[andreasOL]

in reply to: LASS ERs and Tails – good predelay values by Ernest Cholakis #34266

I think these are the ones you can get via your download page.

See first message of this thread:

http://www.audiobro.com/forums/viewtopic.php?f=21&t=909&start=0

Cheers,
Andreas

[andreasOL]

in reply to: Pitch Bend Mapping #36201

@szlafarski wrote:

Hey guys!

So I’m trying to do some pitch bending with the LASS Lite and FC samples. Some of the patches already respond to the bitch bend on my controller but others do not. How can I map the patches that don’t so that they will respond to the controller?

Thanks!!

What’s a bitch bend controller? :mrgreen:

[andreasOL]

in reply to: Lurching effect in legato patch #35468

Hi,

that has been discussed a few times, e.g. http://www.audiobro.com/forums/viewtopic.php?f=7&t=102&start=0

To my understanding it’s a characteric of LASS and no problem in most cases.

I couldn’t eliminate it either with CC#1/CC#11 (too much tweaking per note) or humanization (I still hear it).

regards,
Andreas

[andreasOL]

in reply to: Some Good Demo Tips #34962

Hi,

well, the concept behind using CC#1 is that it controls the dynamics level you hear, i.e. it does a crossfade between different samples. It does not simply change volume. A violin playing at f ist not just louder than a violin playing at p (which indeed you could accomplish with CC#7 or CC#11) but it also sounds different (different overtone spectrum, different shape of vibrato, …). Thus, by only using the volume control of Kontakt or in your DAW you play a violin at a certain dynamics level – say at p (if that is the current value of CC#1) – and then you change the volume of this p dynamics level, but you won’t go to f if you raise the volume, you only get a louder p.

The thing with CC#7 and CC#11 is – as I understand it – that CC#7 is for the overall volume of the instrument, balancing it with the rest of your template and CC#11 is for “local” volume modifications.

Hope I got this right. When I started with orchestral instruments and with LASS I also had to get this sorted out. But it’s great to have this control over your “virtual” player. Or put it this way, with CC#1 you control the “virtual” player, with CC#7 and CC#11 the recording level.

Cheers,
Andreas

[andreasOL]

in reply to: New Setup Question / Keyswitches #35031

Hi

…may I humbly bring my idea back into discussion…

http://www.audiobro.com/forums/viewtopic.php?f=22&t=810

Its advantages compared to the Kontakt bank solution are (well, IMO)
– multiple articulations per instrument can be selected at the same time
– you have the front panels of the instruments without going into edit mode via the wrench
– you have CC#1 synchronized for all sustain and all non-sustain patches separately

Mabe I need to document it better.

I can post the multi patch if that it okay. That should be the easiest way to test it.

I think this idea has some potential and I’d like to discuss it if there’s demand.

best regards,
Andreas

[andreasOL]

in reply to: Multiple key switched banks per kontakt instance #34819

Hi Andrew!

Thank you very much for your reply and I’m looking forward to hear from you.

In the meantime, I’d like to shed a bit more light on my own writing. I do this because I enjoy it and because not everybody has the same experience in programming. I know there are many people here which don’t need such explanations.

I use “bit fields” to represent e.g. the current active key switch state. A key switch is either active or not, a note is pressed or released. This is ideal information to be represented by a “bit” which can be 0 or 1. Kontakt’s integer (i.e. numerical) values are 32 bit values and so they can simultaneously represent the state of up to 32 “bit informations”. The constant variables I1, I2, … represent these values. I1 is 1 and represents a “set” bit 0 of an integer. I2 is 2 and represents a “set” bit 1 of an integer. I3 is 4 and represents a “set” bit 2 of an integer and so on. The step from one bit to the next is the next “power of 2” (1, 2, 4, 8, 16, 32,…). I only defined them up to I16. For my current test with LASS I only “need” the first 9 up to I9.

This bit thing eliminates the need for either two-dimensional arrays which Kontakt does not provide or using a very large one-dimensional array in which each element is only used to store a 0 or a 1. An example would be something like noteOn[128*5] to store the note-on state of the first channel in element 0..127, the note on-state of the second channel in element 128..255, of the third in element 256..383 and so on. Using bits you only need 128 element and you can store the state of not only 5, but up to 32 channels without changing the size of the array. It’s always a array with 128 elements.

