In 2009 I published a tutorial that taught users how to make better music with Vienna Symphonic Library products. Meanwhile, the variety of products became so large that I couldn't keep the tutorial up-to-date. Those tutorial was discontinued in 2017. But now...

One of the contents - the skillful use of (many) different articulations - I left out. This part of the tutorial is now available for free. Even if the tutorial is about articulations of the VSL libraries, the tutorial is also suitable for users of other libraries. The content shows, among other things, how the articulations were selected using various musical examples. So this part of the tutorial could be an inspiration to come to more musical results yourself. This tutorial could be especially valuable for sample users who are at the beginning of music production with samples. Of course this Tutorial is also useful for the application with the Synchron - libraries.

The tutorial covers topics of this kind: https://youtu.be/Qcv61DicWA4

I invite you to visit my website for downloading

the Tutorial "Musik with Samples"

and have fun...
Beat

Originally Posted by: jshamon

Hi All,

Is there a place online to find songs played by multiple insturments so that i can practice shaping?

Also is it a midi file as raw that i can find to work on? Or

Notations for muliple instruments for one song that i have to plug them in Cubase and shape each instrument individually then put it all together?

How does everyone do that? do you just play a song on your keyboard, record the midi then shape it, and you do that for voilins, brass, woodwind, percussions, piano, etc?

Thanks.

-John

Hello John
Here are some links to my homepage, which might help you on your way "Music with samples".

• https://www.beat-kaufmann.com/files/index.php (Audiofiles played with samples for mixing them)
• Tips & Tricks 4 Nr. 39 (How to use different artikulations in a row)
• Basic course: How do I apply the samples from VSL? (From Midi to an Audio File via Samples)

...and of course all the other points you're interested in.

All the best

Beat Kaufmann

Ups and sorry

Dear mw design, dear Itchy

I'm sorry, I mistook the answer. Unfortunately I assumed the answer from Itchy belonged to my design...
I've obviously become an older man who doesn't quite understand the world anymore.
Nevertheless, everyone can perhaps take something out of my answers above...

All the best and good luck in making music with samples.
Beat

Hi Itchy

Your answer tells me I obviously didn't clearly say what I wanted. So again in a short way.

-----------------------------------------
A) Your mix sounds pretty discolored because you took too much WET with MIRx (75%). That's why you should compare own mixes with real concert sound every now and then. I did that for you:

Badiniere: Original1-Itchy- Original2-Ichty (mp3) 

With MIRx it is best to set values of 20-40%. If you want to have more tail you can do this with an additional Algo-Reverb. So the discolorations in the sound are no problem.

----------------------------------------

B) Some of your notes of the flute are too quiet, so you can hardly hear them, they disappear in the orchestral sound. Probably it has to do with the fact that not all articulations sound equally loud. I played your music at about 70% speed.

Badiniere slow (mp3) For example the sixth note. Daa  da  da  daa  da  da  daa....

----------------------------------------

C) Since you are obviously a recorder player, I dug out my old Badiniere again (2006) and remixed a short section with a recorder. By the way of course without MIRx, to show again that it also works without MIR... ;-)

Badiniere Kaufmann (Excerpt, mp3)  Have fun!

---------------------------------------

Originally Posted by: Itchy

Thanks for your input, Beat! .... There’s also the concept of making a musical gesture or articulation *more obvious* and intentional, in some circumstances, rather than subtle. Do you find this holds generally true for “cutting through” a mix in the VSL/ MIR virtual world?

Samples are what they are: Samples. If you want to make "music" with them, you have to play them like you do with another instrument. For this you have the different articulations, dynamics and tempo at your disposal (like in the real world). The difference with samples lies mainly in the restriction of articulations, especially with strings and wind instruments.

If you make a "real" mix, you have even more possibilities to bring everything to life with mixing automation (effects, volume, panning, etc.).  Unfortunately, a bad mix can also destroy all efforts before.

