Lovely piece, Vince! Agreed - Version 1.7 has some fantastic improvements. Amongst other things, the Marcato artic is a lot more versatile with a more controllable dynamic response, the vibrato amount is continuously variable, and they finally fixed the volume disparity between legato and poly modes, notably for the Sustain artic. My only reservation is the Con Legno volume - it needs a dedicated patch cranked up to +12dB to hear it. I too would be interested in your approach to Divisimate - it's a real time saver, and I use it far more than I thought I would.
Heya thanks for watching! Is it just my copy or does the viola legato patch disappear at the lower CC dynamic levels in 1.7? Divisimate - I love it dearly but so far it's not been a big part of my regular workflow. Currently it's more of a jamming tool for me - just building different orchestrations, learning what sounds good and improvising, but who knows - I might use it on a project if the right situation came up. I generally find it easier to stay in the flow by sketching things in using ensemble patches/piano. Something about switching back and forth between programs throws me a bit still.
@@vincecomposer I just checked all the mic positions for all articulations in my 1.7 Violas, and I'm not losing anything at the lowest dynamics. Whilst it's true that the long artics all go down to 'niente' (which is one of the things I like about CSS) there's still something audible right down to the last moment. I don't know which keyboard controller you're using, but it's possible you have a dodgy mod wheel or fader that cuts off prematurely. I had this problem with my Kurzweil PC3, but I had the mod wheel and all the faders replaced and the problem went away. Have you tried assigning a different fader to Control CC1 to see if it still happens?
Thanks for the idea! Right now divisimate isn't part of my regular workflow - it's more a specialist tool for very specific situations or something to just have fun making quick sketches with. Definitely still exploring it though!
Thank you for your useful insights. I'm totally guilty of just cranking the dynamics parameter as I play a part live. While that is an improvement over my noobiness of never adjusting the dynamics layer at all there is so much subtlty that is lost up in 127 too much. I've finally purchased a pretty nice library (Spitfire Appassionata) and all those tiny movements really add up - so real intention is a must. Subscribed!
Hi Vince, I love all of your work, I've just discovered you today. I have a painfully boring question, but do you have any thoughts about your favourite solo strings vst, CSSS or SWAM? I'm looking to get one and have narrowed them down to those two.
Hi and welcome to the channel! It depends what you're primarily trying to do - is it for writing and demo-ing ideas? Or to use on a finished production? Personally I like SWAM for a lot of things but it took some time to get accustomed to using it and it also lacks grit. For playability and for staying true to the ideas in your head it's my favourite right now with Sample Modeling a close second. SWAM also has some playable 'special fx' stuff up it's sleeve which is handy. CSSS is great and of course works well with CSS. Cremona quartet is also worth looking at if you want more options and are doing something quite exposed. The big downside of both of these is that (for me) it generally takes longer to program and therefore isn't great for the writing stage.
@vincecomposer Thank you immensely for your reply! I am looking to write mock ups that I can give to performers, but also to help me auralise what I am writing. I'm writing for piano/viola/violin/cello and need the solo instruments. I was intially drawn to CSSS, but it's seems a bit too restricted to a specific polished sound that doesn't quite appeal to me. SWAM seems maybe a bit more fun. I do like the idea of feeling connected to the performance, so perhaps the level of control with SWAM is something I might embrace. I think your point about CSSS taking longer to program is the real kicker. I want to enjoy immediacy! I'll have a look at Cremona as well, sounds interesting. Thanks again 🙏
@@MatthewJohnHunterMusic ah great that’s a nice clear goal. Yeah Swam would be great for that especially if you’re able to control a few of the parameters in real-time eg with a pedal or breath controller
7:38. Quirks... :). I still haven't quite got to grips with it, mainly due to latency and timing. A bit frustrating at times, like trying to grab a particularly slippery bar of soap :). 25:17 I found the final movement a bit of a departure from the main theme which I love, deliberate I am sure, and an attack of percussion might have trampled on the overall sentiment. I get fed up with hearing gratuitous percussion which often seems to be thrown in for all the usual suspects.
Yes! For me the percussion thing is related to the temptation is to try to manufacture a sense of awe/respect in the listener by making everything huge. But to me the truly great works of music are much more effortless in their approach: 'scale' or 'attack', where it occurs at all, exists as a by-product of the piece's overall unity, and serves a particular function in a particular context.
Gorgeous piece
Cheers Reuben, thanks for listening!
For the strings of the CSS, try setting Spot 1 extremely to the RIGHT and Spot 2 to the LEFT. It gives a very nice stereo sound.
thanks for the tip!
Lovely piece, Vince! Agreed - Version 1.7 has some fantastic improvements. Amongst other things, the Marcato artic is a lot more versatile with a more controllable dynamic response, the vibrato amount is continuously variable, and they finally fixed the volume disparity between legato and poly modes, notably for the Sustain artic. My only reservation is the Con Legno volume - it needs a dedicated patch cranked up to +12dB to hear it.
I too would be interested in your approach to Divisimate - it's a real time saver, and I use it far more than I thought I would.
Heya thanks for watching! Is it just my copy or does the viola legato patch disappear at the lower CC dynamic levels in 1.7?
Divisimate - I love it dearly but so far it's not been a big part of my regular workflow. Currently it's more of a jamming tool for me - just building different orchestrations, learning what sounds good and improvising, but who knows - I might use it on a project if the right situation came up.
I generally find it easier to stay in the flow by sketching things in using ensemble patches/piano. Something about switching back and forth between programs throws me a bit still.
@@vincecomposer I just checked all the mic positions for all articulations in my 1.7 Violas, and I'm not losing anything at the lowest dynamics. Whilst it's true that the long artics all go down to 'niente' (which is one of the things I like about CSS) there's still something audible right down to the last moment.
I don't know which keyboard controller you're using, but it's possible you have a dodgy mod wheel or fader that cuts off prematurely. I had this problem with my Kurzweil PC3, but I had the mod wheel and all the faders replaced and the problem went away. Have you tried assigning a different fader to Control CC1 to see if it still happens?
@@Nick.Magnus Interesting, thanks!
Hi, could you please tell me the reference of the breath controller you use?
Hiya, it's a tec control breath and bite! Would recommend :) www.tecontrol.se/products/usb-midi-breath-bite-controller-2
@@vincecomposer thank you very much for your quick answer! Best
Would love to see a video of you on how you use divisimate in your composition. From scratch to finish 😊
Thanks for the idea! Right now divisimate isn't part of my regular workflow - it's more a specialist tool for very specific situations or something to just have fun making quick sketches with. Definitely still exploring it though!
Thank you for your useful insights. I'm totally guilty of just cranking the dynamics parameter as I play a part live. While that is an improvement over my noobiness of never adjusting the dynamics layer at all there is so much subtlty that is lost up in 127 too much. I've finally purchased a pretty nice library (Spitfire Appassionata) and all those tiny movements really add up - so real intention is a must.
Subscribed!
100 % Thanks for the sub!
Hi Vince, I love all of your work, I've just discovered you today. I have a painfully boring question, but do you have any thoughts about your favourite solo strings vst, CSSS or SWAM? I'm looking to get one and have narrowed them down to those two.
Hi and welcome to the channel! It depends what you're primarily trying to do - is it for writing and demo-ing ideas? Or to use on a finished production?
Personally I like SWAM for a lot of things but it took some time to get accustomed to using it and it also lacks grit. For playability and for staying true to the ideas in your head it's my favourite right now with Sample Modeling a close second. SWAM also has some playable 'special fx' stuff up it's sleeve which is handy.
CSSS is great and of course works well with CSS. Cremona quartet is also worth looking at if you want more options and are doing something quite exposed. The big downside of both of these is that (for me) it generally takes longer to program and therefore isn't great for the writing stage.
@vincecomposer Thank you immensely for your reply! I am looking to write mock ups that I can give to performers, but also to help me auralise what I am writing. I'm writing for piano/viola/violin/cello and need the solo instruments.
I was intially drawn to CSSS, but it's seems a bit too restricted to a specific polished sound that doesn't quite appeal to me. SWAM seems maybe a bit more fun. I do like the idea of feeling connected to the performance, so perhaps the level of control with SWAM is something I might embrace. I think your point about CSSS taking longer to program is the real kicker. I want to enjoy immediacy!
I'll have a look at Cremona as well, sounds interesting.
Thanks again 🙏
@@MatthewJohnHunterMusic ah great that’s a nice clear goal. Yeah Swam would be great for that especially if you’re able to control a few of the parameters in real-time eg with a pedal or breath controller
Can you do a video showing how you get clients for film scoring or ads?
Yes! I'll add it to my list.
7:38. Quirks... :). I still haven't quite got to grips with it, mainly due to latency and timing. A bit frustrating at times, like trying to grab a particularly slippery bar of soap :). 25:17 I found the final movement a bit of a departure from the main theme which I love, deliberate I am sure, and an attack of percussion might have trampled on the overall sentiment. I get fed up with hearing gratuitous percussion which often seems to be thrown in for all the usual suspects.
Yes! For me the percussion thing is related to the temptation is to try to manufacture a sense of awe/respect in the listener by making everything huge. But to me the truly great works of music are much more effortless in their approach: 'scale' or 'attack', where it occurs at all, exists as a by-product of the piece's overall unity, and serves a particular function in a particular context.
@@vincecomposer Indeed. I blame Hollywood...for everything.... :)