Thanks! Hey do string players really do that or is it just an expression? Either way, it's a nice image, and it captures that sense of trying to get not just the notes to work together as a chord, but the phrasing and nuances. UPDATE 2: with a few more tweaks to the script, but mostly after developing a better sense of idiomatic arcs, this demo (discussed below) gets closer to what I think is a wonderfully lyrical sweet spot of this lib. ![]() (And which makes me more jealous of real string players than ever).Ĭurious to know what anyone else makes of this - especially any real string players ( - any thoughts? ). Which is ultimately the real sweet spot that sold me instantly on this library. Once I became skilled enough, at some point I realized that I wasn't just bashing out chords any more, but instead looking for sounds and textures, and nuances, and then finding chords and notes to build around them. I suppose I'm trying to get back to that sense I had when I used to write for acoustic guitar. Its that I find it really helps when I attempt to compose not just at the level of notes and counterpoint, but at the level of nuances of phrasing and performance. The upshot of all of this (and why I've spent so much time on it) is not just an improved 'out-of-the-box' playability. So the hope is that, at least for a certain style of phrasing, most of the time you will only need to think about finessing a performance with the mod wheel, relieving you of the extra dimension of cognitive overhead that comes with putting vibrato on its own cc21 slider. But note that I only use the pedal a handful of times in the above piece. When you want to depart from this default progressive vibrato, you can use the sustain pedal. I can share more details about the script if anyone's interested, but the basic idea is this: it attempts to bake in a form of progressive vibrato as a kind of 'default phrasing', which it infers from the mod wheel alone. Or at least, a playabilty that *I* just don't get when I have to mess about with an additional slider - your mileage may vary. On a more technical level, my initial evaluation of the "performance vibrato" script is that it really gives the instruments an "out-of-the-box playability" that you just don't get when you have to abandon the mod wheel and instead juggle a pair of cc sliders. But for this particular type of expressivity and sonority - which I'm not quite sure what to call - I'm really starting to love these instruments. ![]() To be sure, Spitfire is rawer and messier, and definately not what I would use for a Mozart concerto. Of course these instruments can play smoother and faster lines than the Spitfire solo strings instruments, but neither gives you anywhere near the same ability to craft expressive details across both dynamics and vibrato. Perhaps less obviously is that there's an expressive quality in the way I've worked to shape these lines that I really love, and that even instruments like the Joshua Bell or Virharmonic violins simply can't match. Crafting a phrase with both the dynamic layers and the vibrato gives you an expressivity more than the sum of it parts - it really feels like a much, much more expressive instrument that when I was using dynamics alone. So musically - well the obvious point is that using the vibrato makes a huge difference. ![]() It's (once again) more of a noodle than an actual composition, but I think that compared to those earlier legato noodlings that I posted, the phrasing and the dynamics and the overall performances are all vastly, vastly improved (and much more satisfying to perform).īut the interesting point here is that, thanks to the "performance vibrato" script, this piece is entirely performed using only the mod wheel (and occasional touches of the sustain pedal) - ie without even thinking about touching the cc21 vibrato slider. UPDATE: taking on board some on the suggestion below, this version improves the arcs: Here's my first attempt at a piece that crafts vibrato phrasings using this script: ![]() And found a way to make it much more playable 'out-of-the-box'. So the short version here, is that after a lot of experimenting, and via a "performance vibrato" script that I've developed, I think I've finally managed to get my head around the vibrato in Spitfire solo strings.
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