Native Instruments Session Strings Pro 51
Wan Cabiness
I apologize if this is the wrong forum but I'm not sure if my issue is a problem with how I'm doing string arrangements, Kontakt, Session Strings, or my PC. In Cubase, I've created a string arrangement with 3 violins, viola, cello, and bass. For all notes, a new note starts at the same point that the previous one ended (ie. if the C note stops at the end of measure 10 a D note starts at the beginning of measure 11). I want the piece to flow smoothly from measure to measure, but what I get is a noticeable start with each measure. I'm not sure if I'm describing this correctly.
It's almost as if there is a lag between the notes. My question is- should I begin the start of the note prior to ending the previous note or is there some parameter in Kontakt that I need to change? I'd appreciate any input or ideas you may have. Thank you.
Thanks so much to everyone for your help. I think some of this is that my understanding of string arrangement is limited. I'm finding that while a piano might change every note at the start of a measure, I think for strings to flow there needs to be some which glue the measures together. I think I found a good enough alternative for this project- using Emotive Strings for the violins and Session Strings for the bass, cello, and viola.
In my experience, depending on what you're trying to do, changing articulations via the keyswitches is a pretty important factor in getting the right feel and timing for different sections in your project. I've also found it's worth the time to adjust the note starts and ends so that it sounds more realistic and not just "programmed" parts.
I've tried most of these approaches with minimal success. While I like the idea of using Session Strings having 6 separate instruments playing the parts, using something like Emotive Strings (not at my music workstation right now- I think that's the one) I have no problems. The notes can bump right up to each other and the parts just flow together. I think for this piece, I'll use Session Strings for the bass, cello, and viola, but Emotive Strings for the 3 violin parts. That should give me the best of both.
Although I've had a lot of success using Session Strings, I'm beginning to move more of my future work over to Soundpaint Adastra. There's just so much more flexibility in the way it handles the notes and the ability to combine parts from different string articulations or even other SP instruments just fits my workflow and ideas better.
Hi there, I am using Session Strings Pro and I am finding it difficult to achieve the truthful immediate attack of string instruments for close mic'ed funk / disco. I should be able to play a melody on the keyboard and hear it immediately without having to spend a lot of time editing the midi due to slow attack of each note. I am sure everyone has experienced this with strings. Do I need a different sample set? I don't particularly want large, cinematic orchestral sample sets, just small detailed ensembles that attack nicely and perform without too much complex editing. Thanks, Justin
Just making sure I fully got the issue: we're talking about Session Strings Pro, not Session Strings 2 Pro here, right? I just looked it up and noticed that both exist, however... Session Strings has been superseded by Session Strings 2 (which I own) and that instrument doesn't seem to have this issue with slow buildups. In fact, you can somewhat customize this, but the default presets provide a very short attack.
Thanks for your comments, I am using the original version of Session Strings Pro, not Session Strings Pro 2. The walkthrough for Pro 2 says it is a big improvement on the one I have, so maybe I should upgrade to Pro 2. The attack sounds much better. Thanks for putting me onto that. What's that about qualifying for the upgrade fee?
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.
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.
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