Hi seanmccoy, 

Technically, all new Synchron Series products have been recorded with multiple mics @Synchron Stage Vienna, with multiple mixer presets to choose from. 

Musically, you will get a more "modern approach", oriented towards film scoring, making use of all the technical possibilities of the Synchron Player for authentic sound and a more intuitive workflow. 

A good way to test our products is to take advantage of our hassle-free return policy (14 days, if purchased in our webshop)!

Best, 
Paul

Hi, 

I'd love to see your fellow users chime in here with their opinion. 

In my eyes, those new strings are incredible to use, with great results (but some might say I am biased ;-)).

Let's hear what the crowd says. 

Best, 
Paul

Originally Posted by: seanmccoy

Thanks, Paul. I understand the new Synchron libraries are new recordings, and while I've always been happy with the VSL sound, would love to take advantage of that. And clearly the full libraries include many more articulations. But my main reason for upgrading would be for improved basic playability and realism. Most importantly, I'd love to have more velocities for smoother crescendi and decrescendi, and better transitions for medium and fast legatos. Is this something I can expect, when compared with the SE versions? 

For clarity:

The VI instruments are libraries that work through the VI or VIPro2 player.

The SYN-zed (synchronized) instruments are VI libraries that have been redone to work with the SYN player, the biggest "re-do" being spatializing the dry sound in the Synchron stage using impulse responses.  These libraries can also have that spatialization turned off so you can use them completely dry, just like the VI versions.

The Synchron libraries are new multi-mic recordings.  The only difference between Standard and Full with these libraries is how many mic positions you get.  You can install/uninstall redundant or unused mic positions as well to save hard drive space.

Now, to answer your question(s):

When upgrading from SE to either a full VI library or a full SYN-zed library, what you can expect is approx. five gajillion more articulations (including tons of new legato types) :-)  Seriously, though, that's the main draw.  

Will that make the library more playable? Not really, but quite frankly, I don't think sample libraries achieve their best sound when they're just played in; there's always some after-the-fact tweaking of articulations and CC curves if you want to make use of all those articulations.  

Will that make the library more realistic? 100% yes, absolutely.  This goes double for any solo instruments, as it's the little differences in bowstroke, breath control, etc. that are captured in all of the variant articulations that can really add up to a much greater level of verisimilitude.  

Will you get more velocity layers, better legato transitions, and crescendi/decrescendi? 

- I'm not sure how well or thoroughly this is documented, but I can confirm from personal experience that some of the VI special editions had less velocity layers in various sustain and staccato patches than their full VI counterparts.  I don't know if the SYN-zed special editions withhold velocity layers, but my guess is probably. 

- As for transitions, you'll get more in the form of different types of perf. interval patches (fast legato, performance trill (these are the best, I swear), marcato, performance spiccato, performance detache, perf. grace note, perf. zigane, perf. glissando etc. etc. etc.)

- The full libraries (whether VI or syn-zed) have mountains of pre-recorded dynamics in the form of crescendo, diminuendo, and swells (pFp or FpF), depending on which library it is.  In either player, these can be time-stretched.  In the SYN-zed versions, depending on the library, these pre-recorded dynamics will match the release sample to the time of release; this allows you to use, say, half a pre-recorded crescendo and then convincingly launch into, say, a legato line from that since the release simple is accurate to the volume reached in the dynamic.  In the VI versions, they just kind of unceremoniously cut off regardless of where you are in the sample.

As far as Synchron Strings Pro (and other Synchron products go):

If you're trying to choose between SYN-zed or Synchron, I'd keep the following things in mind:

Synchron libraries contain less articulations overall (except for the Synchron Percussion libraries, those are just flat-out excellent in every regard), but make up for it with the spaciousness and depth that comes with multi-mic recording as well as extremely good, pristine sound.  Synchron Strings Pro (along with Elite Strings, Brass, etc.) is really a workhorse library: it does one thing (medium sized string ensembles playing in unison) and does it very, very well.

Another thing to keep in mind that Paul briefly mentioned is the difference in style and approach between the older products (VI/SYN-zed) and newer (Synchron).  Synchron stuff is meant to be primarily modern film-score oriented, so those libraries prioritize sound quality, playability, and faster workflow over extensive articulation sets, flexible ambience, and deep editing.  If you go with Synchron Strings Pro over something, you can expect seamless crossfades, lush and impressive sound, and a fairly intuitive workflow without an excess of redundant articulations.  What I wouldn't expect is extensive stringe forcing, detailed con sordino articulations, the ability to control each player individually, or things like that.

That's a lot, but I hope it helps!

Not sure where to place this request but as Paul has explained the philosophy behind the different string libraries and Versions very well it might fit in this thread. Feel free to move it.

I have the full version of synchron Elite Strings. It is a fantastic library but I unfortunately seldom use it for my compositions as it misses basic articulations con sordino and flautando. Is there any qualitatively good solution for this issue (I saw some plugins to electrically create these articulations) or is there a VSL extension planned to add these articulations to this library in the future? It would really be worthwhile as the full version mixes are great to create a certain atmosphere.

Thanks Paul

for the very fast response. That would indeed be an option, but I think I will wait till a real Synchron CS articulation is available hopefully for Elite Strings. Maybe I will look into a CS convolution on the Elite String (ES) samples to keep the integrity of the identical ÉS chambre ensemble in my tracks.

The Synchronized products are no doubt excellent but some sections do not have the same number of instruments and probably they have different players and instruments as the ES library and finally they also have a convolution reverb in the final chain to get the Synchron Stage ambience.