It is possible to play chords with no arpeggiation, ie.With a pick, string skipping is required. A simpler motion is required to play notes on non-adjacent strings.It is sometimes easier to play arpeggios in certain styles of music.It is easier to play polyphonically, with separate musical lines, or separate melody, harmony and bass.It is easier to play non-adjacent strings at the same time, or immediately consecutively.Tie this in with dynamics control, velocity cross-fade, etc., and you now have products that are great for live playing as well as MIDI rendering. Other stuff came along in the intervening years that grabbed people's attention, but with the Synchron project they have stepped up to the plate and learned from what the competitors have done. VSL have long been known as being the first vendor to really succeed in delivering True Legato. carefully crafted MIDI renderings, but this shortcoming is adequately addressed by the improved usability of the Synchron Series, which also has a dry option still available but otherwise has an excellent internal workflow (and available starting point presets) for mic mixing and EQ etc. The original VSL series, which was about as dry as possible, took a lot of effort to work with, meaning that it wasn't always the best for real-time playing vs. VSL products in general are hyper-articulate and warm (plus dark, as opposed to the tendency towards brightness in many of the American orchestral packages). The main confusion and dilemma currently is that they have now done a few different string packages newly-recorded for the Synchron series, which is unusual for that company and in some ways seems a reaction to some (in my view unfair) criticisms received for their first Synchron Strings package. The original libraries have now all been SYNCHRON-ized except for the mid-sized Orchestral Strings, which apparently are fully replaced by the from-scratch Synchron Strings. They have some innovative legato handling that has gone the extra mile during the past year or two, and they have applied their new techniques to older libraries at this point, in the context of the refactoring for the Synchron Stage versions.Įxpensive libraries, but on sale frequently and possible to buy incrementally or even via "taster" editions that include a wide collection of instruments. Works great for pop and score stuff.Įasy answer: VSL. I often blend the SWAM strings with sections recorded with other libraries combined, I get the fullness of the samples and the articulation of SWAM. I won't claim to be putting together presentations like the linked Audio Modeling demo, and I'm not doing full orchestral mock ups, but I get some very satisfying solo legato performances down in real time using the SWAM Strings with the aforementioned controller. Note that the TEControl BC Controllers include an application that allows the user to adjust sensitivity, range, attack and release per parameter. After Touch from my keyboard controller is assigned to Vibrato Depth. Head Front to Back Inclination = Bow Pressure Head Side to Side Inclination = Vibrato Speed super intuitive, especially if you've ever played a wind instrument) I have mine set up to work with the SWAM Strings as follows:īreath = Expression. A very capable VI for sure, but a LOT of work.īut, that said, the TEControl gives you four axis control with this. I use pedals, two wheels and lots of automation with SWAM solo strings, and I can't even come close to these examples. I think a lot more is going on than just a breath controller. The amount of work that goes into something like this is not immediately apparent.
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