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" !   

Interesting statements by both Federico and Macker.  I think that the intuitive aspect of composition can go beyond any theory, though with study of theory one can get ideas.  I remember when studying music theory in high school parallel fifths were frowned upon. I immediately went home and wrote several melodies with all parallel fifths.  Just to be contrary.  With Williams, Federico is correct in that he didn't particularly "innovate" but his music is so perfect it doesn't matter.  I completely agree he is on a par with many great classical composers, and will be known for his great work in the future.   Bernard Herrmann definitely innovated, with his refusal to use the popular (among film composers such as Max Steiner)  Wagnerian leitmotif style, and instead wrote purely symphonic scores with extremely detailed orchestration.  But in general the knowledge of orchestral performance gained from the real world - like playing or conducting - is of huge value for a composer. It gives specific ideas about what exactly each instrument really does best, and that can inspire more ideas for composition.

After converting to the Ilok VI and MIR 3D I've been trying to organize my enormous, terribly disorganized MIDI/VE files.  In doing so I've been listening to various old files now played through MIR Pro 3D.  They sound startling and extremely beautiful.  Am I just imagining this or does a file from the "old MIR" now played with 3D sound different?   

I had a startling experience with the volume levels of MIR Pro 3D - I had a legacy MIR project that I had very carefully set levels for an entire orchestra of VI in Vienna Ensemble.  When I upgraded it to MIR Pro 3D I noticed - all the levels were zeroed.  I thought "Oh no!" and that everything was messed up. But actually when I played the entire piece the levels were almost perfect - within and across all the sections of the orchestra.  All I had to do for the rest of the mix was take the first players up a little, or a particular instrument that I wanted to emphasize.  It's extremely accurate for getting a basic level for every instrument of the orchestra - which in the past was very laborious.  

MIR Pro 3D is not designed for Synchron at all. It is for the "dry" sound of VI, other libraries or any audio input you want to use.  

You could use it with Synchron but the whole concept is that Synchron has its own built-in ambience of the Synchron stage, and using MIR Pro with that would be like washing additional reverb over the natural sound.   

MIR Pro is not for Synchron.  It's for either VI or other sample libraries/audio inputs. 

The default audio levels for instruments in MIR Pro are very natural and give a good basis for the mixing so you can tweak them to make an instrument stand out a little - like a first player or section.   

I am using MIR Pro 3D so far with a large orchestra of VI woodwinds, brass, Dimension brass, percussion, Appassionata strings, Chamber strings, Orchestral strings.  I think there may be a demo soon of the piece I'm working on (somewhat secretly - it's all very hush-hush at this point...)

Oh, sure, Dietz!

I just did my first mix with MIR Pro 3D and it is like earplugs were removed and total realism of sound is right there.  I am doing a really huge orchestral piece and it just blows me away how great this masterpiece of software makes everything sound.  Congratulations to the brilliant Dietz and the great VSL team  for this wonderful creation!  I am super excited by this! It may be the greatest thing VSL has yet done and they've done one great thing after another!