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SY Dim Strings Vs SY SE Dim Strings
Last post Wed, Feb 10 2021 by Cathy, 9 replies.
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Posted on Fri, Jan 08 2021 21:36
by MatFluor
Joined on Wed, May 10 2017, Olten, Posts 6
Hi,

The current offer is mighty tempting, a good start into the new year. Now before I mindlessly purchase samples like a maniac:

I know about the difference in content between the SY-zed and SY-zed SE version of Dimension Strings. My question is about the sonic character. Simply said, I read (correct me if I'm wrong) that e.g. the Orchestral strings versions are both remastered, but differently, resulting in a different sonic character between these two versions. Is this the case for the Dimensions Strings as well? Meaning - do the SE Dimension Strings "sound the same"/have the same samples and remastering as their bigger SYzed counterpart? If not - what could I expect the difference to be?

I own SE but not the VI Dim Strings.

Thanks,
Mat
Posted on Wed, Jan 13 2021 20:26
by muziksculp
Joined on Fri, Oct 03 2003, U.S.A., Posts 419

Originally Posted by: MatFluor Go to Quoted Post
Hi,

The current offer is mighty tempting, a good start into the new year. Now before I mindlessly purchase samples like a maniac:

I know about the difference in content between the SY-zed and SY-zed SE version of Dimension Strings. My question is about the sonic character. Simply said, I read (correct me if I'm wrong) that e.g. the Orchestral strings versions are both remastered, but differently, resulting in a different sonic character between these two versions. Is this the case for the Dimensions Strings as well? Meaning - do the SE Dimension Strings "sound the same"/have the same samples and remastering as their bigger SYzed counterpart? If not - what could I expect the difference to be?

I own SE but not the VI Dim Strings.

Thanks,
Mat

The Synchronized Dim-Strings should sound identical to the VI Dim-Strings, provided you disable the Synchronized versions' Synchron IR, and Built-In Reverb. Since both libraries use the same samples. 

Oh.. I thought you were asking of the Dim-Strings VI version should be similar to the Synchronized version. Regarding the SE version. I'm not sure exactly how that compares to the Synchronized Dim-Strings, but I'm guessing they should be quite similar.

Posted on Thu, Jan 14 2021 10:59
by Paul
Joined on Sat, Aug 03 2002, Vienna, Posts 12481

Hello MatFlour, 

Yes, the SE Dimension Strings sound the same / have the same samples as the bigger VI / SY-ized collections. 

Best, 
Paul

Paul Kopf
Product Manager - Vienna Symphonic Library
Posted on Thu, Jan 14 2021 21:08
by MatFluor
Joined on Wed, May 10 2017, Olten, Posts 6
Originally Posted by: Paul Go to Quoted Post
Hello MatFlour,
Yes, the SE Dimension Strings sound the same / have the same samples as the bigger VI / SY-ized collections.
Best,Paul


Thank you Paul (and also Muziksculp). Very good to know, and eases the purchase decision as well :-)
Posted on Fri, Jan 15 2021 00:50
by Cathy
Joined on Thu, Sep 22 2016, Posts 5

Hello,

For the SE Dimension strings, how does the sound travel through the mixer channel?  Is it a violinist playing into a single microphone, then it goes to the EQ, then the delay, then you can send it to the AUX to go to a Room Reverb, then it goes to the Synchron convolution, if turned on, then you can send it to the algorithmic reverb, then there is the channel fader?  Are all these paths summed at the end?  Someone needs to draw a line diagram of all these paths.  Thx,

Posted on Sat, Jan 16 2021 20:25
by Paul
Joined on Sat, Aug 03 2002, Vienna, Posts 12481

Hi Cathy, 

It's pretty much straightforward: Each player gets a separate microphone and mixer channel, and you can choose from single player or desks or all players of a section at once. Each has their own EQ and Impulse Response, and now you can interact with each separate player, to get the ensemble sound you like. 

I have made a walkthrough video of the SYNCHRON-ized Special Edition Volume 5 - Dimension Strings here, hope that helps. 

I'm a bit confused, as you already seem to have that Volume... 

Best, 
Paul

Paul Kopf
Product Manager - Vienna Symphonic Library
Posted on Sat, Feb 06 2021 18:41
by Cathy
Joined on Thu, Sep 22 2016, Posts 5

 Hello Paul,

  Yes, I am having fun with it, but some questions come up about how best to use the three reverbs, which are the Synchron impulse, the built-in algorithmic and the FX reverb.  It looks like you are using the Synchron and the FX reverb in your video, in which the FX reverb is maybe applied to the sound after(?) the Synchron impulse is already applied to the sound (that is why a good diagram would help me).  I'm afraid when I do that, my system starts to click, so I just have the FX reverb on right now, which sounds quite good.  (I have not tried the light convolution in the engine yet.)  In the mixer it seems the algorithmic reverb has a REVERB send amount feeding it and the FX reverb has an AUX send amount feeding it, so are these two reverbs in parallel?  Would I ever need both?

On the subject of placement of the sounds, I can see in your video that you leave the panning quite open and wide.  I suppose that is because the Synchron impulse will put each instrument where it is supposed to be on the stage.  However, if I have the Synchron impulse off, it is incumbent on me to control the panning in the mixer; at least that is what seems to be happening when I switch to the no-Synchron presets.

Thx



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Posted on Mon, Feb 08 2021 09:55
by Paul
Joined on Sat, Aug 03 2002, Vienna, Posts 12481

Hello Cathy, 

This is the signal flow in the Synchron Player / Pianos: 

Input > Filter > EQ > Insert > Convolution > Pan > Fader > Meter > Sympathetic resonance (piano) > Sends

Insert is the only part which can be nonlinear. 

Does that help?

Best, 
Paul

Paul Kopf
Product Manager - Vienna Symphonic Library
Posted on Wed, Feb 10 2021 18:25
by Cathy
Joined on Thu, Sep 22 2016, Posts 5

Paul,

I suppose what you are saying is that the 'filter' is the master filter that can be controlled by CC and affects every channel.  At the end of the chain is the 'Sends' which can send to the algorithmic reverb or to auxiliary channels.  Then the fader on the aux channel is like the 'aux return' in my hardware mixer, to blend into the overall output, and the level knob on the algorithmic reverb is also an aux return.  Did I get the details right?

Thx,

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