Ok, I know this has probably been discussed in various forms here many times but I guess I have some specific questions that maybe didn't come up.
I am looking to get, hopefully, the last solo string libraries I'll ever need. At the moment I'm using LASS and while the first chair violins do sound good, there is a bit of flexibility that is missing from the patches. The main shortcomings I feel are:
- You don't have control over the amount of vibrato on the first chairs, and in none of the patches which do give you vibrato control do you actually have control over the speed, for example.
- I find that it's hard to really get a satisfying transition time for certain run speeds
- It also lacks control of bowed vs. bowed legato. There is in that you can not let the notes overlap and get a more bowed sound but I am not really satisfied with the way this sounds. Similarly, the legato often doesn't sound slurry enough for my tastes, depending on the part.
I am a big fan of LASS overall, but for solo strings this is where I think it falls short of what I want.
So, moving forward, it seems that the main contenders at this point are Embertone, Chris Hein, and Samplemodeling.
Samplemodeling appears to be the most flexible and give you the most control, but I have my reservations about the fact that it isn't a real violin. Most of the demos I've heard sound really good to my ears, but I'm not sure if over time I will sour on the sound. I realize this is a subjective thing, so I don't necessarily expect someone to tell me what to do in this regard. I am also not sure if there are TOO many options and if ultimately it's not as playable, but a lot of the demos I've seen make it look fairly intuitive if you have some good controllers.
Chris Hein looks like it has quite a lot of options as well and I have seen people doing impressive things with it. I have read some criticism that the sound is fairly sterile compared to some other libraries like Embertone and Spitfire. Again, it sounds good to me but I don't know how much whatever processing, i.e. reverb vs. dryness will play into this.
Embertone sounds really good to me and a lot of the flexibility does appear to be there. It does maybe sound a bit "warmer" than the Hein strings.
Basically, I am looking for as much flexility as possible but also something that is playable. Appealing things about Samplemodeling are the ability to not only control minutia such as how much stickiness there is on the bow but also tempo matching things like tremolo speed, etc. I have seen people doing things like pitch fall-offs and other stuff that I'm not sure the other libraries are capable of.
I'm wondering if anyone has experience with any and/or all of these and if you can summarize where you feel each one excels, what the weaknesses are, stand-out things that you wish one did but the other does very well, etc.
Solo string libraries
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- KVRist
- Topic Starter
- 223 posts since 19 Apr, 2011
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- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
a couple of things here I can speak to...
I don't know the SampleModeling strings (or the SWAM engine) at all.
BUT, I do know the saxophone is modeled in such a way that pitch bend is significantly more viable than with just samples. It would seem that tremolo speed control is a property of the model as well. I wouldn't expect that with samples, it doesn't seem possible to me. For instance, controlled vibrato speed in a straight sample library means LFO, it's not real string vibrato. I don't know what happened with the things you've seen, but pitch fall-off is going to pitch bend or it's in the samples. For example, you can have a fall or the like in a release sample which you trigger by a key, or velocity or another condition is met in order to get it.
As far as the amount, what people do in the Vienna Instruments Pro instrument is fade in a slot where a vibrato instrument is placed. For that matter though, Garritan Personal Orchestra brings in vibrato along with swell via CC1 Modwheel. Berlin Strings iirc does similar. In the VI Pro instrument slot cross-fade, you'd kind of want the non-vibrato cell to phase out as the vibrato one comes in, and that interface is nicely set up for this kind of thing.
Also, cutting into the sample to get a blunter attack and so forth obtains via a nice UI here. ALL the control here is just more accessible than Kontakt interface. Albeit there are some nice ones. IMO the better interface in Kontakt is what Soundiron does in their NI products.
For things like bowed vs bowed legato look into VSL. For instance, performance detaché patches ensure bow change effect. I'll assume bowed legato means a string change to you; this is called 'slurred' in VSL, to me a misnomer but that's the distinction from a legato like a 'hammer-on', same bow.
