I have a crazy idea for Gary\'s solo string project. It would involve something like Maestro tools with a database.
What if you record the transition between every possible interval, and use them as a release trigger, which would be selected by an intuitive database/ For example, you play a \"c\" to \"e\", and when maestro receives the controller input from the c and d key it automatically releases the c to e interval. If the release had velocity layers you could record different degrees of bite, then use mod wheel for expression, for the bowing samples.
Oh trust me, I thought about that too. Another crazy idea I had for brass articulations, (I doubt this\'ll work) is that first: The developer would record just about all possible articulations as far as length of notes and attack as WELL as style. Next: Have the composer play the brass line on the keyboard with the style he has in mind for the brass player on the keyboard. What I mean is, if he wants to play a light happy staccato line, the player would play stylistically on the piano, light, staccato and happy. If he wants powerful staccato, he\'d obviously hit it harder with the same short length. Of course this DREAM software could not recognize and play back the exact articulation in realtime while the composer is playing the keyboard, but when he is FINISHED, the software would analyze the length of notes, velocity, and speed of playing. (pertaining to runs and such) and choose the proper articulations from the extensive brass library accordingly. I know this is WAAYY out there, but this was a theory I had in mind which may NOT be too far fetched in the future of the sampling world. Of course it would not be perfect, but it\'d sure save time.
I have done some private research on that matter and one of my results was, that if you cut the first note of a legato-pair on a bowed string-instrument so that only the noiselike part of the transition stays, you will NOT be able to hear the source-note. When you then play a \"usual-attack\"-sample and such a \"legato-tail\" seamlessly connected, the phrase will sound very convincing under certain circumstances (the room has to be very dry, otherwise the reflection of the source note will merge with the transition; some intervals give better noises than others, some cuts work, others don\'t etc.). Note, that such created legatos sound like true legatos of intervals played ON THE SAME STRING. When the player changes strings, you won\'t hear much of a transition-noise to make the tie sound authentic besides a tiny creaking from time to time...
So guys, there is no need for database-intelligence, in my opinion. What you want is not truly easy to realize, but not THAT complicated to achieve. I already tried to imprint Gary and Tom with that issue months ago. It is one of my main desires for GSS (GWB?). I am quite sure, that this concept works more or less for any instrument, that is able to play legato-ties [img]images/icons/smile.gif[/img] .
Of course orchestral-samples and ensembles can not get handled accordingly, because there were much too strong overlays of source-notes going on due to reflections and asynchronous playing. But taking GOS, I can imagine, that if we merged the legato masking samples with newly cut transitions of solo-string-samples created in a dry studio surrounding, we might get a step closer to the real thing again.