Well been playing around with Auto Align and it made a huge diffrence in clarity and in tone. Could I then use the Matrix Mixer Pro for the time settings that Auto Align detected? Anybody here that cares to chime in? 

This is really just a question about that little delay knob in Synchron Player. Did you guys manually align the samples so they are all aligned out of the box or did you leave them as recorded for adjusting in the player?

Hope you get my question :)

Happy New Year,

Betúel

No not snake oil, the plug-ins sound very good and are so convenient to get the warmth of gear in the box. Their mic emulations are equally impressive, being able to change a microphone emulation on the fly is brilliant.

Originally Posted by: crusoe

Hi Betuel,

Quote:

I use virtual microphones, consoles, preamps, compressors etc.

Like the ones Slate advertises? Care to share the experience? I wonder if it's more than a snake oil.

Thanks,

Crusoe.

Originally Posted by: dmillionaire

Think really dry

Being that it is Vienna, forefather of Germany (and i am just guesing here)

Mic = U87direct Beyerdynamic/Sennheiser room or sterio

MicPre = Telefunken V72or76 or Manley

AD = Antelope, Apogee, Brown&Burr maybe Ferrofish

DAW = VSL propritary sample editor

Mix = Selfserve via VIPro or VSP

Decca Tree LCR: DPA 4006

Surround: DPA 4011

High Stereo: AKG 414 als AB

High Surround: AKG 414 als AB

Close: Neumann KM184

VI1: M* OK FETCH T:1 done

ID: Flea12 as AB

Back: Sennheiser MKH8040 as Spots

VI2: MID: Sennheiser MKH800 as AB

Back: Sennheiser MKH8040 as Spots

VA:  MID: Sennheiser MKH800 as AB

Back: Sennheiser MKH8040 as Spots

VC:  MID: Sennheiser MKH800 as AB

Back: Neumann U87Ai as Spots

DB:  MID: Neumann U87Ai as AB

Back: Flea12 as Spots

I'm just after some more precise info in order to mix better. I use virtual microphones, consoles, preamps, compressors etc. You get the picture, for a more cohesive mix :-)

Note that I am talking about Synchron Stage recordings, not Silent Stage. 

Warmth

Betuel

Originally Posted by: dmillionaire

Not really sure. Just a general rule, VSL tend to be dry (ie turn off all reverb and eq=dry) so mic, micpre, A/D converter, VSL proprietary sample editor (ie edits, dynamics, mix, master) program for ouput by VIPro or VSP

And thanks for taking the time to give your thoughts 

Does everything go through the SSL in the control room? And what are the Pre-amps used? Clean or coloured? Im wondering about how much color is added, and weather I should add some SSL console emulation caracter to my other sounds. Those sort of questions. I would love some insightful info on all this being a geek that needs to know everything 

Warmth

Betuel

I have a theory of why this would take a long time. Budget would be one, any comany has only a limited budget at any time for a particular task at hand. A person that normally does one thing all of a sudden finds it self doing another task. So they have to say whats important to us now and whats important later. As a company they evolve and learn new aproaches in regards to do things better. So while the are experimenting with synchronizing everything they are also learning to deliver a better MIR-Pro and the much loved MIRx. I'm sure when they update MIR we will have something really cool to play with!

warmth

B

So whats the recording-chain for these libraries, I'm hoping some insight into the Preamp's, Mic's, EQ's, Console etc would help me mix better.

Anyone willing to share?

Best,

Betuel

Thanks Paul for your input. Mainly I wanted to have more control over they layout inside SYP, it's probably just my OCD  It all works fine, I know my way around routing etc. 

Thanks again and Happy Holidays,

Betuel

Thanks Paul, no it does not. I wish to have all mics, icluding a reverb, (9 outs, no?) routed out of SYP-VEP-LPX. Really it goes into scripting no?

Hi folks, hows does one go about routing Synchron Strings to exclude the first "Room-Mix" channel?

I should have worded it better  I was wondering about recording an instrument or instruments at Silent Stage etc, using multible microphones close, mid, decca, high... Im mostly just curious how it would sound next to the typical dry stage sample recordings.

Multiple Microphone Positions in a Dry Stage Setting.

