I don't have any OT libraries, but I have the Teldex room pack.

I would like to know what the standard setting (50% dry/wet) is as it would be a microphone position in the OT libraries, or, actually in general. Maybe it's a question for Dietz...

Does it come close to a Decca Tree? Does anyone know? And on the other hand, when increasing the settings to 100% dry/wet, would this be some kind of an ambient microphone?

Example 1:
– Instrument 50%
– Global offset 50%
--> Decca Tree ?

Example 2:
– Instrument < 50%
– Global offset 50%
--> Decca Tree + Close ?

Example 3:
– Instrument 100%
– Global offset 50%
--> Decca Tree + Ambient/Surround ?

Example 4:
– Instrument 100%
– Global offset 100%
--> Ambient/Surround ?

Thanks, Dietz. This is awesome! :)

When does the offical MIRx extension come? It's such a long time... I don't understand. 

Which update are you talking about? I can't see a new one.

A very good idea, because the content is very good!

I tried making separete PDFs of the website, but it doesn't work with the tab menu, thus it's a very tedious thing to do. And of course, the audio demos are missing.

I would appreciate an offline HTML version (including the audio demos). This would be an easy task, I think. :)

DELETED

Hi Paul,

thanks, didn't know that. Good to know!

I noticed that the majority of the embedded videos on the product page aren't available under the video tab, e.g. the new Joe Kraemer video for the Blüthner piano.

It would be nice if one could watch them at least in a higher resolution?

Pity that there isn't a Dimension Brass Bundle for the VI version... maybe I would have purchased it during the current sale. :)

Great news!

What's the reason why you chose Stage B for this piano?

Originally Posted by: Dewdman42

In my opinion, the VIPro samples were not recorded right on the mic, they were recorded in a way that already has given up some of the very close mic proximity effect that you might be hearing in other libraries.

That's what I wanted to know as I said in the initial post.

I'm not looking for the closest dry sound on its own, but I like Shawn Murphy's mixes and, although it's a decca tree most of the time, he often blends in spot microphones, which have a very specific sound (also due to his equipment). That's what I'm after, they definitely sound closer and warmer than Dimension Strings.

So, I think I will try some more plugins. Thanks.

Originally Posted by: Seventh Sam

I've found that mixing Orchestral Bassi with Appassionata Bassi can effectively create a PerfLeg for the Appassionata Bassi.  If you Layer Orchestral pLeg with Appassionata Sus, but adjust the attack for the Sus to about 10-15 and the release to something like 45, it keeps the thickness of the appassionata section but makes room for the orchestral legato transitions to be heard without it sounding like two separate sections (assuming they're panned and mixed in the same position).

Usually I avoid blending patches this way, but it's a good idea anyway. Thanks.

Thanks, dewdman42. I'm talking about the VI version. :)

But I noticed this with e.g. Synchron Strings. I don't like the presets, they are all too wet, for my taste, even the close microphones. Maybe it's Synchron Stage by itself which is too wet.

Originally Posted by: Seventh Sam

A little bit of this plugin applied to the dry signal should get you what you're after:

https://www.tokyodawn.net/proximity/

Thanks, I tried this, but can't hear any difference, or I'm doing something wrong. 

Originally Posted by: Dietz

(apart from the necessary post-production steps during the creation of the sample sets themselves, of course).

Thanks, Dietz.

But what does necessary post-production mean? Is the sound still the sound of a close microphone? And what does close microphone mean during the recording of Dimension Strings?

Maybe it's imagination, but for me, as I said, the close microphones of other libaries sound (very) different. You can hear more of the bow, rosin etc. (if that's the right term to describe of what I'm hearing).

And from your engineering point of view: What would you do to make the sound closer, if this is possible or needed (certain frequencies etc.)?

Many thanks in advance.

Hi there,

although Dimension Strings were recorded with close microphones, they don't sound that close to me. Is there some post-processing going on or some special technique while recording? In order to mix/blend them with the other VSL strings?

I'm asking, because I really like the very close (divisi) microphones in Hollywood Strings. Dimension Strings (and the other VSL strings) sounds more like the mid microphone instead of the close one. I read something about the equipment Shawn Murphy uses, and that's also an imporant part for the sound I'm after, I think:
https://www.analogplanet.com/content/movie-music-recording-king-part-i-0

So my question: Is it possible to imitate this closer sound with EQ or another plugin? I also read something about the proximity effect and that lower frequencies are boosted. But I'm not an engineer. :)

Originally Posted by: PaoloT

Another thing that would speed programming a lot would be being able to select more cells, and apply an Hpreset to all of them at the same time.

+1
That's a good one, I miss this feature, too. Not only for humanizing, but also for other editing.

I know that this topic has been discussed for years... :)

I want to know if there may be a chance to have more articulations for the Appassionata Strings in the future, especially for the basses? It started as a bonus library, but it became a favourite, as far as I understand, and I agree.

