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1.cubase expression maps for SY dim brass 2/3/2020 7:59:19 PM

Hello all.

I seem to experience a strange behaviour from the cubase expression map for the SY dim horns and tubas.  When playing the scale up, at some place, it jumps one octave higher.  I couldn't debug this in the cubase expression maps editor.

 

Stephane.

2.orchestral suite, all VSL 12/6/2015 6:06:09 PM

agreed, so much, William.

Making things easy doesn't make things easy, it just makes people lazy.

3.orchestral suite, all VSL 12/6/2015 11:08:46 AM

I know people (with credit) who do both :

samples libraries for what they do best,

and real orchestra for what the former can't.

4.orchestral suite, all VSL 12/5/2015 5:56:58 PM

Nice that you shime in, Dietz !

5.orchestral suite, all VSL 12/5/2015 9:50:30 AM

Thanks a lot, Francesco.

It helps, indeed.  I'll give a try to those techniques.  And yes, I'm in the process of soundproofing and treating a dedicated room, hoping this will improve my listening environment.

6.orchestral suite, all VSL 12/4/2015 6:49:30 PM

Hi Francesco.

Your piece is tremendous.  The mix is superb, absolutely professionnal stuff.  I simply can't achieve this (yet).  Will you share your secrets ?

Stéphane.

7.orchestral suite, all VSL 12/3/2015 1:04:53 PM

Hi Francesco.

Indeed, it is the balance between wet and clarity that is my problem when I mix my mockups.  More reverb induces mud and often harshness.  At the same time, when I listen to nicely recorded music, there is a lot of reverb, yet you can see through and all instruments are still focused, and the overall sound is agreable.

I must say that I did a step forward when trying the Pernegg roompack.  I was also extremely satisfied with the new Hybrid reverb Pro, which I must explore further.

8.orchestral suite, all VSL 12/1/2015 8:28:33 PM

Nice to read you, Max, and nice to see that your experience is close to mine.  So far, as I understand it, as long as you are not "bankable", you can't expect any better.

Stéphane.

9.orchestral suite, all VSL 12/1/2015 4:55:31 PM

Hello Francesco, community.

The Mozart concert was really great and the orchestra played my piece really well.

That being said, I must second William when he says that common live performances hardly come close to a good mockup.  Alas, for some reasons, I didn't install my H4N to make a live recording.  But I payed extra attention to what I was hearing.

First and biggest problem is : the orchestra had only two rehearsals before D day.  Apparently, more is practically impossible (at least in small Belgium).  I heard clearly the piece increase in quality at every iteration, the conducter was really fine, understood everything (ar... nearly) at once and was giving nice directions.  Yet, the day before the concert, there were still bugs.  So the real spirit potential of the piece (if it has some) never came out until the very concert, and then, I can only dream about how much better it would have been with only two more rehearsals.  Funny, at this stage, to hear that when they play the Mozart Requiem, the orchestra immediately sounds like 5 times better.  Of course, all the musicians know the music of Mozart, know the Requiem by heart, and know perfectly how to play it, and the difference in SOUND is tremendous.

Here is the right place to say that this is, in my opinion, the limitation of mockup performance.  Even if you, daw programmer, do have some knowledge about how exactly a single instrument performance should be, you nevertheless are stuck with what was recorded in the library, no matter how finely precise that work was done.  This is clearly a limitation.  And one positive side would be to, as a composer, to compose intentionnally with exactly no more than what your libraries can do.  This is a nice matter of discussion : libraries considered as a musical instrument per se.  But that was not the meaning.

To say it shortly : a good library well programmed can not beat a bunch of dedicated top musicians well prepared and giving their full education in an inspired performance, but it outperforms easily an average third sight reading.

I payed tight attention to the mixing engineer point of view (hearing rather), and I was surprised how, in a large church orchestral live concert, there is WAY more wet reverb than what you would consider decent in a stereo mix. Even I who do like lots of wet (I am often told I put too much reverb on my mixes) I clearly noticed that there was an enormous amount of very long reverb at the concert.  Curiously, at the same time, the direct sound from the musicians was WAY more sparkling and precise, and with a kind of intimacy that makes you feel very close to them.  And finally, the stereo stage is nearly inexistant : you don't hear clearly first violins 5 meters left of the celli.