Beat

Hello mw design
I'm just referring to Bach's Badiniere. When I started with VSL 17 years ago, such brook pieces were of course a must. They were good for practicing because one could compare the result with originals. The small community gave each other tips on how to get even closer to the originals...
I advise you to do the same. The mix seems to be somehow in a pot and a bit far away. Obviously you used MIRx and I see the value set to 75% WET. If you want a big distance I recommend you to choose a bigger room (Wiener Konzerthaus). The important thing is to bring down the 75% WET to about 35%. Then the "pot" impression will be lost automatically. You will notice the somewhat strange sound (e.g. strings) by comparing your audio file it with original recordings (Youtube).

A second thing is that with samples not all tones are equally loud when played with the same velocity. Staccati, for example, sound louder with 70 (midi velocity) as legato notes. In your case, some notes almost disappear. Already with the first notes.... daaa da da daaa da da daaa da da daaa ... at least one short note is quite quieter...  that means that you probably have to adjust each tone individually with the preceding and the following one...
Of course only if you really want to do that.

So far a great work with some potential.
Don't know how long it took you. I used to calculate 3 days of work for 3 minutes of music 15 years ago...

Further much fun and success.
Beat

Originally Posted by: Itchy

Hello Mr. Kaufmann! I'd have the studio engineer provide a discreet relatively dry track as well as separate tracks recorded/ "live-mixed" taking advantage of whatever ambience sounds good... or avec his/her favorite studio reverb. That way, you'll have options when you plunk the tracks into your existing mix & the MIR environment.

re: studio ambience; ....

I would like to emphasize that the music examples above are only listed for pleasure. They should motivate everyone to play instruments themselves, together with VSL.

Thanks for the tips.
As you can see, the recording with the children was made in 2004, Bethlehemstrings in 2006 and the Adagio of Albinoni probably 2003 - so all at the very beginning of the story of VSL itself. I simply enjoyed trying everything because I suddenly had an orchestra at my disposal. For people of today this is (unfortunately) nothing more special. At that time this fact was quite groundbreaking. So I can't change the recording conditions back then. Meanwhile the children are adults... ;-)

How to record instruments for playing togehter with samples (of VSL)
I can support Itchy's tips for recording instruments: The instruments should be recorded as "DRY" as possible. Nevertheless, you should keep in mind that each acoustic instrument should be microphoned in the same way as you would for classical sound recordings. So "Dry" does not necessarily mean as close as possible to the instrument. No, as an example for the violin: The best distance is 1m above the f-holes).  You can find a video or a website for almost every instrument, how best to record. Search for this task with Google.
Since these tips are not intended for professionals (they know them already): It doesn't necessarily have to be a Royer microphone or a Millennia microphone amplifier. It also works with a "Rode NT5" for example or an other good budget microphone and it works also with the amplifier of "your audio interface". Nevertheless, If you have good hardware, use it, of course.

Large instruments (grand piano, organ,...) should be recorded in stereo in any case (AB, ORTF,...), smaller instruments may be recorded also in mono. Classical Vocals: I would record them with M/S technology. This way you can add a bit of three-dimensionality to the voice, which seems more natural later in the mix (Listen to the singing examples). If you don't have the Microphones for M/S, it also works with one alone (mono).

By the way: The instruments at VSL were recorded with this background as well - earlier in the Silent Stage. So exactly at the right distance and still as "dry" as possible and as we know, of course all of them in stereo.

-----------
So if you have recorded your voice or instrument in this way, the conditions are good for mixing the result with samples - whether in "MIR" or with a conventional audio mix.

I wish you success

Beat

Hello everyone who wants to play music to VSL-Sample, here are some results...

...just for fun:

• Children 10 years + VSL-Samples), recorded in classroom 2004: Toreador / Valencia
• BethlehemStrings together with real tenor saxophone (middle section), played in 2006
• Albinoni Adagio with Harp, Violin,... (VSL) and real soprano saxophon...

