New Sample Modeling Strings Tutorials - VI-CONTROL (2024)

Leandro Gardini said:

Cristian Labelli, a true master of Sample Modeling midi programming, has developed an intriguing technique that involves a meticulous mixing of Sample Modeling Ensemble, Chamber, and Solo Strings. He was kind to share the details of his marvelous technique with me, and now, I'm happy to share it with you.

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Hi @Leandro Gardini ,

This would be so helpful for many of us who own this library, but are still unable to get satisfactory results that expert users like @Cristian Labelli , and yourself are able to produce with it.

I'm looking forward to your upcoming tutorials on how to harness the realism, and flexibility this library offers.

Thank You So Much

The mix sounds great, and learning to mix the strings is really the only thing I am interested in. What folks want is an end to end mixing tutorial with EQs, reverb, etc, not just how you stack instruments together.

Beyond that, expression, articulation, has already been covered extensively by yourself and others on the sample modeling team.

The first tutorial has just been released. Learn how to create the best string sound out of SampleModeling Strings by mixing the ensemble, chamber, and solo patches.

Don't forget to give me a thumbs up on YouTube if you like it.

Leandro Gardini said:

The first tutorial has just been released. Learn how to create the best string sound out of SampleModeling Strings by mixing the ensemble, chamber, and solo patches.

Don't forget to give me a thumbs up on YouTube if you like it.

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Hello Leandro,

Firstly, congratulations on your tutorial! You’re undoubtedly a reference point when it comes to crafting clear and effective tutorials.

I find your approach to combining multiple elements (soli, chambers, and ensemble) very effective. Samplemodeling instruments already sound wonderful on their own, but blending the three layers creates a remarkable three-dimensional and defined sound.

I also wanted to highlight the unique feature of Samplemodeling's ERs, namely the possibility to add a micro-ambiance to the dry sound transparently, without introducing any spectral changes. This is quite distinct from other algorithms or convolutions that tend to color the sound. Basically, one can decide whether to use internal transparent ER (using CC29) or external convolution/algorithm ER, searching for particular timbres, as you demonstrated in your tutorial.
Being a control enthusiast, I absolutely love the versatility of these instruments.

Again, great job.

Due to this feature, i.e. the absence of any coloration added to the sound by these proprietary early reflections, it is generally advisable to mantain the default setting of 80 for CC29 if one wants to retain the pristine timbre of the original anechoich recordings, unless a particular coloration provided by an external room plugin is desired.

Another potentially useful hint is the following: the ensemble instruments are set by default to produce asynchronous (random) vibrato. If used together with the chambers, a quasi-synchronous component is produced by the latter, as nicely demonstrated by Leandro by isolating them. If conversely the ensembles are to be used alone, a synchronous vibrato can be added by increasing CC99 from the default zero to higher values. This feature is to be used sparingly, for example for introducing a transient climax character to the sound. Otherwise, the interference between asynchronous and synchronous vibrato might produce unwanted side effects.

Cristian Labelli said:

Hello Leandro,

Firstly, congratulations on your tutorial! You’re undoubtedly a reference point when it comes to crafting clear and effective tutorials.

I find your approach to combining multiple elements (soli, chambers, and ensemble) very effective. Samplemodeling instruments already sound wonderful on their own, but blending the three layers creates a remarkable three-dimensional and defined sound.

I also wanted to highlight the unique feature of Samplemodeling's ERs, namely the possibility to add a micro-ambiance to the dry sound transparently, without introducing any spectral changes. This is quite distinct from other algorithms or convolutions that tend to color the sound. Basically, one can decide whether to use internal transparent ER (using CC29) or external convolution/algorithm ER, searching for particular timbres, as you demonstrated in your tutorial.
Being a control enthusiast, I absolutely love the versatility of these instruments.

Again, great job.

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Thank you, Cristian. I have yet to explore more the internal SM virtual sound stage. I've discovered that combining a touch of the internal virtual sound stage with some external resources renders the best result in certain cases. By doing so, I can blend SM trumpet and Infinite trumpet seamlessly.
The strings are another beast, though. They're more challenging to blend with libraries like CSS, for example, but by exploring the possibilities, I've got some good results lately.
When combining ensembles, chambers, and solos, employing slightly different setups for each greatly enhances the library's sound quality. On this demo, I don't think I would have achieved the same result with any other current library.

Giorgio Tommasini said:

Due to this feature, i.e. the absence of any coloration added to the sound by these proprietary early reflections, it is generally advisable to mantain the default setting of 80 for CC29 if one wants to retain the pristine timbre of the original anechoich recordings, unless a particular coloration provided by an external room plugin is desired.

Another potentially useful hint is the following: the ensemble instruments are set by default to produce asynchronous (random) vibrato. If used together with the chambers, a quasi-synchronous component is produced by the latter, as nicely demonstrated by Leandro by isolating them. If conversely the ensembles are to be used alone, a synchronous vibrato can be added by increasing CC99 from the default zero to higher values. This feature is to be used sparingly, for example for introducing a transient climax character to the sound. Otherwise, the interference between asynchronous and synchronous vibrato might produce unwanted side effects.

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The CC99 is indeed a marvelous tool for adding drama to the strings. Sometimes, pushing CC99 up to 127 brings climax, especially on the high ranges, if the ensemble size is not large. I will tackle it in the next tutorial.

Giorgio Tommasini said:

Due to this feature, i.e. the absence of any coloration added to the sound by these proprietary early reflections, it is generally advisable to mantain the default setting of 80 for CC29 if one wants to retain the pristine timbre of the original anechoich recordings, unless a particular coloration provided by an external room plugin is desired.

