@noldar12 said:

Somewhere there is a file comparing the overall sound of solo/chamber/orchestra/AP strings to each other, on the same brief piece of music.  It might have been by Beat, or by someone at VSL, but I just don't remember, nor do I remember where to find it (perhaps someone from VSL can chime in here).  At the very least, it could give you a clear idea of what you are aiming towards.

nolder12,

is this what you were referring to?

http://www.slb-o.com/index.php/forum/The-Recipes/11-A-challenge-for-string-libraries

 The Orchestral Strings have many more articulations, but the only thing that I regularly use them for is harmonics.

DG

No, that is not it, I will see if I can find what I am thinking of.

Regarding the various string libraries, to me, AP Strings is in some ways the weak link of the four (solo/chamber/orchestra/AP).  It simply does not have near the articulations of the other libraries, and if one does any serious writing for the double-bass section, the articulations for the basses in AP Strings are badly lacking.  Conversely, orchestra strings lack any intense vibrato patches.  Having said that, I am generally not after "Hollywood".  One can get fairly lush layering orchestra/chamber strings (or add solo as well).  I will probably purchase AP strings at some point, but that would be quite a ways off (there are other VSL libraries that have clear priority for me).  In the end, what "works" or "doesn't work" depends on one's primary writing style(s).  Ultimately, that is one main reason none of us can decide what libraries are best for you, as what is best will depend on your compositional goals.

Curiously, there have been comments about users having troubles blending chamber strings and AP strings.  However, I would take DG's comments very seriously, as he is one of the most knowledgeable (far moreso than myself), and most helpful, persons to regularly post on the forum.

@noldar12 said:

No, that is not it, I will see if I can find what I am thinking of.

Regarding the various string libraries, to me, AP Strings is in some ways the weak link of the four (solo/chamber/orchestra/AP).  It simply does not have near the articulations of the other libraries, and if one does any serious writing for the double-bass section, the articulations for the basses in AP Strings are badly lacking.  Conversely, orchestra strings lack any intense vibrato patches.  Having said that, I am generally not after "Hollywood".  One can get fairly lush layering orchestra/chamber strings (or add solo as well).  I will probably purchase AP strings at some point, but that would be quite a ways off (there are other VSL libraries that have clear priority for me).  In the end, what "works" or "doesn't work" depends on one's primary writing style(s).  Ultimately, that is one main reason none of us can decide what libraries are best for you, as what is best will depend on your compositional goals.

Curiously, there have been comments about users having troubles blending chamber strings and AP strings.  However, I would take DG's comments very seriously, as he is one of the most knowledgeable (far moreso than myself), and most helpful, persons to regularly post on the forum.

 LOL. Well you won't like what I'm going to post now then:

99.99999% (and that's a fact. Or is it a statistic?) of composers only know 4 articulations for Double bass, and 2 of those start with "woof", so I wouldn't let that colour your judgment on which sample library to buy. [;)]

DG

dsilver, the two demos I was thinking of (but was not remembering) are two demos under the "strings complete" package.  The two are "Irish Strings" and "Compare Rag".  Both feature the same material being played first by solo strings, then chamber, then orchestra, and last, AP Strings.  They give a very good comparison of the basic sound of the four different libraries.

They demonstrate fairly well that one library really cannot substitute for another (though certainly can be layered with).

DG, one of my favorite quotes about statistics: "Torture the data enough and it will confess to anything." <smile>

Actually, in all too many cases, you are right.  Composers either tend to write for bass (Beethoven, etc.), or relatively ignore it (Copland, among others).  Most do opt for "ignore".  For film scoring, what is in AP Strings, sadly, is probably enough (growl, whine, or menacing rumble).  For traditional orchestral writing, the answer would be different.

One of my favorite double-bass stories (a true one): Gary Karr (a now semi-retired double-bass solo concert artist - am guessing he is now about 70ish or so, and arguably the best solo bassist ever (Klaus Stoll and some others also rank up there), when in college, was in the university's chamber orchestra as the only bassist.  At every rehearsal the conductor kept saying the usual, "The bass is too loud."  Gary decided to play the entire concert keeping the bow an inch above the strings (while fingering every note, of course).  Afterwards, the conductor commented to him that he had played extremely well during the concert (note: the story was told by Gary, himself).

So yes, the bass: best seen but not heard.

@Another User said:

One of my favorite double-bass stories (a true one): Gary Karr (a now semi-retired double-bass solo concert artist - am guessing he is now about 70ish or so, and arguably the best solo bassist ever (Klaus Stoll and some others also rank up there), when in college, was in the university's chamber orchestra.  At every rehearsal the conductor kept saying the usual, "The bass is too loud."  Gary decided to play the entire concert keeping the bow an inch above the strings (while fingering every note, of course).  Afterwards, the conductor commented to him that he had played extremely well during the concert (note: the story was told by Gary, himself).

So yes, the bass: best seen but not heard.

Totally OT, but I was lucky enough to work with Gary once (or maybe twice?). Unfortunately I was too young to appreciate fully what I was hearing.

DG

DG, during college days (a few decades ago) I got to participate in a couple of Gary's master classes.  He did a tremendous amount of presentations for grade schoolers as well as master classes for all levels of players, not just the best of the best (I started playing bass very, very late).

The Gavotte he played for grade schoolers (using it to tell a story of Fly Fly, the fly, and an elephant IIRC), is, unfortunately, no longer in print.

Side note to get back on topic: one of the reasons I so appreciate the VSL Solo Strings library is that the solo bass in it can come surprisingly close to being able to mimic what one can actually do with a bass bow (the stretch feature really helps here).

