A "sustain" articulation with fast attack on the loudest dynamic (which also happens to be molto vibrato), but a slower attack on quieter dynamics If you composed a violin melody line which absolutely needed a fast attack, Kontakt (a £359 library) would give you: This is quite a good example of the hard limitations of high-quality sampling. As long as you're willing to adapt your compositions to the instruments you have available, rather than stubbornly writing string melodies which could only be performed by a real-life violinist, you'll do well. Huge amounts of excellent music has been made using synthesiser presets, or using instrument samples which would be considered "cheap" or "low-quality" nowadays.
Accurately emulating a live performer is a nice option to have, but it isn't actually a requirement for making good music. I went through a phase where I was trying to put together a really comprehensive collection of samples, but in hindsight it was a fool's errand - you'll get diminishing returns fast, unless you're willing to spend huge amounts of money. If you were to add more velocity layers, articulations and legato transitions, the number of samples would start to grow exponentially, and the cost of the library would grow to match. Unfortunately, I think this is probably the quality ceiling for a sample library with good General MIDI coverage. None of the instruments have sampled legato. The orchestral instruments only come with a few articulations, and the guitars and pop brass only provide one articulation each. There are usually only two or three velocity layers (for example, the choir can only sing a subdued "aaa" or an intense "AAA"). The quality is good, but it's not in the same league as specialised libraries.
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It has almost complete General MIDI 1 coverage, plus a handful of random additions (a dozen electric pianos, samples recorded from some vintage synths, an SATB choir singing six different vowels, several drum kits.) The most "GM-like" experience I've encountered in a modern commercial product is the Kontakt factory library.
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Until MIDI 2.0 has a way to allow synths to be connected to each other without involving computers, and there is a standard way to do that (I think USB-C would probably be best for this), DIN MIDI 1.0 will be a part of pro and bedroom recording studios. While there are USB host synths which one can connect a MIDI-only-over-USB keyboard to directly, they are few and far between (my JD-Xi has USB, as does my 2600 and Arturia Keylab controller, but all three can only be hooked up to a computer with USB) Now, with MIDI-over-USB or what not, we lose something which makes MIDI very nice: We can connect a hardware keyboard to a dedicates sound module without having to have a computer involved. However, the nice thing about MIDI is that it allows me to hook up my 2020/2021 synthesizer (a Behringer 2600) to a 1987 sequencer (a Yamaha QX5), a 2015 synth (a Roland JD-Xi), or pretty much any piece of pro synth gear made since 1983. Now, I agree that MIDI 1.0 was designed for keyboard based synthesizers, and I know that complaints about MIDI latency have been around about as long as MIDI has been.