I ahve different feelings on which layers to apply filters too.
and with strings its a total opposite of the \"common\" use.
I built a 3/4 layer Xfading US instrument a while ago. In fact Way befor GOS. I absolutely those it was WAY better than AO
I\'ve been fooling with an optional ART file idea for GOS, but could be applies to US. Which invovles. High pass filtering (yes high pass) on an extra Piano layer to get that breather soft attack with less of the fundamental.
To get it to work right I\'\'ll adtucally need some sort of maestro tools trick. But with US you could possibly get good results.
this is the opposite of what many people do which is to apply a lo pass filter to control \"brightness\"
another option is a filtered MF layer like Bill suggested, with a low pass applied and not an \"equal fadE\" meaning not fading in while the piano fades out, but attenuated and fading in on top of the piano then both fading out into MF.
All this may not be \"realistic\" in terms of the actual samples, but may lead to a more \"realistic\" performance or \"playable\" instrument.
<BLOCKQUOTE><font size=\"1\" face=\"Verdana, Arial\">quote:</font><HR>Originally posted by PeterRoos:
It does not really make sense to me to cross-fade over 4 Mod ranges, when the layers 1 and 2 both have the p samples.
I guess you can always use the first 3 Mod ranges and for the fourth assign all regions to a null sample. If you do this your crossfading will go from 0 to 95 instead of the full 0 to 127 on the Mod wheel. When you save your giga file you might get a warning that there are some unassigned regions but that\'s ok since you\'re doing it on purpose..
It will be nice to have better flexibility over these things, you should be able to assign a combination of odd and even numbered layers. I\'m sure this ability will be coming in the form of a not too distant future upgrade.
You cant assign Null samples to a region in a gig. If you want other notes in that region to play.
A silent sample would work...just silence. Or better yet an \"air\" sample thta is jsut room//hall noise. Make the crossfade level \"always on\" and set the release to slightly longer. With careful atentuation and not too hard of an attack, it should sound pretty wonderful
yah...fun fun fun Sometimes I wish I had all the raw dta from the recording sessions of these sample libraries. I could program some wacky libraries for myself
Really...I am an Idiot
[This message has been edited by KingIdiot (edited 01-30-2002).]
\"I could program some wacky libraries for myself\"
Yeah, I was thinking the same, just for fun. Like for jotting down orchestral lines, for instance FHs unison (DDSB and AO combined) with GOS and/or US violins on top (total 3 octaves). Or, Tuba and BTB, or Celli with CBNs.
Can be a poly count saver, BTW.
Does not make sense for a serious project, but might be handy for working out melodies. Haven\'t tried yet. Agian, this only make sense for personal use.
Peter there are a fw different ways to do this fiarly simply.
The easiest option for mixing samples is actually tracking a mix from a sequencer playing back all notes in a chromatic scale then splitting the wav.
Exporting and then mixing gets problematic. I have a few ways to do it fairly quickly, but its less involved to jsut track \"takes\".
I\'ve gotten VERY quick at doing file splitting and editing now. I\'ve even devised a way to split multiple tracks at the same length. Tho its not completely an \"automatic\" job, and requires an added \"render\".
Cool, thanks for the tip. I was actually thinking of pre-combining the individual notes in SoundForge, but driving them from Logic in a more musical setting is ofcourse a lot easier and more flexible. Allows for individual processing (eq, room) as well.
I regularly work with SoundForge for my work (e.g. for courses, tutorials, etc), so I will probably find ways to automate a few things (Batch tool is great!).