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Posted on Sun, Mar 09 2014 23:04
by Illuminatus
Joined on Tue, Mar 05 2013, Posts 82

1. Crystal clear sound for winds, brass, and strings to the following.

Master Volume: 127

Reverb Wet/Dry: 20

Expression: 127

Release: 85

Filter: 88

Velocity X-Fade: 70

Slot X-Fade: 88

Note: for keyboards, do not use Velocity X-Fade because your piano/harpsichord will sound like hell. Also, do not tamper with the controls on the edit option of each articulation in the keyswitch or the effects above will not work.

2. Bringing out each instrument more.

a. Set all VE Plug-ins to 1

b. Number your channels 1 through n.

This will ensure that each instrument can be heard separately instead of hearing a mesh of everything at once.

c. Click on the master bus option and dictate where each instrument is heard using the panning option.

d. Articulations.

Fast 16th notes: make them all staccato, go to the [sta] option in the keyswitch and increase the P. Release up to 95 (R. Release stays the same). Now go to the velocity curve and drag the x-axis to the left by [x] amount and drag the y-axis down to increase its depth; just so it doesn't sound like metal strips rubbing up against each other, lower the filter on the filter option in the [Basic] view.

All articulations can be heard very clearly with the settings posted in No.1, if you want extra clear sounds pile matrices on top of each other. For example, in the viola channel, have two matrices for the viola part with the settings mentioned above. These settings also work extremely well with solo instruments, the cello however may need a lower filter quantity.

Posted on Mon, Mar 10 2014 01:30
by Carol Nethen West
Joined on Mon, Jan 27 2014, Florida, USA, Posts 1
Thanks for posting this
Carl Nethen Wesr
Posted on Mon, Mar 10 2014 01:37
by andyjh
Joined on Wed, Dec 15 2010, Posts 600

Well, I've been using VSL for years,  and you totally lost me with all of that

not sure how you get a crystal clear sound by pulling the filter back

and the slot X-Fade is not going to work unless you have patches in slots a & b

Also,  you can only play one matrix at a time, so you cannot "pile them on top of each other"

maybe it was just the way you explained it all,  but you are going to confuse a new user there..............

Posted on Mon, Mar 10 2014 02:25
by Illuminatus
Joined on Tue, Mar 05 2013, Posts 82
I had the Slot X posted on there just in case someone did decided to put in patches and such; it's a good proportion. Pulling the filter back cleans up the scratchy and disconnected sounds from the instruments allowing smoother transitions between each note. When you load your first instrument into the first VE slot, your instrument will appear in that area (C0), add another matrix to that and it will reinforce the sound of that instrument. It works perfectly with Appassionata Strings from the Special Edition's Third Volume as well as the chamber strings. It might depend on which instruments and samples you are using.
Posted on Tue, Mar 11 2014 18:58
by civilization 3
Joined on Sat, May 16 2009, SF Bay Area, Posts 1518
Illuminatus wrote:

1. Crystal clear sound for winds, brass, and strings to the following.

Master Volume: 127

Reverb Wet/Dry: 20

Expression: 127

Release: 85

Filter: 88

Velocity X-Fade: 70

Slot X-Fade: 88

This list ignores all context for a one-size-fits-all approach. It won't apply for anybody but you, as it indicates a lack of experience. EG: Velocity X-Fade is to bring in aspects of a layer by the controller.  A single setting '70'? What does that mean, you like this one layer only? Being conclusive there makes no sense. Just as w. Slot Crossfade. The word 'crossfade' should be a clue to you as to its purpose.
What do you think the word 'expression' means here? This is strange stuff to see. People assign controller to these to bring out things in the samples. Don't you??

Pile matrices? You cannot, only one is active. I don't know what's happening with you so that you think the things are not 'crystal clear' in themselves but you aren't showing us anything useful here and you have a mistaken conception of several of these things.  Sorry, but that needs to be countered, particularly as authoritative as MUST READ appears and as per new users, this kind of just misdirects.

MacBook Pro 2.6GHz 6-core i9
32GB 2400MHz DDR4
OSX 10.14.5
Posted on Tue, Mar 11 2014 19:51
by noldar12
Joined on Thu, Dec 04 2008, Posts 582

With both velocity x-fade and slot x-fade, the "number" will vary constantly depending on, with velocity x-fade, changes in dynamics you wish to program, as well as how loud or soft you want a particular section to be, and with slot x-fade, depending on what relationship you want to program between the two cells.

Posted on Tue, Mar 11 2014 20:11
by andyjh
Joined on Wed, Dec 15 2010, Posts 600
Illuminatus wrote:

...; just so it doesn't sound like metal strips rubbing up against each other.....

You're going to have the folks at VSL having a blood pressure problem with that description of their library,

Posted on Tue, May 06 2014 17:21
by Illuminatus
Joined on Tue, Mar 05 2013, Posts 82

When you just have the chamber strings playing without a certain proportion of filter/release/reverb, the phrasing is choppy and the transition from note to note doesn't seem "human". Dont get me wrong I LOVE VSL but it took me literally over a year to figure out the right proportions for strings/winds/brass. Same goes with App V3 and Orchestral strings if you do not have the "optimal" proportions.

Posted on Tue, May 06 2014 18:39
by DG
Joined on Wed, May 12 2004, Posts 8608

Please could you post an an mp3 of an example of what your suggestions
sound like, because your figures mean nothing to me without music being attached.

DG

Nuendo 6.03, 4.3
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