managing attack, or swell, in strings

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jlong123
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2008/03/15 12:55:07 (permalink)

managing attack, or swell, in strings

Sorry if this has already been addressed, but search doesn't seem to search the forums, and I spent some time looking on my own...

String sections tend to have slow attack and it causes a very unnatural sound with consecutive notes. I love the string sounds in Dimension Pro, but all of the section strings seem to do this. I've started adding in extra instances of DP with single Cellos, etc. to cover up the slow attack, but that sounds really unnatural in a different way. One of the sounds has "(cc2=attack)" so I tried automating cc2 and it didn't really fix the problem. I might be handling this wrong however. I also tried playing different notes on different instances, but that sounds like a bunch of different people playing different notes. Eeck!

Does anyone have good suggestions for making consecutive notes sound more realistic with section strings?

PS: I have Dimension Pro with both expansion packs and the Garritan Pocket Orchestra. I'm using Sonar 7.02. I also have a copy of Project 5 that came bundled with Dimension Pro when I bought it, but I haven't really used it. I've been buying Sonar for a while now, so I have the instruments from Sonar 2, 3, 4, 5, and 7, and I'm finally finding some time to honestly have a go at using it.
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    b rock
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    RE: managing attack, or swell, in strings 2008/03/16 05:52:23 (permalink)
    One of the sounds has "(cc2=attack)" so I tried automating cc2 and it didn't really fix the problem.
    Have you tried out the ones with (mw=attack) in the program title? These all use CC1, connected to a parameter called Sample Offset. While many of the string presets have samples with slow attacks, this parameter actually starts the sample playback at a point well beyond the beginning of the recorded sample. Open up the MIDI Matrix window, and you'll see the routing laid out in one of the slots.

    I've found that a 'full-value' mod wheel position isn't necessarily natural, either. A wheel travel near (but not at) the top often sounds better to me, with just a touch of slow attack time. If you'd like to experiment, change the Matrix routing parameters. The first offering under 07 - Strings [1st and 2nd Violins Expressivo (mw=attack)] has the following routing:

    CC 1 (Mod Wheel) -> Sample Offset 1 -> 27670 -> n/a

    As one example, change it to:
    CC 127 -> Sample Offset 1 -> 18000 -> n/a

    The source at CC127 is equivalent to "On" (a full Depth parameter value). 18000 samples (Depth) pushes the sample offset, but not as much as the maximum amount in the original Matrix routing. Adjust that 18000 to come up with a pleasing attack time. In some of the other presets, different methods have been used for attack time, like velocity-> time in per-segment EG curves, CC11 for 'hard-wired' expression, CC20 in the .sfz file, etc.
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    Nick P
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    RE: managing attack, or swell, in strings 2008/03/16 08:53:55 (permalink)
    This is why the big symphonic libraries have many, many versions of string articulations. And it's why many, many hours are spent tweaking MIDI tracks which contain these parts. This is called orchestral mock-up and its become a legitimate part of film scoring. I'm sure there are already specialists in Hollywood who do only that - create mock-ups with huge sample libraries so the composer and other people in charge can hear the score before the orchestra and studio is hired.

    To see what I mean, check out the Kirk Hunter Strings (the best, IMO), Vienna Symphonic Library, East-West Quantum Leap Symphonic Library, Miroslav Philharmonik, and Steinberg Symphonic Orchestra. You will see in the patch lists how many articulations are offered. That's to get the effect you mention.

    There's also a new book about MIDI orchestration which addresses how to go about creating these tracks. The author escapes me, but he's from Berklee School.

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