Originally Posted by: MassMover

In Germany the GEMA quite recently closed a deal with YouTube that allows YouTube and its users to use all GEMA material in videos uploaded to their platform. YouTube is paying an undisclosed annual lump sum to GEMA. […]

As the GEMA was the last copyright society in the world to finish a deal with YouTube, I would strongly assume that the societies in Austria, the USA or Italy have similar deals.

I confirm this same agreement exists between YouTube/Google and the Italia SIAE. The more clicks, the more advertising, the more the rights holder gets.

So, releasing a copyrighted work on YouTube could actually reward them, even if it is just a mockup.

Paolo

I know that this is not recommended, but I wanted to do a test. I tried to process the Synchron Violins with MIR, and put them inside Pernegg.

I tried with Close+Mid, but there was too much room. Close alone are much better.

I've tried with a General Purpose profile in MIR, and then with the Orchestral Violins. Not totally sure that the profile doesn't add something odd to the sound, but I don't find it unpleasant either.

Maybe Synchron libraries can be used, up to a point, in the same way as we did with the Silent Stage ones?

Paolo

Originally Posted by: Sekrit_Studios

all surround technologies will ignore silent stage

I would expect that the forthcoming MIR 3D will apply surround to the Silent Stage libraries.

Paolo

Hi,

I would find incredibly useful if Vienna Ensemble could include some more general controls, where you can do an operation on all the players in the same instance.

One is switching page in either Synchron Player or Vienna Instruments. Very often I want to first edit the Mix page, and would like to find all the players already showing that page. Then, I want to return to the Performance page, to maybe edit some faders – and, again, I would love to avoid having to switch page again for each player.

The other one I'm thinking to is the selection of a Mix Preset in Synchron Player. Most often I start from the same preset from a whole section, therefore a VEPro instance. It would be handy if this could be done with a single command on all the players in that instance.

Paolo

I would do this way.

Paolo

I've received a new 4TB SSD where to move all my VSL libraries. Ugh – it's not enough! I'll have to reserve one of the old 2TB drives to them as well.

Am I wrong, or the full Synchron Percussion + Power Drums collection takes 1.1 TB, or around that? This is a new idea of HUGE!

Paolo

Originally Posted by: Macker

I'm not sure why you're concerned about that.

Just a moment of brain meltdown. Thank you for bringing me back to reality!

Paolo

Just wondering: isn't reversing the L and R channels the same as inverting the phase? The Power Pan would allow intermediate steps, but if completely wide, wouldn't it be the same?

Paolo

Originally Posted by: richhickey

It's not the phase you need to switch, but you can swap L/R in the power pan of the tree/room mics to complete the effect.

Do you mean that I should move the L icon all to the right, and the R icon all to the left? So, it would not be inverting the phase, but moving the channel to the opposite side.

Paolo

Hi,

I noticed that in all VSL presets, the molto vibrato (once called espressivo) is never included in the XFade patches.

Is there a reason for this? I add it myself to new xfades, and can't notice anything too bad (apart the usual more or less noticeable artifacts of artificial xfading).

Paolo

Originally Posted by: Seventh Sam

The most glaring omission are the various legato types.  The main legatos of SYN WW are actually the janky-sounding perf_leg_looped patches from the VI version

Since the non-looped version is also supplied, you can simply drag & drop the one at the place of the other. Not yet tried with the woodwinds, but for solo strings pieces not requiring long notes, or where you can split long notes into separate bows, it works great.

Paolo

I did my tests, and I admit it's an impressive acoustic effect.

Room mics do contain position information, but very much blended with the ambience, much more diffuse and less directional.

Add the mid, or even close mics, and you have the image move towards the spot/medium mics.

Paolo

As Dewdman says, it's much a matter of preference.

I'm currently using both. But I'm also moving my VI/Cube libraries to Synchron, because of some additional things found in the new player.

At the same time, for some of the older libraries I would first purchase the VI version, and then upgrade to the Synchronized one, because there are some precious articulations that can only be found in the older version. This is not including Dimension Strings and Brass, that should have the same content in both versions.

EDIT: With the recent releases and additions, Woodwinds and Solo Strings are also complete in their Synchronized version. Left out are many articulations from Chamber and Appassionata Strings. Missing are the VI Brass apart for Dimension. Keyboards, Plucks and Elements Percussions are empowered in the Synchronized version.

I'm testing the Synchron libraries with classical music. what I seem to understand, up to now, is that they work great with pieces needing a big sound. Theater music, for example. I've not yet tried with smaller setups, and this will involve checking the close and mid mics in MIR Pro, and see if they behave as well as the VI versions.

Paolo

Originally Posted by: Macker

Not sure what the 'sore throat' noise is

I guess it was a bit of an abrupt change in timbre when jumping between two dynamic levels. I've tamed it a bit, and it's now probably less apparent, or removed. Thank you for finding it!

Paolo

Thank you, Paul. As see with the Synchron Imperial, I understand that it is easy to change the pan of the room mics blending them with the close mics. Let's see what happens with such a radical change.

Paolo

Originally Posted by: Macker

Not sure what it is but it's high mid frequency-ish and quite harsh; clearly noticeable between 0:54 and 1:05 secs.

Great catch-up! I'll examine that kind of things in the piece.

Coming back to the musical qualities of the work: I’ve grown by the sea. In a different time and country than Britten, but in the same continent and with a similar type of sea resort.

Despite being so stylized, I feel the sea in these interludes.

Paolo

Thank you very much, Macker! While Britten is not my preferred composer, he had some incredibly high moments, of which the Sea Inteludes are probably the most perfect ones.

Originally Posted by: Macker

The flute seems to have a bit of a 'sore throat' at times, but other than that I enjoyed it all through. Well done!

That's an interesting note! I'd be happy if you could say something more about what can be improved!

Paolo

Thank you, Paul, very easy!

Any need to also invert the phase of the room mics? Or would this be detrimental?

Paolo

Hi,

I would like to experiment with 2nd Violins moved to the right. I remember Ben described how to do, but for some reason I can't find that thread.

Can someone point me to the procedure? I've put in this post both "second violins" and "2nd violins", so it should be easy to get back to it later.

Paolo

Hi,

I had made this mockup for the old VI libraries, and now wanted to readapt to the newer VSL Synchron libraries. While I let it decant, I'll send it into the wild to grasp the first impressions.

Britten, Four Sea Interludes - Dawn

Paolo

Thank you very much for clarifying, Andi. This made my headache disappear! :)

Paolo

Very interesting! An experiment to try!

Paolo

Gargantuan! But are the two string orchestras together really perceived as double the size of a single orchestra?

Paolo

By doing some tests with these sounds, I'm nearly convinced that Velocity would be a better controller. I can't find a reason to use a CC, but apparently there is one, if these were programmed this way.

Any general advice on dealing with accents and marcato would be welcome!

Paolo

Hi,

I've seen that in BBO Orion, Long > Marcato is recalled via CC3. You have therefore to mix in the desired amount of accent with a controller.

Wouldn't it be better to use Velocity, as you have done in other libraries? I will probably modify it myself, but is there a reason to use a CC instead of Velocity?

Paolo