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Introduction to the Vienna Symphonic Library

Orchestral perfection at your fingertips

The Vienna Symphonic Library is an innovative, research-driven music software and sample library developer based in Vienna, Austria. The unprecedented quality of the wide range of virtual instruments, as well as numerous software innovations, provide absolute authenticity, unsurpassed sonic excellence, and ease-of-use to composers and producers creating orchestral arrangements on the computer.

With the 2003 releases of the FIRST EDITION and PRO EDITION, as well as the HORIZON SERIES, the Vienna Symphonic Library produced a series of collections that combined the musical traditions of Vienna with intelligent high-end technology that far surpassed the limitations of conventional orchestral sample libraries.

Since their introduction in late 2005, VIENNA INSTRUMENTS have been the most powerful virtual instruments on the market, integrating intelligent Performance Algorithms with their easy-to-use VST/AU plug-in instruments to orchestrate an inconceivably vast array of samples. Composers, arrangers and music producers can reproduce every nuance soloists or ensembles are capable of playing with absolutely authentic results.

The Mixing and Host Software, VIENNA ENSEMBLE PRO, is the first MIDI and audio LAN solution that sports a network option that can connect PCs and Macs by a simple Ethernet cable. MIDI and audio data can be sent back and forth without any additional audio hardware, in sync and without any latency issues – a flawless software solution that has turned the industry's collective head.

In the Fall 2008, our software developers created VIENNA SUITE, then the first effect plug-in suite that ran on both 64-bit and 32-bit PCs and Macs. Its eleven audio tools such as Equalizer, Compressor, Convolution Reverb etc. enthuse with high-end sound and ease-of-use. The plug-ins offer over 500 expert presets tailor-made for Vienna Instruments.

In 2009, after several years of research and development and for the first time in music technology, VIENNA MIR enabled composers to reproduce the ambiences of concert halls authentically in real-time on a single computer. The idea was simple. Just as it is possible to sample musical instruments and all of their different facets, there is a way to digitize rooms and their acoustic characteristics. The “response” of any room to a strictly defined acoustic impulse can be recorded and imprinted on any other “dry” signal by a mathematical process called convolution. The audible acoustic result is the same as if the signal were recorded in that very room.