I can't know what the Embertone instruments do for 'Color Morphing' but it would tend to be cross-fade and something VSL originated. I'm happy to be wrong about that but I notice they do not talk technical about any of it at their site. But vibrato speed control I remember them coming out with, it's LFO, there is no way to change that playing a sample.
"Playable" I won't speak to. I find a dichotomy between playable and realistically programmed strings and I don't play a lot of keyboards anyway. VSL been at it longer than everybody else and most people really into realism go to it for multiple reasons. The VI Pro interface is just much more powerful. For example, if you have a terrifically elaborate workflow for extremely articulated instruments, which you're going to continue to call on there is a thing called Auto Playback and Pattern Sequencer.
Before you get to that, there is the Matrix switching of cells which can be set up in horizontal rows (CC, key, speed, velocity switched) and then new rows accessed vertically (typically CC switching, but any of the above); and a Matrix of these in that portion of the UI, multiple matrices (typically key switched). So you may have the entirety of your strings in one Preset. Now, I know how to get that to happen in Kontakt but it's some not that trivial work and you need Mind Control or another 3rd party application to get there.
gfy
I don't know the SampleModeling strings (or the SWAM engine) at all.
BUT, I do know the saxophone is modeled in such a way that pitch bend is significantly more viable than with just samples. It would seem that tremolo speed control is a property of the model as well. I wouldn't expect that with samples, it doesn't seem possible to me. For instance, controlled vibrato speed in a straight sample library means LFO, it's not real string vibrato. I don't know what happened with the things you've seen, but pitch fall-off is going to pitch bend or it's in the samples. For example, you can have a fall or the like in a release sample which you trigger by a key, or velocity or another condition is met in order to get it.
As far as the amount, what people do in the Vienna Instruments Pro instrument is fade in a slot where a vibrato instrument is placed. For that matter though, Garritan Personal Orchestra brings in vibrato along with swell via CC1 Modwheel. Berlin Strings iirc does similar. In the VI Pro instrument slot cross-fade, you'd kind of want the non-vibrato cell to phase out as the vibrato one comes in, and that interface is nicely set up for this kind of thing.
Also, cutting into the sample to get a blunter attack and so forth obtains via a nice UI here. ALL the control here is just more accessible than Kontakt interface. Albeit there are some nice ones. IMO the better interface in Kontakt is what Soundiron does in their NI products.
For things like bowed vs bowed legato look into VSL. For instance, performance detaché patches ensure bow change effect. I'll assume bowed legato means a string change to you; this is called 'slurred' in VSL, to me a misnomer but that's the distinction from a legato like a 'hammer-on', same bow.
I can't know what the Embertone instruments do for 'Color Morphing' but it would tend to be cross-fade and something VSL originated. I'm happy to be wrong about that but I notice they do not talk technical about any of it at their site. But vibrato speed control I remember them coming out with, it's LFO, there is no way to change that playing a sample.
"Playable" I won't speak to. I find a dichotomy between playable and realistically programmed strings and I don't play a lot of keyboards anyway. VSL been at it longer than everybody else and most people really into realism go to it for multiple reasons. The VI Pro interface is just much more powerful. For example, if you have a terrifically elaborate workflow for extremely articulated instruments, which you're going to continue to call on there is a thing called Auto Playback and Pattern Sequencer.
Before you get to that, there is the Matrix switching of cells which can be set up in horizontal rows (CC, key, speed, velocity switched) and then new rows accessed vertically (typically CC switching, but any of the above); and a Matrix of these in that portion of the UI, multiple matrices (typically key switched). So you may have the entirety of your strings in one Preset. Now, I know how to get that to happen in Kontakt but it's some not that trivial work and you need Mind Control or another 3rd party application to get there.
gfy
Last edited by jancivil on Mon Jun 12, 2017 1:53 pm, edited 2 times in total.
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- KVRist
- Topic Starter
- 223 posts since 19 Apr, 2011
I have looked at Bohemian Violin and it certainly looks good. From the available demos I've seen, it doesn't appear it gives you control over amount or speed of vibrato. Can you comment about this?