That being said, I am convinced that the ideal audiophile listening experience in one's living room is NOT mimicking the live conditions of the concert.  Human brain adapts really well and really immediately to a whole range of situations, and the feeling "this is right and nice" depends on many factors, some of them not strictly related to the acoustics.

Sorry for being long, but that was the opportunity.  The day of this concert of Mozart Requiem and Mozart aux Enfers (my piece) was the day after the Paris terrorist attacks.  The church was full of people full of compassionnal feelings and terrible fears.  The harmony was nearly touchable.  This you don't get behind a computer monitor.

Anyway, as I said, this kind of experience will not be given many times to me.  So I'll say it again, thanks to VSL (and all other producers) for making all this possible.

Stéphane.

10.SPACE : 1999 Main Theme season 1 - Another tribute to Barry Gray 10/30/2015 5:27:40 AM

Yes ! Well done !

I adore this.

11.orchestral suite, all VSL 10/30/2015 5:16:08 AM

He never told his father

12.Solo Violin Cuts out when long held notes 10/28/2015 8:27:14 PM

In my opinion, seasoned with 30 years of intensive practice, my advice, for what it is worth, is :

if you are serious about making realistic mock-ups (or demos, or whatever), do it with a good sequencer;

if you are serious about making nice looking scores, do it with a good dedicated software.

While I long for that, as my life would be easier, I never found one unique software making both possible.

13.orchestral suite, all VSL 10/28/2015 5:46:56 AM

I know that feeling.

14.A little light music (polka) 10/27/2015 7:56:42 PM

So interesting.  Good that some people care to revive that historical music.

15.orchestral suite, all VSL 10/27/2015 7:44:16 PM

Max,

thanks for the clever advise.

Any chance that we hear "Running waters" and "Bude Vece" ? Did you make mock ups of those ?  Will they be recorded in Czechia ?

William,

thanks also for the comment.  I also agree with you : I myself would tend to put more wet, as it gives (in MIR) the depth that we all like.  But then, some mud appears and calls for EQing, and there I am lost, because the EQing either solves the mud problem and cuts the truth of the instruments and space, either doesn't solve anything.  Less wet does solve some problems, but reduces all the interest of MIR.  I still don't understand how the best demos here in the forum (including yours) are done.  This winter, I promised myself to transform my garage into a decent listening studio.  Hopefully it will help.

Did you have the opportunity to compare your mockups with a real performance ?

16.orchestral suite, all VSL 10/27/2015 4:25:47 PM

I don't know about the recording.  Anyway, I'll take my H4N with me. 

The synth is the Arturia mini V plugin, and I'll play that on stage.  It runs through the Waves J37 tape emulation, which is, no doubt, what makes the sound.  All the rest is VSL in Pernegg.  I adore the voices, those really inspire me for composing.

17.orchestral suite, all VSL 10/27/2015 2:54:21 PM

Thank you Francesco.

Here is a link to the flyer :

http://www.sturmundklang.be/agenda/requiem-notre-dame-du-sablon.html

I hope Wolfy will not send me the Commander to punish me.

18.orchestral suite, all VSL 10/27/2015 11:30:07 AM

Thanks so much, Max, for the nice comments.

Indeed, this was commissionned for being played together with the Requiem of Mozart, hence the instrumentarium.  Premiere is on november 14.  It is indeed the very first time, after more than 30 years carreer as a composer, that a composition of mine will be played for real by a real orchestra of some dimension.

As for the title, well, the process is the following : I write the music from left to right, with no other rule than it must be pleasant and thrilling every second; when it is finished, I have to find a title and also write a liner for the concert program; so I let my hand write something that is analog to the music.  As the piece is intended to be played directly after the Requiem of Mozart, which he thought was a Requiem for himself, I imagined that after the requiem he went to "les Enfers" which is hell, but not in the christian meaning, in the ancient greek meaning, the place where everybody, good or bad, goes after death.

