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New Sample Modeling Strings Tutorials

Major1981 said:
Could you render the comparison files? And maybe provide the MIDI? I would love to take a closer look
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Sorry, it was just a test file of a short line, which I didn't save. Also I didn't do much with it; it was created to compare the two libraries in sound out of the box, nothing more.
Because Leandro Gardini does nothing with EQ on the Celli, I didn't want do that either, which gives the most honost result for comparison IMO.
 
Woodie1972 said:
Sorry, it was just a test file of a short line, which I didn't save. Also I didn't do much with it; it was created to compare the two libraries in sound out of the box, nothing more.
Because Leandro Gardini does nothing with EQ on the Celli, I didn't want do that either, which gives the most honost result for comparison IMO.
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I see. I don’t own the vsl synchron library. Only synchronised SE, HOOPUS and Iconica Sketch. If you have time to render just a short phrase of the vsl and send it I’d like to challenge myself 😎
 
Woodie1972 said:
When watching the tutorial with the Tallis variations, I'm impressed by the sound of the library. But in my studio the library sounds a lot less good, even when I copy the settings as given by Leandro Gardini. Also he doesn"t do anything with the harmonics or EQ them, except some EQ on the reverb. So what is going wrong here?

I've watched several videos on mixing and mastering the SE&S, but I can't get it to sound right, especially the lower range Violas and mid range cello (and I know I'm not the only one). They sound fake, synthetic, but in the videos and some other demos the sound is really good. Is this because they are placed in an ensemble together with the other strings and not in f.e. a lyrical solo phrase?

After watching this video I did a little A/B test with SE&S and VSL Synchron strings pro, both a short line in ensemble cello and the difference is huge in sound, with VSL as a very clear winner.
Just wondering what to do, as I really want to use this library, but simply can't get past the sound...
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It's hard to give an answer to your post without any details of your programming. To get the optimum sound, sample modeling depends on a lot of factors.
I've learned how to use it (and still learning) by exploring the effect of knobs and combinations of them.
You may do your homework and figure it out by yourself or wait for my upcoming course on programming modeled instruments, which hopefully will be out in the next quarter of next year.
 
I use very few controller lanes to sculpt the sound of strings here:



with two knobs you still have over 10,000 nuances of sound, and you still can adjust the pitch shift to your liking. Things like dynamics and expression all happen via intricate mapping functions.

Of course this would only be possible with physically modeled strings!
 
Bruhelius said:
I use very few controller lanes to sculpt the sound of strings here:



with two knobs you still have over 10,000 nuances of sound, and you still can adjust the pitch shift to your liking. Things like dynamics and expression all happen via intricate mapping functions.

Of course this would only be possible with physically modeled strings!
Click to expand...

You may get most of the job done using only two or three main parameters. However, the developer put many other knobs available for a good reason, and these extra functions are what differentiate Sample Modeling from the other sample-based libraries.
By listening to your demo I can tell that you didn't change some CCs that would greatly enhance the realism of your strings, especially in the upper part.
Working with modeled instruments may be trickier than samples, but once you master the library, even the most intricate programming becomes second nature.
 
Leandro Gardini said:
You may get most of the job done using only two or three main parameters. However, the developer put many other knobs available for a good reason, and these extra functions are what differentiate Sample Modeling from the other sample-based libraries.
By listening to your demo I can tell that you didn't change some CCs that would greatly enhance the realism of your strings, especially in the upper part.
Working with modeled instruments may be trickier than samples, but once you master the library, even the most intricate programming becomes second nature.
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Thanks for the feedback! I would be curious to know more about what you have in mind. Maybe I did miss something. So for the upper registers are you maybe referring to the upper harmonics when the string is being played with stronger attack? There is some Samplemodeling strings in the mix…so perhaps I can make it happen.

EDIT: I realized that in my earlier post it may have confused people. I said “physical modeling”, but meant to include those technologies that also incorporate audio samples in their engine, akin to Samplemodeling and similar developers.
 