One thing I am curious about with Bohemian Violin, which, interestingly, none of the demos I've seen actually even cover, is the bow direction key switches. I want to hear what these actually sound like when played but so far people seem to ignore this as a feature when doing their videos.
One thing I am curious about with Bohemian Violin, which, interestingly, none of the demos I've seen actually even cover, is the bow direction key switches. I want to hear what these actually sound like when played but so far people seem to ignore this as a feature when doing their videos.
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- KVRAF
- 2912 posts since 13 Apr, 2008 from Charleston, SC
I am a huge fan of Chris Hein Solo Strings. Every parameter is controllable and the sound is just incredible. Recently he added an Italian violin to the mix that just has this near perfect tone.
Still, if you hold your breath, Cinematic Studio Series is due to release their Solo Strings this summer. If it is anywhere near their string library it is will be an INCREDIBLE addition to any soft studio anywhere.
Still, if you hold your breath, Cinematic Studio Series is due to release their Solo Strings this summer. If it is anywhere near their string library it is will be an INCREDIBLE addition to any soft studio anywhere.
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- KVRist
- Topic Starter
- 223 posts since 19 Apr, 2011
Thanks for your input. The more demos I watch for Chris Hein, the more I am convinced it's probably what I'll end up choosing. I already own his Complete Brass and Orchestral Winds and love both of them, although I haven't had them for long and still feel like I haven't 100% learned to use them to their fullest. They are very playable considering how extensive the configuration is and the sound is just very pleasing to me. So I expect the string libraries won't disappoint. The sticking point for me is the price. I could just get the violin but I know that eventually I'll want all of them so I will save money if I get the bundle. I might very well wait and see what Cinematic has to offer, though. Their Cinematic Strings was a strong contender when I was looking to get my main string ensemble library, although I ended up going with LASS, if I had more money I would still get Cinematic as well. As much as I am chomping at the bit to get the perfect solo string library, I also feel like I should slow down and learn to use what I already have to the fullest. I am pretty new to orchestral composing even though I have a couple of decades of composing other kinds of music, both acoustic and electronic. So I realistically may b getting ahead of myself, but I do find that the better the tools I have to work with, the more inspired I am to actually use them.
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- KVRian
- 551 posts since 10 Nov, 2005 from Scotland
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- KVRist
- Topic Starter
- 223 posts since 19 Apr, 2011
I ended up going with Chris Hein because I think it's the most flexible of the non-modeled violin libraries. Samplemodeling is probably ultimately more flexible but something about the tone doesn't quite sound organic enough for me, even if it does sound very good. So far CH does not disappoint, although I have had it less than a day so I am just getting started with it. So far it is very playable without delving into the settings, especially with the "dynamic short/long expressive" articulations and dynamics set to "x-fade". Looking forward to getting more deeply into it. Thanks for your input.
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- KVRAF
- 2912 posts since 13 Apr, 2008 from Charleston, SC
Nice choice. What makes it great for you is that you already have some of his stuff so as you learn the workflow it will apply to all of those libraries as they are very close in how they work.
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- KVRist
- Topic Starter
- 223 posts since 19 Apr, 2011
As a follow-up I wanted to post some observations about the Hein solo strings and, by extension, his other libraries as well. I didn't even realize this until I started playing around with the solo cello, but then I went back to check the other libraries to see if this was the case in them as well. It's a source of some disappointment to me and I wish I had realized this before I bought his libraries. I won't say that I totally regret buying them at this point, but I have contacted Chris and his answer to me wasn't very reassuring.
In all the Hein libraries, you have a "Dynamic" section which allows you to control the dynamic layer selected in different ways. One is "keyboard" and three different "x-fade" selections. If you are using keyboard velocity to select dynamic layer, the sound will be clear and as expected. All of the other selections will produce a subtly weird and synthesized type sound. According to Chris, this is the phase alignment technique he uses. Basically it means that the sound on any of these x-fade settings will not be normal and will have this buzzy quality to them that is not entirely pleasant, especially on lower notes. He tells me I'm the very first user to complain (or apparently even notice) this, which kind of blows my mind.
