i just invested some time to record some samples real quick and really didn\'t care about sound and tuning and even the strings are very old. also the mic was just and akg c1000 in front of my computer (hello noise [img]/ubbthreads/images/graemlins/smile.gif[/img])
so please have this in mind while listening to the mp3:
each chord has 4 velocity layers and there are two short (not muted) downstrokes and two short upstrokes, also two long upstrokes and two long downstrokes (to let ring out notes), with each 4 velocity layers.
the chords i did are: Cmaj9, Emin7, D with F# as a root and a Gmaj79 ...
again, i didnt care about sound and this is not how my library would sound like, it\'s just the idea behind it.
i thought a lot about mod-wheel and autoalternation etc, bzt the thing is, you can\'t use auto alternation, because guitar players (or all musicians) don\'t do always up down up down...it variies...
so i programmed, for instance, cmaj9 on C1 with downstroke short and on C2 upstroke short, on C3 with downstroke long and on C4 with upstroke long. so you have also 4 alternative chords.
later i will do muted up and downstrokes on C5 and C6 and on the other octaves like C7 etc, i have space for glitches and fret noises.
k, let me know what you think [img]/ubbthreads/images/graemlins/smile.gif[/img]
ps: if you\'d like i can upload the file with the kontakt programm just for some test or experiment reason [img]/ubbthreads/images/graemlins/smile.gif[/img]
You\'re off to a fine start! Sounds great! I like the idea of spreading articulations across the octaves.
What\'s your thoughts on reverb? will you:
-record in a space with some natural reverb
-add reverb to the samples?
I think I prefer dry recordings for that \"up close and personal\" sound. One can always add a good reverb to a finished piece later as befits the project.
Yeah, I know about that computer noise thing, but its not as if you\'re recording a performance with lots of dynamics. Your chords are going to be well above noise.
Oh well, I suppose for commercial purposes it\'ll be required.
Do you think four velocity levels are really necessary? To me it seems there are two basic levels, a guitar played normally (whether the sound is soft or loud ultimately) and a guitar played hard and aggressively, which gives it an edginess in the tone. That\'s a lot of samples.
i think the best would be to record dry, because you will have the most possibilities and you are open for whatever you wanna do it...
i will also leave it mostly unequed, most microphone record a little bit too dark because of the resonance body, so i guess i will do some little bit of tweaking, but mostly leave it unprocessed to give the best room for all kinds of compressing, equing, reverb etc ...
yes, i think 4 or even 5 velocities are necessary because it gives you more alternative samples and also a smoother way of having dynamics...
when i play i usually player more dynamic than just with two velocities.
imagine you do an alteration or you start to crescend, so i guess it is necessary to have so many layers.
i think it is also necessary for the \"in-between-notes\", which usually gives the groove and the feeling to a played or programmed guitar line, just like a ghost note from a snare.
Sounds really nice and realistic to me. 4 layers seems pretty resonable for dynamics. I think AE is only 3, and you notice it sometimes. The only dodgy bit in the example is around 4-6 seconds where you have some extra-soft samples playing. It probably only sounds dodgy because those few chords are extra quiet. It may be that the level of that velocity layer is a bit low.
\"you can\'t use auto alternation, because guitar players (or all musicians) don\'t do always up down up down...it variies...\"
Absolutely. The only reason I mentioned auto alt was in a different application - eg if you were going to the trouble of using it to play through a few alternate strokes of the same sample - eg you might have 3 alt samples of the cmaj9 downstroke short. As you said, it\'d be pointless to use alternation to go from up to down strokes. And anyway, I don\'t think you really want to do 300% the amount of recording and editing just to get a 10% improvement in the playing response, do you? Even, consistant samples should be all you need to avoid this.
I still think you should consider some simple way of switching between muted, short and ringout strokes. It\'d give you a cleaner keyboard layout, and I\'m not a big fan of jumping from C3/C4 to C5/C6 to change from short to long chords. A sustain pedal would be intuitive if you only had two sets of patches to switch between (like short and ringout). A mod wheel would be cool for three sets of patches. Perhaps a combo? I suppose you have to keep in mind that the player will have his left hand on the chord type keyswitches most of the time and his right hand playing octaves....
btw, don\'t forget you\'ll probably want the C2-C3 area for chord type switching keys.
hmmm, what about this for a weird articulation switching choice. Imagine assigning the downstrokes so that they only play when the key and sustain pedal are down, and the upstrokes play when the key is hit with pedal up. In my head this seems pretty natural - downstroke = down pedal, all else is upstroke. That\'d give you heaps of options on the rest of the keys. The only problem I can see is that you\'d need to get into a mental zone where you depressed the pedal slightly ahead of the key when you were going for a downstroke. It\'s the same kind of mental twist that\'s required for keyswitching. One hand (or foot) needs to anticipate the other. Feels a bit crappy sometimes.
btw What took you so long [img]/ubbthreads/images/graemlins/wink.gif[/img]
Wow, so this demo was done with your samples in a sequencer? AWESOME! You sure fooled me, bro. I pasted the link into Media Player and went to do something else and had forgotten that this was a sampled demo for just a second. I had to do a double-take when I dawned on me that this was sampled!
i think the good thing on this concept i plan, is that i don\'t have single sampled notes, but a whole played chords.
so the only thing the composer or user needs to take care of, is the feel and the drive and the right usage of up and downstrokes - i think thats much easier than additionally to take care about the right strum ...
i let you know if there is something new [img]/ubbthreads/images/graemlins/smile.gif[/img]
first i have to get that movie done .. (i know i know i talk to much of it [img]/ubbthreads/images/graemlins/smile.gif[/img])