I still like the Keyboards set of the plugsounds vsti, but I still wish there was a way to set filter to velocity.
Has anyone found a separate, inexpensive vst filter effect that sets filter to velocity? (I would just not use the filter in the Plugsound set and let the other filter do the work.)
All in all, though, I just wish Plugsounds would either update the dll file with another softer layer or two, or issue an entirely new plugin devoted entirely to acoustic piano. Their recordings of each note are good, though compressed: lots of presence.
Jake, you could probably find several filters which are midi controllabe out there, but it's unlikely that you'll find one that works the way you want it.
Having a filter in a synth like plugsound is actually like having a separate filter for evey note you need to sound simultaneously - play a five note chord and you use five filters, as each has to respond indivually for the sample which is being sent through it. For example, you have the filter set to be velocity sensitive and you simultaneously play a very soft low note and whack a very hard high note. What would a single filter do?
BTW, I have plugsound free and its filter is velocity responsive. Is it that different to the keyboard version?
What about getting Mach 5 and importing the files into it?
I don't think the filter is velocity responsive. Many of the notes have two velocity layers, so there is a change in the sound, but the filter seems to stay constant.
In any case, the pianos are almost excellent. If USB had used just a few more samples and another velocity layer, and not looped their samples, this would be a great library. Of course, I could say that about lots of libraries, but in this case the recordings of each note are so good that I want the programming to be better--they somehow get the notes loud without having too much hammer noise. I really hope they revise this library. Still very playable. I'd just be able to use it for a wider variety of songs.
If the plugsound unit you're talking about is the Keyboards one, then its interface looks identical to the 'free' unit, in which case you actually get TWO filters -one is static and the other is dynamic.
The one which is always in operation is the one which has no envelope control - it's controlled by the two horizontal sliders slap bang in the middle of its face - cutoff frequency and resonance.
At 0 the filter does nothing.
To the right of 0 the filter is high pass.
To the left of 0 the filter is low pass.
The one you want is turned on by one of the four black buttons above the cutoff frequency - HPF, LP3, LP2 and LP1. Fine tweaking the filter si done by the knobs above the buttons - cutoff, reso, key and env.
If you pick a filter with one of the black buttons, a combination of the env amount knob, the filter envelope shape and the velocity curve switches will give you just about any dynamic responseyou could want. If you have the env amount set to zero, then the filter acts much like the one with the horizontal sliders. You need to get a little envelope amount happening -sometimes not much at all.
Wow. Color me red. Thanks I've played these pianos for over a year, and didn't understand that the upper filter was velocity sensitive. I thought I read the manual...This plugin sounds even better to me. Yikes--now I'll want to waste the day tweaking all the ounds.
I think the manual added to my confusion. It says:
"Env. is the envelope amount. As the name implies, you get to choose how much the envelope settings affect the filter cutoff frequency. The neutral value is at 12:00 o'clock, where the envelope has no effect on the filter. Turning clockwise gives positive env. values (i.e. a longer attack will slowly open the filter), whereas turning counterclockwise allow you to use the inverted envelope (longer attack times will close the filter.)
So I guess what they mean by a "longer attack will slowly open the envelope" is that the lower the setting of the Env knob just above 12:00, the lower the velocity point at which the envelope begins to take effect, and thus the darker the sound of low velocities. The higher the setting of the Envelope knob above 12:00, the less the filter takes effect at all, so the brighter all the velocities.
It's probably just me, really.
But this really gives me new sounds. Many thanks.s
When you turn to the right from 12 oclock you're turning up the amount of envelope shape that gets through to push the the cutoff frequency up and down.
In the case of a lowpass filter, if you have the cutoff frequency set all the way up, there's not much the envelope amount can do. You need it lowered in the first place so that the filter has 'somewhere to go' when you start opening the envelope amount tap.
The cutoff frequency knob and the filter envelope amount knob are critically interactive when it comes to filter dynamics.
From 12-5:30(clockwise) you're using the envelope shape to move the cutoff frequency in a positive direction - from more closed to more open. Low pass filters are usually 'open' when the knob is cranked all the way up to 100. They cut off the tops as you close them down, allowing the lows to pass through until the filter is completely closed. So you need the cutoff frequency 'backed off' a fair bit if you want to hear the envelope do its job.
As you turn the envelope amount knob to the right from 12 oclock, you are using the envelope shape to move the low pass filter's cutoff frequency higher and higher - so you are allowing more and more of the instrument's top end to be allowed through.
With a negative envelope (12-6:30) you're using the envelope shape to move the cutoff frequency in the 'down' direction. ie as you apply more envelope, the filter tends to be shut down further. To play with negative enveope settings, try using a low pass filter, setting all the envelope sliders to halfway, the filter cutoff and resonance knobs at about 12 oclock and the envelope amount around 6:30. As you raise the attack time, you'll hear it taking longer for the filter to travel from 12 down and back again. The time it takes to drop is the attack time, the time it takes to come back is decay, the brightness level it comes to rest at is sustain level.
As you may have guessed by now, in the case of this instrument, velocity is never directly routed to the cutoff frequency, it's routed to the envelope which is then routed to the cutoff frequency. Without applying any envelope you can't get dynamics. The filter will just sit and one position like eq.
If you don't want too much 'shape' to the filter movement (no wahs or similar), you can set a very plain organ type on/off envelope. You may need to adjust the filter envelope's release time to match the amplifier release time for certain sounds.
The velocity curves will also probably be critical to getting certain sounds 'just right'.