...of course all these pieces are played without MIR... "MIR" wasn't born at the time.

Have fun and maybe you will try to play together with VSL-Samples yourself.

Beat

Hello littlewierdo
The music is beautiful and played and interpreted thousands of times. You have - perhaps without noticing it - chosen one of the most difficult tasks a sample musician can face: With "Nearer, My God to Thee" you have chosen a very slow piece, which is still very well known to everybody.

At first your version sounds like played with a real violin. The beautiful sound of the VSL samples and of course the beautiful melody will help you.
But soon you realize that the violin is a sample violin after all. Why?
If you would give this piece to a real violin player to play, he would shape the long held notes a bit. He would probably breathe at the end of each "melody bow" and would not simply continue to play without a pause. Probably he would also have greater fluctuations in tempo...

Please don't misunderstand me. I don't want to make your recording bad at all. But at the moment I still don't feel much of the "making music", but rather the notes are simply played back with nice samples. (I'm talking about the violin)

If you want to take my text as an opportunity to make your piece even more musical, then topics like "xVelocity" and tempo variation are certainly important.

When I was at the beginning with samples, I always looked for a "real recording" of my chosen piece of music and put it over my sample version as an audio track. Then I tried to copy the real instrument as good as possible with all my tricks - from the swelling and decay of the notes to the ritardando and the tempo fluctuations... The goal was simply to get as close as possible to the original. In other words: To transform the actually dead and always the same samples into music.

Once again: I hope you can take my words positively to make your piece even more beautiful and musical. But this additional work is not easy. Often it also shows the limits of the samples.

I wish you a lot of success.

Beat

Hi Paul

Thanks for your kind words. Good luck until next time.

Beat

Hello Paul
I love the mix.
Everything sounds fresh, well balanced and the instrument sections sound very natural. The stage depth also sounds as if it were a real recording.
In summary: Bravo!

Hi Thorsteinn

To break down the problem of "missing 2nd violin" a bit more: The meaning of VSL in the libraries of the first generation (Chamber, Solo, Orchestra, Appassionata) was that violin 1 and 2 are played both times with the same violin library. That's no problem, because you can break the second violin to another position on the stage. The sound of the libraries is so neutral and good that it does not stand out at all if both violins are played with the same library. 

So far so good. But you can not do something with this situation, namely when violins 1 and 2 play the same note, it does not sound as if two different violins (-ensembles) are playing this same tone.
One manages the trick that Ben has mentioned above for playing two different samples at the same tone. This gives us the desired result, despite only one library.

You transpose the midi track down and on the VI player you transpose the sound back up on the audio side - or vice versa. Here you can find out how it works.

Because the SE libraries only have samples each whole note, you have to transpose the midi notes +/- 1 whole tone - otherwise you don't get a new sample.
All other libraries are sampled in semitone steps. So you could also transpose +/- semitones.

There are users who always play the 2nd violin with the this trick (samples of the 1st generation) to get a slightly different character.

--------------------------

Later, VSL then offered the Dimension strings that can divide themselves within the sections, by recording individual strings, which can be played as an ensemble, string groups or individually. So "Divisi" is possible.  This library included for the first time a "real recorded 2nd violin".
The Synchron-Strings" library now contains 2nd violins as well. The "Synchronized Versions" were probably prepared by VSL itself so that a quasi-2nd violin was created from the originally Violin Libraries.

-------------------------

Technically, of course, it is better to be able to use a real second violin. However, the fact is that most users program the samples so badly that these errors reveal much faster that the music is played with samples than the fact that both violins are played with the same samples. Producing music with samples is also a highly technical matter. That is why many enthusiastic technicians are involved in this interesting hobby as well. Above all, the technical side is very important to this group. Fortunately, VSL has covered all wishes over time.

All the best and a lot of success

Beat

...However, for each articulation there appears to be only one or two keys that actually make a sound. Why is this? Best Regards, Chris...

