Here\'s a question from a sample crossfade newbie (or if you like, an EXS user disguised as a Giga dude):
I\'ve started EXSploring (couldn\'t help myself...) sample crossfades, you know mp-mf-f layers, and I find that with a medium setting (let\'s say 40% crossfade), I get phasing. What kind of solutions have you found to this inevitable problem?
PS: yes, I know you can always tune each sample, but many instruments\' pitch changes over time as well, especially during the attack. What of the more exotic instruments, where in-tune is very relative?
Currently there is no solution to phase cancellation when crossfading between samples. It\'s most obvious on solo instruments whos waveform is very clean and static. It\'s least obvious with ensemble instruments which already exhibit a little phase cancelling or \'chorusing\' between several waveforms.
The problem with crossfading is that, at some point, there is a significant change in what you\'re listening to. You might start and end with a single solo instrument waveform, but through the crossfade region you\'re listening to two instruments, not one.
You may be interested to know that, for my purposes at least, I have got round this problem. As I use mainly solo instruments I have been desperate for a solo violin with note-on control of velocity and vibrato. Following a study of the physics of violin string excitation over the past year or so, I’ve found a way of implementing note-on velocity control with midi CC. I’m half way there with vibrato: I can modulate down (or up) from the original vibrato intensity, but not to smooth. (String vibrato contains modulation of amplitude, timbre and pitch. Removing the first two is OK, but successfully removing pitch modulation reduces the band-width of each partial, which changes the wave-form, making it useless for the purpose).
I am still hoping to produce a custom solo violin (this has hit rocks, in the shape of local violinists. Jesus). I did the experimentation on DDSV. Here is a demo I did a while back, which I have just updated with 3 pitches containing vibrato control, A4, C#5 and D. The C#5 on Vn1 at the start is not too obvious as it quickly swells. The reduced vibrato on the starting note for Vn2 was important.
Notice any tweaks, such as expression and vibrato control and legato, should never be obvious to hear without comparison: it should sound natural. It is when they‘re absent that it is obvious. Notice -no phasing or multiple sample on the velocity swells. experimental demo with DDSS
The use of JSB\'s Air is ironic, but interesting to hear the different treatment given by Michiel Post. Mine is intimate, in a wooden panelled room, not something for Hollywoodies (no offence, just taste)