For sure, since it was released. Jeff Hurchalla\'s contribution to solving the annoying midi nightmare of smooth legato lines has been monumental. Beats the misery of messing around with those silly release parameters and envelope tails.
Gary mentions something in the Maestro lit about , Not being responsibile for any bodily injury incured by your computer exploding from using Maestro with sample libraries other than GOS.
Ok that might not be a direct quote lol, but it said something about it not working with ibraries other than GOS.
This is a separate program (http://www.marblesound.com/) that accepts midi data from your sequencer or controller and modifies the release (note off) triggers in real time so that the sample in question continues to sound until the exact moment the next note-on message is received. The benefit of this approach becomes immediately apparent in that you no longer have to worry about adjusting release rates to accommodate the tempo and character of the phrase in order to achieve a smooth legato response. It is extremely effective for woods, brass, etc. as well as strings, but more importantly, it saves a huge amount of programming time. As I alluded to in the Virtual Orchestration thread, it is worth half of the price of Garry\'s library in respect to the programming time you save.
So, typically, you would use a detache sample at the beginning of a slurred phrase, then add a legato-on midi message, then use sustain samples for the duration of the phrase, and then add a legato off message at the end. An additional function is the \"Auto-Alternator\" mode whereby it automatically triggers upbow/downbows if you program your attacks to accommodate this (I personally am not using this at present).
The cautionary note that appears in the GOS manual (about using MT with other libraries) was put there to alert users to potential side-effects that could occur with instruments not specifically programmed to use MT\'s features. Both the legato and alternating bow features can cause false note triggerings in instruments not designed for these features. But . . . with a little re-programming many libraries can be modified to take creative advantage of MaestroTools. If you are comfortable with the GigaStudio Instrument Editor and own GOS (so that you have MaestroTools) you may want to spend some time doing just that.
Let me add a clarification to Gungnir’s description of MaestroTools: The legato functions in instruments designed to use MaestroTools (the LEG instruments) do not use release triggers. The legato functions are a little more complex than that. While there is MIDI control of release *envelopes* (to be applied at the user’s discretion) the legato smoothing is the result of specially constructed “masking” samples which fill in the dips that occur normally in the transition between notes when the newly triggered notes playback from the start of the bowstroke. In GOS LEG instruments, whenever the user depresses the sustain pedal, MaestroTools intercepts the sustain data and changes it to switching data that “turns on” the masking samples (which are mapped to a different area of the keyboard). The masking samples are then triggered simultaneously with the sustain samples, effectively smoothing legato note transitions. Foot up=natural beginning of bow stroke, foot down=legato smoothing. Each note has its own masking sample, carefully designed to blend seamlessly with its matching sustain sample. Constructing successful masking samples was one of the most time-consuming tasks in the GOS programming.
The alternating up/down bowstroke feature is designed to work with GOS ALT instruments which are constructed with upbow and downbow samples mapped to different areas of the keyboard. MaestroTools “directs traffic,” sending the MIDI note data to the appropriate samples depending upon the keyswitch choices made by the user (auto-alternation, forced downbows, or forced upbows).
MaestroTools also supplies two flavors of “mono” mode to eliminate note overlaps in monophonic lines. This feature can easily be used with any library – no re-programming necessary.
The MaestroTools utility and the special instrument programming were developed concurrently to deliver the desired features (lots of phone calls and emails between Jeff and myself to coordinate the two areas). The most successful use of MaestroTools with other libraries would require similar specially tailored programming.