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  4. New Samples, especially strings ??

  • New Samples, especially strings ??

    R
    R

    Hi,

    It's been now 10 years I'm a VSL addict and I have to admit that you are the best and you are leading the industry for your great ideas and releases. But today, many competitors are trying to do better...and few may succeed in this.

    I'm just SO in love with you guys that I feel like bound to you....this 10 years anniversary with lower prices may be the hint you're doing another recordings...frankly I wish so, especially for strings...

    Your tools are getting better and better but even if they improve the samples they can't change them much...

    Always yours,

    Ramu
  • muziksculpM
    muziksculpM

    +1

    New, and  improved strings would be a great development, especially Strings that are more suited for Cinematic/Scoring work, but, I'm not very optimistic that will happen. 

    I would love to be proven wrong.

    Any hopes of new Strings Libraries from VSL  ?
  • A
    A

    Personally I think the VSL strings still hold up great, no one still has beaten them especially in terms of varied articulations. Appasionata to me sounds better than EW Hollywood Strings for that cinematic sound.  THough I have to admit I think VSL need to do divsi or at least 1st and 2nd violines.  And also, even with the price reductions I still think the VSL libs are too expensive (like I think the sordino should be included in the standard volume ones).  If they cut prices even more it would be even better to undercut the new kids on the block.
  • J
    J

    IMO the new VI Pro will give new life to our VSL libraries. Thinking of strings (violins I), we will be able to have orchestral, chamber & solo patches running at the same time, with the solo and chamber reduced in volume to taste, and even panned a tad different. This is one of the strong points of LASS, that VSL will do even better. Divisi will now be automatic with the use of chamber patches for orchestral divisi.

    The list goes on and on. VI pro as announced should be a big plus.

    For new stuff, I would imagine a new orchestral library of fast runs, usable by their new time stretch featurei [Y]
  • D
    D

     There are two wishes that I have for VSL strings:

    1. Vibrato patches for the Orchestral Strings
    2. Finishing the Appassionata, so that it is a full Collection.

    Other than this, all my other gripes are very minor.

    DG
  • S
    S

    It would be awesome if vienna would some day have different 1st & 2nd violins both with real divisi. For now I would be more than happy, if I could buy appassionata violins without having to buy the whole appassionata library. I'm using orchestral strings and appassionata violins would serve well as 1st violins in that environment.
  • A
    A

    Sorry to disappoint you, but the new VI PRO won't magically solve the divisi issue.

    Going from one line of Section Violins to two lines of Chamber Violins won't sound like the same ensemble in divisi, because these are very different recordings.

    They need to record a brand new string library, with divisi in mind (like LASS).

    And I really hope, that this time, they'll provide distant mikes. No eq or convolution can make a closely recorded instrument sound distant.
  • J
    J

    You say "very different recordings". What is it that doesn't work in your opinion when using chamber samples for divisi for orchestral samples? Are the levels not the same? Does the room info sound different? Etc.? [Y]
  • A
    A

    type and speed of vibrato, but most of all the overall timbre, much closer and nosy in chamber strings samples.

    try this: make a matrix with two cells

    [ Vl-14_sus-Vib ] [ Vl-6_sus-Vib ]

    now play a melody with cell1 articulation and then switch to cell2 and continue with a divisi line.

    see, how the space and timbre are different? even if you make cell1 softer, it will sounds as if you listen to Chamber Violins from a closer perspective.
  • A
    A

    Also, any new library needs more velocity layers and round robin samples.
  • J
    J

    Abel, I did the little test that you suggested. Since I only have SE+, I don't have the sus-vib patches you talk about. There may indeed be different tremolo speeds.

    As for room info, I don't find any difference between orch and cham ER's, and ln listening to them "placed in their space" using Altiverb (Todd 10M ST 2 ST) a mono melody (orch) becoming div. (cham) using sus or legato articulations works for me. (just for the record, I do regularily work with real orchestras recording my orchestrations). But or course our individual perceptions vary.

    I was surprised (and at first disappointed) to realize that the note lengths of the short notes (detache, short detache, stacc) are all longer (consistently through the range and velocities) in the Orch library than in the Cham library. In that sense you're right that there's a different "sound" (or feel) there. That would make some transitions rough, but paradoxially in the end, some even better, giving the reallife non-consistency of real players. So for me, I continue to think that Chamber samples make good div samples for Orch.

    I went ahead a riged up (in Logic) a splitter, triggering Orch, Cham, & Solo articulations at the same time. This is something that we should be able to accomplish very easily in VI Pro. And I have to say that it sounds majestic. I played lines using 5 articulations (Sus, Legato, Stacc, Short detache, & Detache), panned a little differently, and the sound to my ears is much better than Orchestral alone. I had read about that here, but never done it. And the non-consistency of the short note lenghts here may prove to be positive. I can see myself using this trio rather than the full App Strings that I own any time. [B]