In the November 2005 issue of Sound On Sound and in the accompanying SOS DVD002 disc there is an article by Ernest Cholakis called "Sample Velocity".
This article explores whether software samplers accurately map MIDI velocity. Is Kontakt better or worse than GigaSampler or EXS24? This guide reveals the dynamic truth. It includes over 20 audio examples, and explores one of the less documented aspects of using software samplers triggered by MIDI.
Excerpt from the article "Sample Velocity"
This article explores whether software samplers accurately map MIDI velocity. Is Kontakt better or worse than GigaSampler or EXS24? This guide reveals the dynamic truth. It includes over 20 audio examples, and explores one of the less documented aspects of using software samplers triggered by MIDI.
Excerpt from the article "Sample Velocity"
Excerpt from the article "Sample Velocity"
Introduction:
When attempting to create a realistic MIDI performance using drum samples, I discovered huge discrepancies between the MIDI performance and the actual original acoustic performance the MIDI file was based on. To get to the bottom of this, I decided to graph the dynamic range of real-world instruments versus the dynamic range of samplers. This allowed me to visualise the nature of the transfer function (the relationship between the output and input signal). I was quite surprised by how varied the results actually were.
When attempting to create a realistic MIDI performance using drum samples, I discovered huge discrepancies between the MIDI performance and the actual original acoustic performance the MIDI file was based on. To get to the bottom of this, I decided to graph the dynamic range of real-world instruments versus the dynamic range of samplers. This allowed me to visualise the nature of the transfer function (the relationship between the output and input signal). I was quite surprised by how varied the results actually were.
Place the Guitar Graph and the Snare graph here
To illustrate the results, I have provided graphs and audio examples to document the comparative differences between the acoustic performances of electric guitar, drums and piano, and the same 'digital performances' triggered from the sampler. From this research, I've explored the use of new technical features and the creative use of existing features that might be incorporated into current samplers to correct the existing limitations that are discussed in this article.
The following software samplers were analyzed in this article :
Here are velocity versus output graphs of popular software samplers. The closer the velocity output is to the red line the more accurate the sampler can represent real world acoustic sounds - but the minimum level is also critical. You will have to read the article to find out which sampler they represent !
To illustrate the results, I have provided graphs and audio examples to document the comparative differences between the acoustic performances of electric guitar, drums and piano, and the same 'digital performances' triggered from the sampler. From this research, I've explored the use of new technical features and the creative use of existing features that might be incorporated into current samplers to correct the existing limitations that are discussed in this article.
The following software samplers were analyzed in this article :
- GigaSampler
- Kontakt
- Halion
- EXS24
- Reason Redrum & NNXT
- MachFive
- SampleTank
- Logic's EVP88
Here are velocity versus output graphs of popular software samplers. The closer the velocity output is to the red line the more accurate the sampler can represent real world acoustic sounds - but the minimum level is also critical. You will have to read the article to find out which sampler they represent !
© SOS Publications Ltd 2005. All rights reserved. Permission obtained to post excerpts from article "Sample Velocity".
A follow up to the article
Since this article was written Digidesign release a sampler in 2007 called Structure that can accurately reproduce the dynamics of acoustic instruments because it has a linear decibel transfer function (1 to 96db) the the user can program dynamics on a per note basis.
Accurate velocity reproduction in a sampler is essential for an accurate re-creation of feel. Here are the actual output of the hi hat/Snare parts in three well known grooves. Bob Marley's Waiting in Vain (Carlton Barrett), Toto's Rosanna (Jeff Pocaro) and Steely Dan Song "Chain Lightning". From the graphs you can see that the dyanmics require at least a 30 decibel dynamic range. If output of the velocity versus midi value for the HiHat cannot cover the 30 db range and is not a straight line (linear db) then even scaling the velocity values will ruin the groove.
Accurate velocity reproduction in a sampler is essential for an accurate re-creation of feel. Here are the actual output of the hi hat/Snare parts in three well known grooves. Bob Marley's Waiting in Vain (Carlton Barrett), Toto's Rosanna (Jeff Pocaro) and Steely Dan Song "Chain Lightning". From the graphs you can see that the dyanmics require at least a 30 decibel dynamic range. If output of the velocity versus midi value for the HiHat cannot cover the 30 db range and is not a straight line (linear db) then even scaling the velocity values will ruin the groove.
View the graphs - Click to Enlarge Photos:
Output of the Hi Hat/Snare parts in three well known grooves
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