Ahh yes. The velocity layers in Synchron strings are doubled (sometimes tripled) on most articulations.

What about the dynamic flexibilty of Synchron Strings I vs counterpart in VI?  That is another tonal/timbral advantage over the VI instruments.

And for clarity, my argument is that even a casual hobbyist should have both VI and Synchron products... all of them. 

I just finished a pop-ish sounding track for a commercial with the Synchron CFX (instead of the Steinway).

I used the close mics with the Universal Audio 1176, and then a touch of algo reverb.  The sound locked into the track perfectly -- super rich sound without being too big.  It is very flexible.  Often times with these types of pianos, when you start compressing and gaining things up, key noise or the noise floor can become a problem.  Not so with the Synchron Yamaha as you can EQ some of that around note C4 and higher (and even then, you may not need to depending on the track).

Well I can give a perfect example of timbral/tonal manipulation that can be done with Synchron that cannot be done with VI+MIRpro.

Different saturation+EQ+compression on different mic positions.

I had asked a while back if there were a way to split out the MIRpro capsules individually and there is not.

Spatially, 10 mic positions is preferable when doing an ATMOS mix.

One would think that Apple, sitting on a near quarter-billion dollars of repatriated cash, would take their pro audio software more seriously and fix/recode or do whatever it takes to be the best product on the market. ESPECIALLY if they’re trying to sling these $6,000 to $20,000 modular cheese graters to us lol....

That said, is it the case that a master comp on the latest iOS, with Logic 10.4.5, with latest VEPro7, that AU3 is broken on a NEW session made with it? Or just old sessions with the VSL multiport template beta that aren’t working?

I would make an argument that the Synchron Player is as customizable... mainly because of all the FX that come with the player. But aside from the Synchronized versions, the multiple mic positions have tonal and spatial capabilities that are beyond dry samples. Used in tandem with each other, it’s indistinguishable from real players if properly performed.

I like VI too... and Synchron.  To me they are both necessary weapons in the composer's arsenal.  Last month, VSL did release a new VI library: Dimension Strings III.  So that's good!

Bleed volume is for the power drums.  If you have them or the Epic Orchestra 2.0, load up the Tama Drums and look on the mix page.  You'll see on the left side of the mixer below FX, AUX, and BASIC, a thing that says BLEED.

On the perform page, you'll see Release Voice, Voice Steak Release, Source V.L. Release and all that.  The scaler you mention has to do with how loud the release sample is gonna be, and the curve that it's on... I THINK (Paul, is that correct???).

In the Synchron Pianos on the Edit page, you will find RX Fix, RX, Dyn. etc.  I believe in the normal Synchron Player  the curve of the release sample effects these similar things.

YES!  Same here. :)

It certainly looks that way.  So far, there are a host of Synchron-ized string libraries, ranging from Chamber Strings to Appassionata, Dimension Brass, Epic Orchestra 2.0, and now Special Editions.  My guess is that there will be more.

Also, just another tip for L/R stuff, research the Haas effect. :)

I'm unable to reproduce this... can you upload a sample of what you're talking about?

Is this happening in MIR Pro?  Or just panning in your DAW?

 

In the sequencer, you can edit the midi notes... that's what I'd do... make it immitate the other ones.  Or, consider using one of the sul patches.

It *IS* possible to play natural trills by hand in the SY player.  I do it all the time! :) 

What is so amazing to me is how far you can go once a composer is "under the hood" with this library/software.

The plucks especially really have a great feel... and they sound so different than what you can render with outboard synths or software.  I assume that's because the Smart Spheres are based on samples from real acoustic instruments.

This track was really fantastic.

To expand on Maestro Herb's post here, I would add that sometimes the holding down the lower note of the trill may appear to render a more even-sounding trill, but it is in fact less realistic AND less flexible than playing a well-performed trill.  Yes it might sound more even (a good thing) but it sacrifices some key elements.

My unsolicited advice:

A well-performed trill should have some shape to it, meaning that there are (for lack of a better term) micro crescendos within a turn or trill that help propell the phrase (unless of course, it is a purposefully marked/intended decrescendo).  That crescendo usually comes from the lower note more so than the upper!  So, you want to have those repeated lower notes, each with a slightly different "feel" or "landing" to them which would mimic a professional playing a nice, tight trill.

Another tip is temporarily taking your tempo to larghissimo, zooming in on your trill, and seeing which notes make it sound like a dotted rhythm, adjust the midi, then put the tempo back where it was.  That might help smooth things out.

