborate how you are setting up crossfades in a multi?
  17. S

    Touch screen to draw midi CC data in midi editor?

    Does anyone use a touch screen to interact with a midi editor, especially for drawing midi cc data? On Windows in particular? I'm curious to hear more about this. Is it a second display proper, or are you using a tablet somehow as a second screen? How does that kind of setup work? What...
  18. S

    Track presets, template or nothing?

    I get the hint. :grin: I need to work on the verbosity thing.
  19. S

    Orchestral Tools Completion Days -30%

    I have the first chairs expansion, and love it. crunchy shorts and vigorous accents. Brass exp A is on my short list. That bass trumpet sound in the demos really captivates me.
  20. S

    What full orchestral package do you think is the absolute cream of the crop for general use?

    I know, off topic, and old thread. But I have to ask, what brass libraries do you use (and like) instead? Cheers
  21. S

    Convo Reverbs - What's the Diff?

    Had some conversation with Dietz in this thread which may shed light to you on what additional processing MIR does. For one, impulse responses aren't just for positioning, they also characterize the orientation and directivity pattern of the source recorded impulse. As I understand, MIR pro...
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    Convo Reverbs - What's the Diff?

    From what I know about DSP, even though convolution is a well defined math operation, in practice the implementation uses FFT + simple multiplication + inverse FFT, because it's much faster computationally. But then there are a lot of details that could be different in how those FFTs are...
  23. S

    Wet libraries

    Well said! Also want to point out that mathematically, convolution with an impulse responses is a precise way to characterize a system. The problem is that this "system" must also hard code the frequency response, position, and directivity pattern of the source speaker and the microphones...
  24. S

    Pros/cons: keyswitches vs separate patches for every articulation?

    I suspect I'm doing the same thing as @Tfis, which is the opposite of what you just asked. I define a MIDI note range to control the expression map itself. So it's possible to define a consistent set of keyswitches for all libraries, no matter whether they use keyswitching or not. And the...
  25. S

    Which synchron piano has more timbre range between low/high velocities?

    Uploaded one more preset to the VSL synchron sticky thread - link here Also, attached here is an mp3 improv to demonstrate my preset, with some additional EQ.
  26. S

    Do You Use Analog Saturation?

    I think a lot of people are going to say: use it on a single track for creative sound sculpting, and use it on a mix bus or stems for glue and to add an overall grit or warmth to the master. There's more - saturation is also a secret weapon to deal with peaky dynamics that are hard to compress...
  27. S

    Track presets, template or nothing?

    looks like vi-control reduced the resolution of my screenshots. here's the original .png files uploaded in a .zip.
  28. S

    Track presets, template or nothing?

    Looking at the screenshots (see previous post), there's a lot of random things to point out. VE Pro screenshot I like to group everything that will have the same mix into single tracks in VE Pro. So they show up in Cubase as a single mixer lane. So for EWQL orchestra that means I have really...
  29. S

    Track presets, template or nothing?

    @cpaf - hope this helps @Meetyhtan - My setup has been fairly resource friendly to me, details about my resource usage configuration below. I'm definitely no expert and never tried to optimize my setup, I think I just got lucky that things are stable and work decently well. OK so I finally had...
  30. S

    Sonarworks Reference 4

    If it's not too much trouble, would you please be willing to post examples? I'm curious if I can try to train my ears to hear it. Are you using headphones for sonarworks? Which headphones? Do you hear this issue with other headphones+ sonarworks too? Again just curious, nothing more. I...
  31. S

    CS2 <> Hollywood Strings

    I can see how my statement accidentally sounded wrong, like I was suggesting reverb as a positioning/panning tool. But that's not what I meant at all. I was basically proposing that EQ and reverb are tools that can make EWHS sound as thick as any other library. What do you feel are the...
  32. S

    CS2 <> Hollywood Strings

    Heard this type of opinion a lot, personally I disagree. But I want to hear more about this perspective - can you (and everyone) please elaborate what feels "thin" or what doesn't sound good in EWHS? For example, EWHS is just wet enough (compared to dry libraries like VSL) that it doesn't...
  33. S

    Help with mixing orchestral cymbals

    Oh by the way, the things I said are from the perspective of suspended cymbals. I haven't thought as much about crash cymbals.
  34. S

    Help with mixing orchestral cymbals

    Mix referencing will help. In my old stuff I think I mixed the cymbals to have too much high frequency info. In retrospect i think it's better to gently roll off the high frequencies, say above 3khz if I remember correctly. But the exact eq details will depend on the song. I think a lot of...
  35. S

    What makes a mix sound wide if its bad practice to pan orchestral samples?

