To use legato mode, first make sure the box is unchecked in Maestro for whatever track you\'re using. Then just hold down the sustain pedal the whole time and it will tie each note together. You can\'t play the LEG instruments properly with Maestro unless you hold down the sustain pedal. When you\'re finished with your last note, release your sustain pedal to stop the sound.
A new question re legato, couldn\'t find the answer in older topics.
Is it possible to apply the \"masking\" samples without actually using Maestro-tools?
I am just starting with GOS, and so far I prefer to do up-down bows with separate tracks in Logic, so that I can select exactly the samples I want for on-beat and off beat notes. So, I\'m bypassing MaestroTools for this. Kind of hoping I can do the same with legato playing.
I think MaestroTools is a great utility but since I spent already so much time on tweaking (and learning) I don\'t mind doing all this manually within Logic.
The masking samples could be applied manually (as you are doing with the up and down bows) but it would be much more confusing than up and down bows due to the “break back” layout of the samples. There’s a 4 octave separation that breaks back (depending on the instrument) to the bottom of the keyboard when the masking samples run out of room at the top. You would also need to make absolutely certain that you placed the samples in exactly the same position as the start of the sustain samples or they will not integrate properly with the sustains (there’s virtually no fudge-factor here – it took me literally weeks of programming and editing to get these to integrate successfully because each note of all layers required unique editing and settings to get seamless results). I strongly recommend against even thinking about doing this manually because of the pitfalls. Instead, if you want to apply each masking sample individually and don’t want to use the physical sustain pedal, edit in cc#64 data on a note-by-note basis (127 = on, 0 = off). Most sequencers will let you draw this data in parallel with the notes as displayed in matrix or notation form. This gives you manual control over turning the masking samples on and off without the possibility of destroying the integration. Save yourself some grief and don’t try to place the actual masking samples manually. Life’s too short for that. By the way, this delicate integration issue is the reason the masking samples are not offered as a separate patch – they would be extremely difficult to use in that form. Underline that.
By the way, since the up and down bow modes are keyswitched, you could also do a similar thing with them (placing the switch notes manually for alternating, forced down, and forced up bows) when using a single articulation patch. When mixing a variety of articulations on a note-by-note basis I find it easier to record a monophonic passage using one articulation, set the track to accept all MIDI channels for that port, and then choose the articulation by MIDI channel number in the event list note-by-note (each needed articulation is loaded into a different MIDI channel). This makes it relatively painless to edit a passage to play e.g. a grand detache, followed by two marcatos, one martele, and three sautilles – just change the MIDI channel for the note in the data list and that’s what you get. If you want the sautilles to alternate up and down bows, place the A0 keyswitch slightly ahead of those notes (or force the bowstroke you want with A#0 and B0). Anyway, whatever is comfortable for you and compatible with the way you like to work. But try to let MaestroTools make at least some of that work a little easier.