That video is not relevant to what we're talking about. He's using velocity to trigger different
programs (what the DS calls patches), while the topic at hand is using velocity to trigger different
samples withing a
single program, and moreover, that these samples need to be
user-created. The Juno DS can do all this (with up to 4 velocity switched samples within a a patch), but it has nothing to do with what he's demonstrating in that video.
As an aside, the thing he
is demonstrating with two sounds in the video actually works with up to
16 sounds... not that that would be very useful, especially since, using the particular feature he's demonstrating, you can only bring
in more sounds as you hit the keys harder... as far as I can tell, you can't diminish the
other sounds, so they don't really "switch," rather they compound. Similar features--usually with actually
better flexibility (because you can
stop sounds from triggering with higher velocity as well)--can be found in lots of boards. It's more common than what we're talking about in this thread.
ajstan wrote:Intermediate
In the Kronos manual (page 77 & 78) you can stack up to 16 layers/samples and set the MIDI value ranges for each along with a slope or hard cut-off between each.
Kronos lets you split, layer, or velocity switch up to 16 Programs in a Combi. This is similar to the Juno DS feature described above, with that additional enhancement that not only can you bring
in new sounds at higher velocities, you can
remove sounds at higher velocities as well. AFAIK, every Korg workstation can do this, you don't need a Kronos/Nautilus, the bottom of the line models do it as well. But again, it's not the topic at hand.
The Kronos
can do what we're talking about, however. A single Program can have different samples assigned to 8 different velocity ranges. (A low end workstation like Kross, only supports 4 velocity ranges within a Program.) And those samples can be user samples, not just factoy samples. (Kross only supports factory samples here, it lags the Juno DS in that respect.)
Multiply that out... Kronos lets you combine 16 Programs in a Combi that all trigger at different velocities... and each of those programs, themselves, can trigger their different component sounds over up to 8 different velocity ranges! Not that anyone needs to do that.
Conceptually, here is the distinction between these two kinds of velocity switching: In a Korg
Combi or a Juno
Performance, you are using velocity to bring in
entirely different sounds, like the video's example of bringing in a brass sound over an organ sound when you strike the key hard. But the topic at hand is velocity switching
within a single sound (a Korg
Program or a Juno
Patch), which is almost always done to make a
single instrument sound more authentic... e.g. the sound of a softly blown trumpet is actually different than a strongly blown trumpet, it's not simply the same sound quieter or louder. Velocity samples within a single sound is what allows these emulations to be more realistic sounding. Nord uses this technique in their piano samples, but not in their sample library samples.
Then there is the variable of whether you can do this, not just with factory supplied samples, but with samples of your own, and now we're getting to what we've been talking about in this thread.
ajstan wrote:Advanced?I didn't look far enough into this, but are there actual samples available for some boards that have multiple layers built-in (like a brass with a fall at higher velocities) or are they all single layer that are handled by combining into a program? I know that Nord has a special format for pianos, but as I recall, the piano samples on the MODX were single layer samples that were combined into a program.
https://yamahasynth.com/learn/modx/perf ... ering-modx
That Yamaha link talks about Parts. What it doesn't tell you there is that a single Part can have up to 8 elements which can be velocity-switched. They are not single layer (or at least, they don't have to be). And yes, you can use your own custom samples.
So yes, as you probably realize by now, indeed, "samples available for some boards...have multiple layers built-in (like a brass with a fall at higher velocities)" -- though that example is actually an exception to the most common implementation which I described earlier, but yes, instead of making the highest velocity simply a sample of the instrument played at full force, it can be an alternate articulation, like a fall. The idea of a board having samples with multiple layers built in (for either purpose... same sound or alternate articulation) is not rare... in fact, it is the rule rather than the exception. Nord implements this only for their pianos. Korg, Roland, Yamaha, and Kurzweil implement this technique for ALL their sampled sounds. Not that every sampled sound necessarily employs multiple velocity layers, but unlike on the Nord, they
can, the architecture supports it. This is why all these brands tend to have better strings, woodwinds, reeds, and brass than Nord... unlike Nord's, their individual orchestral sounds can employ multiple velocity samples for greater realism and/or alternate articulations.
And then to bring this fully back to the topic at hand, not only do they all permit velocity switching of samples within individual sounds, some of them--like the ones I mentioned earlier--even support it for sounds created out of the users' own samples. In Nord's defense here, the percentage of people with those boards who actually create their own multi-velocity sounds is probably small, and Nord has always been about easily doing what most people need, rather than letting people do absolutely anything they may want. As always, sometimes the Nord is the best tool for the job, and sometimes some other board will be.
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