I have been thinking of purchasing Solo Violin 2 and Solo Cello 2. How many velocity layers does the instrument have for portamento and legato? The first Solo Strings had 2 velocity layers for the legatos, do the new Solo Strings have 4 dynamic layers like dimension strings?

I think if the tone is different and the amount of dynamic layers is more, then it would be a pretty powerful asset.

Will the library get an extended part or does it just consist of a standard library?

A lot of vendors go scalable with their GUI. Are there any plans for a scalable version of VI Pro? Would be useful to have.

You could use the Detache samples to write them. The amount of attack and lack of vibrato are really nice for that task.

I use solo instruments a lot and usually flesh out the sound by doing some eq work in critical areas like reduction of 2-4 khz spectrum on violin, 0-250 khz on bass etc. Sometimes I feel like, no matter how well the orchestration, the more complex a piece with solo instruments becomes (3 violins, 2 violas, 1 cello, 1 bass, 1 flute, 1 oboe etc) the harder it gets since frequencies overlap or certain notes are hard to tame.

I dont use any compression, just eq. Now I read that many avoid eqs but without it I feel things can become really loud on some notes, especially in the area where the human ear is most sensitive (2-4khz, 250 khz, 1khz).

Is it wrong or is this sort of thing common and "allowed" with VSL instruments? I feel it actually enhances the sound, makes it warmer etc when used right.

Edit: Noticed I posted my question in the wrong section of the forum. Sorry.

But I play it mono even if its set to global so how does that affect the sound? I never use more than 1 note at a time so does it still matter? Maybe with fast passages?

So im trying to create a nice oboe piece but noticed that there is a pretty annoying hissing. This actually sounds like some unwanted noise from an old recording.

The next problem I have: the sound of the oboe trill performance legatos sound substantially different than the normal legato (as if they were badly eq´d). The legatos in general sound as if they are not properly connected. This is the only instrument where im having this issue.

Hearing the solo oboe from other developers it sounds clear. When checking live performances on youtube the legatos are clearly connected as expected.

Any tips?

Searched thoroughly and I couldnt find any section where they keep the manuals for their products. Do we only get access to those by buying the product? I would like to have a reference to the RAM needed for each articulation,

How much RAM do we need to load all the articulations of a "single" violin in Dimension Strings?

Since the launch of the new website I dont have access to the manuals anymore. I dont own dimension strings but I am planning to buy it. Before I do however, im trying to calculate the amount of RAM needed to run a chamber orchestra of at least 4 violins, 3 Violas, 2 Cellos and 1 Bass. 

My system currently has 16 GB RAM. I dont want my RAM to be fully occupied so im currently thinking of buying either the Chamber Strings Bundle or Dimension Strings this week. 

Im currently working on the grafics whenever I have time. Glad some find it useful. If you have any ideas which I could add then let me know.

Compared to all other rooms mozartsaal is very loud. All other rooms sound nice. What is the problem? My setup is a blumlein

http://community.vsl.co.at/forums/p/37939/230793.aspx#230793

Created a plugin which will help with the vibrato problems.

Vienna Morph

This is a custom plugin I created. I will share it with everyone free of charge when development is done.

Adaptive Instrument Profiles (AIP) :
 

Similar to MIR PRO you can select an instrument profile. The difference is the profiles are more noticable and you have more to choose from. You can also create custom profiles. Apart from that you can decide the pitch / keyboard range where the profile affects your instrument. 
 

You can also switch to dual or triple profile mode. This means that two or three profiles are active at the same time. You can decide which profile occupies which area of the keyboard.
 

At last, worth mentioning is that you can enable pitch detection on the profiles which means that they always stay relative to the current pitch. It doesnt work with material that has pre-recorded reverb or delay.

EQ Cloning:


Copy the general eq curve from a reference material and apply it to your mix. In order to do that you just load an audio file which you wish to use as a reference track. If you want the eq curve of your VSL instrument to sound close to a live performance then its always ok to give cloning a shot.

