Well... so far nothing, maybe in August ?    Still waiting       [:)] 

Tomorrow the actual campaign ends. I will eat my hat, if there won't be any news the next days (luckily I don't wear a hat!!!). 

VEP AND VIP compatible with Mountain Lion !!!

 30% off for students!  [:D]

Let's examine some of the factors that would need to be considered:

1. Hiring musicians of very high caliber to go back into the stuido for 80, or 100 or 130 or maybe even 300 hours to get a new Chamber strings library that has the same number of different articulations as say the solo violin series. Might need 400 hours for that. Six violins, 4 violas, 3 cello and 3 bass. Lots of people-hours.

2. Is there really a market out there.

My personal wish list would be to have different sections for orchestra as in the real world -for chamber orchestra say 4 stands of first, and then in a departure from the current configuration a seperate group for 4  stands of second violins; 3 stands of violas, 3 stands of cello and 2 stands of bass.  Also in the woodwinds first, second and third stands of each woodwind instrument would be preferred as opposed to having a tutti approach for a3 clarinets, flutes, bassons etc. Same with brass although it seems the new virtuoso brass does this. The idea is that a the seperate voice configurations for an independent 'chair' (with perhaps even a 4th chair woodwind player) offers a more real to life configuration than the current articulations.

@rverne10 said:

Also in the woodwinds first, second and third stands of each woodwind instrument would be preferred as opposed to having a tutti approach for a3 clarinets, flutes, bassons etc

My 2c worth here... definitely a dimension strings - something to compete with LASS. I have resisted buying LASS because I prefer the VSL sound and I believe they will eventually outdo it (as per the VSL MO), but the usefullness of writing with proper sections and not having to double up larger sections to get intervals, is really helpful. Having the humanize feature in the software would make a divisi string section even better.

No need whatsoever to re-do chamber strings, or the solo strings IMO, unless releasing a few new articulations to add on to the existing library (if possible). The full orchestral library is always going to be good for single lines and just for another sound. But IMO I strongly think VSL should do a new full divisi based library that out does the competition and then some - something that will last another decade.

However, even single lines will sound better with divisi sections playing together - the attacks and the modulation of the humanise feature working together will just give an amazing realism.

As for articulations, we can always use more. Also in a previous thread some months ago someone mentioned really being able to get really super pianissimo sounds - I agree with that too. The full spectrum is always good :)

No criticism on existing strings from me, but they are 12+ years old now (and still standing proudly). But, divisi is the way and the VSL software is clearly set up to take advantage of that. They'd be crazy not to do it (sooner than later though!!!) :)

Lastly... maybe not possible but wouldn't be such a bad thing to have a wet and dry option as well - so we have the traditional dry stage recordings but also - somehow if it could be done in the same session a more distant microphone with more early and some late reflections. Not exactly a wet version by any means but something certainly more coloured.

@mpower88 said:

Lastly... maybe not possible but wouldn't be such a bad thing to have a wet and dry option as well - so we have the traditional dry stage recordings but also - somehow if it could be done in the same session a more distant microphone with more early and some late reflections. Not exactly a wet version by any means but something certainly more coloured.

Oh..Oh.. didn't you know, this is a big Taboo for VSL ... even to suggest it.  

Everythihg has to be sampled bone-dry in the silent stage  [;)] 

@muziksculp said:

Well .... To my ears, VSL instruments without any reverb do sound 'bone-dry' !   If there is a bit of lively reflections in that room, I surely  don't hear them registering in the dry instrument/s samples. 

You need to improve your hearing then. Now Sample Modeling; that's bone-dry. [;)]

DG

@Another User said:

Back to the main topic...  Hope to see new VSL Orchestral Libraries !  (I'm guessing you would be happy to see that happen too). or maybe I'm wrong.

Cheers,

Muziksculp   

If VSL releases something I need, I'll get it, but not having anything new is not holding me up at all. Besides, most of the things I need would probably be of no interest to anyone else. [;)]

DG

No student discount  [:'(]

Maybe next month...  [:D]

VSL has sampled the Borsendorfer with close, player and far positions, and I think they did the same with the organ and there is also a wet sample set of percussio, so it's not unprecedented ;) I would probably use the dry samples most of the time, but it's nice to have the same samples with some extra coloured early reflections for certain situations, or even a multi mic type setup like they do now with drum samples, so you can have the dry sound as your direct, then have a room and even "overhead" or some other third position to mix in, which would give you a range of natural colours, but then you can also mix in additional reverb to give you the larger room, or the rest of the room. Something like that.

I personally love the dry sound - the flexibility that it gives you - together with MIR and other processing you could never have that flexibility with a library that sounds good out of the box but then you are stuck with that forever. So given a choice I think VSL has absolutely made the right choice - evidenced by the longevity of the library. But having a multi mic set up would be awesome. But, it may not be possible. I don't know the technicalities of how the silent stage works to that degree, could you do it effectively, or maybe everything would have to be recorded twice to achieve two libraries, rather than one discreet library with multiple mic positions - in which case, I would say going with the dry samples would be the best idea.

@DG said:

However, I do understand that some people would like to be able to control the close/far mix themselves, even though with VSL I've never found this to be a problem. Possibly the one exception for me would be the Appassionata Strings, which I find a little too diffuse at times.

But the laws of physics state that there must be a difference in sound between a microphone pushed 1 foot from the performing instrument and one sitting back 5 or 6 feet or futher-maybe VSL should be  offering something from the distant room perspective of about  40 feet as well. To me these options of the  far settings  are needed, not merely  so much to give the room ambience more space but to realistically approach how a listener in the audience is hearing the sound. After all that is what we're after here, right? Simulation of the room listening experience? How can that be done if everything is miked so closely? [*-)]I don't find that lowering the volume level with a mixer or lowering the midi velocity setting really does the trick-it still sounds like a closely miked sample only softer. Don't get me wrong, I love my VSL library, just would like to toss out some ideas for improvement and I think the laws of physics and my ears make the proof of the pudding if you will, in considering how to build new libraries-a far setting for the mike  or mikes are  really needed

And speaking of how the room listeners hear the overall sound I have noticed with the Detroit Symphony Orchestra (DSO), I have had occasions to wonder if the conductor and players were truely aware to any great extent of what the overall aural impact was on the Orchestra Hall Audience. I am really beginning to believe that sometimes the conductor and the players really don't have a clue because they have no feedback from the hall perspective. Creates a bit of a problem-I'd like to take this issue up with anyone willing to toss it around.

Hello VSL,

Would it be a big problem to just let us know if you plan to release new Orchl. Libraries in the near future ?  Just a Yes, or No would do it. No details needed. Is this too much to ask from you to disclose ? 

Thanks,

Muziksculp 

@muziksculp said:

Hello VSL,

Would it be a big problem to just let us know if you plan to release new Orchl. Libraries in the near future ?  Just a Yes, or No would do it. No details needed. Is this too much to ask from you to disclose ? 

Thanks,

Muziksculp 

you are dreaming !

VSL will not reveal there plans

As exciting as new libs may be, I do wish VSL would fix the flagship Vienna Imperial so I can really play staccato!

Hint - Try playing Tchaikovsky - Op.39 No.13 Kamarinskya on the Vienna Imperial. - It absolutely doesn't work!