Suggestions for future updates

JustusJustus
edited October 2008 in General Questions
Hello ladies and gents,

you know that I love you product :P (listen to my Jazz piece I showed you in a few forums)

The Trumpet is near perfect. To improve it even more I have a few things on my wishlist for future updates:



- Please expand the controller remap tap with CC1, CC19

- note endings on release patterns G1 and G#1 could be more intense (I especially imagine this "kiss"-sound in the extrem high registers)

- A keyswitch for these updward glissando endings (also called doits I believe)



You may join in and tell us your ideas.



Best regards,

Justus

Comments

  • Giorgio TommasiniGiorgio Tommasini
    edited 9:19AM
    Justus,



    We thought over your requests. Here are our considerations:



    - Please expand the controller remap tap with CC1, CC19



    Feasible. I assume some may have non-programmable keyboards, so this makes sense. However, the "natural" setup should be the following:



    -Expression pedal or breath controller mapped to CC11 to control the dynamics (mapping already provided).



    -Modwheel mapped to CC1 to control vibrato intensity (default).



    -CC19 (controlling vibrato rate) could be remapped according to your needs. A suitable controller might be channel aftertouch, but this is unfortunately not recognised by K2S, so the only practical workaround would be to map it by the sequencer.



    note endings on release patterns G1 and G#1 could be more intense



    I analysed the example note that you kindly provided, which should be imitated by KS G1,according to your request.

    This is actually a four-semitone fall. KS G1 yields a complex pitch modulation pattern which extends to minus-one semitone only. This KS is not suitable for this task.

    Feasible. What you're asking for can be obtained by a modeled phrasing KS, using a one-semitone downward chromatic scale.



    - A keyswitch for these updward glissando endings (also called doits I believe)



    Feasible. This can be accomplished by a modeled phrasing KS, using a one-semitone upward chromatic scale.



    The problem is, however, that only a limited number of modeled KS are available (to cope with a five-octave keyboard). We therefore need, as a first step, to identify and select the most essential articulation/phrasings, not to overcome the overall number of KS.



    We need your cooperation. We ask you to put forward your proposals, based on what you consider as the most important articulations/phrasings. Please attach compressed (zip - rar) mp3, wav and /or midi files clearly depicting what you're looking for.



    We'll do our best to satisfy your most relevant requests in a next update. :)



    Giorgio & Peter
  • JustusJustus
    edited 9:19AM
    You are awesome!

    What a great company!



    ;)
  • JustusJustus
    edited 9:19AM
    Idea for future updates:



    A "repeat-last-note"-key.

    This would come in handy when playing repetitions.
  • Giorgio TommasiniGiorgio Tommasini
    edited 9:19AM
    Justus,



    Could you please elaborate it? :-)



    Best,



    Giorgio
  • JustusJustus
    edited 9:19AM
    Of course ;)



    This is a technique i know from bass libraries but could be applied to all kinds of instruments:



    You play a note and want it to be followed by another note of the same pitch. So you press a certain key below the actual playing range which triggers a new note with the last note's pitch.

    The velocity values should be independent so that you can vary it.



    That's just a thought but I would use this feature! :roll:



    Kindly,

    Justus
  • Giorgio TommasiniGiorgio Tommasini
    edited 9:19AM
    Ok Justus, I presumably got it. But what would be the advantage over retriggering the note key?



    On a real trumpet, a "repeat" note can be produced by partial or complete interruption of the air flow. Either case can be mimicked with The Trumpet, by quickly collapsing CC11, or retriggering the same note key.



    Or am I missing something? :roll:



    Best,



    Giorgio
  • JustusJustus
    edited 9:19AM
    No, you aren't missing anything.

    I just thought it would make realtime playing of, say fast semiquavers, easier.

    That was just a thought I had to get rid of.



    Looking forward to your first update!



    Best regards,

    Justus

    (http://www.rothermusic.de)
  • RobRob
    edited 9:19AM
    Justus, I don't get it... :) I'd understand applying the idea to at least two adiacent keys, so that, for example, I might play a fast repeated note by playing a trill, but one?? What's the advantage?



    Roberto
  • JustusJustus
    edited 9:19AM
    OK, listen to the attached example.

    Imagine to play this in realtime with one hand, which could be hard work...



    But if you imagine to play this phrase with two hands by alternating left and right hand, this might become quite a simple task.



    I never talked about trills BTW. :lol:



    Hope I made myself clear this time.
  • SamSam
    edited 9:19AM
    For me :) :



    - a keyswitch (disable/enable legato) for playing chords in real time (useful for shorts notes, sustains etc live playing)



    - a multi with 3 trumpets calibrate to play in unison (no phasing)

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