@Another User said:

As far as how to use the library to its potential (i.e. tutorials etc.) is concerned, they don't have to do anything, and they probably could not even if they wanted to. The best demos I have heard save for the original Blue Danube, have come from users who, understandably, won't publicize their secrets and will protect their livelihoods. Beat's and VSL's own tutorials address the beginner to intermediate level users, and then we are all on our own.

Why won't they publicize their secrets? This is a secret for me. When you put something at the Compositions area of this forum, why not telling (when asked for) how you did it? How did you do that great portamento? Is the Pitch wheel involved? Users on other forums do this regurarly.

I will go for this, but bring another 10 mil with you..........(haha). Please no, Vienna is strong in making sound libraries, others are more or less strong in notation programs, but some cooperation between those disciplines will be very welcome. Make programmers musicians and musicians programmers and hire authors for writing decent manuals.

This develops into a very interesting discussion, thank you Errikos

Raymond

I am not a bookkeeper but this table puzzles me:

Standard: full price € 490 - savings € 130,- = ?

also with the other columns.

RR

The "Bundle Savings" is the difference between the bundle price and the unbundled price of Solo Strings 1 (not muted) plus Solo Strings 2 (muted). The price of those separately would be € 620, bundle savings of € 130 = € 490. The "Your Price" line shows the discount on the Extended library only that you receive as a result of owning the Special Edition. This means you do not pay full price to license libraries that partially duplicate samples you already own, though indeed you pay full price to license the Standard library even though many of those samples are present in the Special Editions. It is a not-so-subtle way of encouraging people to license the Full library. I'm not sure it's necessary, since the Extended libraries contain many articulations that are difficult to live without once you have them, but that's the way it is ...

Raymond, just my opinion, but how one converses, even on a website, matters.  To me, your tone is something other than "friendly".  As to why high-end users don't share very much (I am not a high-end user), high-end power users will protect what they have learned through their years of experience.  What they have learned helps differentiate them from other not-quite-as-successful users, and preserve their advantage when it comes to earning money.  One can learn, but there is no subsitute for hard work.

There is another long-standing technique, often discussed, to avoid phasing between the violin parts.  For the second violins in SE, another possibility is to transpose the part down a whole step (a half-step in the full libraries) and then raise the pitch back to concert level by adjusting the pitch via the modwheel.  Using that technique avoids phasing on any unison note as the two parts trigger different sound samples.

@noldar12 said:

Raymond, just my opinion, but how one converses, even on a website, matters.  To me, your tone is something other than "friendly".  As to why high-end users don't share very much (I am not a high-end user), high-end power users will protect what they have learned through their years of experience.  What they have learned helps differentiate them from other not-quite-as-successful users, and preserve their advantage when it comes to earning money.  One can learn, but there is no subsitute for hard work.

There is another long-standing technique, often discussed, to avoid phasing between the violin parts.  For the second violins in SE, another possibility is to transpose the part down a whole step (a half-step in the full libraries) and then raise the pitch back to concert level by adjusting the pitch via the modwheel.  Using that technique avoids phasing on any unison note as the two parts trigger different sound samples.

Dutch people are direct in their answers and questions. I hate literature in letters. If that offends others, I am sorry.

I admire those who made outstanding recordings thru hard work, but one can work as hard as possible, trying out different settings, experimenting until kingdom comes and still be at the wrong track or tackling the problem from the wrong angle. Any help will be appreciated in these cases. Not everybody is a MIDI king or a professional in making excellent "mock ups." So far this.

Your solution with the pitch wheel will be examined and it makes sense to me. Thank you for that. If discussed before at the forum, possible, but after several searches with different keywords I didn't find this.

Greetings,

Raymond

As you pointed out in the very beginning that you won't be willing to pay beat kaufmann for his work on his tutorials, well, consider him being one of the pro-users of this library who decided to share their experience with other users. He often does this for free by giving hints to other users here in the forum, but if you want his knowledge step by step he wants some money in return.

You also could consider your piano-teacher as a pro-user of that instrument. Whether you buy a steinway or a yamaha, none of them comes with a manual, yet the "knobs" are quite self-explaining. Still, after some playing around most people decide to get some professional assistance and agree to pay for it.

Personally I do not know a pro-level audio software product which explains you what a delay is doing to the sound. The manual tells you it's being there - that's it.

That being said, I still can understand the call for a „First steps into the vienna world“ kind of brochure, maybe in the kind of the tutorials of Sibelius.

I think the example of the piano teacher has nothing to do with this subject. With or without the teacher when I press a knob I get a sound and all knobs are giving me different sounds. There is nothing to explain here. It becomes different when I play a violin, cello (and I did this also), a sax or trumpet. There is more than just moving the arm/wrist/hand or blowing some air into that thing. This leads automatically to some manual (as you stated) : How to begin and what are the pitfalls. When it comes to excellent performances I will look for a payed teacher.

By the way, I had a Schimmel Grand (medium size). If I could do those years again, I would have bought a Blüthner or Erard. I never was very fond of Steinway or Yamaha (played on both during my concerts).

[I think I solved that phasing problem, not by different pitches while notating]

RR

.

Andi, if I offended you, that wasn't the intention. I apologize for that.

What William wrote is way out of line. I never thought it to be simple and a phrase/held note must undergo some sculpturing to get the best out of it. But when I cannot find the tools for this and when I encounter some problems trying to get it right, then I go to this forum asking for advice, some extended written instructions or explanation in the video's.

But the nature of this whole thread, accusing me of being rude, impolite, even hostile, is just that. Black is black and not blackish.

Good bye,

Raymond

never mind - forget my post