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TVEC (Tée-Vek) - Total Virtuoso Expression Control (for EXS24 Concert Strings II)

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TVEC Flexible Playing Style
Vibrato/Expression ControlsVolume ControlsFilterSoft DecayEnvelope Controls

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TVEC Keyswitch Map and Articulations
Keyswitch MapArticulations

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Instrument Directory
Click Here

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Tips and Troubleshooting
Click Here

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EXS Graphical User Interface with TVEC Concert Strings:

Now, with TVEC for EXS24, you can get the widest array of articulations, expression, and flexibility to suit YOUR playing style.

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TVEC Keyswitch Maps:

Violins and Violas	Cellos and Basses	Combinations
A0 - Marcato Short Bb0 - Spiccato B0 - Detache Short C1 - Velocity-controlled Marcato C#1 - Legato D1 - Detache D#1 - Vivo E1 - Marcato F1 - Adagio G1 - Tremolo Ab1 - Half Step Trill A1 - Whole Step Trill Bb1 - Pizzicato Symphonic and Studio Only: B1 - Bartok Pizzicato C2 - Harmonics	A0 - Marcato Short Bb0 - Spiccato B0 - Detache Short C6 - Velocity-controlled Marcato C#6 - Legato D6 - Detache D#6 - Vivo E6 - Marcato F6 - Adagio G6 - Tremolo Ab6 - Half Step Trill A6 - Whole Step Trill Bb6 - Pizzicato Symphonic and Studio Only: B6 - Bartok Pizzicato C7 - Harmonics	A0 - Marcato Short Bb0 - Spiccato B0 - Detache Short C7 - Velocity-controlled Marcato C#7 - Legato D7 - Detache D#7 - Vivo E7 - Marcato F7 - Adagio G7 - Tremolo Ab7 - Half Step Trill A7 - Whole Step Trill Bb7 - Pizzicato

ArticulationsBack To Top of Page

Strings Articulations
Marcato Short Spic Short Staccato Short Vel Marcato Legato Detaché Vivo Marcato Sus Adagio Tremolo Half Trill Whole Trill Pizzicato Bartok Pizz Harmonics Slides IntervaLive®

TVEC Articulation Names - Strings	Definition
Marcato Short (Ped Marc Sus - Ignore this.)	Heavy and aggressively attacked notes lasting about 1 second each.
Spiccato (Ped Spic Sus creates release samples via the sustain pedal.)	Spiccato. Notes are played by bouncing the bow quickly. NOTE: If you hold the sustain pedal down, you will get very useful "upbow" notes when you release the key. This very effectively emulates repeated rapid upbow / downbow phrases.
Detache Short	This is a lighter staccato sound than either "Marcato Short" or "Spiccato Short"
Adagio	Very slow. Use this for the slowest phrases.
Legato	Faster notes than "adagio". Very useful for phrases that move at a medium tempo. Also useful for phrases that have slurred notes since there is not a lot of bow-change sound at the beginning of each note. Tip - Use more vibrato at the beginning of each note during moving phrases to obtain a more natural sound. Then reduce the amount of vibrato (if using Mod Wheel vibrato) after the initial attack of each note.
Detaché	When you want to hear more of the bow sound at the beginning of each note than "Legato" above. This is useful for playing fast runs. Tip - Use more vibrato at the beginning of each note during moving phrases to obtain a more natural sound. Then reduce the amount of vibrato (if using Mod Wheel vibrato) after the initial attack of each note.
Vivo	When you want to play crisp, lively phrases. This is also useful for playing runs. Tip - Use more vibrato at the beginning of each note during moving phrases to obtain a more natural sound. Then reduce the amount of vibrato (if using Mod Wheel vibrato) after the initial attack of each note.
Marcato	Sustained notes with very hard, aggressive attacks. Tip - Use more vibrato at the beginning of each note during moving phrases to obtain a more natural sound. Then reduce the amount of vibrato (if using Mod Wheel vibrato) after the initial attack of each note.
Velocity-controlled Marcato	Playing slowly and softly will sound "adagio". As you increase your speed or play more loudly, you'll get more aggressive attacks. Tip - Use more vibrato at the beginning of each note during moving phrases to obtain a more natural sound. Then reduce the amount of vibrato (if using Mod Wheel vibrato) after the initial attack of each note.
Tremolo
Half Step Trill
Whole Step Trill
Pizzicato	Plucked
Pizzicato (Bartok)	Pizzicato plucked so hard that the strings slap the fingerboard of the instruments.
Harmonics
Slide Up	If you want to slide up into a target note, raise the pitch wheel all the way up just before you play the target note. For Solos: If you raise the pitch wheel all the way, you will get almost a full octave slide up. If you raise the pitch wheel somewhere in the middle, you will get a much smaller slide; about a half step.
Slide Down	If you want to slide down into a target note, lower the pitch wheel all the way down just before you play the target note. For Solos: If you lower the pitch wheel all the way, you will get almost a full octave slide down. If you lower the pitch wheel somewhere in the middle, you will get a much smaller slide; about a half step.
IntervaLive® Up	If you raise the pitch wheel, you will get the upward "chunk" portion of the IntervaLive® effect. If you raise the pitch wheel all the way up, you will additionally add section slides to the move. Therefore, if you only want IntervaLive® without section slides, raise the pitch wheel, but not all the way. More about IntervaLive®...
IntervaLive® Dn	If you lower the pitch wheel, you will get the downward "chunk" portion of the IntervaLive® effect. If you lower the pitch wheel all the way down, you will additionally add section slides to the move. Therefore, if you only want IntervaLive® without section slides, lower the pitch wheel, but not all the way. More about IntervaLive®...

