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  4. SE Strings vs standart orchestral strings

  • SE Strings vs standart orchestral strings

    J
    J

    I looked at the sample conted of the orchestral strings standart content. I didn't see any dynamic ressources in the standart version, so is it interesting to buy the standart edition of orchestral strings ?

    Wich differences are there ?
  • J
    J

    The biggest difference is that the SE strings are sampled at full tone and then transposed rather than the Orchestral Strings being sampled at half tone.  So you get more variety in your samples with the standard OS.  The Violin and Viola samples in the SE are just a fraction of the number of samples in the Standard Orchestral Strings library.   
  • J
    J

    Are the samples of the standart library for cello and contrebass based on different dynamics or is that only the case in the extended library ?Because as ressources mf, f etc. is only written in Orchestral strings II.

    As the color changes by different dynamics in strings a lot and always the mf color in SE irritates me.

    By the way thank you for the above mentioned detaiils.
  • J
    J

    Although in some cases you get more velocity layers with the standard library, as opposed to the SE, you pretty much have to buy the extended library to get the full dynamics.  Since the SE is based on the larger DVD's, they pull the samples straight from the larger collections, if the mf color in SE irritates you then the mf color of the OS I or II will probably irritate you as well.  However, since you have more samples at more velocity layers just use the f color and tap the Expression down a little bit.  One thing I've learned from working with samples is that you never let the score dictate the articulations you use for the composition.  You have to experiment a little to get the sound or "color" that you are after.  Thus, the more samples you have the more options you have to choose from.
  • J
    J

    Thank for that hint.An also  for the information.

    As this discussion could be read by other readers, I want to add a few things:

    As a former concertmaster I am used to changes in the Harmonic spectrum by changing the dynamic (for instance more profound sound by same velocity of the bow, but more near to the bridge).

    In the VI pro I could quite better combine the samples by phase.

    I purchased the Brass I standart DVD and was impressed by the color possibilities.I liked pretty much the changes I could simulate by using more or less blare, and so on.

    So more velocity layer could give me already more data to play with. When I compose I am always focused to the sound of the ensemble, their strong points and the faible points. So I'm thinking about VsL like an life orchestra with their possibilities.

    But I guess more than 10 years work in an orchestra and as contemporary composer will rest forever in my bones, especially because I have also to write for human in live performance.There I have besides their tequniques always to take care about their ability, how far I can go.Because I need always an very energetic performer.It simply that I want to lead the listener along a certain way of emotionel phrased developpment, and therefore I use what I have in that moment.

    Of course I think about the patches, thats why I can say how usefull my decision was, to buy vsl. Any other orchestral soundbank is discusting for me.

    As an orchestrator I think pretty spectral: evry instrument is a harmonic-mix that changes all the time inside a clear borders.

    Evry articulation is inside these borders with different amplitude etc.The data produced by classical instruments from staccato to multiphonix or pressando is a result of several thousand years of experience.

    The cool thing in vienna is for me, that it tries to keep the musicians taste as much as possible combined to the data, wich offers me a kind of programing with the musicians that played, the musicians that programmed and so on.
  • Beat KaufmannB
    Beat KaufmannB
    last edited
    last edited

    Hello Juda

    This is not an answer to the main question "SE Strings vs standart orchestral strings". When I read your last message then the only aim should be to invest the money in a full String Library.

    Today the standard Library and tomorrow the extended part. One of the presceptions "How to produce real music with samples" is to use as much as possible different samples. Then you are going to simualte the reality because no tone sounds as the one before even if you want to do it in reality...

    So a huge pool of different articulations can support you in reaching this aim.

    Example (it shows what I told about even if it handles about Up and Down Stroke)

    The SE-Library contains the articulations of the most important instruments which VSL has produced. But on the other hand you get only some basic articulations of each instrument.

    You'd better aspire to a complete string library.

    Best

    Beat

    - Tips & Tricks while using Samples of VSL.. see at: https://www.beat-kaufmann.com/vitutorials/ - Tutorial "Mixing an Orchestra": https://www.beat-kaufmann.com/mixing-an-orchestra/
  • N
    N

    Juda, as a bass player, I tend to be most critical of the bass samples (currently have just the four SE libraries, solo strings will be forthcoming).  One is only too aware of what one can do almost second nature with one's own instrument, vs. having samples that are... well, samples.  To echo Beat, the more articulations that you have, and the more velocity layers within those articulations, the closer you can get to emulating an actual performance.  Can samples ever equal live?  Not really.  But with VSL one can potentially get surprisingly close.