Here\'s a little Filmscoring I did: The Solo Instrument and the piano are from SampleTank, the rest is played by the GPO. I am not 100% content about the legato behaviour of the strings. Any hints how I can optimize these changeovers?
Thanks for posting this. Really nice textures with GPO. For the legato, use the sustain pedal to connect the phrases. Also, try layering some of the solo instruments so they are hardly noticable in the section but they weave and bob in an out. I like that solo instrument.
Thanks Gary for your feedback! Sure I used the legato mode. The strange thing is when you listen to a legato phrase with the track solo\'ed it sounds good...but in the context of the arrangement the endings are a little bit torn off. It sounds not bad....and this leagato-pedal function is a great idea....but I am not yet 100% content with my tune. Perhaps I have to do some decent overlaps in the midi editor.....
Gigalove, what do you think of the ST2 STRETCH? I absolutely HATED it until I found how to get better performance from it. I have to \'prepare\' any samples I import with lots of noise reduction, DC removal, trimming, EQ and some de-essing and compression. I\'ve gotten good results with SOV and some other stuff (albiet in mono only though..) after treating the samples this way.
You can tweak string note transitions (as you mentioned) by adjusting note overlaps. These can be combined with micro-adjustments of mod wheel data drawn in at the transitions to minimize any “bumps” possibly resulting from the overlaps. If certain notes still seem to resist the last degree of smoothness you desire then separate the difficult consecutive notes into different tracks/midi channels and apply a rapid cc1 fade-out to the first note (in the first channel) and a rapid fade-in to the second note (in the second channel) at the overlap. This is one of those anal-retentive techniques that can smooth almost any transition but is more labor-intensive than it’s worth most of the time. Note that this requires that two identical instruments be loaded – one for each midi channels.
Second suggestion: Anytime you hear string section notes that seem to end too abruptly in context, route just the strings to a different bus in your sequencer’s mixer and apply a greater amount of reverb (and/or a somewhat different reverb) specifically to them. You can sometimes add just enough to eliminate the audibility of the quick releases without overdoing the reverb. The rest of the mix is, of course, unaffected by this adjustment.