http://www.youtube.com/watch?v=EFzkWsMrNfk

As it happens the Ty2 (and possibly Ty1 and others) have a "Hichiriki" in the GM/XG section that sounds very close to the basic voice used here. It has no inherent vibrato.
With DSP added to provide ambience, vibrato on demand with after touch and portamento on demand with a pedal it can be made to sound very close to the demo.
John

This has to be the least sound I would ever use on my Keyboard...why all the hoopla?

Anyway, if this is a Super Articulation bagpipe voice, the tremelo would be initiated by a footswitch, just like fret noise is made with many of the S.A. guitars and inhaling breath sounds are made with many S.A. saxes and wind instruments. So if you don't like the tremelo on the bagpipe, you can program a footswitch for some other effect to make it sound realistic, like wah wah or to add distortion.

Beakybird

However it works, it'll require a fair bit of special knowledge and effort on the part of the player for it to sound authentic.

Can't help feeling it's a niche market rather than a general home arranger market sound.

John

Anybody remember (or ever heard of) Rufus Harley. He is (or was) from the Philly area. I met him once or twice. Interesting guy.
http://en.wikipedia.org/wiki/Rufus_Harley

chas

Guess you don't have St. Patrick's Day as a big deal in NJ, Donny?

It's a great sound to use on slow ballads if you have the technique down, as Celine Dion and the Titanic soundtrack have shown, I use it myself on a Sting song...

Admittedly, it won't fit in on a doo-wop song, but there ARE other forms of music than big-band and oldies, you know...

I have an album with Rufus Harley and Georges Arvanitas Trio. Kind of novelty in my estimation. Interesting for what it is.

Hi John
I see your point, but in the case of Wersi OAS instruments up to OAS 6, (OAS 7 is totally a different format using a combination of sampling and Sound Modelling) if it isn’t in the sample then you can’t edit it.
As an example:
Let’s say the attack of the Piano is 20ms, then while the editor can increase the attack, it can’t decrease the attack beyond 20ms as this information is not contained in the voice/sample.
The same applies to modulation, if it is not contained within the voice/sample, then it cannot be added or modified.
Samples themselves come in many forms, some sample the whole instrument and some in sections, e.g. the sound is sampled separately from the modulation and the 2 are combined at a later stage. (Hence the modulation becomes editable separately from the sound)
There are many ways to sample, and just because you can’t edit something on one type of sample, doesn’t mean that it can’t be altered on other types of sample.
In the end it all comes down to the designer who has to provide what the musician wants.

Regards

Bill

The thing is, Bill, if the sample is sampled with vibrato on it, that's it... you can't take it off. Let's not get confused with sounds sampled 'straight', and then an LFO is used to make the vibrato (which you CAN edit).

Real instruments' vibratos are FAR more complex than a simple LFO on the pitch. Volume, timbre AND phase are ALL modulated in a 'real' vibrato, much of it under physical control of the player. It is different from player to player (you can often tell who you are listening to solely by the way they use their vibrato), and from song to song (vibrato is often altered depending on tempo).

But sampling them has it's Achilles heel... First of all, if you don't sample each and every note separately, they speed up when the sample is transposed (or slow down), you can't control when they come in, and this changes as it is transposed, too, and you can do nothing about the depth and speed. This is all made less important if you have a GIGA sized set of samples, but on the regular ROM of most arrangers, there's just not enough space for all that. Would that you COULD take sampled vibrato off when needed, but it's just not doable.

I prefer samples without vibrato, most of the time, and use a pitch strip to induce a real vibrato (one that isn't mechanically regular, like an LFO) for the best sound, if I can. But I LOVE vibrato'd samples as layers for straight ones (or two different vibrato'd samples together). It gives a great thick sound..