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The same can be said for its sordino muted strings patches, which offer yet another palette of sound. When short articulations like spiccato, staccato and pizzicato are loaded, pressing on the sustain pedal initiates ART.
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I believe there are potential LASS owners out there who don't view first-chair players and true divisi as big game-changers. LASS, however, goes one step further, providing random round-robin sample playback.
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Instead of triggering samples in the same sequence, LASS has the ability to randomise sample playback, ensuring an even more realistic performance. The other major libraries have some big things in the works, but they would have to really hit it out of the park to touch LASS, which is outstanding and ready now. One of the side effects of LASS's true divisi is that you start to think more like an orchestral composer. The great thing about LASS is that in spite of it doing so many complicated things — and doing them so well and with incredible control — it is very easy to use.
It sounds fantastic, it's easy to use and best of all, it inspires to me to compose.
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You will not be disappointed. If you can't afford it You won't be disappointed.
Yes, your divisis are bigger, but now your unisons are smaller in relation to them. That's not ideal.
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The other case for true divisi: However, the trend nowadays is to record orchestras in sections and, in many cases, overdub the strings once or twice or three times. LASS lets you build large ensembles by layering smaller ones to form any-sized group you need. For each instrument section—violin, viola, cello, and bass—you get a single first-chair player and four groups ranging in size from one to 16 players.
The violin section is duplicated with a different spatial perspective, bringing the total to five sections. All the players were recorded on a large film-scoring stage with no reverb other than the stage''s natural early reflections. The samples were then mixed from the perspective of the players'' seating positions; however, you can pan them anywhere you like.
LASS comes with a selection of excellent impulse responses that provide early responses and tails.
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In addition to legato, staccato, and pizzicato, you get spiccato, tremolo, sustained looped , muted, harmonics, and major and minor trills, as well as portamento and glissando articulations. Realistic legato phrasing can be particularly tricky with any sampled strings, but LASS shines in that area. You can play legato normally by overlapping notes as you play, or you can simply hold down the sustain pedal CC 64 on legato patches to enable a feature called Real Legato see Web Clip 1.
Your keyboard velocity affects whether your playing triggers a clean legato, glissando, or portamento. You can load legato patches without glisses or portamento if you need to save RAM.
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The Real Legato script will instantly recognize whether you''re playing chords or legato phrases, too, and respond accordingly. When you''re playing staccato, spiccato, and pizzicato patches, the sustain pedal activates the innovative Auto Rhythmic Tool ART , a type of step sequencer that lets you control repeated, short articulations. Auto Rhythm Tool — an advanced yet simple to use rhythm and accents script with o humanization features.
Triggers alternate samples to avoid sample repetition. All dynamic layers controlled by mod wheel CC1. Upda te.
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