Thank you for the kind words everyone.
I did a small
writeup of the piece /
review of CSS from a string player perspective but first, all the project files (Logic, Finale, MIDI) can be downloaded here:
Elgar Project Dropbox
Method: I notated the piece in Finale, exported the MIDI to Logic, created a tempo map, then drew the CC data & fine-tuned the notes. The whole piece is "drawn" not "played." so
@Silence-is-Golden and
@gwillimw you were both right
Why Elgar? my main goal was to push CSS to its limits with a piece of classical music that poses many challenges. There are still some bits that stick out to me as "sample-y" - certainly those detache short notes that
@lux pointed out bug me as well. But overall I'm kind of amazed at how CSS rose to the challenge. Don't be deceived, this is a very difficult piece for samples! And I wouldn't really dare trying this piece with LASS, which I previously considered the most realistic & raw string library available.
Why this mix? it's CSS out of the box (Close -0db, Mid -0, Far -6dB) with 66% built in reverb. Because I wanted to showcase the out of the box sound I did not add an external reverb or EQ.
So now, below are my thoughts about CSS as an (ex-)cellist
CSS in a nutshell: this is the best string library on the market today. It's so deep, so real, so human and so emotional.
Tip #1: DON'T FIDDLE THE MOD WHEEL! How's that for counter intuitive advice!?! But it's true. Check out the climax of the Elgar again (3:42). Can you hear the modwheel action? Trick question. There isn't any!
Alex Wallbank has succeeded in capturing the most expressive and human string notes I've heard in a sample library. Just holding a single note is interesting and emotional. This is very different from certain other libraries where you essentially need to draw in "musicianship curves" to get a note or phrase to sound musical.
Of course there is CC1 action all over this piece, but think of CC1 as more of a dynamics & balancing tool than a phrasing tool. When the score actually has hairpins, cresc/dim, then I push CC1 hard, but the rest of the time I'm content to let the sections sit at a relatively constant CC1 level.
Before I got CSS, just from listening to the demos I had a concern that the dynamic range was too limited. That is not the case.
Tip #2: DO twiddle the data for every note! There's no free lunch, where CSS saves you effort on the modwheel, it creates a ton of work fiddling note velocities, starts and stops. There is no universal solution to the sample pre-roll problem especially if you are using a fluid tempo map (see tip #4). You simply have to listen and adjust every note. Worth it though in the end!
Tip #3: You can emulate divisi, but it's a pain: one of the challenges of this Elgar piece is the constant divisi writing (speaking of which, I can't wait for Cinematic Studio Solo Strings so I can do the Tallis
) With LASS, divisi is a breeze, so that was one of the big pains of switching to CSS. Unfortunately there is no "real" divisi in this library. I found that you can get a passable emulation by riding CC11. So the violas play at CC11 = 127, then when they go divisi it's two separate instances of the violas each playing at CC11 = 64. If there were three sections you'd divide by three (CC11 = 42). This way you mitigate the "amazing shrinking/growing string section" effect familiar to users of old libraries like EWQLSO. Check out the Logic project if this is unclear to you.
Tip#4: Use a tempo map: Here is what the tempo looks like for this project:
IMO this is necessary work if you want to get the most out of CSS. You can't get an expressive performance with a robotic tempo. Drawing a good tempo map by hand is hard, though. Try singing or playing your piece without referencing any kind of click. Then import that recording into your project and draw a tempo map that lines up the click to your performance. This at least is a good starting point.
Tip #5: seven and a half types of legato: because of the simple UI people have been concerned that this is a feature poor library. It's not. There are many ways to try any passage, they are just under the hood. The library comes with traditional overlapping legato in 3 speeds (controlled by velocity), plus portamento. There is a marcato legato (which has the option of a spiccato overlay). There are also rebow samples (triggered when you repeat a note with the sustain pedal on), and finally there is the option to just have notes abutting but not overlapping, which triggers a "new bow" sample for each note. Any one of these 7 legato types might be the best for a particular passage or transition, you just have to audition them.
Tip #6: A library with "real" bowing... The rebow and new bow sounds are so distinctly and deliciously real, and yet work perfectly alongside the legato transitions. So instead of just using legato throughout (creating the typical 'endless bow' effect) some bow changes can really spice up the mockup. Problem is, then you lose the legato transitions. So I like to emphasize the bow changes on slow-moving lines (like the quarter note bass & cello lines in this piece) that wouldn't benefit from expressive legato transitions anyway.
...and "real" left hand simulation: Another thing you can do is simulate left hand slides. A string player can cover a major 3rd (on each string) with their hand. When playing a lyrical or solo passage - especially anything above the staff - players often use a single string to keep a consistent tone. Therefore, to reach all the notes they must shift their hands up and down the string. This is audible, especially if the hand must move a large distance (a fifth or more) in a single leap. It's also especially audible in high passages. Don’t get me wrong, professional musicians practice thousands of hours to nail these passages smoothly and musically, but adding some strain and uncertainty can really enhance a mockup.
Take the high cello soli passage in the middle of the Elgar. The colored lines show how the cellists would probably "break down" the passage.
Here is one way of mocking it up:
but by using the legato speeds, we can simulate the cellists moving their hands up and down the A string:
See if you can hear the difference.
it's another subtle thing that adds realism across the piece.
Tip #7: the vibrato issue: Yes, the vibrato is too wide and expressive for contemporary scoring. It's definitely an "older Hollywood" kinda technique which is probably why you get a "period sound" feel from it,
@devonmyles . I have found that turning CC2 down to 40 or 50 (globally across your entire session - no need to fiddle with it) creates a very nice contemporary tone. The problem is, with the CC2 bug, you can't really use this for legato melodies. Hopefully the CC2 bug will be fixed soon.
OMG CAN YOU BELIEVE A WHOLE ORCHESTRA IS COMING? Yeah, it's a must buy for me at this point. Even if Berlin Brass / Century Brass etc turn out to be great
too, I just don't see how I can turn down buying CSB and CSW that were recorded in the same room, same calibre of players, sampling philosophy etc.
Well done to Alex & everyone at Cinematic Studio and I cannot wait for the next libraries!!