Essentially, if anyone is considering buying any of the Hein libraries, consider whether you are 100% happy having the velocity of your notes be the only way you have of controlling which dynamic layer triggers. If you were expecting to use a mod wheel or some other expressive device like breath controller to shift between these layers as you play, the sound quality of the samples will suffer.
In all the Hein libraries, you have a "Dynamic" section which allows you to control the dynamic layer selected in different ways. One is "keyboard" and three different "x-fade" selections. If you are using keyboard velocity to select dynamic layer, the sound will be clear and as expected. All of the other selections will produce a subtly weird and synthesized type sound. According to Chris, this is the phase alignment technique he uses. Basically it means that the sound on any of these x-fade settings will not be normal and will have this buzzy quality to them that is not entirely pleasant, especially on lower notes. He tells me I'm the very first user to complain (or apparently even notice) this, which kind of blows my mind.
Essentially, if anyone is considering buying any of the Hein libraries, consider whether you are 100% happy having the velocity of your notes be the only way you have of controlling which dynamic layer triggers. If you were expecting to use a mod wheel or some other expressive device like breath controller to shift between these layers as you play, the sound quality of the samples will suffer.
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- KVRist
- 104 posts since 24 Oct, 2002
Wow.
I'm late to this thread, and I realize you've already made a purchase, but I saw the following and simply had to comment:
Wow. For you to say that "it isn't a real violin," suggests that you don't understand what modeling is.
I'm not affiliated with SampleModeling, but I have most of their wind instruments, and they are hands-down the most realistic solo-instrument libraries ever created by any company. Period.
Modeled instruments are no less "real" than sampled instruments. Each technique is a digital "facsimile" of a live instrument—they're just using different techniques. Did you read the description of the technology?
https://www.samplemodeling.com/en/technology.php
I don't yet own any of SampleModeling's string libraries, but I can't begin to imagine the fact that they aren't "traditional samples" being one's reason for not liking them. Especially after he says…
I'm late to this thread, and I realize you've already made a purchase, but I saw the following and simply had to comment:
goldenhelix wrote:Samplemodeling appears to be the most flexible and give you the most control, but I have my reservations about the fact that it isn't a real violin.
Wow. For you to say that "it isn't a real violin," suggests that you don't understand what modeling is.
I'm not affiliated with SampleModeling, but I have most of their wind instruments, and they are hands-down the most realistic solo-instrument libraries ever created by any company. Period.
Modeled instruments are no less "real" than sampled instruments. Each technique is a digital "facsimile" of a live instrument—they're just using different techniques. Did you read the description of the technology?
https://www.samplemodeling.com/en/technology.php
I don't yet own any of SampleModeling's string libraries, but I can't begin to imagine the fact that they aren't "traditional samples" being one's reason for not liking them. Especially after he says…
Why not trust your ears?goldenhelix wrote:Most of the demos I've heard sound really good to my ears
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- KVRist
- Topic Starter
- 223 posts since 19 Apr, 2011
It's ironic you'd suggest I don't understand when it's demonstrably you who doesn't understand. If you're saying that something modeled, however well, is the exact same as an actual recording of a real instrument.. well, you've just basically admitted to not only not knowing what you're talking about but also not knowing the definitions of words and basic logic.Syncopator wrote:Wow.
I'm late to this thread, and I realize you've already made a purchase, but I saw the following and simply had to comment:
goldenhelix wrote:Samplemodeling appears to be the most flexible and give you the most control, but I have my reservations about the fact that it isn't a real violin.
Wow. For you to say that "it isn't a real violin," suggests that you don't understand what modeling is.
I'm not affiliated with SampleModeling, but I have most of their wind instruments, and they are hands-down the most realistic solo-instrument libraries ever created by any company. Period.
