Thanks Martin,
I always feel bad when you take the time to reply - I don't want to take you away from working on enhancements but thank you for the considered response. I was thinking other members of the forum would reply. I have a fairly good concept of how sampling is done and what is involved in obtaining good quality samples, but I do have a couple of questions about one or two tiny details with regard to how the "voicing" that is available to us works. One day I will get those questions well-formulated and posted and maybe I can have my knowledge/concept expanded just for the sake of knowing, not that I will ever be doing any sampling myself. I'm old school that way, sometimes I just like to know things, even though I don't need to really need to know them.
The wet samples with a different acoustic response for each note might indeed apply. I hadn't thought about that.
Maybe longer samples, but Allen had introduced fairly long samples with their MDS models as well as as sampled releases. I'm pretty Allen also has multiple loops and samples running in their current technology. BUt maybe not as long or as many as in some HW sets though.
I thought multiple releases were only necessary for "wet" samples to capture the different acoustic responses, but maybe I don't have a full understanding of it. I know Allen uses totally dry samples and relies on convolution reverb (they bought up the patent rights to convolution reverb from the group in Australia when it first appeared, that's why it was so late coming to the general market in the USA.)
The wind flow and wind model I'm sure could account for a big part of the added realism.
Thanks again,
John
I always feel bad when you take the time to reply - I don't want to take you away from working on enhancements but thank you for the considered response. I was thinking other members of the forum would reply. I have a fairly good concept of how sampling is done and what is involved in obtaining good quality samples, but I do have a couple of questions about one or two tiny details with regard to how the "voicing" that is available to us works. One day I will get those questions well-formulated and posted and maybe I can have my knowledge/concept expanded just for the sake of knowing, not that I will ever be doing any sampling myself. I'm old school that way, sometimes I just like to know things, even though I don't need to really need to know them.
mdyde wrote:- Wet samples (especially due to the real original acoustic, which differs for every pipe), recorded in stereo or surround.
- At least one sample per pipe.
- Much longer samples.
- Real key-release samples (as opposed to just fading out the sustain portions).
- Multiple release samples.
- Multiple loops.
- Flow randomisation model (which is on by default, even if the wind supply model is turned off).
- The wind supply model.
The wet samples with a different acoustic response for each note might indeed apply. I hadn't thought about that.
Maybe longer samples, but Allen had introduced fairly long samples with their MDS models as well as as sampled releases. I'm pretty Allen also has multiple loops and samples running in their current technology. BUt maybe not as long or as many as in some HW sets though.
I thought multiple releases were only necessary for "wet" samples to capture the different acoustic responses, but maybe I don't have a full understanding of it. I know Allen uses totally dry samples and relies on convolution reverb (they bought up the patent rights to convolution reverb from the group in Australia when it first appeared, that's why it was so late coming to the general market in the USA.)
The wind flow and wind model I'm sure could account for a big part of the added realism.
Thanks again,
John