Re: Ni Session Strings Pro Crack
Jahed Stetter
Hi all! I would love to adjust the dynamics of my strings in Ableton, but so far when I try and adjust the Envelopes (1 - Modulation or 11 - Expression) it has no affect on the sound. Any ideas as to how to implement this, or does Session Strings simply not respond to these adjustments?
just right click on the velocity switch fader and select "learn midi cc" and move the mod wheel, for example. I also wonder why its not already mapped, like with other libraries. Any way you can quickly learn the fader and then play a bit with the velocity switch.
I use Logic ProX. When I assign Session Strings to an existing midi track, nothing sounds. The notes are there, they show up in the Score and the Piano bar. I can play Session Strings sounds from my midi-keyboard. But when I create a Sessions String software track in Logic, move the existing midi-notes into it, they do not sound. I cannot work this out. Help please!
Thank you for answering. I did try a different octave and it made no difference. I am trying to replace the Logic Pro strings with the Session Strings 2, - they are the same octave. I was able to do this with a horns part, replacing the Logic Trumpet sound with the Orchestral Tools Fleugelhorn. I just can't figure out why Session Strings 2 won't do the same.?
Thank you for this. I don't have the Pro version, and the ordinary Session Strings 2 does not have those controls. I now wonder whether I should upgrade to that. But in the meantime, Sessions Strings is still not playing the midi notes. I will scour Youtube to see whether I can find the answer to my problem there. Thanks for pointing me in that direction.
Thank you Jeremy. I don't think this is the problem, because there is no problem when I choose an instrument from another NI package to play existing software tracks in Logic Pro input with my midi keyboard. It only will not work when I try to use Session Strings 2. I can play and record notes from Session Strings 2 into Logic Pro X no problem. But when I copy the Logic strings, paste them into a new Software track, although the notes are there, and I have assigned a Session Strings 2 sound to the track, it will not sound them. I can easily input notes into the track from my midi keyboard using Sessions Strings 2, but Session Strings 2 will not sound the midi notes already there. I am mystified. I think there is a problem with the installation, although I've tried re-installing etc., and using an ethernet cable as they suggest. I still get periodic messages saying there is a problem installing. Also, in Preferences in Native Access, there is a red exclamation mark next to the 'Application Location' , and the box itself has a red border, but nothing seems to explain what the problem is. And I get no response to my support ticket.
I downloaded NI session strings 2. It was not showing in Kontakt 5. I upgraded to Kontakt 6, still not showing. Instead, when I click on the library and try to add the software folder Session Strings 2 Library to Kontakt it tells me 'Session Strings 2' already exists within the Kontakt Libraries tab'. But it does not show.
somesoni2's example works great if it is always in the 3rd position. But if that is not the case, you may want additional options. If the session id's are the 2nd to the last fields on the line, then you can do this:
When it comes to mocking up large-scale orchestral strings, there are plenty of sample libraries that address the subject, often brandishing buzz-words such as 'Hollywood', 'Cinematic' and 'Epic' amongst their USPs. The price tag and system requirements for such libraries can be equally epic, requiring a substantial financial outlay; not just for the software, but also for a system capable of realising their full potential. What isn't so commonly addressed is the need for a smaller string section suitable for pop productions, where a grandiose 64-piece string section is frequently inappropriate. Session Strings Pro (SSPro) aims to provide just that, at a relatively affordable cost.
Five articulations, a default plus four performance-dependent alternatives, can be set. The knob below Expression Control sets key signature, so SSPro can 'intelligently' select half-tone or whole-tone trills.
