@@AlonsoJoaquinComposer If you're happy to work without swells and decrescendos, I guess. But with the mod wheel stuck at maximum fortissimo (as Eoin has it in the video) sounds terrible to my ears. Leaving it half-way (mf) would be preferable imo.
@@planetqwerty I'm not. Ideally I'd want sampled crescendos, decrescendos, marcatos, tenutos too. But there are some issues with using CC1 as if these were modelled instruments, what you want between mf and ff is not F it's both mf+ff at once. Idk sampled brass and winds are a pain to work with because of crossfades.
Showed it very briefly at 04:01! When using the modulation wheel, it sounded like it was mostly just adding a lowpass filter and lowering the volume - so imo, not as useful as it would be with a string library etc
@@EoinBlunnie The 'dynamic remapping' you link to does not have the same effect as the modulation wheel, which allows you to move through the different sample levels of each note (up to 4, depending on which instrument you've selected.) I think you'll be pleasantly surprised if you have a listen to Markus Junnikkala's demonstration of how Pacific Brass can give you much greater control over dynamics when using the modulation wheel - ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE--DKcgHgA18A.html (57m 20s in).
