Stellar work there - congratulations. Strings especially belong to the  "best of the best" of what I've heard in sample based orchestral music production.

Well done. I like using Reverence as well, it's a fine reverb (in my experience especially for chamber music setups).

Well done, I like the sound of the MIR positioning. It could use some polishing in the performance and the overall "organic" quality of the sound, but it is a good start.  

Some steller performance shaping in there (especially clarinet), and I like the overall sound as well. A bit too far away and too "narrow" in panorama for my taste, but I suppose one cannot please everbody in everything :-)

Impressive production work. What did you use for spatial positioning?

Seconding Errikos' congratulations and his proposal - a VSL competition in concert orchestral/chamber music would be a very interesting endeavour with many potential participants. For that one, I would propose a jury winners list and and a separate audience voting list (voting on the VSL website). One could also give special awards for best VSL performance shaping and production work. 

More difficult yes, but your production proves (again) not impossible... very fine sounding baroque-style strings in there...

No problem ;- )

I was referring to the stereo width relations between the dry and the wet componenets of the signal, not the dry/wet ratios in themselves (changing these can be helpful in achieving a less "flat" and more "3D" impression of the acoustic space though, but it usually won't solve everything).

Time stretching is (imho) very impractical for that purpose :-)

Atk, Rel and (if you have VI PRO) Start Offset parameters are key to legato optimization. Wise use of perf-legato patches can also be very helpful.

The overall sound of the mix I like very much. The strings as a section generally sound well, imo they would profit from better dry/wet stereo width relations and optimized spacing on the stage.

I also much prefer the sound of the section to the bits where soloists play - the dry/wet stereo width/orientation problematic is much more pronounced there. 

Well done. I would smoothen the attack and optimize the legato here and there, but this in overall is a nicely done production.

Which reverb did you use? (Is it algorithmic or an IR of an existing venue - it suggests a very large space with low absorption/high reflectivity, like a larger church or cathedral, which is very suited to the character of the piece).

Well made and informative video, thanks for sharing.

Personally, I do love the Orchestral strings for their long articulations just as well (or even a bit more ;-) - Barber, Bach & Dvorak here are a few cases in point. 

Thanks for the upload.

Lovely work, one of the best baroque VSL (and beyond) productions I know of.

And I love the recorders :-)

Could you send me the WAV-file via WeTransfer (to )? When I go to your links I get a message I have to log-in to get to the files (and I don't have a box account).

Thanks, looking forward to it.

Thank you, very glad to hear it had an inspiring effect :-)

All that Dietz said + you can use the RoomEq to shape/tame the hall's frequency response (in my experience this works very well).

Here is a case in point positioned in the MozartSaal venue (the Mozart Symphony in g-minor_Andante example).

Best,

Goran

Set offset functions are very useful for shaping legato transitions, but somtimes you will have to combine these with Atk and Rel faders as well (different values for different transitions). And don't forget the "global" patch parameters in the Envelope Area.

Out of the blue is kind of probable ;-)   ...it could be that I don't remember this correctly, but Dimension Strings violins were simply announced one day in a newsletter without anybody having a clue of project's existance (if somebody remembers any sort of a pre-release announcement to DS, feel free to correct me....)

Hi Phillipe,

could you upload a mp3 (preferably wav) file as well and post a link? (This sound so good on my trash internet audio connection that I would like to listen to it on my regular equipment).

Thanks,

Goran

Hi Wayne,

no worries, VSL can do classical just fine ;-)

Here is a fine case in point you can take a listen to (Mozart's g minor Symphony Andante).

...and your concerto definitely would deserve a production which would step up to its compositional qualities...

Agree with Beat. The strings in Emotional theme reallly are above average sampled strings work and the flute sounds very good as well. I would make the clarinet less "direct" and "boxy", but this is in overall some fine VSL production work.

Very good for a VSL novice ;-)

I prefer the second version, to me it sounds the least "flat" spatially (it has, among other advantages, a larger percieved distance of the brass from woods & strings). In general, the spatial setup would greatly benefit from optimized dry-to-wet stereo width relations and (here comes the usual suspect ;-) "stretching out" the Z-axis (more pronounced distance relations between different orchestra sections).

Joining the compliments and seconding Errikos' remarks on how refreshing is to hear real music from time to time... And I also think your realization of the variations is a grand compliment to a stellar instrument that the Vienna Imperial is.

Question: Is your Christmas Charols piano piece available for purchase somewhere? I have always enjoyed listening to it on youtube from time to time, but I would like to get a CD version of it (if available).

Best,

Goran

Can't speak for the Fabfilter as I don't have it, but Vienna Suite Equalizers sound very, very good to my ears. There is also what is imo an absolutely invaluable bonus coming with the VS Equalizer - the myriad of tailored EQing presets which really make a difference when it comes to equalizing VSL instruments (especially for users with no or very limited experience with equalization).