I also understand that VSL string libraries complement each other (instead of replacing them), and the Dimension Strings are really the benchmark (not only for VSL, but for all the string libraries out there). They enhance every other library, but it doesn't work if the articulations aren't the same, at least in my opinion.

Dimension Strings + Orchestral Strings:
Great combination, only the missing molto vibrato is a bit annoying

Dimension Strings + Chamber Strings:
Very good combination, almost the same articulations (missing col legnos)

Dimension Strings + Appassionata Strings:
Could be the ultimate combination, but many missing articulations (bartok, col legnos, harmonics)

Just my 2 cents.

Originally Posted by: Paul

5) I learned not to make any promises. But of course those will be interesting features. Not sure about Interval Mapping and Sequence Mapping... While I personally like those features, I really don't think that it is used a lot - and it's not so easy to integrate without a matrix system.

It's a pity that interval mapping isn't used much, for me it's the basis of all (!) my matrices. And I really hope that it will be integrated... 

Maybe some of you use it in a different way, but it's great for controlling the attack portion of a legato phrase. It would be really enhance the marcato presets, so that the staccato overlay will be triggered ONLY on the first note of a phrase (instead of on every single note). In addition to that, it also great for repetitions, because the first cell triggers the starting note and repetitions notes.

The only improvement I would like to see (for VI Pro) is that you could differentiate between a starting note (first attack) and a repetition note, so that you can assign different patches. Hope you understand what I mean. This would be the ultimate killer-matrix!

PLEASE MAKE IT AVAILABLE!!! I already said that this feature is the only reason (besides time-streching) why I'm not using the Synchron Player. Without it I can't make use of my presets the way I want them.

Hello Macker,

thanks for the reply.

I don't have a chorus or delay plugin that can be used in VE Pro, I tested it with Logic Sample Delay and it works quite good. But my template is in VE Pro, so I thought it could be done with the delay in the humanization presets. Is there any free plugin available? I guess so.

Primarily, I mean the delay part of the humanization presets which goes down to zero. I noticed that it sounds "better" or "bigger" when, instead of going down to zero, one of my minimum values are applied. Comparing this to a recorded (sampled) ensemble of the same size it comes closer.

So, it's not "wrong" to do it that way? I don't "destroy" anything? I mean, Dimension Strings was recorded as an ensemble, but it sounds smaller.

I spent quite a lot of time in achieving the sound I was looking for, in terms of delay and tuning humanization. Especially for Dimension Strings the settings are set extremely high.

But I stumbled upon one question:
The humanization presets are very good. I'm wondering why the values for the individual players go down to zero?

I think there is always a bit delay between the players to make the ensemble sound bigger. Maybe it's because of some natural delay in a room?! I tried a long time and figured out that 5–10ms of a minimum delay between each player is a good value.

DS Violin 1: min. value of 0ms (+ higher variations)
DS Violin 2: min. value of 10ms (+ higher variations)
DS Violin 3: min. value of 20 ms (+ higher variations)
...

What do you think? I want to hear some opinions. 

Originally Posted by: bbelius

All articulations within VI instruments are volume balanced.

Really? Didn't know that. I thought volume balancing has been introduced with the Synchron Series.

Thanks!

Hi Paul,

concerning the instrument sections and the natural volume feature, that's true, I like this function and use it regularly.

But primarily I meant the articulations inside one instrument section (legato, staccato etc.). Are these articulations balanced in the VI Dimension Strings after the update?

Originally Posted by: Paul

2) Our Synchron Series have an improved balance (from a different standpoint, and all positioned @Synchron Stage).

Thanks, Paul.

Does it mean that in the VI library the articulations are balanced, too?

I'm asking, because the older string libraries aren't balanced. And as Dimension Strings is the newest of them, maybe you decided to adjust the levels.

Originally Posted by: Paul

Hi Pixelpoet, 

Here you go: As mentioned, we have scrutinized Dimensio Strings during the re-editing of the whole material. 

One important task was an enhancement with a releasse sample technology for fp, sfz, sffz and legato repetition Patches.
We also optimized the Performance Legatos and Performance Portamentos, along with quite some minor fixes and enhancements.
With this library update for VI Dimension Strings, all existing users also get the benefits we added for all SYNCHRON-ized users. 

Best, 
Paul

Hi Paul,

I have some questions on these:

1) On the SYNCHRON-ized page of the library it says that the enhanced release technology is special to the Synchron Player. Thus, I think that this enhacement isn't available for the VI library, right?

2) In the SYNCHRON-ized library all articulations are balanced. Is this true for the VI library?

Thanks, Paul.

But the date of the update files is a bit misleading...

If I hadn't asked, someone maybe wouldn't have downloaded the updates, because they are older than the library files. Despite the newer date of the library, the update was necessary, as the downloader manager showed it.