Dynamics Enhancer:


You have 10 slots. Each of them has a typical parametric eq with 6 bands. So what happens is, you give each slot a different eq setting. You can then assign the general "morph" knob to any parameter of your choice. As an alternative you can also map it to velocity. The higher the morph value the higher the slot number. Now you probably ask yourself why? Well, imagine the frequencies get softer the lower the value and gradually harsher the higher the value. This way you have extra control over dynamics, especially if you are familiar of the role of every frequency spectrum. The transitions between the slots are smooth (analog to xfade).

DC offset and Air Removal:
 

Frees up some DB and we all know how DC offset can be bad for equipment. You can also remove everything above 18 khz. Its all simple as pressing 1 button.
 

Low Pass and High Pass Filter:


Both come with 3 variations. This is a complement to VI Pros current low pass and can also be automated by assigning it to a parameter of your choice.

.
Ultra Frequency Specific Resonance Tamer (Real Time)


When activated it reduces the incoming resonances at the frequencies where the human ear is most sensitive. As opposed to normal filters this is not static but happens in real time which means that the sonic quality of your track is not affected. Works great for everything, especially for instruments such as the oboe which are hard to tame.


There is only 1 knob. The more you turn it to the right the higher the filtering effect.

Pitch, Formant and Natural Vibrato Editing:


You can edit pitch and formant. The latter is useful if you want a overall darker or lighter tone. Vibrato editing works by increasing the depth of the natural vibrato making it appear stronger or lighter. If value is on 0 there is no vibrato. So it is easy to create non-vibrato portamentos or progressive vibratos. Its is cpu intensive just like all the real time features.
 

Plugin loaded as an Instrument:
 

The plugin is loaded as an instrument. It basically acts as an exoskeleton or mini host. When open you can load the instrument of choice from here (only 1 per instance). You decide which features are shown and which not. All knobs and sliders from the beforementioned features are fully automatable which means that you can control them with your midi controller, regular automation, controller lane or note expression.
 

-----------------

I didnt bother posting any screenshots as the UI is truly ugly and full of bugs. However, most features work nearly flawlessly. In addition it needs a lot of improvements since it makes your CPU run wild.

I agree on both things. Randomizers are bad and you are right absolutely right about the expansion packs idea. I noticed that is true, especially from a marketing point of view. I have to admit, you are absolutely right. However,  I somehow noticed that you can create all articulations you want. Im not just refering to the slot x fade patch combinations but also a rather surgical approach with automation using an equalizer by targeting all relevant areas.

In the first test which I shared here I was experimenting with bow noise and very long sustains. Also the second cello version was rather harsh sounding because I wanted to emulate a very strong bowing. Strong bowing techniques usually expose alot of overtones. The realism in the ears of professionals however can be questionable but by analyzing the frequency of a reference piece (or a few notes) you can actually reproduce a nearly authentic "extreme bowing sound" by properly exposing the corresponding  overtones.

I also have another experiment where I tried to figure out ways to create a strong and fat vibrato. I used portamento for this but every patch gives different results. I could create romantic vibratos, vibrato to gradually less vibratos and viceversa... the options are endless. Again all surgical procedures. Not much reverb.

Here the second test:

http://vocaroo.com/i/s1Oz4ehuMYb3

Again this can greatly be improved and im experimenting around and around. This experiment does not use velocity for the volume / dynamic change, neither any filters but just by automating a few EQ gain parameters yet keeping all frequencies 99.9% in phase.

I agree that the main problem are sustained notes on solo instruments with vibrato, especially strings. I am trying and experimenting around in order to get different results but I think Im getting very very close. Just need to work more on the realism.

