I agree with Wiliam. VI (Pro) was and still is a very valuable and flexible player. It offers everything a composer could need to perform his/her work virtually with the highest possible realism. In fact, nobody was waiting for another approach. 

Thanks to VSL, we could create our ensembles and orchestras with the best recorded and controllable samples ever. The instruments are not cheap, but worth their money. The only really tricky part is for most users the ambience and natural sound of the instruments in a room. For that purpose, MIR was developed, again a great bonus, although many other reverb and IR plugins can be used as well to the taste of the user. VE Pro provides the necessary environment to complete decent complex mixes... All very interesting and helpful products. I think everybody will agree on this. The acquisition of the Synchron studios is perhaps a giant step for VSL, but not necessarily for us. I understand that some people want to perform their music the easy way with prerecorded positions and acoustics, but not everybody shares that need or opinion. I won't speak badly about Synchron as I'm convinced that Vienna will offer the same quality like for the VI instruments and it is certainly worth trying, but again...it comes with a considerable price.

For that reason, I hope that the huge investments on our side in the VI instruments won't be wasted because of a new approach. VI has more than proven its value. Therefore I explicitly want to ask Vienna NOT to abandon the VI series, both in support and development (instruments and player).

Jos

Wonderful job, Dave. It's a real poem in a rich musical language. Brilliant and varied orchestration with so many colors and emotions.

Glad you shared it!

Jos

Thanks William.

This is made with only the hybrid reverb of the old Vienna Suite. Rather simple, since it's just 3 instruments. Thanks to the very detailed VI (full) instruments, I could mimic most fine articulations and playing techniques which result in a high realism.

Lately, I've been busy with creating my own sets of Sound Variations with the VI Pro instruments. These replace the traditional key switching in Studio One (Pro). Finally the Presonus people came with a huge improvement for classical composers. It's never been simpler to put articulations, effects, playing techniques in the piano roll. Vienna has created wonderful setups for the Synchron(ized) instruments, but unfortunately not for the VI instruments. So I started creating my own and they work just fine! Every articulation has built-in key switches and controllers brought together in an action sequence, even with parameters for the personal taste of playing (release value, Vel XF on/off, attack value... All things to ease the labour of automation after the composition. Everything in just one go...! That is a giant leap forward. VSL provided a set for every Synchron instrument or group, but will not come back on the VI instruments.

I've been experimenting with some Synchrons too, but I still prefer my old libraries, mainly because of the lack of detail articulations. (E.g. the flute doesn't have cresc/decresc patches anymore, as well as the much used T-staccato. That is really a pity, but maybe they will be added in the future. I hope so, because it seems that Synchron will be that future (said Paul).

All the best,

Jos

Hi Sam,

Thanks for the reply.

At the moment, I work with one VST program (SparkVerb) that requires the iLok. When I installed it, I had the choice: license on my iLok key, in the iLok cloud or on my local HDD. I chose the latter. No problems so far. In the iLok installation program, I can see SparkVerb registered at iLok via my HDD. No trouble either with repurchasing in case of loss.

So you see it's possible without all that hassle with insurances etc. As I said before, I find it very weird that we should have to pay twice for the same purchase. (Illegal in Belgium!) And there is more bad news coming up...

I've noticed that all Vienna's attention goes to Synchron nowadays (for quite some tome actually) and that the 'older' libraries and player are left totally behind and neglected (although they keep selling them). I asked a question about this issue and it appears that in due course the VI(pro) libraries will be stopped altogether. They say that they will guarantee 'as long as possible' their support. I find this rather shocking. During many years, I've put together a huge library of VI pro (full) instruments and I'm very pleased with them. I've learnt to work with them in a satisfactory way, together with the Vienna Suite, MIR Pro, VE Pro and other applications. Now they announce the end of the library, as if we have an endless amount of money at our disposal to restart building the whole lot again with Synchron (and I even don't like the sound of that hall, so why on earth would I go on putting my money into these instruments...?)

I don't want to be rude. I'm very thankful for the VI libraries and the sonic results I can get with them, but the next step is simply one too many and I feel pretty disappointed about that.

Jos

Hi,

So far I have been using both systems: iLicenser and iLok. Up to now I havent' experienced any problems with either of them, but from the very beginning I found both keys a pain in the *ss because of the immanent danger of loosing the licenses and having to pay again for them. It was and is an unwieldy solution to keep these licenses on a USB-stick. In most cases they don't work properly in a USB-hub, so you have to insert them directly into the computer and I have an iMac with only 4 direct USB-busses... And what with the problem of breakdown or failure of the key? The VSL insurance... That is of course a possibility which I finally have chosen for. Licenses on an external key is outdated and rather primitive. Some programs have a choice: either the key or a little piece of license software on your own computer, with the permanent ownership of the program in case of loss, failure, theft... Why isn't that possible in Vienna?

In my opinion, it is very unjust that (without insurance) you have to pay again in case of a broken, stolen or lost iLicenser for the libraries and software you once owned (at least the use of it). It can be coupled to the computer's Mac-address. From what I've read here, I understood that it would be possible to store the licenses in a cloud. That is already a far better solution, but here again there is the immanent danger of being at the mercy of an external instance (the firm's cloud) and the availability of the internet connection. Without these, no working with your purchased beloved libraries...

I hope that Vienna comes with a smarter solution to overcome all these possible problems in the next future, other than again a USB-key.

Jos

Thanks, MMKA.

Jos

Hi Fabio,

Thanks for listening and commenting.

