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Each instrument is getting different controller input altering bow pressure, bow position, bow speed, pitch (bend), vibrato speed, and depth to name a few. Next, none of these instruments are playing exactly the same thing (even if it’s the one note). Everyone else is a couple of cents flat or sharp. Also, no one is bang in tune except for the concertmaster. Audio modeling has kindly included several modeled body types named after their favorite vacation spots and each of these bodies is making it’s own unique resonances.Įach player in my section is one of two Cremonas, Firenzes, or Venezia bodies. Please listen up to the crescendo and come back.įor starters, none of my violins, violas, cellos and bases are really the same instrument. I’ve got 16 SWAM first violins, 14 second violins, 10 violas, 10 Cellos, and 7 Basses playing the same unison note (in octaves). This is an excerpt from my mockup of John Williams’s Escapades. Here’s an example of a sectional string unison played on SWAM strings with no phasing. We have far fewer vectors to play with and we’ve got to milk those for every thing they’re worth. The sound of two real instruments in ensemble is defined by very many more control vectors on top of which you have the physics of the room they’re in. So how come this doesn’t happen in real life? That’s because identical twins playing the same tune on identical instruments aren’t really playing the same thing. The spectra of both instruments will be too similar. If you track two or more instances of any Sample Modeling or SWAM instrument in unison with just an expression, modulation controller, and keyboard as your Midi input, you WILL phase. Particularly if you give them non-complex controller input. Multiple modeled instruments playing the same musical material tend to make pretty uniform spectra. Modeled instruments in sections tend to be problematic.
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So for example, instead of a sectional French Horn library I have 4 instances of a Sample Modeled Horn and 10 instances of a SWAM Cello would be my Cello section. Over the last couple of months I’ve evolved my orchestral template away from sampled instruments to modeled instruments by Sample Modeling and Audio Modeling. I haven’t seen much chat here on using SWAM or Sample Modeling instruments in sections, and thought i’d pipe in with my process for anyone who might find it interesting.