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Repetitive Ostinato Torture Test

Discussion in 'SAMPLE Talk' started by pderbidge, Aug 6, 2018.

  1. robgb

    robgb I Have Strong Opinions

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    Apr 6, 2016
    Solo violin.

     

    Attached Files:

  2. jbuhler

    jbuhler Active Member

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    The accents were always there, but I find that E on the SCS spiccato patch rings out quite a lot on the highest dynamic and it starts to sound a bit like rustic fiddling, so I backed off on that. The Berlin can be hit a bit harder but they present their own problems, and I don't think they sound as good as SCS on their own on this pattern—in any case as with SSS it would take quite a lot more work to get there... As for dynamics, it's about 6dB up and down in a 4 measure pattern on all the shorts, and the SCS bus and the Berlin bus are moving up and down about the same amount in 2 measure patterns but more or less opposite one another. Cello is treated on a separate bus, of course.
     
  3. OP
    OP
    pderbidge

    pderbidge Senior Member

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    Utah
    Steve_Karl likes this.
  4. OP
    OP
    pderbidge

    pderbidge Senior Member

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    Is that SWAM? Sounding pretty good. I like the little speed up at the end. Seems like your getting a handle on that one robgb.
     
  5. Yes. I was pleasantly surprised to see that I didn't need to pay attention to the velocities of the individual short phrase to get good results, and that they just seem to bounce, differently but nicely, at almost all velocity levels.
     
  6. Erik

    Erik Senior Member

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    Hi,

    I made an additional test, with some added personalized notes (to prevent madness with only the eebbeebb....)

    In this order, only the violins (!):
    - Synchron Strings
    - Synchron Chamber Strings
    - Synchron Strings - Synchron Chamber Strings - VSL violin solo
    - Synchron Strings - Synchron Chamber Strings - VSL violin solo - Session Strings Pro
    - 8DIO Century Strings (normal & sordino)
    - 8DIO Century Strings (normal & sordino) - Session Strings Pro

    I tried to avoid only shorts, while this should be more an effort to explore fast up down notes imo. There is some spiccato involved, but mostly in the layered versions. Eager to find out your opinions on this track, so let me know!

     
    Zoot_Rollo likes this.
  7. robgb

    robgb I Have Strong Opinions

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    SWAM? No. That's a dirty word on VI. This is a real violin. I got excited toward the end. ;)

    And, yes, I'm kidding.
     
    pderbidge likes this.
  8. OP
    OP
    pderbidge

    pderbidge Senior Member

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    It seems consistent that layering 3 or more tend to yield the best results. I liked the 3rd one the most. I'm sure with layering there is some phasing that is helping to blur some of the machine gun sound.

    Thanks for breaking up the monotony a bit. I'm sure after this we're all going to need some therapy.
     
    Steve_Karl likes this.
  9. MartinH.

    MartinH. Senior Member

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    I suspect it has less to do with phasing and more with the randomized combinations of a greater number of round robins leading to a greater number of unique sample combinations that don't all sound the same. In my example I tried achieving this by splitting the violins into their 4 smallest divisi sections and setting their round robin sequences on random each. That should give more variation without changing the number of players you actually hear. Then I layered some violas and cellos with different mic positions to fill out and blur the sound a bit. But no one commented on my mp3, so it seems to not have been a very convincing approach.
     
    Last edited: Aug 11, 2018
    pderbidge likes this.
  10. OP
    OP
    pderbidge

    pderbidge Senior Member

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    LOL. Perhaps it is for some but dirty word or not, this is the technology that I think will be the next wave of instrument emulation. Samples can only take us so far and for a phrase like this I don't think they quite cut it. You need either the exact Phrase recorded from a phrase based library or an instrument like SWAM that responds dynamically in real time. Even with a ton of round robins there are too many unnatural tone changes in the samples that don't interact dynamically enough to pull this off as convincingly as I would like. I just hope that Audio Modeling or Sample Modeling or some other physical modeling company can help us find the balance between control and usability.
     
  11. robgb

    robgb I Have Strong Opinions

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    I think a hybrid approach will probably wind up being the key.
     
  12. MartinH.

    MartinH. Senior Member

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  13. MA-Simon

    MA-Simon Senior Member

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    Faster:


    Not shure if it is really the right fit. But I made it, so I am posting it before it goes into the bin.

    Weird blend of:
    CSSS Solo Violin I, Solo Viola, Solo Cello
    Cinesamples Solo Violin I, Solo Viola
    Spitfire Chamber Strings Viola Section
     
    Last edited: Aug 12, 2018
  14. Ben

    Ben Member

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    Yes, got it with the audioplugin.deals bundle (https://vi-control.net/community/threads/just-wow-70-off-impact-soundworks-and-2-freebies.73959)

    Furia Staccato Strings:


    VSL only:


    VSL layered with Furia:


    I like the combined sound of VSL and Furia. Furia adds a lot of vibrance to the VSL strings.
    Furia itself has only one velocity layer but 16 round robin. I would not use it standalone, but for layering it is a really nice small library, imo.
     

    Attached Files:

    MartinH. likes this.
  15. MartinH.

    MartinH. Senior Member

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    Thanks, that was interesting to hear! I agree the layered one works best.
     

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