never mind and goodbye

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Macker,

Your discussion of perfidy is fascinating as all your posts.  I first thought I shouldn't reply because of various twerps on this forum but I decided why let it preclude my perfidious exhortations? That is always to be enjoyed, like your posts which have been some of the most discerning as well as highly detailed and intricate. 

You're seriously confused about VSL. 

There is no Horizon Series for Gigastudio.  The first VSL libraries were full libraries specifically for Gigastudio.  Then the proprietary Vienna Instruments started as separate and extremly high quality software that vastly improved upon Gigastudio. There was no Horizon series for Gigastudio. 

Also, your implication that the earliest VSL libraries are so lame you "of course" don't use them - it shows you know nothing about samples or orchestral sound.  The fact is, the earliest VSL libraries are still superior to almost anything that now exists. They are still more detailed and high quality in the samples than anything now.

If you don't believe that - then just go listen to all the samples of one of the first solo instruments - Tenor Trombone. It is beyond almost anything now existing for that instrument.  

symphonic riot

The reason I am not too friendly is because of your deliberately acting like this is a new recording - if you look at your original post it sounds like more velocity layers have been recorded on short notes. Which I immediately realized is bullshit  because you couldn't even begin to do what VSL did in their original recordings.  So why don't you make that perfectly clear?  Obviously because you want some sales prior to people understanding what they are getting.     

Don't do this deceptive hype if you want people to be enthusiastic about your company or whatever it is.

Cyril, 

This is just VI not Synchron.  The patches that have been cobbled together from dynamic samples are then assigned to this company's presets which you have to use their questionable proprietary player - as opposed to VI Pro or VE, which are nearly perfect software.   

Symphonic Riot,

These are not "high definition" - they are the same samples originally present in the dynamic samples.  You came on here with the bogus invention of "SD" samples vs. "HD" - that is bullshit, because you are trying to reference  video - so we should think the new HD presets are sampled at... 1920p?  As opposed to Standard Definition video? 

Yeah right.  What about just presenting what you actually did to begin with, and stop trying to fool people  in order to get sales?  

The original post was very misleading, because there was no mention of breaking up the repetition patches to use individual short notes.  Just an ad for new "HD" shorts.  (Except for detache I am assuming, as there is no repetition detache unless I am remembering the patches wrong.)  By the way those repetition patches are not "hidden" but present right among the other patches.  Also there is no such thing as "SD" patches (analogous to SD video?) in VSL - they are simply patches with varying amounts of velocity layers and alternate samples.   They are just as high a quality as any of the others. 

This made me respond in disbelief. I have used the extended VSL cube  so found this to be very weird.  

This person/company/whatever has done new recordings of all instruments in the Vienna Symphonic Library cube to 9 velocity layers in short notes?

That is hundreds of thousands of samples of a huge number of musicians.  I don't believe this.  Reproduce the Silent Stage, record all the ensembles and solos in strings, woodwinds and brass in short notes, and use 9 velocity layers?  

Actually, I think this is just tweaked, already recorded samples and then assigned to different velocity triggers. That is NOT velocity layers.  The term velocity layers is used to indicate actual recordings of different dynamics, not just MIDI values that are assigned. 

What is going on here?  Is this some kind of scam or is this for real?  The samples, if they have been recorded to 9 velocity layers, cannot possibly match the original recordings on the Silent Stage without an enormous investment of a major company.  So is this an actual major new recording or what?

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Agitato I don't agree with that at all.  (Though I usually like your posts here!)  There are many examples of MIDI that are actually BETTER than live orchestra. One thing that is always happening is people compare a normal MIDI performance to the greatest orchestra in the world and then immediately exclaim "Listen! It's nowhere near as good!"  The reality is very few orchestras can play as well as VSL.  In fact, none of the live orchestras that ever did any of my music can begin to compare. 

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Everything is sounding right for levels and instruments in general, but there is a clarity and spacious quality that I don't remember even though I loved the "Old Mir" !