It's a bit better and less of an issue with say the cellos. Not really usable unless masked by something I think. The trills (again - I'm looking at strings here), have an abrupt entry on the violins no matter the velocity. It means that there is nothing that really allows one to create an accented note that is distinguishable from a regular sustained note except by varying the volume via velocity and it doesn't necessarily change the timbre that much as one would hope for. The difference between sustain (which is sort of akin to a detache and appears to have a tad more attack) and legato is not that great. There is also no way to change that in the XT settings AFAICS - only to route it to one of several other parameters. While the modwheel gives a measure of control within a layer it is not a dynamic cross-fade between layers like one might hope for. Playing runs with different dynamic layers live it's difficult to control the amount of bow noise - sounds like a muted shotgun noise being introduced if one happens to flip to one of the lower layers. Not sure yet how it will affect something like breath noise for winds / brass. I'll need to try this on a track but going from pppp to mf say over the course of a few bars without some extensive additional modwheel tweaking is going to give jumps in not just the dynamic layers - which is not uncommon with sample libraries - but also in the bow noise, which is undesirable and I think will be quite noticeable. That bow noise is going to show up as one changes dynamic levels smoothly since the modwheel doesn't control layer changes apparently - only velocity does. there is a significant amount of bow noise on the string samples at the 2nd lowest dynamic layer that is not commensurate with the layer's volume IMO. There are multiple velocity layers - appear to be about 4 for the violin for example - but. The standard orchestral samples are going to be of limited use without a deverb FX as I say. I need to take a listen to the contemporary dry micings to see if they are usable dry in a blended setting. There is no reverb on in XT for the orchestral samples, turning it on would only add reverb to the existing recorded reverb. Now, while this is not the only library to present a wet set of samples, there are usually ways to work around that within the instrument / sample set itself, but I can't see that for these.
One would have to add one of the deverb plugins first in the signal chain - per instrument - to work around this AFAICS. Nor does it allow the use of other reverbs easily in S1 as additional FX. This is not desirable for using them to blend with other sample libraries or even other tracks in S1. One important issue I've noted with the orchestral instruments - and unless I'm missing it there's not a way to change it - the samples are recorded wet with a fair bit of reverb. See the further comment a couple of comments below where I've added a correction. Some observations - that I'll hopefully add to with subsequent posts:ĮDIT and NOTE: I've quoted the section below of my own inline comment in order to highlight it. We can achieve this by raising the % tickRange to some power p, because for any p \((0\%)^p = 0\%\) of change applied and \((100\%)^p = 100\%\)Īnd so we only need calculate p for the current slider value, where we know the result should be 1/2 (50%).I picked this up today. When we're at the end of the selection (100% tickRange) the output must be the endTempo (100% of the tempotransition).When we're at midpointSlider % of the selection tickRange, the output must be halfway between start & endTempo (50% of the tempotransition).When we're at the start of the selection (0% tickRange) the output must be the startTempo (0% of the tempotransition).That way you can decide whether the biggest part of the tempo change happens sooner or later. In curved mode, the plugin allows you to influence the exponent value of a power function to set the halfway point of the transistion. If an existing tempo marking is encountered, it'll be updated by the plugin (both value and visibility) How does Curved work? The tempo that should be generated is at least 1/10th of a quarter note duration different from the previous marking.No tempo element exists yet on that time position in the score.It will create a tempo-marking for every encountered chord provided that: The plugin scans all staves within the range selection (even hidden staves). Musescore TempoChanges: How does it work? When is a marker created?
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