Another potentially useful hint is the following: the ensemble instruments are set by default to produce asynchronous (random) vibrato. If used together with the chambers, a quasi-synchronous component is produced by the latter, as nicely demonstrated by Leandro by isolating them. If conversely the ensembles are to be used alone, a synchronous vibrato can be added by increasing CC99 from the default zero to higher values. This feature is to be used sparingly, for example for introducing a transient climax character to the sound. Otherwise, the interference between asynchronous and synchronous vibrato might produce unwanted side effects.

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Hi Maestro. Good to see you here. On an Audio Modeling Section String thread we found out, that until today SM beats AM. The almost only thing people seem to complain are the shorts, which improved but still can sound week or like a Maschine gun in action driven ostinates. So here is my question and my very big hope: are developing sample Modeling any further? I would highly appreciate it. Love from Germany.

Leandro Gardini said:

The first tutorial has just been released. Learn how to create the best string sound out of SampleModeling Strings by mixing the ensemble, chamber, and solo patches.

Don't forget to give me a thumbs up on YouTube if you like it.

Click to expand...

Really really helpful. Going to try this out tomorrow. Thank you for the generous sharing. Did you use the "dry" instruments or the ones that have the reverb?

Also I wasn't able to tell whether you used the same distance settings on the solo instruments as you did on the chamber or the full ensemble.

I'm excited to try this method out. Once again, huge thanks!

I like music said:

Really really helpful. Going to try this out tomorrow. Thank you for the generous sharing. Did you use the "dry" instruments or the ones that have the reverb?

Also I wasn't able to tell whether you used the same distance settings on the solo instruments as you did on the chamber or the full ensemble.

I'm excited to try this method out. Once again, huge thanks!

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I always use the dry patches.
You are right, I should have included the solos on the video. I wrongly assumed that everybody would understand that, since the solos are the driest, they would be supposed to be as dry as the chambers on the GUI.

Major1981 said:

Hi Maestro. Good to see you here. On an Audio Modeling Section String thread we found out, that until today SM beats AM. The almost only thing people seem to complain are the shorts, which improved but still can sound week or like a Maschine gun in action driven ostinates. So here is my question and my very big hope: are developing sample Modeling any further? I would highly appreciate it. Love from Germany.

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I cannot respond to the updates, but I can share my experience. The next demo and tutorial will be all about short notes. Stay tuned!

Leandro Gardini said:

I always use the dry patches.
You are right, I should have included the solos on the video. I wrongly assumed that everybody would understand that, since the solos are the driest, they would be supposed to be as dry as the chambers on the GUI.

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Super duper helpful thanks!

Leandro Gardini said:

I cannot respond to the updates, but I can share my experience. The next demo and tutorial will be all about short notes. Stay tuned!

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Great. With the control for Marcato/Spiccato along with velocity and the overtone control I get a lot of what I want. But still not quite as aggressive as it could be. I’m looking forward to what you are able to achieve.

Major1981 said:

Hi Maestro. Good to see you here. On an Audio Modeling Section String thread we found out, that until today SM beats AM. The almost only thing people seem to complain are the shorts, which improved but still can sound week or like a Maschine gun in action driven ostinates. So here is my question and my very big hope: are developing sample Modeling any further? I would highly appreciate it. Love from Germany.

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Major 1981:

When the bow lands on the string, like in spiccato, the balance between pressure and speed is suboptimal, and this gives rise to the "out of Helmholtz" effect, involving the presence of overtones. Therefore, proper use of overtones by CC22 and/or timbral shaper helps recreate this effect. If CC38 is set very high, the release of the spiccato is under control of CC27. Shortening the release by lowering CC27 to zero may also help to give the impression of a sharper attack. Thanks for asking.

Giorgio

When watching the tutorial with the Tallis variations, I'm impressed by the sound of the library. But in my studio the library sounds a lot less good, even when I copy the settings as given by Leandro Gardini. Also he doesn"t do anything with the harmonics or EQ them, except some EQ on the reverb. So what is going wrong here?

I've watched several videos on mixing and mastering the SE&S, but I can't get it to sound right, especially the lower range Violas and mid range cello (and I know I'm not the only one). They sound fake, synthetic, but in the videos and some other demos the sound is really good. Is this because they are placed in an ensemble together with the other strings and not in f.e. a lyrical solo phrase?

After watching this video I did a little A/B test with SE&S and VSL Synchron strings pro, both a short line in ensemble cello and the difference is huge in sound, with VSL as a very clear winner.
Just wondering what to do, as I really want to use this library, but simply can't get past the sound...

Woodie1972 said:

When watching the tutorial with the Tallis variations, I'm impressed by the sound of the library. But in my studio the library sounds a lot less good, even when I copy the settings as given by Leandro Gardini. Also he doesn"t do anything with the harmonics or EQ them, except some EQ on the reverb. So what is going wrong here?

I've watched several videos on mixing and mastering the SE&S, but I can't get it to sound right, especially the lower range Violas and mid range cello (and I know I'm not the only one). They sound fake, synthetic, but in the videos and some other demos the sound is really good. Is this because they are placed in an ensemble together with the other strings and not in f.e. a lyrical solo phrase?

After watching this video I did a little A/B test with SE&S and VSL Synchron strings pro, both a short line in ensemble cello and the difference is huge in sound, with VSL as a very clear winner.
Just wondering what to do, as I really want to use this library, but simply can't get past the sound...

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Could you render the comparison files? And maybe provide the MIDI? I would love to take a closer look