I agree. I do like the new GOS solo strings to some degree depends on the context it's used in , and the small group sections are actually quite nice and easy to use. The new GOS solo strings require judicial use of CC, CC68, and the right mix of key-switches, but they can be nice if you need a louder and more powerful soloist. I pretty much keep CC set to , and use the legato pedal frequently with the new GOS solo strings. During rally fast passages, the shorter bow articulations, and the detache key-switches are also quite helpful. If the tempo is fast enough, clean runs are quite possible as well by hopping over to detache, martele, sautille, etc.
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I agree. I do like the new GOS solo strings to some degree depends on the context it's used in , and the small group sections are actually quite nice and easy to use.
The new GOS solo strings require judicial use of CC, CC68, and the right mix of key-switches, but they can be nice if you need a louder and more powerful soloist.
I pretty much keep CC set to , and use the legato pedal frequently with the new GOS solo strings. During rally fast passages, the shorter bow articulations, and the detache key-switches are also quite helpful. If the tempo is fast enough, clean runs are quite possible as well by hopping over to detache, martele, sautille, etc. Do ignore what the articulations are named in the library, and use your ears to simply pick and choose what happens to work best for a passage :.
Someday I'm going to attempt to have a key-switch that loops the detache samples or some other choice portion of a sample as well, so I can get a bit more flexibility on slower runs and passages where I don't want vibrato or amplitude swelling effects.
I guess it'd be something like a 'simple, no vibrato, scale' mode? I don't think it is part of the official documentation, but while poking around in the SFZ I discovered that CC can be used to change the sample offset where ARIA starts playing the sample to some degree. So, a higher CC value will start the sample later, and give the impression of a faster attack. Also, using legato pedal CC68 can help cut out some of that long and slow attack.
I have not really had time to dig into it, but it is possible to fix things we don't like about Garritan Libraries as users to a pretty large degree. Some instruments need their range increased a little. Some instruments have some bad loop points for some notes Oboe D'Amour as one example. Sometimes there is a bit of bow noise or something at the start of a sample fine if occurring just once in a random place that can get too repetitive and unnatural in an actual sequence GOS Tutti martele for viola , so one could change the sample offset starting point.
Sometimes the dynamic envelops are close, but not quite right situational needs. Sometimes one might like to add new key-switches for more user-created articulations. For orchestral percussion, sometimes we just need to go make our own sample of something real quick and somehow get it into ARIA as part of one of our percussion kits. As a user, one can edit all this stuff in the instrument's SFZ file Do make a backup copy of the sfz first. It is a text file containing simple opcodes.
The included samples of Garritan Libraries are slightly encrypted phasing and such is altered, and ARIA fixes it in real time ; however, one can open them in the free Audacity DAW to get enough of a waveform overview to get an idea of things like loop-points. It's also possible to 'resample' things if you really need to 'edit' the sample itself. So it's possible to bring in 'your own samples'. Here in the forum users sometimes share edited versions of SFZ files as well.
I've provided a few for extending the range of the choirs, and fixing some drum kit issues. At some point a user provided an Oboe D'Amour loop point fix.
In short It can make a nice overlay for lush mixes if you have a slot using a legacy solo, or tutti violin 1 section, and another slot with the new GOS tutti set to the same channel, and have CC set to Out of the box, even with the CC and CC68 tricks, the GOS Tutti strings are just too 'laggy' on their own, due to the long attack It's as if the note starts with the bow from a dead stand still Someday I'll take a closer look at reworking the SFZ files to take advantage of the samples The good news is, all the String stuff from GPO4 is still there, and it all works and sounds and it always did.
One can ease into using, understanding, and correcting issues with the new GOS stuff. It's great stuff to have for a tracking DAW user for layering up and getting more textures throughout a piece, but it's not likely to be the default slate of 'go to' string sounds for simple composition and play-back stages of a project.
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Garritan Orchestral Strings availability
After creating the ultimate harp library, has Gary Garritan managed to succeed again with the most ambitious sampled string library ever undertaken? Gary Garritan took violin lessons as a child and later studied the harp as a teenager, providing the inspiration for creating GigaHarp, a sample library that helped put GigaSampler on the map in However, returning to his first instrument, Gary decided that none of the existing string libraries were good enough and resolved to create his own. The resulting achievement is an 8GB library on 16 CDs or 2 DVDs devoted to reproducing the performance nuances of orchestra-sized string ensembles — a vast and ground-breaking piece of work. The recording sessions took place over a two-week period at New York's Lincoln Centre using a hand-picked team of string players with priceless instruments, including a couple of Stradivaris — the Rolls Royce of the stringed instrument world. The manual supplied with GOS is practically a work of art on its own, supplied in a ringbound folder containing the discs and an extensive, well-written, and beautifully printed guide to navigating and using the library.
unbearable noise in garritan orchestral strings
Garritan Orchestral String Lite