Bruhelius said:
Thanks for the feedback! I would be curious to know more about what you have in mind. Maybe I did miss something. So for the upper registers are you maybe referring to the upper harmonics when the string is being played with stronger attack? There is some Samplemodeling strings in the mix…so perhaps I can make it happen.

EDIT: I realized that in my earlier post it may have confused people. I said “physical modeling”, but meant to include those technologies that also incorporate audio samples in their engine, akin to Samplemodeling and similar developers.
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Would you mind being more specific on what software you used? Sample Modeling is the only developer of strings that mix samples with modelling technology I know. With pure modelling I only know SWAM, Friktion and expressive e (and a free Reaktor library)
 
I have SM strings solo and ens bundle, as well as the SWAM solo/ens. I also use some older libs like Synful and BBCSO that are mixed in for coloring, depending on the playing mode. I have built my own control layer on top of all those engines that simplifies the automation. Reaticulate for Reaper is unique for this capability. You can create hierarchical controls. But as Leandro pointed out, one may need to get this to map better for the higher registers.

Apart from the ones I use, we see that AV infinite strings and maybe the Acousticsamples strings might be under development.

For the record, it was thanks to Leandro’s previous tutorials that I purchased Sample Modeling products, and I am grateful for this. He was also the one who got me into Synful btw. Leandro is a wizard when it comes to midi CC editing. My intent was not to hijack the thread, but rather make the claim that one could consider simplifying some controls if composers are in production mode, to save time. I love to tinker and have the controls when needed of course, and this would indeed be desirable when aiming for 100% control, as opposed to 95% :)
 
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Bruhelius said:
I have SM strings solo and ens bundle, as well as the SWAM solo/ens. I also use some older libs like Synful and BBCSO that are mixed in for coloring, depending on the playing mode. I have built my own control layer on top of all those engines that simplifies the automation. Reaticulate for Reaper is unique for this capability. You can create hierarchical controls. But as Leandro pointed out, one may need to get this to map better for the higher registers.

Apart from the ones I use, we see that AV infinite strings and maybe the Acousticsamples strings might be under development.

For the record, it was thanks to Leandro’s previous tutorials that I purchased Sample Modeling products, and I am grateful for this. He was also the one who got me into Synful btw. Leandro is a wizard when it comes to midi CC editing. My intent was not to hijack the thread, but rather make the claim that one could consider simplifying some controls if composers are in production mode, to save time. I love to tinker and have the controls when needed of course, and this would indeed be desirable when aiming for 100% control, as opposed to 95% :)
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You are welcome.
I'm happy to know my tutorials helped you.
Synful marked the start of a dream come true which unfortunately never happened. I'm happy that we still have developers beyond the traditional captured samples. The association of traditional samples with modeled instruments is the optimum combination, in my opinion.
Stay tuned for the next chapter where I'll share tips that haven't been covered in the series before.
 
Kitarraman said:
Hi Leandro, any update on the Demo and the Tutorial?
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After working on the new demo which features short articulations, I sent it to sample modeling followed by a couple of questions.
They then found a glitch in the patches and a way to improve the sharpness of the attacks. They're currently working on it and the process may take a few weeks. That's why I put the new tutorial on hold. I think it is worth waiting for the latest update.
 
Leandro Gardini said:
After working on the new demo which features short articulations, I sent it to sample modeling followed by a couple of questions.
They then found a glitch in the patches and a way to improve the sharpness of the attacks. They're currently working on it and the process may take a few weeks. That's why I put the new tutorial on hold. I think it is worth waiting for the latest update.
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Gotcha, thanks for the reply! I'll look forward to both your tutorial and the update when Sample Modeling distributes it
 
Funny because just last night I had a dream in which I did a Louis-CK-style comedic rant about … how we have these amazing modeled strings, nowadays at least, and nobody wants to put in just a tiny bit of work to get them to sound amazing, and instead prefer to whine about how bad their sample libraries are performing…we have this tech now for over 6 years…so I am happy to see Leandro’s activism!
 
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