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Profound Disappointment

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Profound Disappointment

Postby Sean Damon » Mon Jul 25, 2016 10:08 pm

After “upgrading” to GPO5, I must register my profound disappointment over one of the painfully obvious faults—the four solo instruments in the Garritan Orchestral Strings Library. I was driven to anger upon realizing that all of those instruments were recorded with vibrato that immediately commences upon attack. Why record vibrato that way? If one feels compelled to record vibrated strings, why not at least leave the first second or so of the attack non-vibrated to allow fast passages? Better yet, why not just record the instruments without the effect at all? We have modulation controllers for adding vibrato; we DO NOT need it baked into the samples! This policy is presumptuous and INFURIATING! I will now explain and exemplify what should be plainly apparent to anyone involved in recording samples.

Because all four solo strings were recorded with vibrato upon attack, all four solo strings are almost TOTALLY useless! For, as soon as one tries to sequence any kind of fast figure or passage, one will instantly notice the fact that the STUPID vibrato interferes with the sound of such passages to the point of TOTAL DESTRUCTION! No string player has ever or can ever vibrate while playing fast passages, legato or not! It is a physical impossibility! So, consequently, when such passages are played by samples like these, they sound unpleasantly strange and artificial. That is the sad fact of this matter! There is absolutely no way around it! The ONLY way these four virtual instruments can work is if they are applied to music that does not have a single accelerated collection of notes. The first four measures of THREE BLIND MICE at about 60bpm is about all these things are good for. The tragedy of this folly is made even worse by the fact that the samples themselves are absolutely beautiful, sonically speaking. They really SING! Unfortunately, however, they will never sing my music!

By contrast, consider these two examples of successful string sequencing thanks to Garritan instruments that DO provide enough initial non-vibrated tone to allow for uncorrupted fast passage work:

In this piece I used Violin 1 Solo KS from GPO 4:
https://soundcloud.com/sean-damon/tale-of-a-songbird

In this piece I used Cello 2 Solo KS from GPO 4:
https://soundcloud.com/sean-damon/in-memoriam

I hereby rest my case and conclude my diatribe.
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Sean Damon
 
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Re: Profound Disappointment

Postby Credo » Fri Jul 29, 2016 8:29 am

If you want to use the "Garritan Orchestral" Solo Strings, consider using 'Martele' and/or 'Detache' for the fast passages. Martele and Detache do have some settings (tone and velocity attack) that allow some flexibility in how it's going to sound in context.

One can also construct a combi patch where the attack uses Martele/Detache which fades out, while the sustained w/vibrato fades in.

To build such a combi try this: set two instrument slots to the same channel in ARIA. Adjust the tone and velocity tracking settings in the attack part of the combi (Martele or Detache) to simulate how much force and air you want on the bow. Use attack, decay, and sustain settings in the sustained vibrato instrument until you get the desired sustain effect.

As far as I know, the other solo strings in GPO5 are identical to GPO4.
Other additions to GPO5 are:
A nice grand piano.
A nice harp.
Some extra SAM Brass patches.
Probably some more...

What are you using for sequencing your music? Scoring program or DAW?
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Credo
 
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Cubase 8.5; Sibelius 7.5; Finale 2014.5; Bidule;
Garritan Ultimate Collection, Halion 5, Halion Symphonic Orchestra, SONiVOX Film and Orchestra Companion

Re: Profound Disappointment

Postby Sean Damon » Sat Jul 30, 2016 7:31 pm

Thank you, Credo, for your kind suggestions on this exasperating issue. I will take them into consideration.

I enter and sequence my handwritten scores in Overture SE. From there, I render them using Garritan libraries. Other than Audacity, I do not use any kind of DAW.
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Re: Profound Disappointment

Postby Credo » Sat Dec 31, 2016 8:17 pm

I know this is an old thread but I've recently discovered a parameter that makes a huge difference.

CC119 allows you to offset the 'attack' part of Garritan Orchestral instruments.
Example:
Say you have a really fast legato run....at default settings it's barely audible because all you get is the initial attack part of each note. By using CC119 you can cause the sample to be triggered later into, or after that attack stage.

I.E. In a Sibelius soundset I've done:
strings.violin.shortest (Sets CC119 @ 127)
strings.violin.legato.lshortest (Sets CC119 @ 127). I use this for really fast legato passages.
etc.

Now I can get nice loud legato phrases. The "Offset" setting in the ARIA control panel can be used to adjust the crossfade between samples (when CC68 legato pedeal is held down [127]).
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Credo
 
Posts: 112
Joined: September, 2014
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Software Owned:
Cubase 8.5; Sibelius 7.5; Finale 2014.5; Bidule;
Garritan Ultimate Collection, Halion 5, Halion Symphonic Orchestra, SONiVOX Film and Orchestra Companion

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