Here one test where you see 2 versions of a Violin and Cello. One is the Raw Patch and the other always the modified version. Deliberately raised the bow noise but check how the vibrato is changing the entire time. I did alot of changes in the tone. Used patch combos etc.

http://vocaroo.com/i/s0fOZrkdSjvh

Add more reverb and some better panning. It lacks dynamic contrast. For instruments that are further away EQ out the frequencies that are responsible for the presence. Make it harmonically richer with various chords and inversions etcetera. Add sparingly some dissonance every now and then to . Give each instrument a better place in the frequency spectrum. Add some more "highs" such as a piccolo flute or something of your choice. The ending is too short as it contains no proper release or delay.

Just a few basic ideas I have. Good luck.

Thank god you are not one of those Hans Zimmer imitators. Your previews are really good and reassuring. Did you use orchestral strings or chamber strings for those?

I would like to show you my style too but I am currently working on a new website with new demos which will take a while, but I will definately post it here when done.

By the way, here is a slightly modified version: http://vocaroo.com/i/s0fOZrkdSjvh

Do you think there is something utterly wrong with the second versions? In terms of realism (vibrato, dynamics, attack). I thought as an effect the second violin seems more suitable but less musical though. I think the second cello has an exagerated vibrato at the start. What do you think?

No, I just use this site for uploading temporary experiments as im constantly trying to create those very emotional strings sounds.

No download, you can listen directly with the new link. I was kind of experimenting with vibrato, dynamics and violin noise. Sometimes I need those ultra romantic vibrato sounds too (which I didnt demonstrate here)... very fast crescendos or much more dynamics.

http://vocaroo.com/i/s0fOZrkdSjvh

Feel free to give your opinion. First is always RAW material, second is always modified.

For William:

Was there something wrong with your last message? I noticed you edited / removed it.

Creating symphonies with VSL is really fun indeed!

The more I work with VSL the more I ask the question why I still have my kontakt orchestral libraries. I really love the humanize sound and the scale presets. I also think that VSL is a GREAT learning tool because it actually challenges you (it challenged me). For example I dont rely on other orchestral products to do the work for me. Like you said, layering and arranging everything by scratch is so effective. Im also starting to think than non of us discovered the whole magic yet. There are so many endless possibilities.

By the way, what MIC position do you use to get the best results (seating, balcony, conductor)?

For Fiver:

I am no mixing professional but I noticed in your piece that the instruments seem to "fight for the middle frequencies". This really can become an annoyance and gives too much presence (see cheat sheet). Give each instrument a place in the spectrum. Add some MIR Pro (it does alot of the mixing for you). If not make sure to add any reverb to make it slightly more wet. Add some more "sparkle". Giving the right velocity values can also help.

I dont really want to be too specific as my fingers will burn typing : (

Hello dear community,

I, like many of you search for ways to tame and sculpt the sound to my taste or similar to my reference... so I just wanted to share a fast experiment with you. It would be very helpful if you could tell me which of the versions you find more musical, less fatiquing, energetic, or human sounding.

Audio:

http://vocaroo.com/i/s0fOZrkdSjvh

Poll:

http://www.easypolls.net/poll.html?p=53737766e4b057d3ffde16b3

No, I never heard your demos. William, show me one demo relevant to your pointed issue.

I know exactly what you mean, that is why I only gave a fast all-round example of what can be done.

Faking con sordino is not needed due to the existence of real recordings offered by VSL, I agree. However, everything else in my opinion is really important.

Excessive high frequency is a very specific problem. By every change in pitch you will have to re-adjust the frequency, gain, and Q factor...and I prefer automation of all EQ parameters with my mouse (which I often do with ease since im used to it).

I know what you mean with the excessive high frequency noise, It bothered me as well which is why I always apply some static EQ to the instruments too. I listen to concerts and have to use those EQ techniques in order to get as close to the real thing as possible since im currently in the final stage of writing my over 2 hour symphony which will be played live by some renowned orchestras. I need to know how things will sound like... the MIR instrument profiles are not enough. The concept behind getting that typical concert hall sound is not so hard as you think. Once you really studied every frequency spectrum for each VSL instrument things get really easy. Have a look at the chart and then expand on that. Truth is, the chart is really simple and may or may not help depending on what your instruments are and what hall you are using. Like you said, there is no instant solution but just learning by doing once you got the basics.

