FriFlo wrote: ↑
Fri 27 Dec 2019 15:52
Well, speaking of those features like Staccato legato scripting - actually VSL did many of those repetitions on their libraries years ago! So, I wouldn't say we don't have the technology to accomplish it (maybe not as good as live, but a lot better than what we got)! But the thing is, in spite of so many companies producing samples these days, there hasn't been significant progress in the last 10 years! We got samples that sound better out of the box and arguably that is progress, as it is not possible to make a Sample Modeling or VSL sequence (both being pretty dry) to sound perfectly as a recoding in Teldex or Air Studios. You might get far with it, but when all of your sounds in a piece are done like that, you get a plastic sound form it. This is particularly the case listening to VSL Demos with prominent brass.
But apart from having more options of libraries recorded in situ with more or less reverberant room sound, we have hardly any progress in making articulations more convincing. Only with modeling we have a small advance in this area at the cost of more or less more plastic sound ...
And the reason for this is the dumb masses buying samples from developers with very limited imagination. Look at what Spitfire does! They made some orchestral libraries, a few decent ones like the Chamber Strings. Ok, form then on, they could have done more articulations and special techniques! But instead, they did lots of ambient pad sounds for lazy composers that just want to hit a few keys and have a decent track laid out.
Orchestral Tools had more imagination from how I see it. Their software player shows, that they still have! But JXL is a big step back from that! Instead of improving Berlin Brass, which was great with some flaws, they also joined forces with "one of the most stable geniuses" in the world of composition and basically produced a BRAMMM-library. Just imagine, what they could have done with the same resources to improve on Berlin Brass?
Who is to blame for it? The developers? The customers who are to limited to understand? Or a little bit of both?
It seems clear to me, that capitalism and free market does not always lead to the biggest progress possible. But you cannot avoid seeing that technology alone would allow for much greater tools compared to what is available. There is just no market for it, as there are hardly any composers left who would even notice ...
Oh, good ol' VSL did it! I don't pay so much attention to them because I don't like the sound of most of their libraries... just to close and too much work (if it works at all) to make it sound like a nice large studio/concert hall recording, which is my usual sound preference.
Quite unfortunate that others haven't picked up on that and there indeed isn't much innovation happening across most labels. Except playability - actually Spitfire for instance has the Performance Legato patches. The big problem though is - the actual legato is not very good haha (or inconsistent. Some things sound very good, others... meeeh). So yea, great intuitive switching between lyrical and runs legato + staccatos - too bad that they can't do the actual legato really well.
But in terms of scripting innovation - I have high faith in Performance Samples and their outside the box thinking when it comes to sampling. There are already examples of exceptional scripting (Violins A - mad legato, Fluid Shorts II and it's auto speed, Oceania Choir with the insanely fluid staccato/longs and everything in between switching etc) and certainly much more to come!
By the way, from what I have heard of Junkie XL Brass I'm not fully convinced by anything except Tuba ans Trombones, but it's far from BRAMMM library. The way the staccatissimos are pulling of repetitions is mad and 5 dynamic layers is fairly unusual. Even though the crossfading into higher dynamics is anything but smooth. :(