Why do you want more keyswitches? I think it's great that we need only one command per articulation (tone outside the range of the instrument).

Even though you have obviously been using VSL samples for a long time, this link might answer your question:

• https://www.beat-kaufmann.com/vitutorials/vimidi/index.php

followed then by this one:

• https://www.beat-kaufmann.com/vitutorials/vibasicpresets/index.php

There are probably more tips on this site which could be helpfull on your way.

All the best

Beat

Originally Posted by: teclark7

Beat

Thanks for your honest constructive feedback. The sample WAV file you did showed remarkably what you mean by the "tone" not being good...

Tim

Hi Tim

The example shows how important it is to always work with references. Our ears (brain) get used to new conditions within a short time. When you are working on a mix for a long time, you usually do not realize that you are completely wrong with the sound. In this situation, only a comparison with a good reference helps.

When you work with MIR: Keep in mind that there are a lot of parameters that can affect the sound: venue selection, microphone method, microphone positions, number of microphones, EQ, amount of "wet" ... even though the tool makes you believe it is customer-friendly in everything (which it is), you can do a lot wrong as well. The recipe also applies in this case: "Less is more." - means: If you do not know exactly what you do, do as little as possible,  ... Then also: Again and again compare with a reference.

Beat

Hello Tim
Earlier, I recommended that you should remove all effects from your strings, because the sound sounded quite far from "natural". Example 3 now may sound different (I did not compare again with 1) but still pretty far from "natural".

I repeat myself again:
With the VSL samples you have a great sounding library. People of VSL took great pains to record the samples, edit and publish them. So you get a great sound without doing anything.

What is/was your mixing goal?
I do not know what you wanted to achieve with all the effect you used for your mix. A more pleasant sound?
Whatever you use to judge the sound is obviously anything but neutral. You probably adjusted the sound so that it sounded great with your "reference". To me it sounds quite discolored frankly. If you have the chance, play your mix in your car, or on your hi-fi system...

A possible help
I allowed myself to play BWV 727 with a Midifile - without big sample optimization. It was all about the sound. I chose Chamber-, Appassionata- and Orchestral strings to get an average string sound. Except for a bit of compression and reverb, I did not use any other effect - so no EQ as well! Then I switched between my sound and your sound. The example starts with VSL-pur...

http://www.musik-produktion-createc.ch/BWV727-Ref.wav (23MB)

 Do you hear the difference? That's what I mean by "compare to a reference". Reference here is the "original VSL recording sound". If you compare your sound with an analyzer, it looks like this:

http://www.musik-produktion-createc.ch/Teclark7.jpg

Green means original - VSL strings / White is your BWV 727.
Incidentally, you also see that you probably used a stereo widener tool. Especially in the lowest frequencies and from 2kHz above "stereo has become a bit too much" or you used a reverb that makes a bit too much stereo here.

Summarized:
With samples you usually get good results, when you take care of correct volume ratios between the instruments and when you manage the left and right things. Finally a bit of a concert hall at the output and that's it.  Such a mini mix often sounds better than a lot of what you can hear in the net, which was "treated with effects" for weeks...
I can only recommend again: Try to use less effects (until you know them better), check your listening situation, use reference sounds and try to hear your own mixes more often on other systems (car, hi-fi, etc.).

---------------------------------------

Sorry I was very direct. That might hurt a little. But keep in mind: I would not have taken all the effort if I did not really want to help you. I hope you can see that positively.

I wish you success
With kind regards
Beat

I was wodnering about the Konzerthaus Organ in terms of playing/using it:

Please look here: https://www.beat-kaufmann.com/vitutorials/vi-tips--tricks-3/index.php (No 22)

I have a Synchron instrument (piano) already, so do I need different software to use this organ with my DAW because it is a Vienna Instrument instead?

