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I've always wanted to play strings in the closest way possible to the real thing, being able to imitate it's natural nuances, portamento, etc... Is there anyone with experience on this matter? Is there any technic?

Pr0

P.S.: I hope you guys understand what I meant...

I am not aware of playing technique to match real strings, and I believe editing is the only way to achieve realism. Save for auto articulation software which I'm really not familiar with.

One thing I have found handy is breath controller which enables some extra articulation. I use the Yamaha BC-3 with Midisolutions BC->MIDI box.

Ofcourse playing multiple interconnected melodies simultaneously help the perception, like counterpoint and harmony.

I have tried to play strings with the Continuum too but I have yet to try the different rounding options as playing larger chords in tune is VERY difficult. What Continuum brings is polypressure (Z axis), a kind of 'polymodulation' (the Y axis) and 'polybending' (X axis). (are those even real words? )

If you can stop playing like a keyboard player for a start, then you will get better stings instantly. Keyboard players tent to play chords as they land on them. Where if you land on a Chord of C when playing strings, if that chord is held for a few beats you should try play a few inversions of the chord during this duration where the chord is to be held. This will create a moment in the sound just like a real orchestra will, even though your technically still playing the same Chord.

Also your left hand is very important and should always be active doing bass note runs at all time. An orchestra is always moving, not like a keyboard player generally plays and lands on a chord.

After that if you want to get more realistic sounds, you need multi layer sounds with different articulations on them, and a lot of time to do all the programming / sequencing that allows you to switch between them all.

Regards.
Sharp.

+1 with all that's been said so far…
(the following are some random thoughts)
• Additionally , when you voice chords , spreading the harmony out
in open voicing, e.g., C chord would not be spelled, in general, C-E-G ,
but rather C below middle C, G below middle C, then E above Middle C. This is a very general spacing method with exceptions everywhere but hopefully illustrates my definition of open voicing. Be cognizant of what register each of your parts is played and apply
an SATB approach (Violins-soprano/Violas-alto/Cellos-tenor/ContraBass-Bass) Nothing is written in stone however !!

• If you or someone you know plays a Yamaha WX-5 wind controller and is a competent player, their sense of breathing and phrasing can yield some impressive results also.If you're using the Oasys as your sound source you must setup the filter and amp setting to be modulated (open and closed) by CC 2

• Write out your string(s) parts and hire 1 string player to play the part
and have many midi string parts underneath the audio part recorded by your
live player… then ask him/her for some examples of some idiomatic articulations that string players play and be sure and record them with
some type of recorder for future reference. Have the the live part the most prominent in your mix

• Listen, listen, listen to as many recordings of symphonies, string quartets
etc. as you possibly can and learn how other composers handled writing parts for the string section.

• Buy the Vienna symphony string library and view their online tutorials
http://vsl.co.at/
read the tutorials under Vienna Academy

backgournd - http://en.wikipedia.org/wiki/Vienna_Symphonic_Library

HTH - Schweats

I think Sharp pointed out the most important prerequisit: stop thinking keys and learn thinking strings. Understand the various types of string-instruments, the way they usually interact, their different playing techniques etc. Then find ways to imitate using playing technique and controllers.

It's interesting that no other instrument faces this challenge. As a keyboard player you are challenged to understand strings, guitars, drums, percussion, bass, flutes, horns etc. Most of the other instrumentalists are allowed to focus on "their" instrument.

BTW Zawinul said in an interview, that the most difficult instrument to play on a keyboard is "the synthesizer" - he described it as "a beast that's very hard to master". I love this view as it moves my focus to where I believe it should be: regard a synthesizer as an instrument of its own class instead of an "imitation machine".

A breath controller... I totally forgot about that. What breath controller could I try/buy?

I use a Yamaha BC3A with an adapter that converts it's output to MIDI :

http://www.midisolutions.com/prodbth.htm

When I use that I create a custom Program to work it.

It's well worth seeing what you can you do with the existing controllers and something more generally useful like an expression pedal before going down that path.

Daz.

Daz wrote:I use a Yamaha BC3A with an adapter that converts it's output to MIDI :

http://www.midisolutions.com/prodbth.htm

When I use that I create a custom Program to work it.

It's well worth seeing what you can you do with the existing controllers and something more generally useful like an expression pedal before going down that path.

Daz.

Is the Korg XVP-10 of any use for this purpose?

Is the Korg XVP-10 of any use for this purpose?

It will give you more expression, but nothing as natural as a Breath Controller. Your breath is very irregular compared to a foot sitting on a Pedal which is what makes it sound more "Live".

My advice would be if your thinking of using the Pedal, record your stings into the sequencer first and overdub with the pedal. This will allow you to focus on what your doing more.

Regards.
Sharp.

Sharp wrote:

Is the Korg XVP-10 of any use for this purpose?

It will give you more expression, but nothing as natural as a Breath Controller. Your breath is very irregular compared to a foot sitting on a Pedal which is what makes it sound more "Live".

My advice would be if your thinking of using the Pedal, record your stings into the sequencer first and overdub with the pedal. This will allow you to focus on what your doing more.

Regards.
Sharp.

This breath controller thing is making me hitch. If I'm getting it right, a one would give me a whole new way in playing strings, right? There's just this thing... isn't a breath controller suppose to play with wind instruments only (saxs, flutes, etc.)?

The BC3A just generates controller data that you can use to control anything. By default it generates the equivalent controller message to Korg's JS-Y (CC#2 - Breath Controller), i.e. pulling the joystick towards you. As Sharp mentioned, it's a very agile input mechanism in comparison to an expression pedal.

Personally I found to get the results I wanted I needed to tweak my own Programs. If that isn't in your repertoire this technique may not be for you.

What about the Yamaha WX5 Wind MIDI Controller?
http://www.yamaha.com/yamahavgn/CDA/Con ... TID=208500

Other than the fact that you have to learn how to play it first, they are fantastic. I use one myself connected to a Yamaha VL70-m.

I have in the past connected it to a KORG Triton Studio, but I haven't done any work with it connected to my OASYS. You do need to customise your sounds to get the most from it though.

Regards.
Sharp.

That would work for the most part, but will not allow for the fact that stringed instruments are 4 note polyphonic

Speaking of polyphonic stringy things I just a brainwave ... I've yet to combine my MIDIfied guitar and eBow I wonder what that would be like as a MIDI controller

p.s. hi wombat ... I see we share another thing in common (BC3A + midi solutions box this time)

p.p.s. it's a shame we don't have something like the envelope follower in the Radias. This lets you use a mic and your voice/mouth as a controller in a similar vain to the breath controller. You could do this with the MS20EX, I wonder if/what you can do in the other EXi that have audio inputs and can play samples. Will ponder that one.

Daz wrote:p.s. hi wombat ... I see we share another thing in common (BC3A + midi solutions box this time)

Yes, it is a great little controller that one.

I got one when I bought the Yamaha EX5 lots of years ago, the synth had a direct connection for the BC3. When I sold the EX5 couple of years back the BC was already broken. (remember to clean the tubes now and then) Then when I found that MidiSolutions makes a midi box for the BC I ordered it and the new BC3A for my OASYS.

I have no idea what's the difference between BC3 and BC3A, looked the same to me. Perhaps a bit different shaped cushions.

How do you wear yours? I'm finding it easiest around my neck with the shorter tube attached, where it can be picked up with the teeth when needed.