Modeled instruments are no less "real" than sampled instruments. Each technique is a digital "facsimile" of a live instrument—they're just using different techniques. Did you read the description of the technology?
https://www.samplemodeling.com/en/technology.php
I don't yet own any of SampleModeling's string libraries, but I can't begin to imagine the fact that they aren't "traditional samples" being one's reason for not liking them. Especially after he says…
Why not trust your ears?goldenhelix wrote:Most of the demos I've heard sound really good to my ears
I'm sure you're the kind of person who's interested in protracted arguments that are in no way productive at all, so I'm sure I'll be hearing back from you about this.
Regarding trusting my own ears, I don't even know how to answer that (hilarious) question.. I *do* and that's why I ordered the product I ordered. Your question makes an odd (actually nonsensical) assumption.
But even saying that Samplemodeling products sound very good, I have only heard them in demos which are not the highest sound quality. One can like the sound of something in a Youtube video and then learn how it actually sounds when working with it in your DAW and be less than enthusiastic about it. So maybe think about that too.
All in all, your reply is unnecessary, inaccurate, and obnoxious... all the worst parts of the internet, but par for the course here on KVR where everyone's got a Mariana Trench-sized chip on their shoulder at all times.
Now run along, I'm sure you've got some other 6-month-old decisions of total strangers to question.
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- KVRist
- 38 posts since 28 Nov, 2016
Hi goldenhelix, after a few months of usage with the Hein's solo strings library, any updates on your experience and opinions on it? Does the x-fade problem still exist, or it has been updated and improved? If I am in the market for the best solo strings library (with the same requirements as yours), will you still recommend the Hein's library? Thanks a lot!goldenhelix wrote:As a follow-up I wanted to post some observations about the Hein solo strings and, by extension, his other libraries as well. I didn't even realize this until I started playing around with the solo cello, but then I went back to check the other libraries to see if this was the case in them as well. It's a source of some disappointment to me and I wish I had realized this before I bought his libraries. I won't say that I totally regret buying them at this point, but I have contacted Chris and his answer to me wasn't very reassuring.
In all the Hein libraries, you have a "Dynamic" section which allows you to control the dynamic layer selected in different ways. One is "keyboard" and three different "x-fade" selections. If you are using keyboard velocity to select dynamic layer, the sound will be clear and as expected. All of the other selections will produce a subtly weird and synthesized type sound. According to Chris, this is the phase alignment technique he uses. Basically it means that the sound on any of these x-fade settings will not be normal and will have this buzzy quality to them that is not entirely pleasant, especially on lower notes. He tells me I'm the very first user to complain (or apparently even notice) this, which kind of blows my mind.
Essentially, if anyone is considering buying any of the Hein libraries, consider whether you are 100% happy having the velocity of your notes be the only way you have of controlling which dynamic layer triggers. If you were expecting to use a mod wheel or some other expressive device like breath controller to shift between these layers as you play, the sound quality of the samples will suffer.
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Straight2Vinyl Straight2Vinyl https://www.kvraudio.com/forum/memberlist.php?mode=viewprofile&u=395170
- KVRist
- 336 posts since 10 Mar, 2017
goldenhelix wrote:It's ironic you'd suggest I don't understand when it's demonstrably you who doesn't understand. If you're saying that something modeled, however well, is the exact same as an actual recording of a real instrument.. well, you've just basically admitted to not only not knowing what you're talking about but also not knowing the definitions of words and basic logic.Syncopator wrote:Wow.
I'm late to this thread, and I realize you've already made a purchase, but I saw the following and simply had to comment:
goldenhelix wrote:Samplemodeling appears to be the most flexible and give you the most control, but I have my reservations about the fact that it isn't a real violin.
Wow. For you to say that "it isn't a real violin," suggests that you don't understand what modeling is.
I'm not affiliated with SampleModeling, but I have most of their wind instruments, and they are hands-down the most realistic solo-instrument libraries ever created by any company. Period.