Perhaps a bit confusing is the ksMask-Array. There I configure bit by bit the keys that act as key kwitches thus allowing for holes in the key switch area that starts at the related element of kswMin[bank number]. Setting bit 0 (= constant I1) makes the key kswMin a key switch. Setting bit 1(= constant I2) make the next key a key switch, etc.
Apart from how it’s done, the purpose of this mask is to have keys that do not change the current key switching state. Maybe that’s overkill

Here, Violins II have no harmonics patch and so G0 is no key switch in the Violins II bank, i.e. ksMask[1] (remember, array element with index 1 is the 2nd element of that array, as indices start at 0) has the 8th bit set to zero or in other words: I8 is missing from the addition of bit values. G0 is the 8th key if C0 is the first.

Okay, so far, so good Hope I got all the numbers right and that I made no typing errors.

A happy day to everyone,
Andreas

[andreasOL]

in reply to: Multiple key switched banks per kontakt instance #34817

edited my own posting…

I wrote: “key switches must not be continously” but I meant “key switches don’t need to be continously”

That was a totally wrong meaning

– Andreas

[andreasOL]

in reply to: High notes in Full Basses Bartok pizz #34816

@Andrew K wrote:

@andreasOL wrote:

Wish you a nice Sunday.

Andreas

What about my Saturday… it’s not even noon yet here in Los Angeles

Cheers,

Andrew K

Ooops…sorry… I was just having my dinner

Wish you a twice as good Saturday then

Andreas

[andreasOL]

in reply to: High notes in Full Basses Bartok pizz #34814

Hi Andrew!

I think that’s it. The note highlighting goes up to D2 so I thought these notes should play
“normally”. There’s also sometimes a note being heard at D#2 and even E.
Really nothing to care about in the end.

I’m currently building a template with a key switching multi script so I stumbled across this
patch and played around with it

Wish you a nice Sunday.

Andreas

[andreasOL]

in reply to: Sustain Ped. + repetitive notes #34455

Hi Sebastian,

yes, that helps!

Many, many thanks

Andreas

[andreasOL]

in reply to: Sustain Pedal Bug in 1.5 #34081

Hi

I cannot get the fix posted by Gabor to work. On every patch I have tried (legato and non-legato) notes stop playing whenever I release the sustain pedal while still having keys pressed. I checked that AA is turn off. Bypasssing the first script slot works as expected.

Great feature, by the way . So far I have only played with the supplied multies and it’s much fun and very inspiring.

regards,
Andreas

edit: I use Kontakt 4.1

[andreasOL]

in reply to: Crescendo/decresc techniques #33147

Hello Sebastian!

@Sebastian K wrote:

@andreasOL wrote:

@Andrew K wrote:

Also, it’s always good to remind people that when CC1 is up all the way, you are in effect playing back fff.
…

…
16 = ppp
32 = pp
48 = p
64 = mp (=mf)
80 = f
96 = ff
112 = fff
…

…
It helps me to think of CC1 (mod) as dynamic, and CC11/7 as volume. I’m not sure exactly what the numbers would be; even in a symphony orchestra, one conductor’s f is anothers mp. I’d wager your best bet is to (1) follow what your ears tell you is correct and (2) not forget about the extreme ends of the MIDI CC range. I would think of ppp starting at 0, and fff at 127.

You’re right, I was referring to dynamic. The numbers I listed were meant to be cc1 values, so I put ppp and fff between 16 and 112 while you put it between 0 and 127 which is not very different. I guess I have to learn that classical music has a much broader dynamic range than rock/pop or even simple guitar+voice. In a mock-up exercise I did the other day I wanted to use pp according to the score and put CC1 to 32 and I had to raise my DAW volume to hear it properly. But that’s just how it is in reality.

regards,
Andreas

[andreasOL]

in reply to: Crescendo/decresc techniques #33145

@Andrew K wrote:

Also, it’s always good to remind people that when CC1 is up all the way, you are in effect playing back fff. fff is really loud and should be used rather sparingly in my opinion… otherwise it just sounds too “loud”.

Cheers,

Andrew K

Hi,

regarding the relationship between CC1 and volume, am I right to assume that it’s about like this:

16 = ppp
32 = pp
48 = p
64 = mp (=mf)
80 = f
96 = ff
112 = fff

I am just starting with LASS and this is my first posting. I’m going to introduce myself later in the lounge.

regards,
Andreas

[Author]

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