sliver wrote:Thanks for the info...seeing as this is the "Philharmonik Tips and Tricks" thread, you've effectively shot ANYONE down who's here to find some useful info. Not that I or anyone else doesn't appreciate the time and effort one has spent exploring the ways to manipulate the programs/gear that we have, but some helpful hints to get us going down the right direction is what we're here for. I'm sure anyone else searching around has/will stumble across this and know that one instrument (as with any software) cannot do it all; it takes some ingenuity to get some results...
Persoanlly, I think it would have been nice to see a few pointers from someone that has the experience that you do, hopefully you'll share some of that knowledge.
sorry, i wasn't trying to "shoot anyone down" with my posting. i did relate a couple of techniques in the post and i have mentioned some other things here that i have done. but..
the simple matter is that there is NO replacement for a sampled articulation. some sample engines can do some neat things and others can't. STRETCH can do some things that kontakt won't. like changing vibrato rates realistically and making nice pitchbends. BOTH of which can be used to disguise (somewhat) the machinegun effect (i think i mentioned that before on this forum a couple years ago..). but there is only so much that can be done with programming techniques and tweaks. i ran into this situation on the garritan forum a few years ago, trying to make people understand that, but it always seem to provoke people and i'm accused of being 'negative' or a downer or somesuch. that is not my intention. these sample playback engines can only do so much and there is a whole 'nother layer of sound programming in the sampletank engine that is closed to us by intention of IK. squids and crew and can get in there and tweak stuff we cannot. hopefully this situation will change in the near future. the other thing is that the samples themselves are locked out to us (as most libraries these days). i used to process the samples and resave them to a new instrument to 'manufacture' a mock sample articulation you might say. but yes, there ARE still some few things you can do...
i'll tell you what works often on string attacks. layer another sample over your string attack in the miro (even from a different sampler, a synth or even a cheapo GM plugin). use volume to bring this in an out. it does work to disguise the attack from note after note. heres another..
render the part (string brass or whatever) to an audio track. then use a time-stretching utility in your DAW to slightly elongate the part. then use a track envelope to bring this in and out of the mix (keep the volume low). you might also have to shift this track slightly in time to get it to match. you might have a few glitches from the time-stretching but don't worry because your only using the attacks basically and mixing them in and out at a low volume anyway. this will probably also require you to alter the basic preset your using in the miro.
i could go on. my intention in the post was to tell people to experiment. after all, these sorts of techniques were often discovered by people who were not ace programmers and who were working alone in their studios and the results were not widely shared (back in the day).