I sent a message to a developer asking if a future library will be layed out fine for the use with windcontrollers... (I won\'t mention the names here for several reasons if you don\'T mind). I got a message back what parameters would be needed to be done so (and he was not sure if the programmers did take this into account...): As I do not own a windcontroller yet, are not very proficient in the midi-world & its langugage etc.: could someone please mention the important things what would make it different to being programmed for keyboard please, & adapted for windcontroller use. I can tell you it is a brass library...
After researching this topic with Wind Controllers, I have come to the conclusion that the VL70-M with the Trubo Chip out of patchmanmusic.com is a marriage if one chooses to spend their time scoring using physical modeling. This 3 way package costs you $1389. Is it worth it?
The VL70-M module is what makes that wind controller (for exampleWX5) sings like a bird.
Without it, the limitations are huge and not cost effective IMHO.
The articulations are awesome but my main issue is with REAL sampled sounds. You really can\'t demo the VSL or Bigga Gigga sax librairies using the Wx5 and convince me to purchase one.
If I were to take a great sampled piano with the Trilogy bass and let\'s say Scarbee\'s Imperial Drums and throw in a saxaphone phsically modeled from the VL70-m module with a WX5, I know that this would sound artificial.
IMHO, either you score with PM or stay with REAL samples with limited articulations for now. These two schools of thought via technology don\'t belong together in my view.
Just my observations, others are welcome to argue the points expressed.
Sitting here with a wind controller in my hand, I\'d say that the two technologies DO work together. The difference in expression I can get from the VSL soprano with the WX5 is considerable over what I can get without it. I could tweak for an hour and get close. Or I can knock it out in one take, and if something didn\'t quite click on a note or two, I can just deal with the note or two--and take the rest of the expression.
To me, that\'s a no brainer.
Harry, if you\'d like to refer the producer in question to me privately, I will be happy to tell them exactly how to build their wind control patches. Send me a private message, and I will provide my email address.
Alan\'s talking about PM and samples not belonging together, Bruce, and I also disagree strongly with that premise!
Alan, those VL1 saxes are execrable if you want a real sax. But that\'s such a small part of the what the instrument does! Unfortunately, it\'s the one thing Yamaha touted the most; people thought of the VL1 as an overpriced cheesy sax imitator. I remember my first reaction at the press demo in 1994: you can hire a lot of much better sax players for $6000! But then I got one to play with, and it was all over.
I have a good VL demo (combined with samples) to post, but I feel I should mix it a little before doing that (so I don\'t look like a total AH!). You\'ll see what I keep saying: the VL sounds like *a* real instrument with the same effect as the one it\'s imitating.
And it stands up to the realism of samples beautifully. You just have to use it the right way.