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APPLIED ACOUSTICS SYSTEMSSTRING STUDIO VS-1

Dec 1, 2005 12:00 PM, BY ROBERT P. OLEYSYCK

In computing terms, the word virtual is defined as something that does not physically exist but appears to exist in software. Whether speaking of virtual synthesizers, virtual tracks or virtual analog, the term is certainly a common part of today's vernacular. Although the gap between what is possible in the virtual environment versus what exists in the physical world is becoming less distinct in terms of electronic instruments (and, in some cases, not apparent at all, with software sometimes exceeding expectations or conventional limitations), the true challenge lies in trying to duplicate the feel and expressiveness of a human being playing a physical instrument. Sure, plenty of great software instruments use samples and traditional synthesizerlike controls to shape their sounds — with fantastic results — but to get closer to the real thing, physical modeling is where it's at.

Physical modeling produces sound by applying complex mathematical equations that represent the controls and variables that are found within a particular instrument. Instead of using samples or wavetables, the sounds are created from scratch in real time. Applied Acoustics Systems String Studio VS-1 is just such an instrument. Employing a new cutting-edge physical string model, VS-1 delivers a realistic method for creating lifelike guitars, basses, harps, Clavinets and bowed instruments. Instead of using traditional parameters like oscillators, filter and envelopes, VS-1 features controls that have an equivalent in the physical world: Picks, bows, hammers, fingers, frets, dampers and soundboards (and how they all interact with each other) are at the heart of this unique system. The inclusion of more traditional elements like filters, EQ, effects and a distortion stage add further sound-sculpting potential. Those who know how to play a string instrument and understand the dynamics and physics involved will find VS-1 immediately appealing, but that doesn't leave out everyone else; a solid user manual maps out a path to understanding this distinctive interface.

DID YOU BRING A PICK?

After a simple installation procedure requiring a challenge-and-response routine (which you can perform directly online or offline), VS-1 comes to life as either a standalone application or a VST, DXi, Audio Units or RTAS (Mac OS X only) plug-in. The instrument is compatible with Mac OS 10.2 or later and Windows 98SE/2000/XP, and it runs at as high as 24-bit, 192kHz resolution with a maximum of 32 voices. The interface incorporates two Panel views (A and B), a familiar browser view to the left and a top-row toolbar. The toolbar displays the name of the current preset, polyphony, MIDI channel, currently selected knob value, a CPU meter showing the resources currently used by String Studio, and a MIDI-signal LED. You can customize the browser to contain folders and subfolders that you create and organize as you see fit with a drag-and-drop approach. Unfortunately, because the width of the browser can't be adjusted, you'll find yourself scrolling left and right to have a full view of preset names and access to folder expanders — the browser doesn't automatically scroll to vertical locations beyond what's already shown. AAS is developing a new browser, which should be featured in an update expected early next year.

Preset categories include guitar, electric guitar, bass, electric bass, Clavinet, clavichord, piano, electric piano, bowed, harp, ethnic, synth, pad, ambient, sound effect and signature (containing custom presets from third parties). This is a fairly generous launching pad to get familiar with the sounds that VS-1 is capable of, and the sounds are believable, natural and warm. You can load presets in a variety of ways: by double-clicking on them, by dragging and dropping them onto the synthesizer interface or by clicking on the Plus or Minus buttons in the toolbar to move to the next or previous preset (a feature that all virtual instruments should have). You can also use the Plus or Minus keys on your computer keyboard, but these keys (as in Digidesign Pro Tools) may already be assigned to sequencer functions. Saving and organizing presets in the browser is extremely intuitive, and there's even a feature that allows you to tag additional information with notes about the preset itself, including creation and modification dates. Furthermore, the Compare button at the top of either Panel view allows for a quick and easy way to switch between a preset's original state and its current state of modification.