Indeed, it's quite dry, but I wanted to create an intimate (corona) feel, placing the trio in a smaller hall, with the (minimal) audience at about 4 meter... That way, every single detail is quite well audible, even the scratching of the bows.

Take care!

Jos

Here's the second part. The title says it all.

Chasing Dorian Grey

Enjoy the listen and feel free to comment,

Jos

Thanks Steve. The rest is still to come, this was the first part of the trio.

Jos

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

Very good and rich orchestral music.

Well done!

Jos

Hi William,

Very impressive, William. Such expressive music, well crafted and recorded. It has a very cinematic feel, although it's deeper and very colorfully orchestrated. It shows so much emotion and reflection. That is music which appeals and attracts. I can't imagine a music lover who doesn't want to hear this. And I can't think of an orchestra not willing to put this score on their desks. (Although that's another matter as we say, it takes some serious 'elbow work' to enter the inner circle of performed composers...)

Many congrats! Love the piece!!!

Hi Fabio,

Thanks again for the dedication. I'm very honored with it. And it was my honor to help you with the settings. Unfortunately you live so far away that it is impossible (and certainly in these days of COVID) to come together and handle this in person...

I noticed that William made the same remark about the trills. It is simply impossible with the flute you've used to make nice rowing legatos because of the nature of the recording: every single note has an equally strong attack that sits in the way of a nice flow. That shouldn't be a problem with the VSL flutes (with which you can regulate the attacks and releases).

(Sorry for the delay, but my iMac had to be repaired and that took quite some time...)

All the best,

Jos

Hi friends in music,

Here is the first part of my trio again is a smaal revision. The title may sound a bit mysterious, but it really says what this little movement is all about.

More explanation on SoundCloud.

6 Tones of Blue

Jos

Hi Paolo,

Great job and very well performed. More than credible! If you look for a baroque sounding bassoon, the VSL bassoon 2 can come very close (with a little filtering).

Thanks for sharing,

Jos

Hi Jerry,

What a splendid synthesis of electronics and strings! Very well done and very enjoyable.

Jos

Hi Jerry,

The lockdown in Belgium is 'mild'. Recently shopping is allowed again, but not 'fun shopping'. You must be alone and within a reasonable range of distance from home. Traveling abroad is still possible, but only to safe regions. Ski resorts in Europe are closed for non-inhabitants.

Like you said, the weird advantage is, that we all have plenty of time to spend on composing and listening to music (or reading). At the moment, I'm testing Dorico Pro 3.5. Since I write all my music in scores, a good program is necessary. Up to now I've been working with Finale (stopped evolving in 2012) and later with Notion. The latter is good, intuitive in use, but rather limited in engraving and print-out quality. That's where the new Dorico comes in... A crossgrade from Finale is very affordable now and worth considering. But first a thorough test with the free trial.

All the best,

Jos

Very fine and inventive work, Sam. It was a joy to listen! Thanks for the score to follow.

Jos

Hi Jerry,

What an amazing movement. So relaxing and yet never boring because of its interesting and thrilling thematic material and fascinating harmonies. I followed the score to have some more insight in your harmonic magic. How simple the piece might look at first sight, it is probably not so easy to play with the very slow pace and deep emotional content. Maybe one of the best pieces the genre I've heard here so far.

I'm so glad you shared it with us!

Jos

Thanks, Jerry. It's a pity that the piece is so short, it didn't offer enough opportunity to elaborate the thematic phrases (not real themes). But it had to be that way (only 2 minutes) for a purpose... I try to make it up in the coming parts 2 and 3.

Jos

Hi Jerry,

That's weird. The link in your reply works fine on my computer. Maybe you could visit my website. The first part is already uploaded.

Here's the link to the page:   http://www.joswyl.be/trio-for-flute-viola-and.html

Hope this will help.

Jos

:) I guess you're right.

Jos

Fantastic score again, Wiliam. I love the orchestration and the chords at the end. Simply wonderful. You can clearly hear your experience with concert bands, but with a more symphonic approach, it sounds extremely well! What a pleasure to hear such good music here.

And I agree with your statement: it is a gift to have the VSL instruments to work with while composing. It's such a big comfort to hear everything in the right sonic perspective. And yes, it helps to correct mistakes and sonic misfits e.g. (orchestration unbalances). I work with Notion and they have the London Symphony Orchestra built in, but in a very low quality version (loads extremely quickly). That is OK for entering notes, but immediately after, I swap to the full VSL setting to hear the real thing...

I've said it before: What would have happened when Mozart had such a wonderful tool...?

Jos

Hi Paolo,

Thanks for listening. Yes, I know about the reverb. It is fashionable today to use more or bigger ambience, but I still prefer the 'natural' setting: small ensembles in small rooms, chamber orchestras in small halls, symphonic music in concert halls or big recording stages. And again, that is always a matter of taste.

Thanks for your advice and comment,

Jos

Thanks for listening en commenting, William.

You're right, the whole tone scale can have an alienating effect: Because of the whole tone structure, it can go in any direction, no chords must be solved the classical way. There are no chromatic or diatonic halve tones either, which implies that traditional melody lines (like we would expect) are totally absent - you mentioned the psychological aspect, which is probably the one of no recognition).
With thanks to the VSL instruments again for the wealth of possibilities to translate any idea in fitting musical phrases! The detailed score here might sound a little impressionistic, but that was not quite my intention.

The second part may have some surprises as well...

Jos