The single ensemble of Session Strings is multiplied fourfold in SSPro. Once again, each of the four 'sections' comprises four violins, three violas, two celli and two double basses, organised into two preset groups for Sections 1 & 2 and Sections 3 & 4. A Section 1 & 2 preset, for example, will load those two sections together, the balance between the two being adjustable from the 'Main' tab. As well as providing all-in-one 'ensemble' presets, SSPro includes separate presets for violins, violas, celli and basses. Not only does this afford each instrument its full playable range, but it allows for different articulations and custom dynamic control over each part, greatly enhancing an arrangement's realism. The four sections differ in the following ways: Section 1 (closely equivalent to that of Session Strings) has a close, dry sound, with the basses placed centrally. The celli are panned equally to each side of centre, with the violas spread wider still, giving the violins the widest stereo panorama. Section 2 employs the same orchestral seating, but with the mics placed further from the players. Although the Section 1 and 2 samples sound like the same sampled performances (ie. not double the number of players), a mix of both sections provides a warmer and fuller tone than either section on its own. Section 3 and 4 presets follow a similar close/far mic placement pairing, but with traditional orchestral seating (basses to the right, progressing to violins on the left) for the closer-miked section 3, and the opposite stereo placement for the distant-miked section 4. Of course, you can layer Section 1 & 2 presets together with Section 3 & 4 equivalents on the same MIDI channel, for an even fuller sound. However, what isn't clear is whether Sections 1 & 2 are actually separately sampled performances to those of Sections 3 & 4. All four sections layered together certainly doesn't sound like a 44-piece ensemble, but I found that detuning Sections 1 & 2 against Sections 3 & 4 (about 10 cents seemed a good amount) gave a reasonable impression of larger resources.
Production presets are optimised for recording, and provide up to six possible articulation choices, selectable via latching keyswitches. There is no default articulation here; the one that plays is the last one you selected. No two keyswitches can share the same articulation, but you can leave as many as you like empty, so only the articulations you need are loaded. The default keyswitch assignments can be fully customised if you wish, with the caveat that if a keyswitch is placed within the sounding range of an instrument, the keyswitch function presides, and that note makes no sound.
Words that come to mind when describing the overall sound of SSPro are clear, precise and intimate. Some may feel it's a little too precise, considering that SSPro is primarily aimed at pop productions, which often benefit from a few rough edges. This could well be due to the extremely accurate tuning. A little laxity here, especially with regard to the very close unison tuning between instruments in the same group, might help SSPro sound a little less 'genteel' for some applications. The individual instrument types have very distinct characters; the basses are very focused, packing low-end weight without sounding muddy. The celli are warm and expressive, benefiting from occasional touches of the portamento and glissando articulations. The Violas are quite possibly the star of the show; rich, warm and authoritative, with a lovely resonance, they carry a melody particularly well. The violins sound best in their lowest octave, but above that the sustaining articulations feel like they lose momentum. My personal feeling is that their loudest dynamic is underplayed, and a smidgeon more vibrato wouldn't have gone amiss to impart a more energetic feel.
The Ensemble presets can be very demanding on polyphony when both sections are active and dynamics are controlled by the mod wheel rather than key velocity. In these circumstances, as many as 12 voices are playing at once for each note, and this can mount up to 24 when playing notes that fall within positional crossfade zones. It's not unusual for a three-note chord to gobble up 48 notes of polyphony, and the release samples can cause this to climb above 100 if you're playing legato, and reasonably quickly! If this becomes a problem in a busy sequence, you can halve the polyphony, at the expense of tone, by setting the level of section 2 (or 4) to 'off'. Alternatively, programme each part using the individual violin, viola, cello and bass patches. They don't make use of positional crossfades, so they consume marginally less polyphony, and make for a more natural-sounding result, with independent control over each part's dynamics and articulations.
String libraries offering similar weight and function to SSPro appear to be scarce, and the following three examples were the closest candidates. Miroslav String Ensembles: Composer's Dream offers both large and smaller ensembles, the smaller representing significantly more players than SSPro. Although VSL Chamber Strings comprises a similar number of players to SSPro, its tone and performance style is distinctly classical, and not specifically geared to 'modern' styles. Audiobro LA Scoring Strings: the full version of LASS provides the means to build ensembles to the required size, making it the most likely to match the equivalent 'weight' of SSPro. It also includes the ART Script tool, which surely inspired SSPro's own Animator. And the cost? Session Strings Pro is approximately half the price of the first two examples, whilst LASS carries a substantial four-figure price tag.
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