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  • Dimensions strings and Historic Winds - Mozart K 550

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    Hi guys,

    2017 is coming to an end. Time to thank the entire VSL team for all the fantastic products, especially in 2017 all the historic winds series. While waiting for the complete collection of Synchron Strings I, for the end of the year, here is an ultra-known Mozart piece made with the Dimension Strings, baroque flute, baroque oboe and natural horns from Historic Winds, clarinets and bassoons.

    Happy holidays to all and a good end of year 2017 !! 😃

    Mozart K 550">Mozart K 550

    Added 29/12/2017 : Mozart K550 withour Miracle

    Philippe


  • I love this g-minor Symphony a composition teacher once said the only reason why that music must be in minor was that those Ideas in major would be simply overburden the capacity of human being for joyful music.

    I also like your brilliant and vivid interpretation of that music. To put a grain of salt I am not that happy with the acoustic, since I feel much of the brilliant details of mozarts score are a bit in danger to get lost in to much acoustic reflection.

    I would be very curious how this might sound with Synchron strings, since I believe they will allow it perhaps a bit better to keep the natural room audible without loosing transparancy for details. Which venue did you used. Did you have tried it with the Synchron venue? With my Abel Symphonies I enjoyed the Synchron-venue very much especially for the reasons already mentioned here.

    However hold on to contribute that much wonderful VSL-rendering of such great music in 2018. People like you keep us aware what VSL is able to do.


  • Hi Philippe,

    With pieces like this one, there will always be discussion about how it should be performed. Indeed, there are as many interpretations as there are listeners. But one thing is certain: your performance is quite delicious, fresh and detailed. It's not without any risk to choose a piece that is so commonly known and it takes a lot of musical courage to present it your own way. Wonderfully done with the dimension strings and historical winds. It's really your cup of tea.
    Most of your recordings are quite direct and rather dry. This one has a somewhat wealthier ambience. It doesn't disturb me at all, but I'm not used to hearing your midi performances this way.

    Anyway, thanks a lot for this lovely treat and a happy New Year to you and your familiy!

    Jos


  • Philippe that sounds great - the strings are just about perfect and  it shows how adaptable the Diimension strings are.  Also the layering of the solo violin works perfectly and gives an added texture.    I lov that one part at the end of the main phrase before the development section where Mozart seems to stop everything, look around, decide to go a different route, then resumes on his way.  He may have been joking a little there.  Though much more sublty than the Musical Joke.   


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    @Philippe BAYLAC said:

    Hi guys,

    2017 is coming to an end. Time to thank the entire VSL team for all the fantastic products, especially in 2017 all the historic winds series. While waiting for the complete collection of Synchron Strings I, for the end of the year, here is an ultra-known Mozart piece made with the Dimension Strings, baroque flute, baroque oboe and natural horns from Historic Winds, clarinets and bassoons.

    Happy holidays to all and a good end of year 2017 !! 😃

    Mozart K 550Mozart K 550

    Philippe

     

    Nicely done. Isn't it great that you could create your own period instrument performance thanks to VSL. 


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    Thanks Steffen, Jos, William and Paul for your comments.

    This piece has been mixed in a Teldex venue+ Miracle.

    @Steffen : i have remixed the piece without Miracle. so with less reverb :

    Mozart K550 without Miracle

    Anyway, it's always interesting to make the comparison.

    My intention is to later make a version with Synchron Strings and the rest of the instrument in Mir with the Syncron Stage. I'm waiting for the full release of Synchron Strings.

    At first, I found it interesting to show that the DS, if they can seem a little."disappointing" out of the box, remain a incredible library that gives great results. I have to specify that I did not artificially doubled the desks with the old transposition trick and that there are just 4 violins I and 4 violins II.

    Best

    Phil


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    @Philippe BAYLAC said:

    At first, I found it interesting to show that the DS, if they can seem a little."disappointing" out of the box, remain a incredible library that gives great results. I have to specify that I did not artificially doubled the desks with the old  transposition trick and that there are just 4 violins I and 4 violins II.

    Especially when it comes to reproduce a periodlike interpretation (beside the fact that I would welcome to have gutstringed instrumentsI😉) I can not see that much disappointing with Dimension strings notably because they allow the smaller more transparent sectionsizes which contribute so much to baroque and earlier classical music.

    As far as 1.+2. Violin do not play unisono to often, (Given the fact that we have 8 individual violins in DS) I would not hesitate to use more than four violins (6 or even up to 8 even if that would mean that 2 or four instruments of the 1. + 2. Violins are based on the same samples, (which is imho only a problem if those instruments play exactly the same) for classical music, meanwhile for baroque music sections with 4 Violins might even be fine.


  • If I've counted correctly, there are 5 violins per section: 4 dimensions and 1 solo violin. Uneven numbers tend to be preferred in chamber music. That sounds fine to me, 5 is an excellent number. The recording doesn't lie about it. It sounds great.

    As you know, I'm fond of a direct sounds with minimal reverb tails. Teldex has always been my favourite venue and still is, although its reverb lenght is rather long (2.4 sec?) I usually shorten it to 1.8 sec and with a MIRacle final wet reverb of -9 dB (dry = 0 dB) and length max. 2 sec. These are only my preferences for small ensembles in a chamber-like environment (which Teldex isn't actually). So there has to be some reduction.

    When we recorded with my chamber orchestra in Steurbout Sound Studio (comparible with Teldex in volume and construction), they put sound screens around the ensemble to reduce the direct reverb and high mikes to keep the overall ambience. Result: detailed rather dry sound with a nice subtle tail. That's what I've always been after.

    But again: your settings don't disturb at all. If you like the recording, then it must be that way. Everything stays clear, transparent and detailed. Nothing vanishes into a thich cloud of reverb, no muddiness, no masking. Can we expect anything more?

    Jos


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    @Another User said:

    I'm fond of a direct sounds with minimal reverb tails.

    Quite an interesting detailed reply, Jos.

    My experience is that as I gain confidence with mixing, the subtle reverb I put into it.
    I do pretty the same using Bricasti M7 IRs in Reaper, shortening the 2,94 sec reverberation time of Amsterdam Hall (love the Concertgebouw sound) at -12dB wet (dry = 0 dB).

    Eventide 2016StereoRoom sits in at various levels as a send reverb.

    Happy New Year Everyone.


    VI Special Edition 1-3, Reaper, MuseScore 3, Notion 3 (collecting dust), vst flotsam and jetsam
  • PaulP Paul moved this topic from Orchestration & Composition on