First movement "Le Passage du Styx", he is with Charon in a small boat rowing down the Styx, and as the heat of the hell rises, so does the heat of the music.  Splashing fire etc.

Second movement "Les Plaines d'Asphodèles", he is welcomed by his fellow composers who do a hieratic dance for him.  He then arrives in this large landscape with Asphodele flowers, where all souls wander gently.  He encounters Eros and Thanatos who are in deep conversation about himself, analysing the deep reasons of his genius (the vocal duo).

Third movement "Le Léthé", before he must go back for another new artistic life, he has to drink that water from that river named Lethe, which will make him forget all about his former life.  All, but some excerpts from "Le Passage du Styx" which, he thinks, will be perfect after his Requiem.

If only a Hollywood blockbuster team manager could read this and take care !

Sorry for this long out of topic sequence, but again I can't be grateful enough to the VSL team for making it possible to make music even without a real large orchestra.  I must say also that the new Pernegg roompack solved a lot of the mixing problems (mainly a little harshness) I had when using dimension strings in MIR.  But apparently, I can't seem to do any EQing without destroying the beauty of the instruments or the reverb.

Again, thank you for the listening and comments.

19.orchestral suite, all VSL 10/23/2015 3:51:04 PM

Hello community.

I had the opportunity to upgrade my hardware.  Now I can do symphonic stuff without bouncing.

Glad to share with you my latest orchestral suite, meant to be played with the same instrumentarium as Mozart's Requiem.

Pernegg Klosterkirche brought me closer to where I want to be.  Still not satisfied, yet.  I need a good mixing engineer. 

https://soundcloud.com/st-phane-collin/mozart-aux-enfers

Stéphane Collin.

20.Reverb Advice? 3/29/2015 5:05:06 PM

Very instructive thread.

 

Yet, for me, the problem is a musical one : why oh why does MIR sound harsh with strings ?

Nobody on convolution reverb signature sound ?

 

Respetc to all.

Stephane.

21.Reverb Advice? 3/28/2015 11:19:50 AM

I had a question for the IR specialists.

 

I have the feeling that every convolution reverb still has its own signature sound, no matter what IR you feed it with.  Is that true ?  Where does this signature come from ?

Same comment here about MIR : for voices I can't think of anything better.  For percussion, wow !  But indeed for strings, I can't get it where I want.  Could it be that MIR's own signature sound emphasizes some problematic frequencies in specific sounds ?

I noticed that if I use the VSL normal convolution reverb with (I think) the same simplified IR's of the same room than in MIR, for example, the Teldex one, I can hear, apart frome the much greater complexity and realness of MIR, that the convolution reverb has another, smoother signature.

If this apperas to be so, is there a way to control the signature sound ?

Best regards.

 

Stephane.

22.compositions by martinz 3/27/2015 7:32:12 AM

Hi !

Great work, great sound.

I had a question : did you mix "Enchanted Forest" in LCR ?  It does sound nicely spatious.

Best regards.

 

Stephane.

23.New Composition for feedback 3/23/2015 12:56:32 PM

Hi Tom.

It is my experience that you can't separate the two aspects : good text / good interpretation.  The magic of music requires both.  Imagine truly nice poetry declaimed with a harelip (no offense intended, of course), or a wonderful actress with silky voice mesmerizing a culinary receipt.  

You'll probably see that enhancing the rendering (including the mix) will give you further ideas for the composition.  And a good composer has always the instrument he writes for in mind.  Ok, Bach excepted (but not sure of that).

24.New Composition for feedback 3/23/2015 10:59:39 AM

I forgot to mention :

use the legato patch for legato phrases.

25.New Composition for feedback 3/23/2015 10:58:35 AM

Hi Tom.

You should find a way to control velocity x-fade, and use it to sculpt your phrases.  You'll have to activate it in the Vienna Instrument plugin, and then choose in your DAW the matching controller to control it.  Do not use the volume control for this purpose, it is not realistic.  Use the volume for setting the instrument right in the mix, but after you have programmed the velocity x-fades.

There are many more steps towards realism, but this is certainly the first and necessary one.

Hope this helps.

Best regards.

Stephane.

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