Or, if you are using VI Pro, the APP Sequencer has preprogramed trills!  These are GREAT!  So if someone can't play a super tight trill, in the APP Sequencer in VI Pro you could trigger a super tight trill with your toe... or nose... or... what ever appendage isn't in use at that moment. 

EDIT: also implement humanize like William said!

I'll take a stab at it 

Prepared piano, solo strings, french horns, gong, bowed vibraphone?  Maybe some of those glass things blended in?

Thanks everyone.

Also, if you have any questions, complaints, or quibbles (differences of opinion!), or suggestions, I'm happy to answer/listen in this thread.

I started with the VSL presets, and then added/subtracted from those. Saves a bit of time that way.

Totally possible... and that's what I've done.  For example I have a dimension labeled "mute" which expends out into sub dimensions with all the necessary articulations.  For the Sul Tasto bowings, I've inserted them into "shorts" "longs" "legato" etc.

Here's a tip too when customizing: I've had some pretty awesome results by blending the portamento and normal legatos into a crossfaded dimension.. sometimes, depending on the velocity there's a little phasey thing going on, but more often than not it is a really smooth effect for certain musical requirements.

It's not with close mics, but the Tchaikovsky demo I made has a ton of repeated notes.

https://www.vsl.co.at/en/Synchron_Package/Concert_D#!Demos

My view is that you need everything... the only issue with the VI Series strings compared to the libraries recorded with 10+ mic positions is the tonal realism.  

I feel like the ultimate combination (if they decide to do it) would be the Synchronized Dimension Strings combined with Synchron Strings I, and then maybe a Synchron Strings II with some additional articulations (detache, a super slow/soft legato, harmonics, col lengo, portamento).

With VI Orchestral Strings alone, compared to SyStrings, you just don't get quite as much depth of tone/sound.  PLUS with multiple mic positions, you can treat the sound with different FX (some saturation, pulling a little more harmonic content, etc).  Great for a mixer!

This whole thread was incredibly useful!  Thank you Dietz and Dewdman.

For me, I use Start, Velocity Xfade, Expression, Slot Xfade, and Legato Blur.  And depending on how much tweeking, you might also consider Humanize and the Filter as well.

I agree pretty much with everything mohsohsenshi said.

One thing I'd note about a laptop as a master: if it is streaming a LOT of midi data all at once, even at higher latencies, you will get some clicks/pops.

For example, if I load all of the mic positions for the Yamaha CFX, and I'm playing one of my virtuosic piano arrangements (might hit 2,000 voices of polyphony in some bars) it will totally crap out.  My PC slave is totally fine, but the laptop/Logic can't handle it.

At some point I'll need to get a better master machine... so perhaps consider that!

My wishlist....

If VSL decides to do a Synchron Brass, it would be interesting to see if they would do it "dimension" style... 4+4+3+1(b. tromb)+1(tuba).  Or if they go with 6 horns... or Mahler size of 8.  Would they add a piccolo trumpet?  Would be neat!

Based on that above video I believe, and I may be wrong, that VSL is normally partial to the dark european sound of the rotary valve trumpets... so it may not be with these instruments.

Off the top of my head, the standard symphonic literature is a high concert D (Bartok concerto for orchestra, Bernstein Kaddish Symphony...).  I can say that recording a high D over and over for a sample library would be miserable for most players... sure, there are your 1st call guys, but still not pleasant.  But, that would help with those folks who had complaints about the regular Dimension Brass range.

Then, with a brass library, you consider the mutes.  I would like to see a handful of articulations with straight mute, and then a handful with harmon mute.  Same if they do a piccolo trumpet.  The icy orchestration of Petruska's ghost from the Stravinsky ballet calls for muted piccolo trumpet... it's a GREAT effect!

Trombones should have all possible glissandi at different speeds AND fluttered tounged in addition to regular.

For the legatos, there should be pure slur, but then also an option for very light tounge that is used to kind of just bump the air a little bit when landing on the next note.  Needs to be a soft bump thought!

On tone, I would like the engineer/producer to really capture the ones that have a more open sound compared to the other brass libraries... more "ohh" in quality.  Sometimes, the sound can air on the side of "eee."

Then, a little vibrato control!

Lastly, and I'm not even sure this is possible, but  "bells up above the stand" articulations (a couple longs, and a couple shorts)... just for that extra epic Mahlerian blasting.