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Old 12-09-2013, 03:38 AM
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Default Legato(+slur+port) or sustain patches

Hello everyone,

Since legato-slur-port is very heavy for ram, but note transitions are smooth and pitch glide is more natural so to say. For instance, although earlier i use only sustain patches, at the moment I myself prefer legato+slur (without port) patches for strings it is violins 1, violins 2 and violas for majority of purposes and legato+slur+port only for lyrical pieces with massive using CC11 (expression control). For brass i use legato+slur 6 horns patch for melody line and 6 horns sus patch for tone line.

I'd like to know which patches do you use?

But in general it will be awesome to have a recommendation in manual to Hollywood bundle from self East West which types of patches when better to use in orchestral arrangements
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Old 12-09-2013, 07:43 AM
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Generally with HB and HS it ends up something like this:

Brass
Trumpets and Horns I load Leg Slur patches and for shorts I just do Staccitismo and a Marcato. Logic has a problem registering the mod wheel changes for Shorts MOD patches and generally I only need those two.
Trombones I like the Sus Accent patch because you can make a nice quasi-marcato that I think sounds really cool. And then a staccitisimo
Tubas, generally just the regular Sus patch.

Strings
1st Violins and Cellos are usually Leg Slur LT 6 because chances are my string melodies end up on one of them, and the rest are Sus patches.
The shorts for all them are usually spiccato and what I like to do is load the shorts in the divisi patches, so for example, I'll load both the Celli spiccato A and B divisis. Uses the same amount of RAM but I feel it gives it a special "snap" compared to just loading the regular close mic.

I haven't had a ton of time to write recently (it's finals week, so SOON I will have time ) but what I plan to do if I'm not itching to upload something new is to export the audio for each track individually, and then switching the strings to the more powerful patches for greater detail/control

I should also note that I load each patch as needed. So for instance, I don't waste RAM loading a Trumpet patch if I don't need it. I know a lot of people like using templates which will autoload what instruments they need, but with my specs I find it best not to do that, so I have a template set up that just lists the instruments but doesn't load any patches.
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Old 12-09-2013, 01:24 PM
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I usually use sustain patches for string because I don't like the pitch shift in my style of playing, or I use bowchange legato that is very good for slow moving passages.
I often use the 6 fh slur paatch that sounds awesome, for trombones nd tuba I usually go for sustained patches. For shots I really like to switch from staccato to staccatissimo for strings. For brass I usually go for accented patches also to do staccatos (expecially for emulate the bass trombone at full breath).

I often use to "niente" also the brass patches to make them blend better with the niente patches of Hollywoodstrings
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Old 12-09-2013, 09:28 PM
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I personally have Leg Slur + Port RR LT 12 Ni loaded for all of my string instruments minus DB (I don't think I've ever had the DBs play melody before ) and Leg Slur (Full Ni for WW) for all my standard orchestral brass/woodwinds minus Tuba (for the same reason as the DB). Plus, Stac, StacS, and Marc for pretty much every instrument.

Of course, my 80ish track template uses about 30 GBs of RAM...
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Old 12-09-2013, 11:57 PM
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Quote:
Originally Posted by C4L88 View Post
I haven't had a ton of time to write recently (it's finals week, so SOON I will have time ) but what I plan to do if I'm not itching to upload something new is to export the audio for each track individually, and then switching the strings to the more powerful patches for greater detail/control
The great idea i saw in Alex Pfeffer video lesson where he offer layering of legato patches from different string sample libraries to get a rich sound Let's Play Audio! #008 - the ultimate strings sample library legato layering session!. In my experience we also can use not only legato, but short patches sounds great by this way too.
I have not understood yet benefits of divisi patches besides they can be panning and processed separately. Since divisi A + divisi B sound both in summary the same as full section patch.
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Old 12-10-2013, 02:15 AM
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Quote:
Originally Posted by Sun State View Post
I have not understood yet benefits of divisi patches besides they can be panning and processed separately. Since divisi A + divisi B sound both in summary the same as full section patch.

Same reason why you would use divisi in a real orchestra. So they can play different notes or different articulations without doubling the number of players in a section.
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Old 12-10-2013, 06:20 AM
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Quote:
Originally Posted by pkm View Post
Same reason why you would use divisi in a real orchestra. So they can play different notes or different articulations without doubling the number of players in a section.
Yeah I can't remember where I read/saw it (probably somewhere on the forum!) but the biggest complaint by orchestrators and arrangers is that because of sample libraries, when a composer has written a chord for an instrument, they assume it will sound just as "big" as the samples.

But I believe they used different close mics for divisi patches. Essentially one mic close to the section, a mic closer to the first chair, and a mic closer to the other side. In effect because the divisi mics are, I believe, closer, I really like them in shorts because the instrument detail it picks up. The "snap" I'm referring to. Only downside being that you can't use the other mic positions.

I recommend trying it out. Write out an ostinato with a shorts patch and have one track be the whole section, close mics only, and then play the same ostinato on a track that is using divisi A and B (both on the same channel so they both play the same thing at the same time)
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Old 12-10-2013, 11:10 AM
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Another aspect why I want to upgrade on Diamond. If i'm not wrong the Divisi Section was sampled with half (!) the players, wasn't it? Otherwise it would not make any sense. By this fact it could be easy to lower the whole violin section into half the "Size" with a more intimate sound.
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Old 12-10-2013, 11:43 AM
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Quote:
Originally Posted by Ron63 View Post
Another aspect why I want to upgrade on Diamond. If i'm not wrong the Divisi Section was sampled with half (!) the players, wasn't it? Otherwise it would not make any sense. By this fact it could be easy to lower the whole violin section into half the "Size" with a more intimate sound.
They sampled it at the same time as all the to avoid intonation problems, but what they did is they had a mic close to solely the left side, and one solely to the right side of the section. That's the other reason why there is only a close mic available for them. Because "anything further away would capture both halves of the section"

All that info I just read out of the manual
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Old 12-10-2013, 12:02 PM
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Quote:
Originally Posted by C4L88 View Post
All that info I just read out of the manual
Ups, where did you find that? I was looking for this topic under the search "Divisi" or...is that in the manual of Diamond only?
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