Ultimate Bass Kit

[Sascha Franck]

You know, Markleford, sometimes loop points on instruments that aren't looped at all DO make sense. You could then create all sorts of weird instruments out of it, say, a BassPad.

Also, I can't see a problem with loop points as long as your sampler supports "release after loop" (or whatever it might be called).

[Markleford]

You know, Markleford, sometimes loop points on instruments that aren't looped at all DO make sense. You could then create all sorts of weird instruments out of it, say, a BassPad.

However, in that case you'll want to loop a section near the start of the sample that has more amplitude and harmonics. If a vibrating string has decayed so much upon nearing 10 seconds, it doesn't make much sense to loop it there, where the overtones have diminished and the signal to noise ratio is greatly unfavorable!

This is particularly true with constantly-decaying sound sources like a bass: you're only going to be able to loop a very small portion of the sample due to this "fade" effect.

For other instrument like brass and bowed strings? Then yes, definitely make an attempt to loop.

Also, I can't see a problem with loop points as long as your sampler supports "release after loop" (or whatever it might be called).

Well, naturally, if the sampler supports this sort of feature then you'll want to keep the entire sample for maximum flexibility.

However, the target format here is SoundFont2, which is the lowest common denominator. Bleh!

But again, the decay of a bass string is sort of a special situation that doesn't produce the best results by looping, if you're indeed after realistic playback. If you loop near the beginning, then you'll lose the "settling" of higher overtones, and if you loop at the end then it will hardly be used.

Similarly, where's the best place to loop a piano? I think answers will differ, and it partially depends on the envelope and filter capabilities of the intended sampler format. Since a piano tone is produced by several string vibrating in *almost* unison (there's some natural detune), I'd say that you should keep as much of it as possible, rather than looping early. Of course, if sample size is an issue, you'll answer differently.

- m

[Sascha Franck]

However, in that case you'll want to loop a section near the start of the sample that has more amplitude and harmonics.

Yeah, you defenitely got a point here.
And we all know these are more difficult to achieve without any destructive editing (namely compression and/or x-fade looping).

[Gregjazz]

I have release samples in the Bassics, Tapping (needed here especially) and Fingered Bass soundfonts. I can always go back and put in release samples for other stuff, too, if needed.

For the future, I would like to start sampling instruments in a sampler that has a bit more power. The coolest thing I can do in Soundfonts is release samples. I would like to do mod wheel and all that fancy stuff.

[Jeremy_NSL]

The Victor Wooten demo sounds bitchin! Can hardly wait for this

Would you mind summarizing all the different articulations you've done/are doing? Thanks Geoff.

[Sascha Franck]

Oh yes, I forgot to say that the Victor Wooten demo is indeed sounding hillarious.

[Paul G]

Geoff:

Are you playing these demo's on a keyboard? Holy Cow! The Victor W. demo is incredible!

Paul

[Sascha Franck]

I'd really love having a look at the MIDI files you used, Geoff!

[pljones]

Yes, the MIDI samples would be very nice to have, too...

[Memorex]

Actually Geoff, you can (in theory) do mod wheel sample crossfades, attaching different modulators to different continuous controllers, and plenty of other cool stuff under the Soundfont 2.1 spec. Unfortunately, you can only do this with a Soundblaster Audigy because nothing else supports sf 2.1 at the moment. In fact, Vienna 2.3 will only expose the editing features for some of this stuff if you have an Audigy. I think this is because the spec is too poorly documented by Creative for anyone to figure it out, I can't think of any other reason why nobody (like sfz) has taken the time to implement it.

[neverwhere2012]

For the future, I would like to start sampling instruments in a sampler that has a bit more power. The coolest thing I can do in Soundfonts is release samples. I would like to do mod wheel and all that fancy stuff.

well.. if you sell this soundfont for $20 to everyone who has expressed interest, i imagine you'll have enough money for a nice software sampler and chicken systems' translator

[Sascha Franck]

well.. if you sell this soundfont for $20 to everyone who has expressed interest, i imagine you'll have enough money for a nice software sampler and chicken systems' translator

Or CDxtract.

[Gregjazz]

Actually Geoff, you can (in theory) do mod wheel sample crossfades, attaching different modulators to different continuous controllers, and plenty of other cool stuff under the Soundfont 2.1 spec. Unfortunately, you can only do this with a Soundblaster Audigy because nothing else supports sf 2.1 at the moment. In fact, Vienna 2.3 will only expose the editing features for some of this stuff if you have an Audigy. I think this is because the spec is too poorly documented by Creative for anyone to figure it out, I can't think of any other reason why nobody (like sfz) has taken the time to implement it.

Yeah, I am aware of the 2.1 soundfont modulator stuff. It's really cool, but as you mentioned, only the Soundblaster Audigy supports it, so I'd rather stick with stuff that works for everyone.

[mahtazz]

Actually Geoff, you can (in theory) do mod wheel sample crossfades, attaching different modulators to different continuous controllers, and plenty of other cool stuff under the Soundfont 2.1 spec. Unfortunately, you can only do this with a Soundblaster Audigy because nothing else supports sf 2.1 at the moment. In fact, Vienna 2.3 will only expose the editing features for some of this stuff if you have an Audigy. I think this is because the spec is too poorly documented by Creative for anyone to figure it out, I can't think of any other reason why nobody (like sfz) has taken the time to implement it.

Yeah, I am aware of the 2.1 soundfont modulator stuff. It's really cool, but as you mentioned, only the Soundblaster Audigy supports it, so I'd rather stick with stuff that works for everyone.

Do you know, by the way, if EMU sound card also support this?
They are from the same family (Creative)

[93143]

I believe the E-MU APS supported Soundfont 2.1, but the new DAS cards don't have hardware support for soundfonts at all. The DSP is used for other stuff.

Emulator X has a file conversion utility, and it does support the 2.1 spec, but in my experience it needs work...