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Spitfire has just released their new solo string library, which is designed to complement their chamber and symphonic strings packages, all recorded in Air Studios London. There are three violins (virtuoso, 1st chair, and progressive) along with solo strings for viola, cello and bass.

I've re-recorded this piece using the chamber strings with the solos added for first chairs and the virtuoso violin for the solo. The end result with the added solos represents an ensemble of 5-5-5-5-4. I think the detail in this library is exceptional, especially with variations for vibrato and dynamics added to allow the various player's lines to blend or stand out as desired.

This piece was originally transcribed in Notion, where a ruleset was used to change techniques and velocity, and then exported to Studio One 4. The various lines were then duplicated and adjusted for phrasing and the subtle variations between different players in each section, and the divisi sections were edited and adjusted so that they didn't double-up and clog the mix. All told, there are 18 tracks in the Studio One project.

Thanks for listening, and as always, feedback is appreciated!

Michael

Quite a feat again Michael!

Of course, we could comment on what could be -or should be, or might be- up-bow, down-bow, spiccato or sautillé and how much, and when, or on how the dynamics could be tweaked here and there, but at this stage in the game, it is besides the point, I must say.
The fact is simulating classical solo violin on a computer remains a high wire act, and you just successfully walked across the Niagara. . .

My reference from the real world was the Royal Ballet Symphonia version under David Lloyd-Jones on a Naxos recording that can be heard on Youtube.

Thanks for sharing this.

Marcato wroteQuite a feat again Michael!

Of course, we could comment on what could be -or should be, or might be- up-bow, down-bow, spiccato or sautillé and how much, and when, or on how the dynamics could be tweaked here and there, but at this stage in the game, it is besides the point, I must say.
The fact is simulating classical solo violin on a computer remains a high wire act, and you just successfully walked across the Niagara. . .

My reference from the real world was the Royal Ballet Symphonia version under David Lloyd-Jones on a Naxos recording that can be heard on Youtube.

Thanks for sharing this.

Thanks for the detailed listening, as always, Marcato and the complements! I think that Lloyd-Jones recording might be the only one out there, which is odd given the popularity of Rutter's Carols and vocal work.

I could start working more detail in terms of spiccato, and certainly that technique is available in the Spitfire libraries (no sautillé but there is bounce spiccato in some cases?). But I wouldn't know where to place them. Any thought on how I might learn more about these playing techniques? Or when they should be used in a string performance?

Here's an alternate take, using Virharmonic Bohemian Violin and Cello for the exposed solos, with Spitfire Solo Strings for the first chairs.

I'm convinced that the Bohemian instruments are unparalleled for exposed solo string performances.

I also added a bit of reverb for a warm room tail.

Well, Michael, it's all for you to grasp directly from the masters at Google's Conservatory. . .

Just try entering spiccato vs staccato. There are quite a few examples and scholarly explanations on Youtube, Quora, Wikipedia and elsewhere.

Here, I tried to learn the bow trade intuitively to avoid "keyswitching" each and every note to kingdom come in a progression.

For example, to alternate up-bow and down-bow in a phrase, I write the line twice and replace every second note on line one by its version of a different flavor from line two.

Now I'm talking about up and down bow but it could well be staccato & spiccato or pizzicato & staccato.

The only other way is to record a passage by playing it in real time at the MIDI keyboard, which is not that obvious if you're not a trained pianist.

If what I'm now writing is not that obvious, just say so and I'll try to build a suitable example as soon as I can find time.

And yes, your bohemian version seems a tad more articulate, but it could just be a matter of "fluency" or responsiveness of the specific software.

Au revoir

Spine tingling and wonderfully realised. Perfect balance, the low end in particular has that understated yet powerful tone heardin real-life acoustic performances. At 0.43'' I was drawn into the virtual space and had a real sense of 'being there'.

Thank you for this beautiful rendition.

Rudi_UK wroteSpine tingling and wonderfully realised. Perfect balance, the low end in particular has that understated yet powerful tone heardin real-life acoustic performances. At 0.43'' I was drawn into the virtual space and had a real sense of 'being there'.

Thank you for this beautiful rendition.

Thanks for listening and the kind words, Rudi! Single release coming very soon.