The use of Vienna Ensemble could be useful (How to play VKH-Orgen):

https://www.beat-kaufmann.com/vitutorials/konzerthaus-organ/index.php

As far as mixing is concerned, the instrument is of course more or less dry recorded. Either you use your own reverb effect to "distance" the organ or you use a MIRx concert venue for bringing the organ into the distance. As long as the two rooms are not the same, it can sound a bit unnatural. But if you let the piano play as close as possible and the organplays rather far away and if you then mix some tail with an algorithmic reverb in the common output channel, that will sound great. I am sure about that.

How do you record pedal? Do you record record the music for the hands first, then play it in the DAW and record the pedal notes with your keyboard, to match your previous playing with the hands?

I am not a pianist. Thus, I play voice by voice or I even set the tones with the mouse ... ;-) (manual by manual)

All the best

Beat

Originally Posted by: teclark7

I am particularly interested on feedback on the mix as I mix exclusively on headphones (ATH-M50x). Any tips on how to mix on headphones from experienced members would be great.

Dear Telark7
The sound of your mix is ​​not very pleasant via my monitoring system. Presumably, you have used quite a bit of sound effects, especially when I read that you also tried Tonal Balance from iZotope etc.

The first tip I can give you: Remove all sound effects (or switch them off)! No EQ, no filter, simply nothing. VSL has recorded all instruments at the highest level and tuned the sounds with the best monitors and devices. The beginner usually breaks these great sounds. He often totally deforms these sounds with EQs and other sound designing tools. He thinks and believes to "filter out" resonances but often that are either important overtones of the certain instrument or those "resonances" come from bad monitors, the listening situation, ... etc.
So turn off all your sound effects and hear how real your strings sound without anything beside a bit of reverb. Later you may be able to cut off the unnecessary low frequencies (LowCut) or raise the high frequencies a bit with a hishelf filter for more presence or lower the hishelf filter a bit for a slightly more distant play. More I woud not do while you are collecting first experiences.

The second tip: Instead of adjusting the sound with iZotope-Tonal-Balance, I would rather take a great recording of strings, brass or whatever is needed and compare your results with those real recording reference. Although tonal balance can be helpful, but unfortunately this tool is probably not very helpful for your ensemble "Organ-Strings". Specially the sound of the organ depends on the stopps which can lead to wrong "total-balance-results". The tool compares the incoming sound with an unknown average...

I wish you a lot of success

Beat

I produced a piece that you do not like at all. That's your right to say so. Typically William in those cases, your feedback was pretty emotional. I responded with "take it easy" and showed you with two video examples that other more famous people perform the piece quite differently than you might want it to have.

In your 2nd feedback, you said I should not tell you to take it easy. Furthermore, you have made me a few reproaches ... I would ignore your tips and answers ...

Now it is difficult for me. What to say? What to do? It's like a trap. As it looks, I have 3 options:

• A) I submit to your judgment, I apologize for the demo, delete everything and promise you never to make such a demo again.
• B) I do not apologize. I give you any answer so you do not feel ignored. No matter what I say, it will end badly:   A "word war à la William" as I  know it.
• C) I am now leaving this forum for 5-6 weeks and enjoy life.

 ----------------------------------------------

I choose C) You will then say that I ignore you. Yes, I do, but I do not need your bad mood. Luckily, I do not have to ask you if I can take C) or not.

BTW: No matter what you write now I will not read it anymore. Save your time and produce your own and better demo.

Beat

William
Calm down and just not so seriously please. Since I've had samples, I've always played things you've never heard before. An example is the Willhel Tell with percussion - in the demos. BTW. Others have played stars and stripes as well with other "orchestrations":
https://youtu.be/1HrhZ1-cPJE
https://youtu.be/bm88Y-ocTyA

Of course you may as always have your opinion. Anyway, I had a few hours of fun and the people in the videos obviously too.

--------------------------------------------------------

Dave

Just for you:

Here is a version that comes straight from the players. Not a single effect was used just finished both in the sum channel. By the way, that's how I understand the library. Because it is recorded as in the syncstage, the user has nothing more to do.