Modeled instruments are no less "real" than sampled instruments. Each technique is a digital "facsimile" of a live instrument—they're just using different techniques. Did you read the description of the technology?
https://www.samplemodeling.com/en/technology.php
I don't yet own any of SampleModeling's string libraries, but I can't begin to imagine the fact that they aren't "traditional samples" being one's reason for not liking them. Especially after he says…
Why not trust your ears?goldenhelix wrote:Most of the demos I've heard sound really good to my ears
I'm sure you're the kind of person who's interested in protracted arguments that are in no way productive at all, so I'm sure I'll be hearing back from you about this.
Regarding trusting my own ears, I don't even know how to answer that (hilarious) question.. I *do* and that's why I ordered the product I ordered. Your question makes an odd (actually nonsensical) assumption.
But even saying that Samplemodeling products sound very good, I have only heard them in demos which are not the highest sound quality. One can like the sound of something in a Youtube video and then learn how it actually sounds when working with it in your DAW and be less than enthusiastic about it. So maybe think about that too.
All in all, your reply is unnecessary, inaccurate, and obnoxious... all the worst parts of the internet, but par for the course here on KVR where everyone's got a Mariana Trench-sized chip on their shoulder at all times.
Now run along, I'm sure you've got some other 6-month-old decisions of total strangers to question.
Just to add my 2 cents after having a little time to play with the Sample Modeling Strings collection:goldenhelix wrote:It's ironic you'd suggest I don't understand when it's demonstrably you who doesn't understand. If you're saying that something modeled, however well, is the exact same as an actual recording of a real instrument.. well, you've just basically admitted to not only not knowing what you're talking about but also not knowing the definitions of words and basic logic.Syncopator wrote:Wow.
I'm late to this thread, and I realize you've already made a purchase, but I saw the following and simply had to comment:
goldenhelix wrote:Samplemodeling appears to be the most flexible and give you the most control, but I have my reservations about the fact that it isn't a real violin.
Wow. For you to say that "it isn't a real violin," suggests that you don't understand what modeling is.
I'm not affiliated with SampleModeling, but I have most of their wind instruments, and they are hands-down the most realistic solo-instrument libraries ever created by any company. Period.
Modeled instruments are no less "real" than sampled instruments. Each technique is a digital "facsimile" of a live instrument—they're just using different techniques. Did you read the description of the technology?
https://www.samplemodeling.com/en/technology.php
I don't yet own any of SampleModeling's string libraries, but I can't begin to imagine the fact that they aren't "traditional samples" being one's reason for not liking them. Especially after he says…
Why not trust your ears?goldenhelix wrote:Most of the demos I've heard sound really good to my ears
I'm sure you're the kind of person who's interested in protracted arguments that are in no way productive at all, so I'm sure I'll be hearing back from you about this.
Regarding trusting my own ears, I don't even know how to answer that (hilarious) question.. I *do* and that's why I ordered the product I ordered. Your question makes an odd (actually nonsensical) assumption.
But even saying that Samplemodeling products sound very good, I have only heard them in demos which are not the highest sound quality. One can like the sound of something in a Youtube video and then learn how it actually sounds when working with it in your DAW and be less than enthusiastic about it. So maybe think about that too.
All in all, your reply is unnecessary, inaccurate, and obnoxious... all the worst parts of the internet, but par for the course here on KVR where everyone's got a Mariana Trench-sized chip on their shoulder at all times.
Now run along, I'm sure you've got some other 6-month-old decisions of total strangers to question.
First off I'm so glad I picked these up while they were on sale. They're fantastic and the SWAM instruments don't typically go on sale, so that was a huge bonus for a broke guy like myself.
So regarding the sound of the instruments, it's actually pretty damn good. As with most high end sample libraries/vst instruments that I've come across or own, the SWAM strings are really instruments unto themselves. To get an okay part out of them is pretty easy. As long as you can play in the right key, you'll get something useable. But to get something great from them will likely take quite a bit of time to learn how to play it well and also tweak the many available parameters.
My only real complaints so far were:
1. The Double Bass had a ton of reverb on it and I couldn't turn it off.(I'll look at this again tonight or this weekend to see if there is a way to fix it.)
