Discussion in 'SAMPLE Talk' started by pderbidge, Aug 6, 2018.
Here's another example for me, cello and viola from BS and swam cello on them:
Here's BS alone:
Good experiment. Here it is with Performace Samples Fluid Shorts and the Con Moto Cello for a melody line. Did it quick, but I'll try it with others, CS2 gave interesting results...
Yes, finally we have Fluid Shorts in the mix! Thank you X-Bassist. It sounds very fluid like the name suggests. What section or sections are you using? Is this just Violins or Violas or a combination? Thanks again.
Trying each section I liked mostly Violas and Cello, with a little violins. Still looking at others...
Thanks again to everyone who contributed. After both extensive listening and trying some of the tricks discussed here (I still have more to try out) on my own libraries I have learned a few good tips and decided to summarize them here.
1. Determine where and how often to Accent (Got this from Shawnsingh's example)-
2. Consider combining a longer note with the short note underneath to add blur. For example- record a 1/32 passage as 1/16 then duplicate the notes and move them, then adjust the velocities down a bit(from Procreative)
3. Consider light pizzicato to accent notes (from DANIELE)
4. Vary the note timing. Some libraries will have tightness knobs for this but might still benefit from doing this in the piano roll.
5. Duplicate the phrase with some low 1/8 notes (if the phrase is 1/32 notes) as in jbuhler's example. However I would probably put them in for feel but not loud enough to discern. It depends on the phrase though.
6. Ride the volume up and down strategically to add ebb and flow.
7. Have another instrument such as violas doing the same pattern without the double notes for accenting (good idea from Sekkosiki)
8. If all else fails come up with a better ostinato pattern that better suits your library and isn't so darn repetitive apparently sounding too much like a Lionel Richie song - (from Procreative)
Edit: I forgot one more tip. Tip 9- Some libraries will respond differently to length of the Spicato note, so it is worth playing around with that feature if it's available.
I will say that I think I'm sold on Performance Samples Fluid Shorts. It seems to have less of that machine gun sound, (maybe not as good as I hoped but still really good) so when combined with some of the tips and tricks discussed in this thread I think it will suit my needs well. I was also impressed with CSS as well.
Berlin Strings V1 spicatto has a whopping 24 RR, should be a good condender for this kind of test.
I think I'll buy fluid shorts, maybe when they'll put it on sale.
I would love to hear it. You don't happen to own it do you? If so, it would be great if you could post an example.
They had an intro sale when it first came out for $50. I'm hoping they might do the same soon or maybe black friday.
Yeah but my wallet is not always ready. :D
I hope this too.
Much better without the compression.
To me this type of thing is all about getting the performance right.
A good lib. does help but a better performance on a less advanced lib. will always sound better than a poor performance on the best lib. available.
Not commenting about these clips but just in general.
Round robins can sometimes make it impossible to get something like this working well.
Wrong velocity levels in these in my opinion.
Wow! Thanks for this video.
I had never heard of Fluid Shorts.
Gonna buy them.
This is closer to what the others are doing. SCS and SSS ensembles (T mic) and vln sections (C mic). No reverb or other effects.
That one is good. All are in the "ball park" so to speak.
Thanks. Very much that classic Spitfire sound and similar to the ones in Albion One. I would describe their spicattos as not too harsh but not too clean. Very much right in the middle, sort of the best of both worlds. If you need more bite then blending with something like LASS or Hollywood Strings can add that extra bite. OR even CSS, I keep going back and listening to those. This discussion is not helping me keep my wallet in my pocket as it makes me want all of these for their different flavors.
Stay strong! Don't give in to the G.A.S..
Anyway, I have made an attempt too, and would like to hear your opinion on it. It's made entirely with NI Symphony Series Strings Ensemble. No reverb outside of what is in some of the samples and no external processing.
P.S.: the midi is as sterile as possible: velocity 127 on first and 120 on second notes - no variation at all, all note lengths the same (same length as the space between the notes), and modwheel at 100%. I wanted all "humanization" to come from the setup inside Kontakt. So I'm sure it could be improved much further, but I was interested more in the setup tweaking side.
I will say that SCS ensemble and Vln I spiccato patches are much better at this than any of the SSS spic patches or the Vln II spic in SCS. In this case I also added the dig staccato from the SCS Vln I on the eighths. SCS is doing most of the work here...
And here is SCS and Berlin Strings replacing SSS along with the opening of the cello bit that x-bassist posted. Cello is SCS and SF Solo Strings. Berlin is all Tree mic.
I like this combination better and it sounds like you decided to focus on accent points which seem to give it more flow. Are you also automating the volume a bit? Great job.
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