Has anybody given this a thought and or weather this would yield a better or fuller sounding recordings with a reverb like MIR PRO. I'm curious what everybody thinks. VSL after all has mostly been cherished for well recorded samples in a dry stage setting.

I have always found VSL to be fairly straight forward in terms of installment and usability. However as humans we have bad days and everything seems to go wrong for us, but in reality we just need some sleep zzz

FYI I have also found VSL customer support to be top-notch, best @mail them for technical support.

Great suggestions! I'm sure VSL guys and girls will start churning these out in between film score bookings  

But seriously I need Paul to get on to designing the mind midi controller for velocity Xfade!

Thought I'd make a Xmas wish list post  Just in case Vienna folks aren't busy enough.

So for Xmas I want Synchron Brass!

I've Synchron-ized my Berlin Brass using match EQ and Mir-Pro etc, it sounds good but now I'm ready for the real thing. Just because you know, Synchron Stage is possibly the best sounding halls in the world. Butter smooth mids, silvery highs and a chocolate low end, all with a hint of vintage  

Also you VSL folks should totally design your own Keyboard controller, I would buy one in a heartbeat.

And Paul could design a mind midi controller, it would literally interpret your brain-waves for velocity xfade. Good idea no? 

+ 1 + 1 + 1 !! 

Wow, thank you so much! It sure does. I love MIR so much and how different settings can really change the sound. Thanks again for taking the time.

Warm regards

Betuel

Originally Posted by: Dietz

... hope this helps! :-)

Hi Dietz! I'm messing around with a similar setup, images like this are always helpful. Would you be willing to share your prefered microphone settings for the setup seen in the screenshot. And perhaps more screenshots of instrument placements if you are feeling generous;)

Kind regards

Betuel

Originally Posted by: Dietz

As a post scriptum to this question, please see the attached screenshot. ;-)

Quote:

11. If run in VEP and I have 40 instances, will all instruments still be seen in ththe stage map, or only if used in a daw as a plugin?

Hi, anybody willing to explain this release business inside Synchron Strings I? Never really thought about it till now. There are two kinds, damped and ringing. Sounds good. Does one decide? How does this work?

Thanks in advance (:

Originally Posted by: Paul

Hi Betuel,

We love it too! 

But we have learned our lessen: Never talk about unfinished products!

Best,
Paul

I hope that was a subtle hint I noticed in your sentence. Anyway, good luck with the unfinished product :-)

I love Synchron Stage.

It's a beautiful sounding hall. I wonder how long I must agonisingly wait for:

Synchron Brass I & Synchron Woodwinds I, completing the Orchestra so to speak :) 

Is this something that is in the works at this time?

Kind musical Regards

Betuel

Thanks Ben for responding, however acording to Dietz samples are converted from analogue to digital in 24 bit / 96 khz, they are stored and edited in 32 bit FP / 96 kHz, and are converted to the delivery format as last step before mapping within the VI.

Originally Posted by: bbelius

Hi,

I think the VSL samples are recorded at 44.1 kHz. A samplerate significant higher then that does not provide any benifits and can even make things worse, besides using more CPU-performance and disk-space.

Here is an article explaining it: https://sonicscoop.com/2...better-and-when-it-isnt/

Best, Ben

So the question of sample rate is a passionate subject for many. More and more we are seeing music delivered at high sample rate to the deligt of many. Sound is pretty much always recorded at higher rates nowadays, and a prominent sample library developer I've noticed delivers it's libraries at 48k but even so these samples have been downsampled from original rate before consumer delivery. So my question is what is the reason for not allowing an option for higher sample rate delivery for those who desire?

It does, no vintage microphones, Neve preamps etc. I was just trying to figure out what I was not hearing, guess we are so used to hearing these colorations. No distortion, got it!

Thanks for the info to my dumb question :)

Kind regards.

Originally Posted by: Dietz

Hi Betuel,

Like fellow forum member Bbelius I don't really understand your question. Of course the impulse responses we captured for MIR Pro are meant to have all the colour from the original venue - but we tried to get rid of any other unwanted influences, like all non-linearties of the recording signal chain and so on.

... does this answer your question ...? 

Kind regards,