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Another AM Swam Violin Example

These swam sounds are getting better and better. Second example was really great. Fake when played alone and exposed but convincing enough in a full arrangement I would presume. Thanks for the snippet.

Edit: Now that I listen to the demos on their page: my biggest compliments, your playing sounds much better and more real .-)
 
nice examples Rob, one thing that I like to do is experiment with custom irs I do by hitting a violin with a teaspoon or something... you can get many different body resonances this way.
here's an example,

[AUDIOPLUS=https://vi-control.net/community/attachments/swambach-mp3.15757/][/AUDIOPLUS]
 

Attachments

  • Swambach.mp3
    1.6 MB · Views: 388
nice examples Rob, one thing that I like to do is experiment with custom irs I do by hitting a violin with a teaspoon or something... you can get many different body resonances this way.
here's an example,

[AUDIOPLUS=https://vi-control.net/community/attachments/swambach-mp3.15757/][/AUDIOPLUS]


ROB! You are dangerous for my wallet!! Wow, that would have tricked me except the last note, that one revealed the secred haha. But just a matter of modwheel riding (or lack of). Sounds ravishing
 
Here's my take on the first phrase of the second example. This is with the old IRs because I haven't gotten around to updating yet. Performed with a Leap Motion controller with very minor touch up editing afterwards and a bit of extra reverb. I'm also using a Reaper script that lets me select bow direction by pressing/releasing the sustain pedal, effectively bypassing the natively implemented bow control methods, all of which are extremely awkward.

I think I've avoided a lot of the synthiness that people have noted by staying primarily in lower dynamic ranges. The high dynamics sound best when used sparingly and for accents; I find that just sustaining them almost always sounds bad.

[AUDIOPLUS=https://vi-control.net/community/attachments/pmcrockett-am-violin-test-mp3.15754/][/AUDIOPLUS]
I like this, but personally I prefer the sound at higher dynamic ranges, and the sustaining doesn't bother me. Maybe it boils down to taste.
 
nice examples Rob, one thing that I like to do is experiment with custom irs I do by hitting a violin with a teaspoon or something... you can get many different body resonances this way.
here's an example,

[AUDIOPLUS=https://vi-control.net/community/attachments/swambach-mp3.15757/][/AUDIOPLUS]
Nice! I have a bunch of different violin IRs that I've experimented with but I keep going back to the original.
 
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Just for fun, I set the SWAM to Electric Violin and added a Stradivarius impulse response I bought off the web. Let me know what you think.

[AUDIOPLUS=https://vi-control.net/community/attachments/kh-strings-test-strad-mp3.15765/][/AUDIOPLUS]
 

Attachments

  • KH Strings Test - Strad.mp3
    2.4 MB · Views: 247
Just for fun, I set the SWAM to Electric Violin and added a Stradivarius impulse response I bought off the web. Let me know what you think.

[AUDIOPLUS=https://vi-control.net/community/attachments/kh-strings-test-strad-mp3.15765/][/AUDIOPLUS]
maybe a bit too rich in overtones but the low register gains something, the timbre is more complex... is that the effect of the impulse?
 
Another version with Strad impulse with a little more distance.

[AUDIOPLUS=https://vi-control.net/community/attachments/kh-strings-test-strad-mp3.15766/][/AUDIOPLUS]
 

Attachments

  • KH Strings Test - Strad.mp3
    2.4 MB · Views: 217
Just for fun, I set the SWAM to Electric Violin and added a Stradivarius impulse response I bought off the web. Let me know what you think.

[AUDIOPLUS=https://vi-control.net/community/attachments/kh-strings-test-strad-mp3.15765/][/AUDIOPLUS]

That's cool! From where did you buy the impulse?
 
Yes, that's closer, better attacks, and less like a sax (and I like the sax!)

I find that the more convincing trials of the AM violin are those which sound like a (good) 1950's LP, or even a live recording in a concert venue, where the "buzziness" of the sustained tone and the slight roughness of attacks are filtered out my mics or by distance.
 
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Hi everybody!
That's good that you experiment with other IRs applied to our models.
Anyway, please take into account that:
1) you are applying an IR not directly to the string model, but to the output of another IR. Even if it is a very "dry" one, it is not the "pure" string model.
2) Stefano has worked for several weeks to fine-tuning the IRs we provide. They are not just samples from real instruments, we have analyzed and optimized the frequency the PHASE responses and then matched the IR to the model so that, on average, the whole instrument range sounds quite well and uniform.
Usually, the problem with IRs that are just sampled, without any optimization and match based on the sound SOURCE is that you can have high peaks or deep valleys in the spectrum, which are very difficult to fix with just an EQ.

Best!
Emanuele
 
Hi everybody!
That's good that you experiment with other IRs applied to our models.
Anyway, please take into account that:
1) you are applying an IR not directly to the string model, but to the output of another IR. Even if it is a very "dry" one, it is not the "pure" string model.
2) Stefano has worked for several weeks to fine-tuning the IRs we provide. They are not just samples from real instruments, we have analyzed and optimized the frequency the PHASE responses and then matched the IR to the model so that, on average, the whole instrument range sounds quite well and uniform.
Usually, the problem with IRs that are just sampled, without any optimization and match based on the sound SOURCE is that you can have high peaks or deep valleys in the spectrum, which are very difficult to fix with just an EQ.

Best!
Emanuele
Agreed... still, playing with impulses is fun and also, if your ear tells you something sounds fine it probably does, for you at least
 
Usually, the problem with IRs that are just sampled, without any optimization and match based on the sound SOURCE is that you can have high peaks or deep valleys in the spectrum
OK, but the dozens of small peaks and troughs are precisely what makes the sustained tone's character, as well as the transient behaviour.

I remember having to alternate A 440 (classical) and A 445 Hz (tango); I could tune to either by ear, since the timbre of each note changed slightly, even if the overall character of the viola was the same. At the higher pitch, the notes must have excited different mini peaks & troughs.
 
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