Does anyone hear digital pops on middle c on most all of the violins. The pop sounds about 1 second after the key is struck. As far as I can tell it\'s in the sample and not a hardware issue. Any clues?
Could you be more specific? Could you please give me the name of the instrument(s), velocity level, and note (relative to the first note of the violins. Violins begin on G3 of my keyboard.) I was unable to find a problem checking some of the 1st Violin instruments just now.
Tom I nailed this one, earlier last month. Its in the first violins, but you\'ve probably fixed it by now? I remember it being after the first line of production rusn tho...so I\'m thinking its fixed up for an update correct?
I just checked my production run of the first violins and this bug isn\'t in there. So its fixed. I found it in the beta version I had. Just in case anyone is wondering if we beta testers were doing our jobs or not!
Really...I am an Idiot
[This message has been edited by KingIdiot (edited 10-19-2001).]
I checked the gig file and open up the file in Sound Forge and did not notice a digital pop you were describing. It could be a glitch in the CD, or perhaps you received an earlier version (you were one of the first to order), or a transfer problem, a setting or a host of of other things.
Whatever it is, we\'ll get you taken care of.
I am sending you a replacement disc. Let\'s see if this fixes it.
I spent the weekend working with GOS which I\'m begiining to think stands for God\'s Only String library. I did notice that some notes in the first violins had a rhythmic quality to them. I didn\'t hear any pops, so I don\'t think this is what the original poster was referring to. Does anyone else hear this and is this something that will be dealt with in updates?
KingIdiot is quite right, there are no loops, so that probably means that what you are hearing is either the change of bow direction during the sustains by the individual players or their vibrato characteristics. Both are natural occurrences and would (most of the time) work to your advantage in a mix as far as realism is concerned.
Most libraries have their samples edited and massaged until they are as perfectly uniform as possible. This helps to avoid the possibility of one flawed sample calling attention to itself through repeated playing (a dead-giveaway that you are listening to samples). Unfortunately, the resulting uniformity is also a dead-giveaway – real players aren’t that uniform. The result sounds synthetic. Because of the massive scope of this library we made the decision to keep as many of the human variations in the samples as possible. This meant repairing or removing obviously flawed samples but leaving the more subtle human variations intact. It’s a fine line to walk but it pays off in the mix. And if you ever do find a sample that calls attention to itself in the mix you almost always have several substitution possibilities to remedy that situation (once again, the shear scope of the library). The efficacy of this decision was proven over and over during the developmental stage of the library. We repeatedly compared perfectly “cleaned up” versions of patches to the less pristine versions in real musical situations and the less pristine versions always sounded more realistic. Anyway, there you have a little bit of the philosophy behind the library.
[This message has been edited by Tom Hopkins (edited 10-24-2001).]