Basically, you can take a CC #, like 1 (mod wheel), and then select the destination channel (including options of all channels at once, or route it directly from whichever MIDI channel the CC data is coming from to the same output MIDI channel). Then you can select which key you want it to hold, while the MIDI CC # is over half-way up. When the MIDI CC # is back down, it’ll release the note.

http://www.orangetreesamples.com/download/CC_to_MIDI_Note.zip

Extract the zip file and put the NKP file along with the rest of your KONTAKT multiscripts.

Enjoy!

Context is what connects samples, relating one articulation to the other, in order to build a cohesive perception of the instrument being not a collection of articulations played one after another, but a complete performance. It’s like composing a song by sticking together a series of elaborate chords. Without paying attention to their overall harmonic function and progression, the chords will sound disembodied. While they might sound great on their own, there’s a lack of connection. So in the sense of sampling, single articulations only serve the overall context of the instrument, and therefore cannot be solely relied on for providing realism.

In order to convey realism, the humanistic characteristics of the instrument must be artistically outlined. Capturing details is irrelevant if fundamental qualities are unrealistic. In other words, if all the effort is put into the details, without actually stepping back to observe how these details affect the overall perception of realism, the result is a creation that focuses on technicalities rather than form and proportion.

Of course, sampling lots of articulations is not a bad thing. In fact, many times it is necessary to sample a large amount of sampling in order to properly convey the breadth of sounds the instrument is capable of playing. However, without a central intelligence (for example, a KONTAKT script) controlling how the articulations are played within the musical phrase, the realism of the virtual instrument will not be able to cross the uncanny valley.

Something as minuscule as the thickness of the guitar pick can really change a lot. Let me give you some examples to listen to, so this makes sense.

Here are some samples of various pick thicknesses, played on a Martin D16:

0.50 mm pick test
0.60 mm pick test
0.73 mm pick test
0.80 mm pick test
1.14 mm pick test

You’ll notice that the thicker the pick used, the more emphasis on the mid frequencies, giving the guitar a warmer and deeper tone. Thin picks sound bright and delicate, emphasizing the high frequencies–of course, this is an oversimplification in terminology, since what’s happening is certain formants are being amplified more than others. The main point is to distinguish these two polar opposites in tone according to pick thickness. That’s why a popular favorite is the 0.73 mm pick, since it gives you a well-balanced tone.

Essentially how the string vibrates is a result of the guitar pick. It then interacts with the guitar body itself, both the exterior (like how the bridge/fret ends of the string mute the string vibration and the actual audio reflection that occurs on the fretboard/top) and the interior. The interior of the body resonates and amplifies the sound, coloring it in its own way.

Naturally, articles can be written solely about how the strings change the guitar’s tone, the body wood type, and all the other factors mentioned above. But the undeniable source of the sound–the element which excites the string itself–is the foundation of tone, whether it’s a pick, e-bow, finger, or power drill (if you’re Van Halen).

http://www.orangetreesamples.com/download/EEGS-LegacyRhythm.rar

These legacy patches used an arpeggiator system of generating realistic strumming patterns, which was replaced by a new, more intuitive strum palette system. The strum palette system allows you to strum in real-time rather than relying on patterns defined within the library’s interface.

Download: CoreBass Cherry Slides (5.86 MB)

This free 5-string bass slides sample library contains a total of 45 slides, including dives and swoops, on various strings of the bass.

Download: CoreBass Cherry Harmonics (115 MB)

This free 5-string bass harmonics sample library contains five harmonic nodes, each with 2x round robin and release samples.

First of all, there’s the rhythm electric guitar sample library. What’s left to be done is to create the presets, write the manual, and compose the demo songs. We’re really excited about this release–it pushes the limits of KONTAKT and the realism of sampled instruments. But we’ll let you be the judge of that when it’s released in a few weeks. Oh, and the reason for this delay is also because the release is dependent on a few other updates related to the product line.

