Originally Posted by: Jos Wylin

Originally Posted by: Fabio Biolcati

I suspect its sub par overall (I'm not talking about trills, here) performance is Notion fault at triggering it properly, as it sounds better in Overture.

Hi Fabio,

It is possible to use the VSL flute (and other instruments) in Notion, without the Notion presets (which are useful to work quickly). When building up the score, don't use the Notion presets, but simple VST instead. When the score is built, put an instrument (VI) in every VST instance and then give every VI an instrument (e.g. Flute I). That will play the flute correctly, but alas some articulations will be missing (to name one: the trills...). But it has the advantage that you can use all the other articulations without interference of the Notion settings.

To have everything played correctly, a DAW is necessary. (Reaper in your case?)

All the best,

Jos

Thank you for the hint, Jos. 

Must work to a method for trills accelerando e ritardando.
In this case, I rendered and stretched audio bits form the score. Am I right VI Pro allows this natively?

Also, I'm getting good results with latest release of Overture: articulation and expression customization is very powerful, I can go deeper with VSL when DAW subtleties are not needed; more stable than ever (almost under El Capitan); some GUI cumbersomeness.

Best
 

Sibelius, maybe? Symphony n. 2 or 3…? The Swan of Tuonela… Just jocking!

Have a nice evening!

PS. More seriously, passages from Puccini might be worth some investigation.

thank you, Paolo. Thank you very much.

Thank you for listeing Steve.

You're right, VSL Flute deserves another chance, especially at mere 32€.
I suspect its sub par overall (I'm not talking about trills, here) performance is Notion fault at triggering it properly, as it sounds better in Overture.

Transferring our compositions from notation to DAW equals to move from writing desk to a recording studio, impersonating conductor, sound and mastering engineers along the path — even the coffe making interns.
I wish to able to work out a record quality mockup, but it is really time consuming and, while retired, I need to spend my time otherwise. At the moment an adequate sonic representation of my works is enough — if I could only tame those bl**dy trills…

On this subject, you're doing a very good job within Sibelius.

All the best

Thank you Jos, and you know how much you deserve thanks from me, beyond the turmoil of getting Celeste done.

I'm considering buying Flute I Std while on sale, as, to me, the one in SE is the weak ring in the collection.
The Alto Flute is also tempting —we just discussed about this nice instruments on the other Forum.

Unfortunately, VSL has chose the wrong month to put VI collections on sale as I'm struggling with annoying medical ailments and related expenses. Orchestral and Solo String, Voices… must wait for the next time.

I will look into better trills as soon as possible. These days I'm taking advantage of demo period from Overture 5 and spending all my limited computer time stretching it to its limits before putting it on my wish list. Handling of VSL libraries is good, the software is more stable than in the past, yet it needs some corners to be rounded. Last but not least, it runs under 10.11.6.

Keep safe

All the best

Dear Paolo,
can't help on the use of SSP in different environments as this very iMac is going to be able to serve just as a bulky typewriter sooner or later, yet a few free thoughts in this regard.

I think that the inherent quality of the sound of an orchestra — just the strings in this case — is part of conductor's signature style, eg. I don't like how strings sounds under Chailly baton (as I experienced it both live and on record). A sizzling Elgar is a legitimate reading, then.

Plus, we are constantly facing this unsolvable dilemma: what we hear is it the sound of the ensemble or the sound of the recording? I mean, when we listen to a recording from the mid-50, do we assume orchestras sounded dull at the time? Are we mimicking a way of recording things or giving a personal reading of a piece (repertoire or original)? Why not to render the classics with different sounding strings if it suits "our" sound?

Last but not least, thank you for paying tribute to British string music, something I'm fond of!

Cheers

Originally Posted by: PaoloT

I’ve uploaded a new version. This one has a modern tone, without trying to simulate the sound of the old recordings. I have made the winds more expressive, balanced them, and refined the strings a bit more.
The overall sound is not what one could expect from a classic classical orchestra. There is a modern, shiny, faster tone that is all but philological, but is still a perspective on the piece.
Paolo

To my taste, the MIRacle version has the better mix of warmth and more-than-subtle brightness.
As for the latest upload, I agree with you it's not the sound you can expect and I suppose it being more refined in terms of programming, but I do not feel comfortable with the crispy tone of the lead strings.
On the other side, I see the "Matching vintage recording" as a well done exercise in style; but why sound dull as a mid-50s recording if you can shine a little bit more?
You did a remarkable overall job, anyway.
Best

Absolutely amazing.
Great writing, very well conducted, first grade production.
Bravo.