Stars and Stripes without any effect - just out of the players

Beat

You certainly mean the sound of the strings and not the piece.

Rewritten for a better understanding---------------------------

Thirteen years ago, the chamber and solo strings were unbeatable libraries. You could hear real violins with beautiful legatos etc. The libraries had a lot of soul in them, although we play(ed) samples.

Today, new VSL string libraries are released, recorded in a real hall, so that we get strings that already have the missing real space feeling in them ...

Theme "soul and liveliness": In my opinion, today's VSL Strings libraries contain less soul than the old ones. The first time was a loss of "soul" with the dimension strings. The sound of them was different than that of all previous string libraries. Nevertheless some love exactly those "new" sound.

Theme "natural space":   When the Synchron Strings were announced, I thought that we would now get the sense of space, as we know it from live recordings. The samples will now have the real space integrated. To be honest, I am a bit disappointed in that point. I'll have to try out how it sounds when I use only one microphone version at a time, for example MAIN. Maybe then I will receive my desired room feeling. I will see. You just have to gain experience first.
---------------------------

Luckily, there are so many different libraries today, there's something for everyone. As I mentioned in another thread: You just have to use the right library for the corresponding music.

Best
Beat

Hello
Here is a short version of Stars & Stripes by Sousa (Strings Version) - once played with the new Chamber Strings, once with the Synch Str 1 and once together, as mentioned in the Chamber Strings video by Paul Kopf.

With Synched Chamber Strings

20% Wet, no EQs, just a little spiced up with Compressor and Co. and just a little short tail over all (10%, sum channel, ca. 1.8s)
http://www.beat-kaufmann.com/Cre_Syn_ChStr_Stars-and Stripes.mp3

With Synchron Strings 1

Room-Mics 100% Mid 20% Main 100%, no EQs except the double bass, a little bit spiced up with Compressor & Co. just a little tail in the sum channel (10% around 2s).
http://www.beat-kaufmann.com/Cre_Syn_Strings_Stars-and Stripes.mp3

Both together

(just a little tail in the sum channel (10% around 2s).
http://www.beat-kaufmann.com/Cre_Syn_Strings_and_ChStr_Stars-and Stripes.mp3

Have fun

Beat

Hi

Today I tried the VELx thing.
Full-Dynamic, Legato normal, lyric vibrato on all instruments
Room Mix 0dB / Mid -10dB / Main 0dB
These values achieve a nice depth of space. The sound follows the "VELx-curves" very well on all instruments. Because there are 8 layers that can be passed through, I can not make out any gradations. Great!
No EQ, no other effect, just what the synchronous strings deliver. The Reverb of the player is off. Also, note the last "fade-out". It almost goes to "zero" - so it comes very close to a real diminuendo articulation. Great!
And that's how the "dry" result sounds:

Nearer my God to thee (only Syn Str1 Orchestra)

Of course the result is not spectacular, on the other hand, you can not say much against it. Furthermore, we are used to the VSL samples "waking up" with some reverb ...

------------------------------------------

Now I added a solo violin and put it all in a room that has more reverb than the "Synchron Stage". I added a "Cathedral-Tail" (over all) without "Early-Reflections". So the orchestra is still playing in the depth of the Synchron Stage, but now with the tail of a cathedral. The solo violin is still in the foreground because of the missing Early Reflections. Nevertheless, the solo violin plays in the cathedral as well. This leads to a beautiful contrast of "near and far". Beautiful music also.

Nearer my God to thee (with VSL-Solo-Violin2)

I do not want to miss the Synchron-Strings-1 here. I don't know which other VSL strings could do this job.

------------------------------------------

Have fun

Beat

Hi guys
Please do not forget the meanwhile and unfortunately somewhat underrated Chamber Strings Library. Although the library is about 14 years old, it still has not gotten a real "Holbersuite demo challenger" - even not from non-VSL products (see demos). The great thing about the Chamber Strings Library is that it does not have any weakness. Furthermore, it has many articulations (through all the instruments), it is extremely precise, it sounds very musical and it is at the same time soft and lively...