With a wood-grain background and chrome accents, Panel A is immediately familiar, showing the modules related to the control of the synthesizer and an output effect stage. A master Clock module syncs internally or externally. In the Keyboard module, you can modify tuning, octave and semitone shifts; you'll also find controls for Unison (mode), poly- or monophonic operation as well as (note) Priority. Detune and Delay knobs add further control for Unison mode while the Stretch knob alters the value of a semitone. Hypothetically, you could use these controls to achieve alternate tuning systems other than the modern Western tuning (also known as equal temperament), but because the Stretch knob has values from 0 to 127, not values based in musical theory, this may be difficult to achieve. Perhaps the AAS folks will provide presets for alternate tunings in future updates.

Panel A's Vibrato module contains knobs for Rate, Fade, Amount, Error, Delay and MW (which sets depth in relation to a keyboard's mod wheel). The Portamento module provides further expressive control with settings for Time, Constant or Proportional Mode (where the note slide time is proportional to the width of the interval between the two notes) and Legato function. Appearing in the Vibrato and Keyboard modules, the Error knob presents a nifty way of inducing somewhat of a human element into the virtual world by adding a random error to each note played and making all the notes play slightly out of tune. A straightforward 16-step Arpeggiator is also included, as well as a unique Recorder module in which the output of VS-1 can be saved as a stereo 16-bit WAV or AIFF file. The output Effects module rounds out Panel A and is broken up into three sections — Chorus, Delay and Reverb. There are several presets for each, as well as appropriate knobs for each, including Mix, Depth, Rate, Decay and Color.

VS-1 really sets itself apart and shows off its muscle in Panel B, which allows you to truly customize and severely tweak sounds. The terminology and controls may seem alien at first if you haven't had training on a string instrument, but a quick read through the manual should get your head around it, at least enough to get going.

With Panel B, you'll find controls that mean something in the physical world, too. Different methods for setting a string in motion such as Plectrums (picks), Hammers or Bows exist in the Excitator module, with a different set of knobs for each type. The Bow Excitator, for example, has knobs for Force, Friction and Velocity whereas the Hammer Excitator has controls for Mass, Stiffness and Velocity. You can even choose where the hammer is located in relation to the string, either above or below it. The Geometry module emulates the location and relation of the Excitator and the Damper on the string, and the Damper module is used to rapidly attenuate the vibration of the string, simulating felts on a piano or a player's fingers on a violin or guitar. Furthermore, the String module affects how the string model will vibrate, with controls for Damp(ing), Decay and Inharm(onics). There's even a Body module that simulates the size, shape and nature of the soundboard. Finally, the Pickup module reproduces the function of a magnetic pickup found in electric guitars or electric pianos, further enhancing String Studio's sound-shaping capabilities. What's more, VS-1 also includes a standard ADSR Filter Env(elope) module, a separate Filter Module (with lowpass, bandpass, notch, highpass and formant filters), a Distortion module and an LFO module.

TAKE CONTROL

AAS thoughtfully allows you to deactivate most modules in either panel to conserve CPU resources; VS-1 even includes a preference setting in which you can optimize CPU resources to favor better audio performance over smoother graphics. However, one of the coolest features in VS-1 is its MIDI learn function. Instead of referring to a MIDI-implementation chart, simply right-click or Control-click on any of the interface's controls or drop-down menus, and turn a knob on your MIDI controller — presto! The two are linked. Now, that's what I call convenient! You can even save a set of MIDI links as a MIDI map, which is extremely useful if you want to use different MIDI controllers for different kinds of instruments. The AAS Website hosts a user forum where you can exchange presets and MIDI maps, and there is a series of detailed tutorials that delve into the finer points of the instrument.

Nevertheless, I do have a couple of small gripes. The interface seems to have a fair amount of wasted space; many of the buttons are a bit too small for my taste; and parameter values can't be manually entered. Still, VS-1 is an exciting and powerful tool that goes beyond the realistic simulation of string instruments and puts forth a new approach to sound design by giving new meaning to the word virtual. If you're curious, you can download a limited demo from the AAS Website or purchase and download a full version directly.