We're living interesting times, when sample libraries are released with new approaches on playability
And we all benefit with each new creation. Whether or not this or any library is for me, they all push things forward.
We're living interesting times, when sample libraries are released with new approaches on playability
Not sure I get what you mean, could you elaborate a bit more?
The room and body that Christian mentions in his video (thank you Noam )
It's my way of doing it to, a short convo and an algo for the tail. I've made some tutorials (for SM but it applies to all dry instrument) about it :The issue I take with that video, is that Christian just used a single reverb. You can quite very similar results to the tree mic by cascading a smaller, completely wet reverb, into a larger one. The smaller reverb creates the body you are describing, and the larger one creates the feeling of the tail in the hall.
It's my way of doing it to, a short convo and an algo for the tail. I've made some tutorials (for SM but it applies to all dry instrument) about it :
and
But I'm not 100% happy about the sound, for the all the reasons discussed in this thread.
@All: Aaron is already working on some improvements. I am getting these days something to betatest for the trombones.
Nice tutorial and good information there. I like also to do tests with SM picking up a famous line and see what I can do with it.
Here is my take on the vader march with SM.
@All: Aaron is already working on some improvements. I am getting these days something to betatest for the trombones.
Nice tutorial and good information there. I like also to do tests with SM picking up a famous line and see what I can do with it.
Here is my take on the vader march with SM.
Sounds great! What did you do to make this sound?Here is my take on the vader march with SM.
Lots of eq..roll of the lows, roll of the highs, attenuating the mids on trombones and trumpets, but the more I dive into sm, I realize also you need to perform it right, so that means to ride a lot of controller curves, which imo very important. So I used here not only CC1, CC11, but also Growl, Buzz, Pitch fluctuation, detuning, and Dynamics to pitch and each instruments has these controllers performed in a different way. Thats quite some work because you have for every instrument like 6 controllers..Another point is that you need a reference to work with in order to have a perspective of the sound. Also mid / side eq is good to get ride a bit of the mid centered frequencies quite a bit.Sounds great! What did you do to make this sound?
Something I'll be looking into as well.One complaint is that the french horn attacks (with the mod wheel all the way down) don't sound as dynamic as the rest of the instruments. They seem to have more of a sudden jump in attack, almost like it goes straight from mf to ff. Or maybe it's just the dynamic curve that feels different. It's harder to get the nice punchy short notes.
You mean how much the dynamics dip during a transition on a low velocity note for intervals of 3 semitones and fewer? This is doable, I could look to push this to all instruments in the next update, or the one after. Good call.Also, I wish there was a way to control the volume of the glissando transitions. If you play a note with the mod wheel up high and then play a low velocity legato note to trigger a gliss, the volume dips way down during the gliss and it sounds silly.
You can bump up the lowest overtone for each note manually. You can't, however, create the highest overtones that got air-absorbed out of thin air or boost them without also boosting the noise from the recording.so sticking the mic in the bell of a tuba, for ex., is probably not the best choice since the lowest frequencies wouldn't have a chance to full develop before they hit the mic
They would be just detailed EQ presets. They wouldn't add more reflections or change the existing ones, they would just change the tone (see . I'm afraid that dampening or even multiband dampening like you have in standalone convolution reverbs won't be available until it's implemented in Kontakt's convolution unit.The room and body that Christian mentions in his video (thank you Noam )
@christianhenson no longer posts here sadly but this conversation reminded me of a video he made. You don't have to agree but it's an interesting argument:
(5:24)
I wasnt going to reply to this thread to avoid too much controversy... but i'll give a brief input. People who have tight deadlines and need to produce music by tomorrow can't spend all day finding and preparing the perfect reverb. Thats why I prefer wet, baked-in sounds - no messing around, just instant perfection working right out of the box.
I understand and appreciate that others may enjoy writing as a hobby and have the time to fiddle around. And to that I say, have fun
why? You can always reply and tell your opinion. But just to demystify that thing that instant gratification is mostly tied to baked in verb. I am working (for quite some time) not as a hobby musician and fiddling around with verbs isn´t always for people who do that just as a hobby. I may agree that samples with baked in verb give you a specific sound and "here we go ambience" which in case its needed for the project is good, but its not always like that. And there are certainly more factors which are important when it comes to production value. (just my opinion of course..)
I wasnt going to reply to this thread to avoid too much controversy... but i'll give a brief input. People who have tight deadlines and need to produce music by tomorrow can't spend all day finding and preparing the perfect reverb. Thats why I prefer wet, baked-in sounds - no messing around, just instant perfection working right out of the box.
I understand and appreciate that others may enjoy writing as a hobby and have the time to fiddle around. And to that I say, have fun
I don't have the time or patience for that