Відео

I can a little bit. They used to be same company. But the team that developed the SWAM engine, which doesn’t rely on samples but are pure synthesis, split of and founded their own company. I think the advantage of Sample Modeling is the tone of their instruments, which is based on samples and gets modelled from there. The advantage of Audio Modeling is the almost endless flexibility of the instruments. From over pressured, scratchy Tremolos in sul ponticello to soft and rich in overtone sul tasto/flautando- combination there is no limit. Still. Tremolos, runs and trills sound way better with sample Modeling. And sometimes a combination of both is just perfect. Anyway, I said good bye to my east west, VSL, Iconica strings. Those performances based libraries (Aaron venture and VWinds with similar approaches to count in) allow you to write what’s in your head and not what’s in the library

me too！can't wait for an airy woodwind

true. But all the brass and strings are Samplemodeling

Requiere del uso de automatizaciones en las perillas de dinámica, vibrato, etc

Tienes un gran conjunto de samples en tus manos ¡Ahora es tu deber como usarlos de la manera correcta!

Lo mismo digo no pasa nada probé de todo y nada dinero mal invertido

Agreed about CC1. It adds unnecessary work. My biggest issue is the 'small room' tone not translating to ensembles very well. The cello and basses staccato and pizz have some kind of 'tin can' effect because of it. I can't put a finger on what it is or how to fix it, but it's why I eventually left VSL. Instruments need room.

Idiots don’t wear masks.

I mean Spitfire records real performances, that's a huge difference right there. This gives you a lot of control but sounds off and uncanny

@@AlonsoJoaquinComposer I don't think so

what you can play with spitire i can`t play gospel jazz or fast strings enesemble arabic this techniques impossible but sample modeling can this all thisngs@@AlonsoJoaquinComposer

Having invested an almost disgusting amount into Spitfire over many years (haha), I have to say sadly I only use about 1/3rd of their stuff now and as a string player I find myself constantly frustrated with their strings in particular - they sound nice in demos and for longs/pads/beds, but for any solo and small ensemble passagework all their libraries lack agility, smooth legato with variations, and no distinctions made between stroke types and timbral variations. SM is sounding way more nuanced and appears to allow me to pull off stuff I never could with Spitfire. Now that Spitfire just released the AIR Reverb plugin, I feel that might be the best of both worlds - the agility and nuanced character of these SM Strings, placed in the room of Air Lyndhurst! :)

You can add bow noise, if that’s what you mean

@@matthiasrother9743 No, it's not. Bow noise is about 10% of the amount of noise a real violin has. Room noise maybe 30%. Bow dynamics and instrument body noise are the other 60%.

@@TheUnderscore_ There are plenty of third-party options for adding room noise… Mir Pro, Cinesamples Room Tone, any recording of John Cage’s 4’33” (I’m not kidding!)

There’s also an ‘Overtones’ control that really helps to add some life to performances. Do you own the library? Think once you do own it you realise there’s lots of options for adding details/nuances that add realism.

@@conordoyle4472 I do own it. As I said, room noise is less than a third of the equation. And overtone control changes the pure overtones of _every note,_ which is not at all what I said I wanted. I do use third parties, when did I ever say I didn't? I never even said to add room noise to the library itself. Are you even reading what I'm saying? There is no instrument noise, only bow noise. There is no proper overtone control of individual notes either, which I'm unsure why you mentioned in the first place, but the current overtone controls are essentially useless.

if i may ----------- colors are differnt layers or patches.. vibrato, stacatto, sustaion, power sustaion, anyway this is absolutely amazing

This keyboard probably has channel or poly aftertouch. Aftertouch is an amazing feature, I have poly aftertouch on my Hydrasynth 49. Also, although I've never owned one, I have heard and seen (a graph) showing that the channel aftertouch on the Behringer Deepmind 12 is pretty good too. Unfortunately, it seems like the cheaper midi controllers have a horrible implementation of channel aftertouch, which makes aftertouch seem like a useless feature. But, I can assure you, aftertouch is an absolutely great tool, as demonstrated in this video.

@@Dubb1000 yes I’ve used aftertouch since the 90s! But after touch is engaged by pushing into the keybed not wiggling a finger from left to right- I would expect to see him pressing downward if after touch cc was assigned to vibrato. The action he is doing looks more like what I would do on my Roli to create my own vibrato with left to right pitch fluctuations. What else is interesting is that I know Logic very well and can see all the cc data on the screen and don’t see any pitch cc or modulation curves when I hear a vibrato now that I look closely!

@@michaelrasbury Holy mackerel, thank you for the correction. I had a moment of cognitive dissonance there. It's like I saw him roll his fingers several times throughout the video, but, for whatever reason, I mentally processed it as him pressing the keys down..? 🤦🏾‍♂ ....I apologize, it's about 3:30'ish over here in the U.K (way past my bedtime...). I completely concur with you, something is a bit weird here. I'm no midi keyboard connoisseur, but, I'm pretty sure that's a Roland keyboard he's using, based of the pitch wheel been horizontal oppose to vertical (I could be wrong). I am unaware of any Roland controllers thus far that possess MPE type expression like your Seaboard. Also, I have no experience with Logic, but, is it not a bit odd, that we're watching a video demo where the midi's been inputted already, further muddying the waters on if this performance is legit.....? I mean, personally, if I was doing this demo, I'd play it live (mistakes and all to demonstrate that it is indeed a live demo performance and not me miming midi that's already been inputted and tweaked). Let me know if you know of the controller that is used in this video, because, if it doesn't have some kind of MPE technology built in, then for me, that would mean that this performance is not legit.

@@Dubb1000 I agree, it looks like a Roland. I wasn’t trying to be gruff with you! I’m just baffled because I hear by vibrato and I don’t see any way it could be triggered in the video. He could have a ring controller on the hand not shown in the video that his is shaking. I’ve seen the same guy in other videos using one of those to induce vibrato. I was hoping the guy in the video or samplemodeling would clarify! I have these instruments and with programming they sound that good! Even great live performance can be achieved- but I’m thinking the performance we are seeing is interpretive or partly so based on some midi that is already captured unless there is another controller on or near the hand we are not seeing throughout most of the video. If he is wiggling that vibrato live, I simply want to know how so I can do it also!

They should totally do some tutorial, with this piece for example. It's really bad when you buy a library and you're stuck with a piece of expensive software not knowing what to do with it, when you know it can work really well.

yeah. That's just fantastic when you made something that is unusable out of the box :/ @@consonaadversapars