Then there’s the update for CoreBass Pear. We’re completely re-writing the scripting to reduce the CPU/RAM usage and adding a few more features while we’re at it. The playability is a lot better, and the velocity response is sounding great!

We’re also working on a utility that will be extremely useful for ALL users of KONTAKT. It can be used in conjunction with Orange Tree Samples products, or applied to other sample libraries as well. The utility will be very affordable, and will undoubtedly become a staple of your workflow.

Finally, another sample library that’s on the horizon is a collection of Native American Flutes. We combined multiple velocity layers and round-robin with performance-modeled scripting to create a product that has a magical realism to it. Here’s an audio sneak peek so you can hear what I mean:

This is played live through a two-octave MIDI keyboard, and uses only a fraction of the articulations we sampled.

We really appreciate your patience, and check back soon!

Download the “KS to CC” patch here.

Sample libraries have become more extensive, including more and more articulations, usually accessible by keyswitches. New technology has emerged to improve realism, such as release samples and round-robin alternating samples. Physical modeling has become more elaborate, reproducing more detailed sound models and accounting for more aspects of physics. However, both sampled instruments and physically modeled instruments face the same dilemma: the performer itself must be modeled.

The first problem to face is what to do with limited MIDI data, from the sequencer or MIDI keyboard. MIDI is a very keyboard-oriented format, which makes it naturally limited in terms of controls. Basically, you can control the pitch of the note, velocity, as well as a few controllers (including the pitch wheel). However, you are limited as to how many controllers you can use simultaneously in a live performance.

Example: Iconic Bass: Jaco uses the sustain pedal to activate the slide mode, which changes any overlapping notes into a smooth glissando. The speed of the slide is based on the velocity of the overlapping note. The ability to slide from one note to another is a important characteristic of the fretless bass.

Due to the limitations of simultaneously accessible MIDI controllers, some automatic interpretation needs to be made by the sample library. For example, which frets and strings to use in a guitar library must be intelligently determined. Bowed instruments must be able to control bow pressure, speed, and direction. Although these controls can be assigned to MIDI controllers, the practicality of having all these elements instantly controllable must be questioned, as to not limit the use of sample libraries to sequencing but include live performance from a MIDI keyboard. While sequencing allows you to fine tune every element of the sample library dynamically, having too many controls to keep track of can be overwhelming and counterproductive.

Example: Strawberry Electric Guitar includes a layer-based mapping system which allows you to define exactly how the instrument behaves. It includes controls for how to translate MIDI data as well as letting you adjust the automatic interpretation.

Another thing to consider is the limitations of not only the instrument, but the performer as well. Most sample libraries account for pitch range limitations, but how many model hand movement speed and the maximum reach of the player’s hand? These both are important considerations in most instruments.

Modeling player limitations is essential when interpreting MIDI to automatically control elements of the instrument’s performance. That way the scripting engine for the sample library has a framework to anticipate and automate characteristics of the instrument beyond the instant control of the MIDI keyboard or MIDI sequencing. This can involve controlling something as obvious as articulations…

Example: CoreBass Cherry Slapped models the thumb and index finger position in order to accurately determine whether a note should be slapped or popped in true slap bass playing style.

…or details such as fret noises:

Example: CoreBass Pear tracks the hand position on the fingerboard, not only to correctly decide which strings to use when playing, but to model the finger position to reproduce the sliding noise created when switching positions. The scripted finger positions follow traditional upright bass playing technique.

Modeling the player in virtual instruments allows users who aren’t familiar with how the particular instrument is played to create realistic tracks. It also overcomes the characteristic artificial sound that virtual instruments tend to have, by replicating essential humanistic elements that would otherwise be too difficult and time-consuming to sequence manually.

Added articulations include:

- Effects such as scrapes, pickup hits, dives, and much more
- Trills (in intervals of half-steps, whole-steps, and minor 3rds)
- Tremolo
- Scraped notes
- Blues muted/unmuted strummed notes
- Octaves
- Aggressive squeals
- Tapping

And more! The extended Strawberry Electric Guitar library will be available mid-December.