I think the idea is to duplicate instances of Dimension Strings to achieve the desired ensemble size and use your mixing enviroment (e.g., MIR) to differentiate the sound.  I guess to move freely between unison and divisi scoring in the violins, one would need to either use different articulations between the instances or the same articulation coupled with chamber violins in each section, combined with the 1/2 step transposition trick for both libraries.  

Any other approaches come to mind?

Hi everybody,

You can use Dimension Strings in so many combinations.... There is not only one way. Once again, it´s really your choice what you want to make of it

If you are using different players with different articulations for multiple sections and place them in the stereo field, there is of course also no phasing.

I´m sure there will be quite some more demos, examples and explanations available soon.

And of course there will be many opinions (which is a good thing!!).

Best,

Paul

FWIW... I think that among many sample orchestra people there is a tendency to focus on the 'Epic' sound of video games and movie scores.

But in the real world (at least my real world of Seattle and Dublin) if you look at the size of most ensembles, either for live or recording, Dimension Strings is -totally- the right fit. Most sessions I see are 10 fiddles -tops-. I'm dating myself, but I played Motown sessions at the tail end and -all- those hit records were usually even less---but they sound suitably 'big'. Heck, I just saw Fidelio last weekend and the standard opera orchestra complement Seattle Opera uses is 4 basses, 6 celli... etc. And they sound totally 'heroic' in a good sounding hall.

My point is that, I sometimes think one of the give aways of 'mock ups' is that they sound artificially 'big', I mean, sometimes I think it's like a synth with too many oscillators. :D

Can't wait to get D/S! Although I do take yer point: I can see this concept scaling to, say 12 desks... Just waiting for those 1TB SSDs. ;)

Cheers,

---JC