Hello William,

I will help you, no problem.

As you known VSL is recorded in a silent stage. Instruments were close. It is unique to VSL which preserves all frequencies of the instrument in its original state which will allows you to:

1) Create very hard attack or release sounds

2) Make instruments warmer, thicker and fatter

3) Strengthen the vibrato and make it more romantic (especially when used with VI Pros Stretching)

4) Create artificial con sordinos

5) Induce prominent lower harmonics like the body sounds of an instrument

6) and more

The problem with the high range violin is the sometimes excessive "hissing" and the "ear killing shrill like you said". If you want to fix that then remember that with each pitch the frequency slightly changes.On high Violin notes always keep an eye around 2khz and 5khz to tame the shrill. Also everything from 15-20khz (hiss) can be reduced alot with a low pass filter (EQ).

In the following example I have a solo Violin playing a normal No Vibrato sustain crossfading to sustain vibrato E6. If you ask me, E6 is the most painful note on a Violin so I thought it would be great to use as a sample for you. What I modified was:

1) 2650 khz to reduce ear fatique 2) 6khz to strengthen Vibrato 3) 7khz and 1150 khz to give it more presence when needed 4) 230 khz to greatly increase lower harmonics.... Each of the spots have their Q set to either narrow or whide to be frequency specific. It it doesnt stay static. These values change the entire time so that the string sounds organic and much more alive. The "Stretching" even reinforces the vibrato even more. All the strength and dynamic you hear is EQ. No velocity Xfading used.

3 bands is really a must. Perfect is when your EQ supports 6 bands. Also I always add some nice reverb such as MIR Pro or "Miracle". The latter is used for the WAV example where I have set the stereo width to 125% (chamber).

In the following WAV file you will hear A VSL Solo Violin and a Solo Cello. Both show a comparison between first the "Raw Samples" and then the "Modified Samples". I hope you can hear the difference. I actually like my changes but I guess that is subjective. It doesnt mean that the raw VSL samples are bad but I rather want to show how far you can modify things to suit your needs. You can do way more than that though, it takes only a few seconds.

Here the link: http://vocaroo.com/i/s0fOZrkdSjvh

Careful of the first 4 seconds of the raw violin part, it can get a little loud (E6!)

I actually made my own frequency sheet specific to each Vienna Instrument. Was really worth it.

Which of the two sound better in your opinion? Im planning to buy Vienna Suite, thats why. Currently im using the default cubase EQ plugins.

The trick is to take advantage of VSLs dry samples. Make sure you
understand what frequencies do and you solved nearly all your problems for future mixes. I know all of the functions by heart and it helps me to create the VSL sound exactly as I want it to be.

http://www.cheatography.com/fredv/cheat-sheets/eq-tips/

For panning never pan to hard, but 0-50 percent is usually enough in most cases. For Reverb go with MIR Pro or MIRx.

VSL is the best without doubt. After purchasing some of their collections I started asking myself: "Why didnt I purchase from them before? Lost alot of money through Kontakt libraries".

Anyways, just thought I would share what I was thinking :D

I still think that it would be kind of nice to see specialized packages for each articulation, specifically for strings as they are the most complex :D

Alot of the instruments are solo based. Im going to buy woodwinds 2 soon and assume it will have have similar issues regarding stretching and crossfading.

The problem to alot of the issues regarding "dynamics" and "conflicts with crossfading" would be solved if we had the option to "automate the in built eq on a matrix level" and if we had a "high pass filter". Including the option to change eq and filters on a patch level. I also think it would be great to introduce a melodyne similar feature which enhances vibrato without changing the patches speed. As a result we would have a VI Pro which is alot more powerful than it is now.

I actually have a few suggestions with screenshots which I will post later in a different topic.