+- Scoring Central (http://scoringcentral.mattiaswestlund.net)
+-- Forum: Technology (http://scoringcentral.mattiaswestlund.net/forumdisplay.php?fid=5)
+--- Forum: Samples & Sample libraries (http://scoringcentral.mattiaswestlund.net/forumdisplay.php?fid=8)
+--- Thread: VCSL (/showthread.php?tid=369)
RE: VCSL - peastman - 05-13-2018
I sent a pull request with most of the fixes. I didn't touch the instruments where you're going to edit or rename samples. I'll wait till you have those done, then make any needed changes.
Quote:The offsets in Gong2 seem incorrect and cause very strange stuttering behavior in ARIA.
It works fine for me. What kind of stuttering are you getting? I don't see how offsets could cause that.
Quote:Tubular Glockenspiel is at least one octave too high.
I believe it's correct. I compared it to a couple of other instruments, and even plotted the spectrum for one note to be sure I wasn't mishearing it. This is just a really high pitched instrument.
Quote:It's may even have to be manually done, but the Plucked Idiophones will need to be tuned.
These were... interesting... to do. I was able to get the autotuning to work reasonably well by telling it to ignore the first 0.1 seconds of each sample. The very highest and lowest notes tend to get kind of indefinite, though, so I had to tune some of those by hand.
The samples Mbira5_Normal_MainSpirit_A#1_k12_vl2_rr1.wav and Mbira5_Normal_MainSpirit_C2_k10_vl2_rr1.wav sound to me like they're exactly the same note, but the pitch is so vague that it's hard to say exactly what note it is. I ended up telling it to treat the "A#1" sample as actually being B1.
RE: VCSL - Samulis - 05-26-2018
Thanks for the pull request earlier today, peastman.
Found and cleaned up a few tunings and timings across the patches, pushed it up to the sfz branch. If I have time later this weekend, I might go for a second pass. The 4' harpsichord patch needs to go down an octave (same sort of deal as the renaissance organ, where the 4' is equal in range to the 8' so they may be layered), though that might be easier for you to do.
RE: VCSL - peastman - 05-26-2018
Quote:where the 4' is equal in range to the 8' so they may be layered
I'm not quite certain what you mean by that. (My knowledge of harpsichords is somewhat limited.) Are you saying they should be merged into a single articulation, where each key plays two samples at once (a 4' and an 8' one)? Should there be three different articulations: 4' only, 8' only, and both? When playing 4' only, should they still be transposed, even though that will cause the note to sound an octave higher than what you played? (I understand that when playing both choirs together, it's common to have them an octave apart.)
Also, are you saying I should do the same thing with the renaissance organ, adding an articulation that plays both the 4' and 8' samples? It already has a set of samples called "Full", which I assumed was both stops being played together.
RE: VCSL - Samulis - 05-26-2018
(05-26-2018, 05:13 AM)peastman Wrote:Quote:where the 4' is equal in range to the 8' so they may be layered
I'm not quite certain what you mean by that. (My knowledge of harpsichords is somewhat limited.) Are you saying they should be merged into a single articulation, where each key plays two samples at once (a 4' and an 8' one)? Should there be three different articulations: 4' only, 8' only, and both? When playing 4' only, should they still be transposed, even though that will cause the note to sound an octave higher than what you played? (I understand that when playing both choirs together, it's common to have them an octave apart.)
Also, are you saying I should do the same thing with the renaissance organ, adding an articulation that plays both the 4' and 8' samples? It already has a set of samples called "Full", which I assumed was both stops being played together.
It wouldn't be a bad idea to have them both combined as an optional KS. In both places, the 4' should sound an octave higher when you press a note than the 8'.
The organ also has 2' and 1' stops that aren't included in VCSL but are constituent to the sound of the 'Full'.
RE: VCSL - peastman - 05-26-2018
Quote:It wouldn't be a bad idea to have them both combined as an optional KS
Ok, I'll add that. Should it also play both sets of release samples?
Quote:The organ also has 2' and 1' stops that aren't included in VCSL but are constituent to the sound of the 'Full'.
Should I add another articulation that plays both the 8' and 4' samples, since that will be different from "Full"?
RE: VCSL - Samulis - 05-26-2018
(05-26-2018, 04:38 PM)peastman Wrote:Quote:It wouldn't be a bad idea to have them both combined as an optional KS
Ok, I'll add that. Should it also play both sets of release samples?
Quote:The organ also has 2' and 1' stops that aren't included in VCSL but are constituent to the sound of the 'Full'.
Should I add another articulation that plays both the 8' and 4' samples, since that will be different from "Full"?
Yes, and yes. The 4 and 8 together can be called " 4' + 8' ". You don't have to do it, but I think it'd be a good addition.
RE: VCSL - peastman - 05-26-2018
Done!
RE: VCSL - Samulis - 05-26-2018
(05-26-2018, 07:29 PM)peastman Wrote: Done!
Awesome! Thanks as always.
RE: VCSL - Michael Willis - 06-11-2018
Hey Sam, I have another sampling question. Let's say an instrument is sampled in whole steps. Do the results tend to be better if the gaps are filled in by tuning up lower notes (C -> C#, D -> D#, etc) or tuning down higher notes (D -> Db, E -> Eb, etc), or does it not really matter?
If the answer is that neither tuning up nor tuning down are inherently better than the other, then my next question is why bother sampling in whole steps? Why not minor thirds, in which case each sample can cover three notes by tuning both up and down a half step?
RE: VCSL - bigcat1969 - 06-11-2018
If you'll forgive me butting in... Tuning down is better. Also mostly people aren't usually doing runs by half steps so less repetition with no round robins especially if you go one better and sample the white keys. To be fair I tend to think in pianos.