![]() ![]() They're not usually fluid, especially at faster tempos. But go listen to real performances with separated bowing. The problem is that most ears out there want to hear smooth fluid transitions with little or no separation. However, the ones that attempt to handle separate bowing suffer more, especially violins. As stated before, there are some decent "fingered" or "slurred" legato treatments out there. Add library kontakt 5.7 series#The Lyric Series String Quintet instruments (except the Romantic Guarnerius Violin) all analyze your playing style and handle all three vibrato parameters (amount, speed and fade-in) accordingly so as to give you the closest approximation of a real string player's style. But most of the time, one can hear the crossfades and thereby loses the "soloistic" desired sound. Sometimes, some "no vibrato" samples are included whereby you can transition to and from them. ![]() If you happen to love that particular performer's style, then you're set. Another way of handling this issue has been to have the samples be "baked in" with the performer's own vibrato. That can become clunky due to having to ride the controller back and forth without affecting incoming or outgoing notes, which can be quite difficult to do, and rarely comes off as very natural. Usually, this is just the amount of vibrato and nothing else. In trying to capture vibrato, most of the time, (if handled at all) it is by means of assigning vibrato to a controller. Add library kontakt 5.7 professional#I know of no professional string player who uses the same vibrato amount, speed or fade-in time statically. And it's all very dynamic depending on the way you play.Īnd then, there's the issue of vibrato. We have calculated certain probabilities of this happening during certain types of playing styles, and have successfully, to a point, implemented them into the instruments of the Lyric Series String Quintet. It seems to occur most when the players need to move their left hand up or down from it's current position to achieve the note. (Especially cellos) It's not really a true portamento and does not always happen. While there is no easy way to capture all of these details, the one thing that seems to be loudly apparent is the sound that happens when string players play larger intervals on the same string. The trouble begins during the many transitions that happen during separate bowing or when a player shifts the left hand. So the "legato" transition is easy to capture. That's because the player does not "bow" the interval, and does not shift the left hand during small intervals. The easy ones to mimmic are the "slurred" or "fingered" transitions. Sometimes, there's a string crossing, sometimes a hand shift, sometimes a bow change. That's great, except that with string players, it's never the same. So how has this been emulated so far? The best of them go to great lengths in using "legato" technology. It's like putting in a few "aha" features that make for realism. However, certain occurrences take place often enough to tell the listener, "yes, I hear this as a professional stringed instrument performance.", that one could, in essence, focus on those, and implement them judiciously. In fact, at this point in time, it's impossible. With so many of these variables, it is hard to recognize a pattern so as to emulate this in a digital instrument. Bowing, slurring, vibrato (amount, speed and fade-in time), string crossing, left-hand-shifting, and more. So in analyzing what string players do, it seems that a myriad variables came to play.so to speak. Others do capture the right "sound", but the resulting performance always, at least to me, sounds "clunky", "bumpy" or only sounds good when played at certain tempos. Some are very nice, but still fall short. Legato Discussion - Valiant efforts have indeed been made over the years using all kinds of "legato" and "interval" tricks and whatnot. INTUITIVE, STRING-ORIENTED LEGATO TRANSITIONS Nothing out there, not even my older libraries, seemed to capture that certain essence you hear when listening to a professional player unless you took a lot of time to tweak whatever you were working on. It was easy to get nice "pads" and "fillers" for sure, but I really wanted a believable single, melody line. While there are plenty of good-sounding solo string libraries out there, I found it interesting that for me, a professional string player, it took a lot of "fiddling" with the instrument to get really musical phrases and melody lines. ![]()
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