Personally, I think the triple horn in the B2 collection is an amazingly rendered sample. I'm in the process of composing a piano and wind quintet and the Viennese horn just wasn't working out for me, so I substituted the triple horn and it fit perfectly. It blends extremely well with other wind instruments without sacrificing its own character and it is powerful. For me, the TH is a VSL highlight, equal to the Steinway D-274 and the slot x-fade and y-axis functionality in VI and VI pro (which I finally figured out how to use with Finale after 10 years in the Vienna community). I have 49 VSL products and I'm not finished yet.
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VI Brass II - Triple Horn
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Hi Pianokey56,
Thanks for sharing - there are quit a few instruments that have a special meaning for some composers. I remember that Harry Gregson Williams loved our clarinet in Bb in particular, mostly because it reminds him so much of the tone of one of his favourite player (I think it was a family member).
For me, it's the flugelhorn that really stands out in those brass instruments!
Best,
Paul
Paul Kopf Product Manager VSL -
I downloaded the flugelhorn, it sounded to me like a very mellow trumpet without the high-pitched overtones in the upper register, I could definitely find uses for it in my works. It seems like VSL is migrating away from the VI series into the SYNCHRON instruments but I have, for what it's worth, a couple suggestions of instruments to add to the VI collection: 1. a tenor horn, like the one used in the intro to Mahler's 7th symphony, and 2. additional vowel sounds for the Vienna choir, such as the o, e, and i sounds. With those additions, a composer could easily make complete phrases and conceivably even write an opera. I used the ahs and oohs with some of the consonant sounds to make "words" in a class assignment and with the key switch dump file for Finale it worked out pretty well.
