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  • Understanding P, mf, f ,ff

    HI

    To keep the tone consistance between the atriculation among the velocity levels; would I be correct if i use the f level  of all articulation and will get the same tone among all articulation?


  •  Not really.   Some instruments are more consistent than others.   Instruments such as the Vienna horn become very brassy in forte (109-127) and at this dynamic level the sustain patch gets considerablely brassier than the other patches such legato.   I'm still trying to find a way to work around this problem.


  • Hello,

    Not playing an instrument, I have assumed that VSL has given the recorded sample velocites the appropriate dynamics indication for each instruments, that is, as the instrumentalist would play it if given the dynamics symbol in a score. And, that VSL has used these indication accordingly in the manuals in the velocity - dynamics tables. With these tables I have made for each instrument, a dynamics mapping in Cubase dynamics. Writing for the instruments, I use these "original" dynamics for each instrument as I find suitable in the music. But the "original" dynamics varies considerably, in my opinion, between instruments, as you find also.

    Gerard


  • I been using Orchestral string alot in the last few weeks, and I am reailizing how inconsistant the atriculation in terms of velocity and tone,

    Take the performance Legato for example or the fast performance,

    Legato 88 matches sustain 88

    Legato 127 does not match sustain 127

    There are many other examples ,

    Its really great having the articulation choices, but i would expect the tone of the articulation at p, mf, f, ff to all match in tone and level.

    So I guess its time for a new STRINGS SECTION library


  • Mazeka, there are actually good reasons why the velocities of each patch do not match.  Depending on the type of bowstroke/technique used, maximum velocities will be different.  For example, a strong marcato will give a much loader sound than a strong spicatto, as a string player can put more weight into the bow for a marcato than is possible when bouncing the bow for a spicatto or stacatto.  Thus, a 127 spicatto will be different than a 127 marcato.  Generally, a strong sustain might be louder than a strong legato, given necessary bow speed/note length/technique used when playing legato, but that is a tougher situation (and I tend to agree that the loudest legatos are a bit soft).

    It is possible to even out velocities between the patches by adjusting the individual patches, but that has the drawback of limiting the actual velocities that a player can produce for some of the bowstrokes.  In the end, if some adjustments are needed for a final mock-up, that might best be done in a sequencing program.