@noldar12 said:

(the stretch feature really helps here)

I've been finding that the new envelope abilities within VI Pro 2.0 will forever be a necessity for everything I do. I've practically built my entire template around this one feature. It allows for controlling so much of what a real performance would include. Legato speed, Staccato length, vibrato amount, and effects. I've used it to ritard and accelerate the bpm fast-rep patches, trills, and so on. So not only does this allow for more realistic bowings and mouthings, but even the sustained performance itself.

While I've seemingly pushed an even more side topic here, I'd suggest that this feature simply serves to establish the VSL library as truly set apart from the others. (which is at least more on topic than this point initially seems). Either way, I think the time stretching abilities alone set VSL apart not merely in style or preference, but in it's ever expansive capabilities. My Time Stretch Cache folder is currently 200GB in size and I haven't even finished my template. And I'm not going overboard for the sake of being arbitrary. I've actually been adjusting the instruments for the sake of having a truly flexible template.

That's a lot to say about a rather small sub-point you brought up. But I could not help but speak out for how true your statement really is, in my opinion.

-Sean

Thanks again everyone for all of the great information. i really appreciate all the feedback and feel very fortunate to have the benefit of your experience. It speaks a lot to the quality of VSL.

And yes, the kind of music I write will dictate which VSL products I buy. But when choosing between the various packages and libraries it is hard to figure out how to spend one's money wisely. We have all bought that library or piece of gear that winds up never getting used and while I know that that is a somewhat unavoidable part of the job, it's best to avoid it when possible. And since VSL does offer discount for buying bundles, it's hard ot know what to choose. Some of the deals are no brainers money wise (the complete chamber strings and the complete percusion, for example) others are not.

ds

@noldar12 said:

Somewhere there is a file comparing the overall sound of solo/chamber/orchestra/AP strings to each other, on the same brief piece of music.  It might have been by Beat, or by someone at VSL, but I just don't remember, nor do I remember where to find it (perhaps someone from VSL can chime in here).  At the very least, it could give you a clear idea of what you are aiming towards.

I seem to remember this as well, but I haven't been able to locate it. I don't even remember the tune, but if we're thinking of the same one, I vaguely remember an Irish dance with an unexpectedly pleasant shift between G major and Bb major. It was really helpful in distinguishing between the results of performances by the different string libraries.

@noldar12 said:

dsilver, the two demos I was thinking of (but was not remembering) are two demos under the "strings complete" package.  The two are "Irish Strings" and "Compare Rag".  Both feature the same material being played first by solo strings, then chamber, then orchestra, and last, AP Strings.  They give a very good comparison of the basic sound of the four different libraries.

Thank you so much! The demos are very helpful, though they make me feel like I'll need all of the libraries. Sigh 😊

One thimg I wonder is whether one can get the "chamber strings" sound by creating a chamber ensemble from the solo strings. Is this possible or is there some weird phasing effect or something that results?

I think the results would still sound like several copies of the same solo violin/viola, etc., as, unfortunately, each would have the same sound, since the same instrument would be used mulitple times.

Of course, you could try it... you would have to create multiple tracks, and transpose all but one of those tracks, and then use the mod wheel to bring those transposed tracks back to correct pitch in order to avoid phasing, and then EQ each instrument as differently as possible.  So for 5 instruments, you would go: 1: concert pitch; 2: up 1/2 step; 3: up a whole step, 4: down 1/2 step; 5: down a whole step.  But, you would then have to adjust start times, end note times, pitch, etc., (some can be done with "humanize"), for each part, and it still would not really sound like a section, where each player is playing a differernt instrument with its own unique sound, all blending together. 

The short answer, as DG has already posted, is, "No, it really will not work."

You can read the VSL Newsletter online, too: -> http://www.vsl.co.at/en/65/71/90/74.vsl

HTH,

Nice, thanks!  A brief look back - I guess I haven't missed anything  :)

I thought he meant there were very recent deals (I would jump on a BOGO deal right now)

@RefugeDenied said:

I thought he meant there were very recent deals

Sorry for the confusion. I didn't mean a deal is going on now or soon, as I wouldn't have any idea when. I only meant that this is the best way to follow what deals are going on. The deals seem to be offered when the letters go out, thus.

-Sean

Sorry for posting this follow up here, but I tried posting a Mac Pro setup quesiton in the Hardware Discussion and it hasn't gotten much traction.

Iscore, if you have a second and could lend your expertise to my hardware question I'd be most appreciative.

http://community.vsl.co.at/forums/t/30565.aspx

Thx!

ds

So after today's annouced holiday sale (thank you VSL) here is what I'm thinking of getting:

• Solo strings Bundle (1&2) & extended
• Winds 1 (including free extended)
• Brass 1  (including free extended)
• Chmaber Strings Bundle (including free extended 1 & paid exteneded 2)
• Percussion Package  (including free extended)
• VIP2

My one concern is the lack of any real large string ensemble, but I'm thinking, at least temporarily, I could layer the chamber, the solo and my older libraries (Garritan & Miroslav) until I have a job that demands appasionata or orchestral or one of the other more "hollywood" sounding librraies. Do people think this is feasible or am I fooling myself?

Two other possible purcheses are Harps & Winds2, but that seems a bit excessive.

I'm hoping that Vienna Ensemble (free) will give me the mixing powers of VEP5 as well as the stability of running 32 Bit & 64 Bit plugs (like VEP5).

As always, thank you everyone. I have learned so much from all of your posts.

@dsilvercoin said:

Do people think this is feasible or am I fooling myself?

It depends. Do you want it to sound good? lol. Honestly HS, Spitfire, and DVZ are the only libraries I've ever heard blended with VSL that sounded any good. But that's my take. If you get VSL and think they blend, great. If not, get the orchestral library later or something. Once you have some VSL you can mix it with other libraries anyway, so you'll know what you like and think sounds effective at that point.

-Sean