A complete video series of tutorials on String Studio VS‑3
Learn how to combine layers in stacked or split keyboard mode to create performance-friendly, texture-full, and spacious sounds.
Learn how to use the Modulator modules to add MIDI controlled morphing assignments that can be played in real time for enhanced expressivity and sonic dimension.
Understand the basic signal flow of the String Studio VS‑3 synthesis engine. A string is excited by either a pick, bow, or hammer. The resulting signal is filtered by a traditional filter module and a body module before being sent to a multi-effects module. See how all of the modeled elements are laid out in the String Studio VS‑3 GUI.
Discover how the bowed string oscillator reproduces the sound of a string set in motion by the action of a bow, and how the force and friction knobs affect the qualities of this oscillator.
Hear how the protrusion and stiffness of the pick influence the way the string is excited, and learn how to control these variables based on note range and note velocity.
Hear how this oscillator sounds like when striking the string from either below or above, and discover how the mass and stiffness controls influence the tonal characteristics of this oscillator when the string is set in motion.
Hear how the Arpeggiator module is used to play held notes sequentially, based on a user-defined order, range, speed, and pattern. Learn how to use this module in layered mode and create interesting patterns.
Explore how the filter module is used to shape the sound from the string oscillator and hear how the LFO and Envelope controls are used to influence the filter frequency and resonance parameters over time. The Body, reproducing the effect of a soundboard, is another type of filtering. Explore the various tonal qualities of the different body shapes and sizes that are modeled.
Explore how the controls in this module are used to rapidly attenuate the vibration of the string.
Explore how the controls in this module are used to alter the behavior of the string.
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