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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.
Kontakt 5.7 add library 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.
Kontakt 5.7 add library series#
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.
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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.
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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