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  • Dimension Brass unlooped sustains

    K
    K

    I like the unlooped sustains in the extended VI Dimension Brass content, which as far as I understand offer 6 distinct velocity layers in total (please correct me if I am wrong). Unfortunately these are separated into two different patches (p & f) and I don't really understand why this is done. With Velocity xFade it would be very easy to access all of them with a single continuous controller and realize more realistic dynamic transitions. 

    Such patches, restricted to a particular dynamic range, had been introduced previously for the Synchron Strings, but in this case the user can also choose to use a single patch that includes all 8 available velocity layers.

    Is there any way within VI pro to program the two patches so that one gets access to all velocity layers via velocity or the single velocity xFade controller? (I know that I could additionally blend them with a second controller, but this is much harder to do.) If not, are there plans to release combined patches with 6 velocity layers in the future via a Library update?
  • PaulP
    VSL Team
    PaulP

    Hi Kai, 

    The reason for the separation is that it simply doesn't sound good, especially with solo instruments (and even more with solo instruments being part of a group, like in the Dimension Series).

    The more velocity layers, the harder it is to hit only one velocity with a vertain Vel XF position. 

    With bigger ensembles, it's a very different situation, and Velocity FX works great with multiple layers. 

    Best,
    Paul

    Paul Kopf Product Manager VSL
  • K
    K
    last edited
    last edited

    Hi Paul,

    thanks for your quick reply 😊!

    I understand that velocity xfade can be problematic for single instruments. I would have hoped that using several dimension players reduces the problem, but if you observed the opposite I surely trust you on this. 

    Yet, cutting the instrument into two patches (aside from removing the transition from mp to mf) alone does not solve this problem and, as you write, merely increases the midi controller range. This might make it a bit easier to access the sampled dynamic levels, but if xfading does not sound well, it makes in my opinion not much sense to turn on velocity xfade anyway.   

    In this case it would nevertheless be great to have a combined sound that switches all layers via velocity (velocity xfade turned off). There have been wind patches with 6 velocity layers already in the first edition and they still work great. The more layers there are, the smoother the individual steps become. Unfortunately, I don't see any way to create such a true 6-velocity-layer matrix in VI pro, since the way the layers are "packaged" into two different patches seems to inherently prevent this. In the old Cube libraries different velocity layers were individually accessible (in a "resource folder"), which provided complete flexibility to shape the transitions. Maybe adding these layers in the future would be a simple way to overcome the present restrictions?

    Thanks again and best regards

    Kai
  • PaoloTP
    PaoloTP
    I wonder if this can be achieved with the Velocity Curve diagram in the Edit pane. Two slots playing at the same time, with different velocity limits (one slot stopping at mid-height, the other starting from mid-height). Paolo
  • K
    K

    Paolo, thanks for the reply! 

    Yes, that's exactly what I would like to do.

    Unfortunately, the velocity curve seems to have only two parameters: one that determines by how much the volume is reduced at minimal velocity, and another one that controls the slope of the curve from minimal to maximal velocity. Yet, minimal and maximal velocity always seem to be fixed to 0 and 127 for every slot in a matrix.
  • L
    L
    last edited
    last edited

    I would have hoped that using several dimension players reduces the problem, but if you observed the opposite I surely trust you on this.

    Yet, cutting the instrument into two patches (aside from removing the transition from mp to mf) alone does not solve this problem and, as you write, merely Myfirstpremiercard increases the midi controller range. This might make it a bit easier to access the sampled dynamic levels, but if xfading does not sound well, it makes in my opinion not much sense to turn on velocity xfade anyway.

    In this case it would nevertheless be great to have a combined sound that switches all layers via velocity (velocity xfade turned off). There have been wind patches with 6 velocity layers already in the first edition and they still work great. The more layers there are, the smoother the individual steps become.