I have most if not all of ISM's ethnic winds which have been wonderful BUT does anyone else hear the 'phasing' (as expression is used)? To me sounds like 'two players' as expression is used - phasing between xfade layers?
IIRC Kontakt doesn't even listen CC #121 as reset all controllers (it doesn't actually reset all controllers), it just considers it an ordinary CC. Kontakt only responds to all notes off and all sounds off, if the option in Instrument Options->Controller is checked.Given the needs of your engine, I think that Reset All Controllers would be problematic regardless of specific CC's used internally, so one just has to be aware of this, and adjust one's MIDI. As soon as I looked at the assigned MIDI CC's in Kontakt's side panel (I didn't see them in the user manual after three readings, but this could be due to fatigue), I saw the internal assignments and realized that CC121 should not be used and was the cause of the GUI blow-up.
Duduk samples weren't phase-aligned, to my knowledge, so possibility of phasing when xfading velocity layers is likely.I have most if not all of ISM's ethnic winds which have been wonderful BUT does anyone else hear the 'phasing' (as expression is used)? To me sounds like 'two players' as expression is used - phasing between xfade layers?
Done - buying it. Thanks guys.FYI: We're working on an update that will improve a few things.
1. Rather than x-faded vibrato values, when using real vibrato, as you move the slider you will hit a smooth switch point and hear a one-time transition into (or out of) vibrato. This should eliminate most phasing and it sounds great in our testing.
2. Emulated vibrato should sound a lot better now.
3. Legato transitions and general playing with vibrato should sound a lot better.
The CC mapping for the morph sliders are simply the Kontakt stock MIDI Learn system. You can re-assign them any way you like with a simple right-click!One thing to note if you haven't already, is that the default CC is the same for Dynamics and Vibrato -- this is usually a good default when working with existing MIDI, as it's better than a fixed Vibrato, but when tracking a part from scratch, it might be a good idea to set up two separate controllers. That would especially apply well to BC or WC input.
Yes - can't wait to hear the fix. They'll make it right and they'll have my freaking money.Glad to know I was not the only one hearing the phasing / doubling phenomenon in the walkthrough, Rob Elliott. That is what stopped me from purchasing, but otherwise, this sounds fantastic and I will definitely pick this up once that is resolved. ISW have been draining my bank account in a good way lately!
Please take notice of the fact that Impact Soundworks pays a fee to be in the top tier commercial announcements and that if you want to compare it to other devs please use the designated forum sectionsI am pretty sure the Expressive Mouth Vibrato in Ancient Era Persia is not attainable here, but there may be some combination of settings I haven't thought of yet. I've done some pretty deep editing by now, and am not really able to emulate that sound, on held notes, where it can sound almost frantic, but isn't a trill b y any means, or even what I would think of as pitch L
Maybe with a WX5 hooked up, I could try to play this part over again from scratch, using my own intuitive mouth-based expressiveness to modulate the sound as before.
The Tarilonte patch does react differently based on note length and initial note attack level. It sounds similar to me, to playing a real-life ocarina, and rapidly changing the air pressure, resulting in pitch fluctuation that is extreme up-and-down and almost chaotic around the center pitch, but still is not quite what I would think of as lipping a note up or down.
Anyway, that's why I need to do a WX5 experiment, to see if modulating the dynamics during a held note can achieve something similar here. Certainly the vibrato control, even when fine-tuned or switched to emulation mode where there's more parameters, doesn't do the trick. And I tried Legato Portamento across the velocity range, but I don't think that can do it either.
It's not normally an effect that I would want, but for this specific piece, it's exactly what I need. I might otherwise gravitate towards a Shehnai, except that it's a shrill instrument that has a very low dynamic range as it doesn't produce sound below a fairly high level of air.
I may experiment with some quick-and-dirty hand-drawn CC curves. But I suspect this is some sort of random effect in the Ancient Era Persia library, that is triggering pre-recorded ornamentations at different velocity levels. If so, I may be able to just edit the specifics of the trill settings in the TACT panel. But I don't think we can layer multiple settings to be triggered at different velocity or CC levels.
Please note that I do not in any way consider this a weakness of the Ventus Duduk library; I am simply trying to find analogues of every setting from Ancient Era Persia, to simplify to fewer templates in my workflow, and to inform those who may be wavering based on specific needs, who don't yet have this new library.
We may introduce a force ornament keyswitch which you can simply hold to bypass the instrument ignoring ornament types when mid-legato. It isn't particularly difficult to do and may show up in the next update.I now have magnificent phase-free results on the second piece (the third piece is discussed in Sample Talk as it gets into comparisons), with lots of articulation-switching, nice warm and reedy sound that modulates well into a more airy sound on held notes.
The main thing I had to get a hang of, is the necessary note gap for articulations to take effect, as legato mode and note overlap, effectively prevents the articulation from being triggered. This is actually an excellent decision, as the real instrument would require adjustments in order to achieve the articulations anyway, and it avoids having to do constant articulation-switching rather than allowing other triggers to combine in deciding whether the ornamentation has time to play or not (or if it does so subtly/rapidly).
Now that I'm more aware of this aspect, I may need to go back to some of my other Ventus Winds tracks to make sure I achieved what I expected, but I think I have generally re-played tracks from scratch once I've finalized sound source selection for a project after some initial MIDI tweaks of cached MIDI performances.
I have not tried this library with my Yamaha WX5 Wind Controller yet. That might be a ways out.