    Yeah, in my opinion, the example video you've posted feels wide for both of the reasons I've mentioned earlier - the orchestration and the localized positioninings of each instrument (i'm not sure how much virtual and real this has?). The strings are actually chamber-like in size, at least some...
  36. S

    Track presets, template or nothing?

    Yeah that's a good question. I know Blakus has made several videos on YouTube about his Cubase template and how it's changed over the years. I think Daniel James may have some videos about his workflow and templates but I can't remember. In general, many of the composer folks on YouTube that...
  37. S

    So this sounds fun...

    So this is what people meant when they said Kontakt can be "multi threaded?" They've certainly fabricated a very unique library. The sounds just stitch together so seamlessly. It's cool how much you can tailor the sounds - and the "sequins"-ing capabilities are great too. It's definitely going...
  38. S

    What makes a mix sound wide if its bad practice to pan orchestral samples?

    I think both perspectives are valid depending on the scenario. Sounds like Chappell is considering decca tree / spaced microphone setups where room is quite present in the recordings. Sounds like Dietz is considering very dry recordings, especially if they're recorded with coincident mic...
  39. S

    Synchron-ized Special Edition

    Yes that's totally fair :). But I was interpreting the word "sound" that rudi was referring to as being the innate sound of the samples, and overlapping notes as a playing technique.
  40. S

    Synchron-ized Special Edition

    I don't think there is anything different in the sound, just whether the instrument allows you to pay multiple notes simultaneously or not in legato mode.
  41. S

    What makes a mix sound wide if its bad practice to pan orchestral samples?

    What soundtrack is your reference? in a traditional orchestral style, the feeling of width often comes from recording and orchestration more than mixing techniques. For example, spaced mic pairs like "outriggers" or Decca tree will be good for a 3d spatial image compared to coincident mic...
  42. S

    Synchron-ized Special Edition

    Was your previous template using MIR or your own reverbs? I'm guessing it would take about the same as a template that used MIR before. Maybe it also depends on how often you used velocity xfade before compared to whatever the sychronized is doing, because that could change the number of voices...
  43. S

    Orchestral music always sounds bad on cell phones?

    It's hard to imagine that a "crackly" sound caused by the wet reverbish parts of the sound. Usually crackling is a description for clipping or hard limiting. A few ideas to see if it can help narrow down what's causing it: Are you trying to listen at a louder volume? Is it possible the...
  44. S

    Track presets, template or nothing?

    Yeah I think the buzz word your looking for is "templates" - and if you're asking if there are any shortcuts for setting them up, I don't know if those shortcuts. It just takes a little time. Whether you use track presets, or just copy the entire project file and adapt it every next time, it's...
  45. S

    Are there any good resources and exercises for getting the most expression & life out of a project?

    Shoot, I had a lot of major typos from my phone typing skills. So you might want to read my corrected versions on the forum we page instead of the replies you might have received over email :faint:
  46. S

    Are there any good resources and exercises for getting the most expression & life out of a project?

    One additional thought where I mentioned varying note timings - it shouldn't be just random. It should be based on the kind of errors humans would have, due to the nature of playing the instrument or for musicality, etc. Piano is the easiest example of this. Record yourself playing a piano...
  47. S

    Are there any good resources and exercises for getting the most expression & life out of a project?

    Haven't encountered anything like this myself very much. Probably the closest thing is when someone makes a video of a demo composition in their DAW and sometimes they'll show the tracks with the midi CC lanes. I think an easy and useful exercise would be to find typical famous solos for each...
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