It's keyswitch city. The legato isn't the most useful, no. There's enough of eg, Eric Marienthal's, or Wayne Bergeron's, et al, sound to make up for it in many cases. It's very systematic... at times a bit cookie-cutter. The things such as rips and falls are very very good, and the new library is extremely thorough. It tends to be, if you want a transitional effect from one bit to the next, you look for the articulation to pull i8t off. which can be wearing.Gregjazz wrote:Yeah, I've checked his out before. It's pretty much keyswitch heaven, right? It seems like there's a lot of trills and other articulations, but those things are always tough to play from a keyboard since it's not always very practical to memorize so many keyswitches let alone incorporate it in your playing.jancivil wrote:Well, Jeff Steinman (Warp IV) has a lot of this covered for jazz flute;
You know me, I'm all about automating those things to make libraries more instantly playable.
I'm not trying to get into criticizing other libraries at all, but the one big thing I'm not hearing in this flute library is legato between the notes, which IMO is a really important aspect in realism.
All of the above. The articulation is called 'performance legato' in VSL land, here 'CC11 = expression' is huge.Gregjazz wrote:Does the CC11 only control volume, or does it affect the tonality of the instrument as well, when creating dynamic fades?jancivil wrote: I am liking CC11 expression control in the VSL piccolo I just bought, a LOT.
jancivil wrote: I def don't understand enough about what's possible in kontakt scripting to get around this rack interface way o life, but this IME would put your products above a lot of the rest of Kontakt devs. VI Pro is a game changer for vi control.
Basically I agree. In fact I have been a stickler for doing it all by hand. But there are trills I can get and trills a top flight performer on the instrument gets, stylistically informed performance practice... I can fake about anything, but... eg., I have baroque performance experience on a guitar and I kind of know where these licks fit on a timeline by now, but work savers are important at this point for me. EG: a trill or a drum roll, or especially repetitions (a LOT of work for me), or p>f>p swells, etc now time stretched to fit tempo, this is my go-to unless it isn't available.Gregjazz wrote: Yeah, I absolutely love what VI Pro has done with their latest engine--really fantastic work, and it looks so easy to use, too!
On one hand, I want to sample a lot of articulations, but on the other, I also want to minimize the number of keyswitches and make everything as real-time as possible.
My philosophy when it comes to sample libraries is that if you want a trill, you should be able to just play a trill on the keyboard and have it sound realistic. Same goes for grace notes, etc.
I'm in no a position to really know your market, but I wonder if everybody's really a crack keyboardist. Me, I do a lot of editing. I record all of it in by a key or drum controller, but I have to 'build' a performance from the former.
