Vienna Symphonic Library Forum
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  • P
    P

    Yeah, should've explained it a bit William... thought the older a3 ensemble is not nearly as epic as the a6 fanfare trumpets and they'd deserve to be revisited, in a more epic attempt, but I know that's a thing not likely to happen in Vienna. This is a similar call like the 4 players french horn ensemble suggestion which VSL calculated too less demand for AFAIR. Anyway, how could I forget about that second solo violin with a different timbre than we've already got... adding that into my list as number 4. with the rest going down 1 on the list each. A personal favorite perhaps saxophone ensembles could be if done right...

    PolarBear
  • C
    C
    Great ideas here; just thouht I would add my vote for extended techniques. The 'gypsy' string stuff was a great start. SOOOO...........I would LOVE twentieth century techniques to be worked in to the libraries. Very important, IMHO.----Clark
  • Beat KaufmannB
    Beat KaufmannB

    ... 

    - accordion(s)

    - recorder (treble, alt,...)

    - chamber-/solo strings (old instruments for playing Baroque style)

    - small nice baroque organ

    - jazzy brass collection

    ...and as a man from the country where cheese and chocolate comes from - Switzerland:

    I'm voting yes for more cowbells as well [:)]   

    Beat Kaufmann

    - Tips & Tricks while using Samples of VSL.. see at: https://www.beat-kaufmann.com/vitutorials/ - Tutorial "Mixing an Orchestra": https://www.beat-kaufmann.com/mixing-an-orchestra/
  • W
    W

    There seems to be a consensus for divisi type strings and additional or "special" articulations.  This brings up another thread in which there was some discussion of how samples only"follow" what is done in orchestral practice. 

    Wouldn't it be interesting if samples actually INITIATED orchestral practice?  or at least compositional practice, with in this case, sampling some new special techniques that have not be done before and were improvised at the sampling sessions.

  • M
    M
    Beat, Your proposal make me pleased! A complete set of recorders, (Bass, Alto, Tenor, Soprano and Sopranino) would be so nice! As here: http://www.sampletekk.com/products.php?cat=45 or better! Baroque organ or Neo-Classical organ would nice too! like this: http://www.uquebec.ca/musique/orgues/quebec/smartyrsq.html Thanks again Alain LeBlond
  • Beat KaufmannB
    Beat KaufmannB
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    @Migot said:

    ...Baroque organ or Neo-Classical organ would nice too! like this: http://www.uquebec.ca/musique/orgues/quebec/smartyrsq.html Thanks again Alain LeBlond

    I'd like to play on a G.Silbermann-Organ ( http://www.milandigitalaudio.com/organs.htm )

    ... but in a VI...

    Beat 

    - Tips & Tricks while using Samples of VSL.. see at: https://www.beat-kaufmann.com/vitutorials/ - Tutorial "Mixing an Orchestra": https://www.beat-kaufmann.com/mixing-an-orchestra/
  • M
    M
    How about a DVD package based on colour for solo instruments? It would contain only techniques for colour, mainly being able to play the same note in a variety of different ways through the use of extended techniques - afterall it’s not just notes that make up a beautiful phrase. It would allow for less notes & more colour as an option. I haven’t jumped on the VSL train as of yet, but this kind of package would definitely bring me and many others on board, especially now with VSE & VSE Plus.
  • P
    P

    I second fritzflotow's wish for non-vibrato legato.

    New instruments:

    - baroque strings, including viola da gamba

    - baroque woodwinds: traverso, baroque oboe, oboe da caccia

    - baroque and Renaissance brass: cornetts and sackbutts, natural trumpet

    (and the possibility to use non-equal tunings...)

    Pitt
  • T
    T
    I agree with William on the desks and the solo violin. The solo is very bright. I could use a warmer tone as well. I also would really like to see expanded articulations for the strings in particular. The Appass strings came with a few extra "effect" articulations, but nothing even close to what I could really use. I would like to see more like: -behind the bridge as random in long, short and trem -on the bridge as bowed -gliss harmonics as random, together and trem -long and short scratches -more clusters choices -wide vibrato as slow, med and fast -fast and slow random pizz -tail piece bowed effects -super fast and short gliss and runs (more like rips) etc. These kinds of articulations are used for a lot of film scoring (most commonly for thriller, horror, action films) So far we've had to go outside of VI to personal lib or a few other commerical libs that offer up extended articulations of this nature. I would like to see VI start to develop more of these kinds of articulations for each string group. The same suggestion for the brass and some of the winds as well.
  • M
    M

    i  would like to second the idea of a Pedal Steel.

