Lass los angeles strings

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This allows you to reduce the dynamics of a passage by turning the knob down even remotely via CC. This is useful if you like your dynamics but you just want to lower them by a certain percentage. With a key switch dictating the key of your piece you can perform diatonic trills whereby, when you play a new trill note, the transition to that trill note can be either a legato, portamento or glissando transition. These patches look similar to the other Real Legato patches as seen above. We are happy to announce a new class of patches for LASS 2.

No more having to scroll through all the patches to apply changes you need. This is both a big time saver and can be inspiring. How many times do people abandon good ideas simply because they are too time consuming to execute?!

This piece contains spiccatos using the A. This emotional cue features some nice solo viola and atmospheric high string sustains. Also note the detail of the basses bow and rosin. This cue predominately uses the legato articulations. LASS really sings when using all the separate divisi sections together… even or especially when playing in unison and to the end. As usual CC1 and CC11 are your friends! Notice the penetrating Bartok pizzicatos at the beginning of the piece as well as the ascending spiccatos that build into the crescendo at the end.

Listen to the Spiccato Cellos and the A. Notice how Nathan uses the staccato stings coupled with the powerful Bartok Pizzicatos at the beginning of this cue.