Any ideas to get a better string staccato, notes marked with dots and a slur across, played in one bow with on-the-string separation between each note?
Real staccato, especially a series of up bow notes, is very distinctive and I'm having trouble duplicating it.
Looking at the GOS '2nd Violin Staccato UpDn ALT', in GigaStudio editor, for example, the upper range (presumably the 'up' bow, though I've never found that info anywhere) is made of samples taken from the quieter region as used in '2nd Violin Staccato' -- thus, what's called 'updn' alt is really "mezzoforte mezzopiano" alt. Can this be really true; in all this big package of samples there is no distinction between up and down bows? Or in the wealth of samples am I missing something?
Never pay any attention to the labeling of the actual samples. Yes, the samples (as programmed) are actual up and downbow samples and were recorded as such. The 8 character sample names you see are leftover from a variety of early experiments in the editing and programming stages of the library. They were too cumbersome to re-label by the time we had made the decision to separate them into up and downbows and provide the alternating bow stroke feature. The 8 character names were never meant for the eyes of users anyway - it's only necessary for me, as programmer, to understand.
There are indeed distinctions between the two bow strokes - that's what the ALT instruments are all about along with the use of Maestrotools to access them conveniently through keyswitches for auto-alternation/forced up and downbows. The keyswitches only work through Maestrotools. This is another case where the design of the programming is intimately tied to the functions of Maestrotools. Also, if you have the updates properly installed there are many additional short bow options in the form of different ALT instruments.
On the general subject of names: Don't take the short bow labels (marcato, staccato, spiccato, etc.) too literally either. Use your ears to select the needed bow stroke, not the name.
Do not overlook the use of layering. Layering of bow strokes greatly increases the variety of usable attack characteristics. For example, a sharp bow attack such as a Sul Tasto (normally used for delicate passages) could be layered with a spiccato to add definition when used in the proper ratio. That's just one possible combination among many. I, of course, can't know exactly what sound you are striving for but the best advice is to experiment with ideas like these.
Hey, hey! The notion of layering is just what I need -- now to learn that puzzling gigastudio editor better. I could almost draw the wave forms of the sound for a particular passage, just can't get it right so far. Thanks for the ideas.
But at least in some cases (2nd violin "staccato", the 2 velocity layer compared with the UpDn Alt version) the samples used for the 'upbow' in the ALT version are EXACTLY the same samples used for the lower of two dynamic levels in the regular version.
Thank you for watching these forums and providing information.
“But at least in some cases (2nd violin "staccato", the 2 velocity layer compared with the UpDn Alt version) the samples used for the 'upbow' in the ALT version are EXACTLY the same samples used for the lower of two dynamic levels in the regular version.”
This is true, but this has no bearing on its bow stroke. The fact that we were able to get extra mileage out of the up and down bow stroke recordings is just an efficient use of resources (never pass up a chance to use samples for multiple purposes when it can be done successfully). GPO is a study in the philosophy of maximum sample usage but GOS has its moments.