DaddyO, the trick Peter was talking about is most likely the one outlined above. It is actually quite easy, and has been a standard VSL trick for a long time.
There are a couple steps that make it quite easy. You can do a global setting in the VI for a maximum pitch bend range, generally either one or two semitones depending on whether you are using the full libraries or the SE libraries.
You then set the maximum pitch bend setting in your DAW, again to either one or two semitones, as above.
When you are ready to realize the score, then transpose the part down in your sequencer, and raise the lower pitch back up to concert pitch using the pitch bend. That ensures that you have different samples playing on any unison notes between the 1st and 2nd violins. Since the pitchbend has been defined in the sequencer as a half (or whole) step, all you have to do when using the pitchbend, is to raise it to its maximum level. Since the maximum pitchbend range has been defined to what is specifically needed, the need to be concerned about any fine adjustments has been eliminated.