to back that up, I provided an example on scoreclub of why I'm working this hard on making my sampled instruments respond musically - here is a celli legato patch, played in real time - a little rushed at a point, but with no reverb and no crazy amounts of EQ(mainly to make it sound more "hollywood") it goes from a somber almost weeping cello line, i pause for a moment, arm the contrabass using the same setup but an octave below - and a dangerous, menacing, lurking sound.Jeez, my reverb scheme at the end was absurd, yeah.
I can pretty much track anything with either a longs patch or a shorts patch and swap individual notes out for the fine-tuned articulation in no time... adventurous line? sure - load up some sort of portato, expressivo, or decrescendo patch, play it in... then swap out the shorter notes for spiccato, staccato, martele, or a Sfz - heck even a single trill. Now even adding in runs is easy with very little fuss.
In the future it'll be a little more reasonable I'm sure, but at the moment - samples can be used in ways that are plenty musical enough to save me the hassle of dealing with creating a fake space and trying to acheive any real sense of punch. It might take me some more ram, but my CPU thanks me that it isn't running multiple chains of convos, reverbs, MB, delays, and EQs.
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