Very, very nice.
Good starting point. Guess what deeper tuning shall reserve.
Cheers

Very well done, David.
Hope you'll be able to have Becky perform it live soon.
Cheers.

Hi Christophe.

You can set each matrix controller to "None".
Turning off "Keyswitch" as a method to walk trough cells will free space on your keyboard.
And then there are range and transpose functions to take advantage of keyboard extension.

Just to be exact, we are talking about Vienna Instruments (Pro), not Ensemble.

Best

Thanks Michael for your advices.

I demoed MIRx and purchased few venues while on sale.

Easy to use, sound (and cost) effective, it's ok for my mixes, even in a notation environment (must admit I prefer writing than engineering) and running a mere 6Gb RAM 2009 iMac.

I don't feel confined by Pre-insert configuration as I only use VSL in my workflow.

Still, I'm interested in the Suite for custom tailored presets: I already own a bunch of signal processors — some came at the cost of the entire Suite — but they focus on contemporary sounds and timbres.
I’ll absolutely demo it in the next days and start collecting money. Birthday shall not be far at this point.
Best

Hi All VSL Fellows and Happy New Year.
I just started using MIRx (Teldex and MozartSaal) with great benefit for my messy mixes.
I was wondering if setting wet/dry ratio to 0 preserves information other than reverb amount (position, eq etc),
or the whole plugin is bypassed.
Thank you

Very charming, David.
As those little release issues went solved, it will also sound very good.
Waiting for the further numbers to come.

Hi Paolo.

Just listened to your work. What a start for me in the new year!

All the best

Wish to share with you my latest work, The Gentleman.
A Part II. will possibly follow.
Audio is from virtual rehearsal room (read: straight from notation software);
plans are to render it in DAW later, to add more shading to the performance,
especially for the Double bass.
Hope you'll enjoy.

Best wishes to you all.

Thank you for listening, William.
Those fast notes were intended to be trills, actually.
Instrument is not from VSL and it has only sustains in it, trills are self-generated by the scoring program and stretched by me in Reaper.
I'll check the mix to make them sound better.
Keep safe. Best wishes for the New Year.

Thank you for your kind words, Dave.

Though a Vienna user for more than a lustrum, I never found enough time and bravery to move one of my projects out of the realm of notation software into a DAW, thus being able to handle CCs and balance the mix rolling along.


Well, it simply ended in a nightmare. Things resulted being, in order: too quiet, loud, harsh, smooth… And possibly two dead pigeons in the water tank.

I shared my complaints with Jos and he returned me with many helpful reccomandations, sent device settings to mimic with different processors than his etc.

Still, most of all, he was very patient with me and the message stream I flooded his e-mailbox with.

I think he truly deserves a dedication as the very existence of Celeste deserves so much to him.

Extremely well crafted, Sir.
Inspired, balanced —form-wise, orchestration-wise, production-wise.
The kind of music I still wish to listen watching an on-par movie.
And enjoying listening without a movie coming with, too.

In this case, many are synthesizers.
HZ had its huge modular embedded into furniture in this very room.
I prefer William's office.

Dear fellows,
I wish to share with you my latest work

Celeste

It's my first attempt at using VSL in DAW environment. Before, I only tweaked scores in notation sw.

I'm not happy with the sizzling sound of the violins divisi at the beginning.
Trying to tame it lead me to rework the balance of the entire mix. I need to put it on hold for a while.

Tech specs: VSL SE, GPO Flute, Sage Gateshead MIRx venue, Reaper 5, Exponential Audio PhoenixVerb, Notion 5 (virtual rehearsals).

Hope you'll enjoy.

Best

Definitely it's me too old to cope with things like these! Ahahah!

Anyway, it is available in "Bells" Full Library, even it's pictured in Exotic Percussion.

Thanks Paolo.
Screenshot is from "Exotic Percussion" page, no "Sleighbells" in sample content list…
Or, more likely, it's just me growing old faster than expected.
Ciao!