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TVEC Flexible Playing Style(Back To Top of Page)
Vibrato/ExpressionVolume ControlsFilterSoft DecayEnvelope Controls

As you may know, EXS24 has 10 visible modulators on its graphical user interface. We have set these up so that with a simple mouse click,
you can change the way the instrument reacts.
Here is how you can control the various parameters listed below. Additionally, you can even set the sensitivity of these
parameters to suit your style. And it is worth mentioning that any of these moves can be automated.

At the top of each EXS24 modulator, you will see a small "b/p" which stands for "bypass". If the "b/p" is inside an orange box, then the modulator
is bypassed.
Also, each modulator has a slider which determines the positive or negative effect of the modulator itself. Higher values of the slider generally
increase the effect, lower values decrease the effect, and negative values invert the effect.
For our purposes here, we will only be paying attention to the modulator's "b/p" and slider.

Velocity vibrato, or Mod Wheel vibrato (Expression)
STRINGS - Velocity vibrato, or Mod Wheel vibrato (Expression)(Back To Top of Page)

At default, both Velocity and the Mod Wheel are set to control the vibrato amount.
To switch to velocity-controlled vibrato only, click the "b/p" indicated by the yellow arrow until it is "on" (orange), and then click the "b/p"
indicated by the purple arrow until it is "off" (not orange).
You'll notice that now, the yellow arrow's "b/p" is on, and the purple arrow's "b/p" is off.
To control the amount of the effect, whether velocity or Mod Wheel, simply move the slider indicated by the orange arrow for Mod Wheel
sensitivity, or the slider indicated by the red arrow for velocity sensitivity.
Tip 1 - Use more vibrato at the beginning of each note during moving phrases to obtain a more natural sound. Then reduce the amount
of vibrato (if using Mod Wheel vibrato) after the initial attack of each note.
Tip 2 - If you are using Mod Wheel vibrato, we have found that a Mod Wheel setting of 52 sounds good for a general starting point.

-Velocity volume, Mod Wheel volume, or varying degrees of both(Back To Top of Page)

At default, velocity is set to control the volume.
Also, cc11 (expression) is also set to control the volume. To turn off cc11 volume, click the "b/p" indicated by the green arrow
to bypass that modulator.
To switch to Mod Wheel volume, click the "b/p" indicated by the yellow arrow, and then click the "b/p" indicated by the purple arrow.
You'll notice that now, the yellow arrow's "b/p" is off, and the purple arrow's "b/p" is on.
To control the amount of the effect, whether velocity or Mod Wheel, simply move the slider indicated by the orange arrow for Mod Wheel
sensitivity, or the slider indicated by the red arrow for velocity sensitivity. The default setting, in case you need to revert, is a velocity volume
slider value of 89.2, and a Mod Wheel volume slider value of 98.5.
Tip 1 - If you decide to use Mod Wheel volume, you may wish to turn off Mod Wheel vibrato by clicking both of the "b/'p" boxes indicated
by the two white arrows above. This will cause the vibrato to be controlled by velocity rather than by the Mod Wheel.
Tip 2 - To create a nice Mod Wheel "swell" while keeping velocity volume, click the above yellow arrow's "b/p" so that its modulator is not bypassed.
Then, move the orange arrow's slider to a value of about 21.