Beat

Thanks Paul

I just added another Playermix in my starting text.

Beat

Hi all
Thanks for the positive and kind feedback.

Hi mh-7635
Yes, the demo music has a few pinpricks. But the demo does not claim to be perfect. For the last 20% perfection you have to spend 80% of the time. Unfortunately, I do not have them. I also used not a lot of Dekka Tree so the Strings sound maybe a little too close specially for those who are normally using MIR.
Those results sound mostly too distant in my mind. So tastes are different...

Demo with a different style of music - Barber-Adagio?
For a piece of music to sound great, you should like the music itself. Since I was able to record a few Barber-Adagio arrangements with Brass, the string version has lost its appeal a bit to me.
As indicated above, I want to try it with a waltz - the Kaiserwalzer or Viennese Blood. Such a demo does not exist yet. That's why this appeals to me more than just filling in the 100th Barber-Adagio version. One more thing: simply that's just the notes. If you have ever produced a slow piece, then you know how difficult it is to bring life into the dead long-sounding samples samples.
The Strauss Waltzes need the size of a symphony orchestra. Exactly what the Synchron Strings are made for. We want to see how they can solve the job.

About demos from other libraries
Many other libraries come only with the dramatically and rhythmically played staccato throughout the orchestra, just as today obviously all film music has to sound. At least that's what the "Synchron Strings" can do just as well.

BTW: An orchestral library from Steinberg has just come out. When you listen to the first 3 demos: once more Staccato-film-music as I mentioned above... Furthermore, I believe that you have to see the current string library as part of the whole symphony orchestra. It will definitely do a well job. For more expression - where you can hear the fingers tapping - VSL will surely deliver synchron -solo, -dimension or as they will be called then.

All the best and later in July - with a walz

Beat

Here is my first Synchron-Demo in different versions.
The E-Partita from Bach-arr. by R. Mangiagalli

A¹) Synchron Strings 1: 60% Roomsound + 100% Mid + Close 60% 
B¹) Synchron Strings 1: 60% Roomsound + 100% Mid + Close 60% + a bit tail 
C¹) Synchron Strings 1: 60% Roomsound + 100% Mid + Close 60% + a bit tail + Solo Strings (just a little)

New on the 4th of July: Another Mix within the Player

A²) Synchron Strings 1: Room100% + Mid 50% + Main 100%  
B²) Synchron Strings 1: Room100% + Mid 50% + Main 100% + a bit tail  

B³) Synchron Strings 1: Room100% + Mid 50% + Main 100% + more tail  
C²) Synchron Strings 1: Room100% + Mid 50% + Main 100% + a bit tail + Solo Strings (just a little)

As I noted in another post, I see great potential for this library when it comes to bringing powerstrings to the start. It is probably optimally used for modern large-scale productions. A small baroque cast is better filled with the dimension or chamber strings.
Therefore, I mastered the whole thing a bit on "pressure". I did not use any effect in the individual string tracks.
On the contrary: I even switched off most of the EQs in the Synchronplayer ... So you listen to pretty much Synchron Strings 1 (+ Solo Violins). Nevertheless, I still used a little "mastering know how" to get the best possible end product.

I am particularly impressed by the deep instruments. Now we have violas that can also assert themselves in large orchestras. The cellos sound very natural. Both instruments have a round, warm sound. And last but not least The bass foundation is phenomenal. Because I used a tail that also fades low frequencies, I had to reduce the bass even a bit with a dynamic EQ ...

Next demo I will try the "Imperial Waltz" to play. Quite a different kind of music. There xVel will come into play ... I'm curious myself ... later in July.

Have fun
Beat


PS You will find this Partita in the VSL-demos. I did it once (2003/4). It was a Mix with (between) the Orchestra Library and the Solo-Library... Now in a new version. above...