  • R
    R
    I'd like suggest that three players is a better number than 2-player desks or 1-player benches. Three is the minimum for a genuine ensemble sound, and I'd rather be mixing ensemble sounds than trying to create them out of non-ensemble recordings.
  • M
    M
    Duduk, and other ethnic winds (perf legato, pp, mp and forte) I think VSL would knock this one out of the ball park - I'd pay $500 for the Duduk Alone.
  • G
    G
    These are all very nice suggestions but don't you think we should focus on the essentials? Therefore I suggest the complete set of foghorns starting with the Queen Mary.
  • R
    R

    My 2 wishes:

    -Choir

    -E-Bass

    Best, Rainer
  • D
    D

    Euphonium sustain with vibrato.

    Alto saxhorn in Eb (British Brass band tenor horn)
  • D
    D
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    @JohnnyMarks said:

    I'd like suggest that three players is a better number than 2-player desks or 1-player benches. Three is the minimum for a genuine ensemble sound, and I'd rather be mixing ensemble sounds than trying to create them out of non-ensemble recordings.

    I think that if there was another Solo violin, it would make it unnecessary to have any more small sections, because the possibilities would have increased for layering with Chamber Strings to give a small section sound.

    DG
  • P
    P
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    @Guy said:

    Therefore I suggest the complete set of foghorns starting with the Queen Mary.
    Looking forward to getting on that boat in the not too distant future.-------- I've no idea about extra articulations - the AP strings may need a lot more and the AP II strings may require a certain amount of ironing out in some legato transitional areas. ------ Why not go completely crazy and record individual string desks in groups of two and have them placed by MIR in their correct positions. :()))()(())) --- I don't particularly care for modernism in terms of releasing samples that are pre - played sound effects - because I would probably use them.
  • S
    S

     May I suggest a sampled potato?

    Many do not know that, with an appropriate drill and drill bits, one can create a  flared bore and finger holes to make the potato into a unique tuberwind instrument. (This works best with raw Russet or Yukon Gold potatoes.) Then there is the bowed potato whose quiet hiss can add a new dimension to any orchestral texture. It can even be played sul ponticello (although many have difficulty in finding the ponticello upon which to be sul. . ) Samples of wind powered and bowed potatoes (of different sizes and varieties) would, I think, be a great addition to the VSL library.

  • K
    K
    I mentioned this idea ages ago, but I'll throw it out there again. This would be really handy for quick mockups AND for creating an instant sense of "space" in a mix: Position the entire Appassionata Strings players on stage, and have them do a flautando for each note (all playing together), and then each major and minor chord, where they're all playing at once. That sort of rich, warm, shimmery sound would be a killer bonus feature with the next string library that comes out, whatever that may be. OR... it would also make a great download product. Kerry
  • W
    W

    In the violins, with the Orchestral, Appassionata, Chamber and Solo already recorded, the two additions of second solo and two-player desks would allow the possibility of completely separate sample-sets of players numbering solo (with variation), 2, 3, 4, 6, 7, 8, 9, 10, 14, 15, 16, 17, 20, 21, 22, 23, 24, 27, 28, 29, 30 and some higher numbers made by combining Orchestral/Appassionata.  This allows completely realistic divisi.  Especially if the programming genius that has led to Vienna Ensemble is used to create an automated divisi tool [H]

    BTW I think Guy and Dietz have hit upon something very significant with the fog horn/cowbell concept.  But I will need an AB switched Legato-Portamento Foghorn with release samples as well as a 5-velocity Tenor Cowbell for the Double Concerto I am now planning.  And PLEASE - I would prefer an Italian Foghorn and a Scandinavian Cowbell - probably Icelandic - as they are far more espressivo for the Neoromantic concerto style I specialize in when writing Double Concerti.