[VV_1]

Yeah, I can’t seem to get a MIDI thru either. Very strange as MIDI thru is a basic 55 year old concept.

[VV_1]

Also, I am finding that the project file browser does not allow access to alias folders on macOS.

They are greyed out.

[VV_1]

Wow. Also very off-putting that you are so unmotivated to make a sale. Doesn’t say much about morale for your company.

[VV_1]

Why don’t *you* contact someone? Are you trying to make a sale or not?

[VV_1]

I find it off-putting that manuals and other documentation would be withheld until purchase for a piece of software.

There are very good reasons for making this information available to prospective buyers and it is certainly common practice to do so.

[VV_1]

Hi Scott,

I have yet to purchase the Orchestral Percussion and would like to view the available articulations as a factor in my decision.

I am currently using Cineperc as my main library and would like to see if the SDX can replace enough of the instruments to my satisfaction.

[VV_1]

Mike-

Thank you so much 🙂

I don’t have any other SD3 libraries so I won’t need other maps.

I’m trying to think of maps of other libraries I could offer to you, but most of them are rather customized to a particular user patch.

I made a bunch for the Spitfire Symphonic series, but they are based on custom Kontakt multis.

[VV_1]

Looking at them now it seems they (the rolls) are crescendos/decrescendos, not loops with CC controlled dynamic layers.

Those are rarely usable because they only fit a specific tempo and note value. Using the CC for dynamics gives the right control over the performance, and can fit any length with any crescendo shape.

[VV_1]

I know there are round robins, and they work great for most other spacings, but very tight in a roll they present a problem for realism in that there is no great solution to. The samples either have to release over one another, creating multiples of the same resonance, creating the phenomenon where one instrument sounds like multiples and suffers from phasing artifacts. Or they have to cut off at the entry of the next note highlighting that each sample starts from a re-trigger of resonances (i.e. the snares and drum harmonics have to appear from silence again). There is a slight delay in the time it takes for those resonances to appear and collect, meaning that there is an unnatural gap between the note sample start time and the resonance to take effect. In a looped buzz roll sample, that aspect of fidelity/realism is solved. The loop can be created at a zero-crossing to prevent phase issues and the legato scripting can concentrate on the connection to a “hit” if the last note of the roll is to be accented.

[VV_1]

Hi,

Even with cut and paste MIDI programming rolls note-to-note is more time consuming and questionable to it’s sonic advantage.

Recorded rolls contain resonance in ways that re-triggering cannot capture or reproduce (well, unless you get into physical modeling).

Looped rolls with CC control are fast and can sound better than individual hits *especially for unmeasured tremolo and buzz rolls*.

 

“The idea is that you use the tools in SD3 to create/modify MIDI instead of using pre-recorded audio performances.”

… but you just said this:

“some instruments have Crescendo/Decrescendo/Wave Crescendo or Roll recorded but not all.”

[VV_1]

Are there rolls on all of the drums and cymbals?

Are the rolls looped and mapped to a CC for dynamics?

[Author]

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