2. The tremolo keyswitch sounded quite synthetic after a couple seconds.
However there is a manual keyswitch that lets you trigger each bow change of the tremolo and I'm sure most, if not all users will use that instead. It sounds very good.
As one would expect, the playability of all instruments is awesome.(so far as I haven't tried the viola, but they all play pretty much the same)
The SWAM strings are just so enjoyable to play. You may need to make MIDI tweaks after recording a part, unless you're some virtuoso which I'm not at all, but it's still fairly easy to get something out of these instruments playing them live. They're just so hands on in all regards, which is what makes them feel like an instrument rather than just a patch. I can only imagine what a blast a Linnstrument, Roli etc. would be to use with these.
If anyone has their reservations about the sound because it is not sample based, I'd say just check out the demos beside the other top solo string libraries. Just remember that the SWAM instruments are so much more playable due to the real time changes which occur using continuous MIDI controllers.
I suppose I could buy more string libraries, but I think it would be a total waste. Playing these things well takes an investment of time and I think it's well worth it. Hopefully, by this time next year I'll be a lot better at playing these live.
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- KVRist
- Topic Starter
- 223 posts since 19 Apr, 2011
I do really like it, but it's by no means perfect. I have come to believe every library in existence has its own set of pros and cons. The X-fade problem is always going to exist, unfortunately. There is a work-around, sort of, but it isn't perfect. Basically it involves swapping out the sample maps from the keyboard groups inside Kontakt and pasting them into the x-fade groups. It's a tedious process and if anyone owns the libraries and wants me to provide the patches that I've swapped so far to save time, I'm willing to do this. That said, it's an imperfect solution. There are some small phasing problems that it produces but they are not that noticeable to my ears. What is more noticeable is just some occasional "jumps" as you transition from one layer to the next, since essentially you are crossfading between layers. I talked to another user on the NI forums who said he had made this better by changing the degree of crossfade but to really do this to all the relevant patches would take a lot of time and would be best accomplished using scripts which I know nothing about.arznable wrote:Hi goldenhelix, after a few months of usage with the Hein's solo strings library, any updates on your experience and opinions on it? Does the x-fade problem still exist, or it has been updated and improved? If I am in the market for the best solo strings library (with the same requirements as yours), will you still recommend the Hein's library? Thanks a lot!goldenhelix wrote:As a follow-up I wanted to post some observations about the Hein solo strings and, by extension, his other libraries as well. I didn't even realize this until I started playing around with the solo cello, but then I went back to check the other libraries to see if this was the case in them as well. It's a source of some disappointment to me and I wish I had realized this before I bought his libraries. I won't say that I totally regret buying them at this point, but I have contacted Chris and his answer to me wasn't very reassuring.
In all the Hein libraries, you have a "Dynamic" section which allows you to control the dynamic layer selected in different ways. One is "keyboard" and three different "x-fade" selections. If you are using keyboard velocity to select dynamic layer, the sound will be clear and as expected. All of the other selections will produce a subtly weird and synthesized type sound. According to Chris, this is the phase alignment technique he uses. Basically it means that the sound on any of these x-fade settings will not be normal and will have this buzzy quality to them that is not entirely pleasant, especially on lower notes. He tells me I'm the very first user to complain (or apparently even notice) this, which kind of blows my mind.
Essentially, if anyone is considering buying any of the Hein libraries, consider whether you are 100% happy having the velocity of your notes be the only way you have of controlling which dynamic layer triggers. If you were expecting to use a mod wheel or some other expressive device like breath controller to shift between these layers as you play, the sound quality of the samples will suffer.
The long and short of it is that yes, I still like the Hein librares and use them a lot. They are not perfect but they have a lot of strengths as well, including good sound, good playability, lots of articulations. I am not overly fond of the portamento, which takes a bit of tweaking to sound at all good and even then can sound kinda weird on certain note transitions, but you can work around it. I hope that helps.
