11/4/2022 0 Comments Musescore legato![]() The main confusion and dilemma currently is that they have now done a few different string packages newly-recorded for the Synchron series, which is unusual for that company and in some ways seems a reaction to some (in my view unfair) criticisms received for their first Synchron Strings package. The original libraries have now all been SYNCHRON-ized except for the mid-sized Orchestral Strings, which apparently are fully replaced by the from-scratch Synchron Strings. They have some innovative legato handling that has gone the extra mile during the past year or two, and they have applied their new techniques to older libraries at this point, in the context of the refactoring for the Synchron Stage versions.Įxpensive libraries, but on sale frequently and possible to buy incrementally or even via "taster" editions that include a wide collection of instruments. ![]() Works great for pop and score stuff.Įasy answer: VSL. I often blend the SWAM strings with sections recorded with other libraries combined, I get the fullness of the samples and the articulation of SWAM. #Musescore legato full#I won't claim to be putting together presentations like the linked Audio Modeling demo, and I'm not doing full orchestral mock ups, but I get some very satisfying solo legato performances down in real time using the SWAM Strings with the aforementioned controller. Note that the TEControl BC Controllers include an application that allows the user to adjust sensitivity, range, attack and release per parameter. After Touch from my keyboard controller is assigned to Vibrato Depth. Head Front to Back Inclination = Bow Pressure Head Side to Side Inclination = Vibrato Speed super intuitive, especially if you've ever played a wind instrument) I have mine set up to work with the SWAM Strings as follows:īreath = Expression. ![]() A very capable VI for sure, but a LOT of work.īut, that said, the TEControl gives you four axis control with this. I use pedals, two wheels and lots of automation with SWAM solo strings, and I can't even come close to these examples. I think a lot more is going on than just a breath controller. Not only does it look better, but it really helps with general reading and is vital for sight reading smoothly.The amount of work that goes into something like this is not immediately apparent. Basically, never let the stems and legatos rub up against each other, and make each note stem under or above the legato face the same way. ![]() If you have a legato marking that bridges from a stem that goes up to one that goes down, edit the first stem’s direction to face the same way. The rule of thumb is that they should be mirror to the direction of the note stems. In one of your comments you said you want to nail the formatting, so from one obsessive composer to another, an extra critique I have is that your legato/slurs in the score are on the wrong side. ![]() Things like bowing should always be above the staff I believe. If you have like a middle b, the articulation should be directly above the note head. Things like accents, legato and staccato should be attached to the note. Keep dynamics and expression stuff to the bottom. When giving these to the actual players, write their parts in separate staffs entirely. If one part goes and then remains lower than the other, switch the sides for the markings and dynamics. One part’s markings and dynamics should be entirely on the top, and the same for the one on the bottom. When you’ve got two parts in one staff, you should give each part their own side of the staff. This is a little long, but I wanna be as thorough as I can for you. ![]()
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