-Filter cutoff via velocity, via Mod Wheel, or none(Back To Top of Page)

At default, there is a small amount of filter cutoff at very low velocity. This effectively "darkens" the sound when you play very softly.
To switch to Mod Wheel filter, click the "b/p" indicated by the yellow arrow, and then click the "b/p" indicated by the purple arrow. You'll
notice that now, the yellow arrow's "b/p" is off, and the purple arrow's "b/p" is on.
To control the amount of the effect, whether velocity or Mod Wheel, simply move the slider indicated by the orange arrow for Mod Wheel
sensitivity, or the slider indicated by the red arrow for velocity sensitivity.
To remove the filter cutoff altogether, simply click the "on" button indicated by the blue arrow. That will turn the filter off. To turn it back
on again, simply click it again.
Tip - If you decide to use Mod Wheel filter, you may wish to turn off Mod Wheel vibrato by clicking both of the "b/'p" boxes indicated by
the two white arrows above. This will cause the vibrato to be controlled by velocity rather than by the Mod Wheel.

-Soft Decay(Back To Top of Page)

At default, there is a small amount of longer release time at very low velocity. This makes the samples decay a little longer when you play
very softly which makes for a more natural sound.
To turn off this effect, click the "b/p" indicated by the yellow arrow. You'll notice that now, the yellow arrow's "b/p" is on, thereby bypassing
the modulator.
To control the amount of the effect, simply move the slider indicated by the orange arrow. High values increase the release time at higher
velocities. Negative values decrease the release time of higher velocities. The default setting, in case you need to revert, is a slider value
of -240.25

-Envelope Control(Back To Top of Page)

In this description, we will use the terms "half dome" and "full dome". These are indicated by the yellow, orange and purple arrows above.
Velocity Attack and General Attack
At default, there is a small amount of velocity-controlled attack for each articulation. This means that the softer or more slowly you play,
the softer the attack will be.
To turn off this effect, click the "half dome" indicated by the yellow arrow, and drag it all the way down to 0. The default setting, in case you
need to revert, is a value of 821.90
To dramatically increase the sensitivity, raise the yellow arrow's half dome to higher values. This will make slower, more fluid notes with
only the loudest and fastest notes having a sharp attack. Generally speaking, the wider the gap between the two half domes, the greater
the difference of attack depending on velocity.
To soften the attack of ALL the notes, raise the orange arrow's half dome until it meets the yellow arrow's half dome. The default setting,
in case you need to revert, is a value of 0. Then to further soften the notes, keep pushing up the orange arrow's half dome (the yellow arrow's
half dome will now get pushed up together.) until you get the desired sound.
Tip - If you select the "Marcato Sustained" articulation (F7), and slide both half domes all the way up, you'll get a nice smooth "Legato"
articulation.
Note - The "Velocity Marcato" articulation (F#7) needs to have a significant gap between the two half domes to function.
Release Time
Release time is controlled by the purple arrow's full dome. The default setting, in case you should need to revert, is 532.23.
By raising the purple arrow's full dome, you'll get a more ambient, "wet" sound. Lower values will make the sound more tight and "dryer".

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Instrument Directory(Back To Top of Page)
Symphonic Violins

Studio Violins


Chamber Violins


Solo Violins


Symphonic Violas

Studio Violas


Chamber Violas


Solo Violas


Symphonic Cellos


Studio Cellos


Chamber Cellos


Solo Cellos


Symphonic Basses


Studio Basses


Chamber Basses


Solo Bass


Symphonic Combinations


Studio Combinations


Chamber Combinations

General Tips(Back To Top of Page)

For Strings, use more vibrato at the beginning of each note during moving phrases to obtain a more natural sound. Then reduce the amount of vibrato (if using Mod Wheel vibrato) after the initial attack of each note.

For Strings, if you are using Mod Wheel vibrato, we have found that a Mod Wheel setting of 52 sounds good for a general starting point.

For Strings, if you decide to use Mod Wheel volume, you may wish to turn off Mod Wheel vibrato. Click here for more information.

To create a nice Mod Wheel "swell" while keeping velocity volume, click here for more information.

If you want to create realistic intervals between notes, you can do this in a variety of ways: -You can slide up or down to target notes. Playing a note (source) followed by another note (target), raise or lower the pitch wheel all the way up or all the way down just before you play the target note. Make sure you play in a rather "connected" way, meaning that you should try not to leave much space between the notes. If you do leave some space between the notes, you will hear the IntervaLive® effect as described below. -You can can use IntervaLive® between notes. Playing a note (source) followed by another note (target), raise or lower the pitch wheel just before you play the target note. However, do NOT raise or lower the pitch wheel all the way. If you raise or lower the pitch wheel all the way, you will hear the section slides. Make sure you leave a little space between the notes allowing room to hear the IntervaLive® effect. -You can slide up or down to target notes and hear the IntervaLive® effect. Playing a note (source) followed by another note (target), raise or lower the pitch wheel just before you play the target note. Make sure you raise or lower the pitch wheel all the way to hear the slides. Make sure you leave a little space between the notes allowing room to hear the IntervaLive® effect as well.

More tips coming soon...

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