vurt wrote:where do you stand on ursine appendages?
LoL that was as one I had to look up. Doesn’t Happen often. From what I’m reading.. I don’t have a say one way or the other. It’s in God’s hands.
vurt wrote:where do you stand on ursine appendages?
mostly on the ursine feet.vurt wrote:where do you stand on ursine appendages?
jancivil wrote:It just does. I have no idea what they did.sjm wrote:How does that work exactly (not being a BFD3 owner)?jancivil wrote:things are better now with BFD3 cymbal swell modeling.sjm wrote: It gets a bit more iffy with things like hihats and cymbals, which ring out for a lot longer. Snare too, to a certain extent, depending on the snare setting. If the drum/cymbal is still ringing, and you hit it again, it behaves differently than if it is not vibrating. So you lose a bit of that, and you lose the ability to play all the little hi-hat games with the pedal. You can get close though with a good sample library and judicious programming. Close enough, that most of the time it doesn't matter.
works for the hat as well
one assumes it models the dynamics of hitting something that's already in motion instead of every cymbal hit a hit of a cymbal in repose.
I used to do a lot of work around this issue, no more.
To sequence the drums accurately enough requires an understanding of drums, so this fact does not prove anything about the core issue of realism but rather is a basic observation about the reality of an experienced professional vs. those who are unqualified.fluffy_little_something wrote:For Pop, HipHop, R&B etc. sampled drums are usually enough, or synthetic drums even. But for Jazz, Latin and such more demanding genres, programming drums so that they sound alive and authentic is much more difficult.
Just to be clear what I'm referring to here: I'm talking about the variations emergent from multiple strikes like velocity that are not included in the sequence.aciddose wrote: Any model that did work in a fully dynamic real-time manner would not be accurate, and we would then be forced to admit that accuracy is clearly either less relevant or completely irrelevant vs. a rough model of the phenomena; not just to only the casual listener but to anyone, even an experienced drummer.
But do those multiple strikes even matter with simpler music such as Pop, HipHop, R&B etc.? I don't think so.aciddose wrote:Just to be clear what I'm referring to here: I'm talking about the variations emergent from multiple strikes like velocity that are not included in the sequence.aciddose wrote: Any model that did work in a fully dynamic real-time manner would not be accurate, and we would then be forced to admit that accuracy is clearly either less relevant or completely irrelevant vs. a rough model of the phenomena; not just to only the casual listener but to anyone, even an experienced drummer.
If the modelling process was all about reproducing the exact input pattern (as if you had measured the impact velocity and direction exactly from a real drummer), the model wouldn't then be part of the plug-in but rather provided by the person doing the sequencing.
In order for "model" to make sense we'd need to be talking about sending an input of the raw sequence (position, timing, intended velocity) without that kind of extremely precise "micro management"esque information of actual individual strike parameters (exact actual velocity: speed, acceleration during the hit/contact, direction and 3d position of both the instrument and stick.)
The model may be simply a model of a hihat or cymbal that will perform the same as a real one, which is a lot more trivial. This though means you would need to understand the influence of the drummer on the performance: you'd be the drummer, there would be no "drummer + hat/cymbal" model at play to fill that information in for you.
It's a robot dog whistle. Like in the movie Serenity, where Summer Glau sees a commercial with a subliminal message and suddenly starts beating the crap out of everyone.vurt wrote:every argument i get involved in lately, someone brings out the robot playing the glockenspiel!
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