I have the VSL VI Orchestral Strings 1 Standard -without the extended library. I'm trying to fatten up the Violin section by layering VSL w/ another violin section (from another library). I really wish there was a second violin section in VSL. My problem is, let's say I've spent a lot of time getting just the right articulations from the VSL VI using keyswitching.Any suggestions on how best to layer the other strings with VSL
without destrroying (or covering up) the subtle articulations and attacks in VSL. In other words, I want both violin sections playing in unison. Any suggestions would be greatly appreciated.

Thanks!

Tom

wolfetho:

The wording of your question is most interesting.

It sounds as if you already have a second string sample collection and want to use it-- or you've tried to use it and are not getting the results you want.

Are either of the above statements true?

I've used VI in combination with other collections, and I've often found it better not to match every articulation so literally, depending upon the needs of the music. I'll play the part in as closely as possible, but a certain lack of "perfection" can add an element of realism. I like minor "discrepancies" and "happy accidents". Real string sections don't always play "together", and those players sitting further away tend to sound late in the real world.

I use VI as my front end strings-- those players sitting closest to the conductor, for example. I'll consider the "other" string samples as those players sitting further back in the section. I'll use Altiverb's predelays to place the two string sections "near" and "far" for more depth.

Most importantly, the pan fields of each similar section must match. If you've narrowed the 1st violins from VI to 30 degrees and panned it to the left, you want to also take the 1st violins from the other strings section, narrow it 30 degrees width to match VI, and then pan it to the same place in the mix as the VI strings. Same for all the sections, otherwise the strings will bounce around the mix and create undesired mix results.

That's what I do fo adding depth and adding a different color, but not soley for adding a second violin section because two sample collections are too different to be convincing spearately.

I like J's suggestion of duplicating and transposing the track, compensating with the mod wheel to trigger different samples. Two problems can occur with this technique:

1. In cases where an open string sound is desired, ie: low G on the violin, such notes can be noticeable when transposed. A change of patch/sample on those notes in the new track can remedy this.

2. Attention must be given to instrument ranges when bottom extremes are reached. Tranposing down can result in missing notes. This can be remedied by always transposing upwards. Higher limits of stringed instruments are more difficult to discern.

But the texture and color of tranposing VI remains consistent under the best circumstances, and under the worst circumstances this technique adds nothing to the texture or color-- if this is what is desired.

Personally, I would actually just play the part in again whether I used VI or another collection for those "happy accidents".

So, consider your specific reasons for wanting a fatter section and then determine which approach would best serve the results you desire.

Not a tip but a demo...

In the German Magazin "Sound Recording, No 7/2006" I found two tests:
1. VSL VI-Chamberstrings
2. Garritan's Stradivari
The author combined both libraries for a short demo: Vivaldi's 4 seasons
http://www.beat-kaufmann.com/VSL_Garritan.mp3


No comment from my side...

Have fun
Beat Kaufmann

I'll add to that: Garritan-- strident and under equipped for the demands of complex musical expression.

In fact, it's really an unfair comparison. Nothing comes close to VSL's solo strings.... and for that matter, nothing can compare to VSL's expressive detailing across the entire library.

The most important point is that VSL-VI ought to remain the front end sound-- the "near" orchestra. If I use any other collection it is used more as the "far" sound, which *can* add wonderful complexity within the ambience and reverb settings. It's very easy to reproduce the "duck and smear" technique that often occurs at the back of a real string section. I would never expect another collection to carry the essential articulations, especially on a chamber work.

Ouch! That was a 'harsh articulation' Mathis.

Heaven? []

But the devil is in the details...

But, I hear you notwithstanding...

Those who *can* will compose. Those who *can't* will write reviews. Always the case.

I think a lot of very capable composers who have written reviews might be surprised to hear that. []

...and a lot of reviewers who gave up composing might have no idea what we're talking about!!

Robert Schumann is a great example of composer reviewer. Good call.