Hi logic.

Other than what you mentionned, I do constantly use attack time to shape the legato phrases.

The best advice I can offer is to listen carefully to real world models.

I also started to add the fingernoises in dimension strings, and even the ambiant noises.  They do help.  The forced strings add some subtle portamento between the notes that is so characteristic of the strings.  More than often, I go for Zigane portamento.

When you listen carefully to real strings, certainly solo ones, you realize how intricate it can be to mimic them accurately.  Volume is never constant, timbre neither, it is full of noise from the left hand, there are resonances of open strings, tempo varies, etc.

But you can achieve a lot with VSL.  I use Cubase expression maps together with 5 controller lanes.  Pain to set up, but joy to use.  And with the option to disable all cells, and to enable them on midi data, I can program a quite cosy orchestra within my 12 Gb ram limit.

Hope this helps.

Stéphane.

Hi Logic.

Yes, when I have time to spend, I work with separate players.  I do the rough work with the orchestral strings, to get the large view as quickly as possible, and then, when I'm not in a hurry, I detail the work for as long as I have energy to do so.  It is so that at this level, you begin to spend much, much time to get a tiny improvement.  But superior works are additions of tiny improvements.  One thing helps : I tried to make VI presets compatible between Orchestral strings and Dimension strings, so my work with Orchestral strings is not lost, but reuseable as a start for the work with Dimension strings.

Funny anecdote : in dimension strings, it is the player 1 that causes me the most trouble.  I tend to leave him out, for his sound, dynamics, legato, attacks, etc.  Some other players have less sound, but are more playable, methinks.  THat is great part of dimension strings, you can choose your favourite players.

Stéphane.