I'm not understanding what this is about. When you press the sustain pedal in LS, does it change articulations, like a keyswitch? I'm assuming not, since you'd want the sustain pedal to just do ... sustain, right?
Obviously I'm not understanding what's really going on, so is there a video and time mark where I could see this in action with LS?
Yep, very like a key switch. And since buying LSCS I often find the last think I want the sustain pedal to do anymore is sustain. (If you think about it, sustain makes much more sense for a piano, where it's essential to the sonority, than for strings, where it's at best a minor convenience function).
Playing a line in LSCS (including in the legato ) without the sus pedal is good for fast notes, and it invokes a staccato overlay triggered by velocity (much like the spitfire performance patches). But when you hold down the sustain, notes ebb and flow as the recorded de/crescendos are triggered. I can make a simple demo if you'de like. And I go on about it in this thread, arguing that it has a much bigger impact on the musicality that I would have thought:
This is something I wrote in response to post on this thread: https://vi-control.net/community/threads/who-composes-in-notation-programs-and-why.89505/ Which is discussing the process of writing in notation vs directly in a DAW. But my attempt to describe why I’ve found it necessary to...
vi-control.net
For Sunset strings, even just setting medium crescendo/decresendo attack/release gives you considerable flexibility in crafting the arcs, like in the above noodle.
But, for instance, the final note would probably have been nicer with the long decrescendo. Except that at present I would have had to create a new instance on a new track to accomplish that.
Similarly, if I had used short and immediate attacks (not to mention the marcatos and a ton of thing I've not scratched the surface on, but let keep it simple for now) at various points in the noodle would have sounded even better. But more to the point, I probably would have played differently, and found something that sounded even better if I had access this this kind of performance crafting at my fingertips.
So using the sustain pedal in this way does make a kind of conceptual sense at the level or ... not in holding the note by making the midi note longer, but in making it more flowing by increasing the length of the release and/or the attack.
Moreover, some intuitive mechanism to swap in different shapes of attack/release arcs while playing really would add a dimension of performability. Some combination of key switching + the sustain pedal could really make this even more of a joy in the ability to craft performances than it already is.
A new version for Christmas ! Thanks Santa Mike :emoji_evergreen_tree:
