MOTM

Michel Havenith writes:
>>Just to give you some other specific violin sound items to think 
about: try listening to (for instance) a g2 played on E string and 
then to the same g2 played on A string - quit a different sound. Or a 
G (1 octave below g1) on the D string compared to the same G on the G 
string. Both are sounding dramaticaly different. And what about 
spiccato, short spiccato, broad spiccato, staccato, detach\ufffd and
many more bowing techniques that will nut just slightly, but totally 
change the sound character? Les already indicated that a lot of 
parameters are needed to get a convincing string sound and I'm not 
talking about "every possible obscure form of playing" here! Your 
answer could be that only the good string players can manage these 
techniques, but then I guess in trying to synthesize a 'real' string 
sound you want to go further then playing 'Old Mac Donald' on two 
strings?<<

Boy, you're way behind on e-mail it looks like.

Synthesizing 4 different versions of every note just because it's possible for 
a violinist to do, isn't important.  I don't even know of any really indepth 
sample libraries that go that far.  That won't make a synthesized violin sound 
any more real.  As for bowing styles, some of that will be controlled by 
velocity, foot pedals and foot switches.  I have many string sample libraries 
and am well aware of the different styles.  I think some people are missing the 
point though.  I want realistic sounding strings with beautiful tones and 
smooth expressiveness (no cross switching but morphing between all 
parameters).  They will be good for fast and slow playing (samples usually 
sound fake for fast stuff), such as typical Baroque music or generic solo 
string parts.  What people seem to think is that I have to mimic every little 
nuance that might be heard in the most complex and extreme romantic era violin 
concerto.  That's not what I'm going for and it's an impossible goal anyway.  I 
can go beyond 'Old Mac Donald' even on my years old Nord Mod strings, and some 
people have even questioned whether they were manipulated samples of some sort, 
and some others wanted to buy them from me.  They were only a starting point or 
a test, but if they can generate that kind of interest then something 10 times 
better could make a great product.  It will fill the missing gap that the 
latest physical modeling synths still can't do.

-Elhardt