I guess what surprised me was any suggestion at all of something in VSL not being compatible with everything else - as has always been the case to an amazing degree with First Edition instruments recorded more than ten years ago still totally useable with the latest Dimension Strings, etc.  But I now understand that the idea is to have two different approaches, with the Synchron Stage a centerpiece for the technology, making a seamless connection between live recorded instruments and sampled ones.  Which is an awesome concept!  Also, going gonzo with the velocity and expressive detail which is what needs to be done.👍

Now, if only VSL will create the first word-building choir with authentic legato on every vowel.  Yeah!  🎉

In respect to the vast amount of work a completly new Orchestralibrary means for the VSL, I know that it is of course a bit impudent, still to ask for more.

But I must confess, that I tend to consent William, that an increase of options to get closer to the colors of sung text is definitly something the beautiful viennese Voices would rise instantly above all other vocal sample in the market.

While I can imagine that with the high musical standards of viennese samples a complete "Wordbuilder" might be very much work, it would be at least a large step forward, to get similar samplesets for the missing vowels ("Eh" "EE" "O") as we already have for "A" and "U".

However currently I am already thrilled enough about what we might get from the Synchronstage-series. As long VSL keeps on working, we have reason enough to wait what comes step for step.

I can't currently link you any concret Post, by any VSL-guy but as far as I know the reactions about speechcolor improvements of the Viennese Voice-ssamples are at least ambivalent. While one can read sometimes "there will never be an wordbuilder functionality for the Viennese Voicesamples", there have been on the other hand sometimes indications, that it is not that unrealistic to get similar Samplesets for the missing vowls once upon a time. Of course it is still much work and obviously other things will have presumably a greater priority, 

At least it seems to me that one must not completly rule out the possibility to get more vowlsets for the voices sooner or later which at least seem to me not that unrealistic as a complete Wordbuilder. However I myself at least would appreciate this addition very much.

But it is kind of funny to discuss this matter while they just announced such an essential vast an overwhelming project like the complet new recording of an Orchestra on a completly new level. So let them do what they are able to. It always was worth waiting for.

Yes, it is of course a huge undertaking.  T

The Syncron Stage is a huge investment and there is a basic purpose with it to combine live instrument recordings of any size ensemble (normally dictated by a film's budget) with samples.  So it makes sense to record new samples, different from the silent stage approach, that would naturally have the reverb within that stage, rather than have the reverb inserted artificially (though with a very good artificiality)  with MIR.  So the ideal approach for Synchron then becomes the impetus for a new sample library.  But rather than reproduce exactly the previous library, VSL has decided to go much further - somewhat like the Vienna Imperial is exponentially more complex and detailed than the Bosendorfer which is still a great piano sound - and produce a new, exponentially more detailed  set of samples.  Otherwise they would be repeating themselves.

I am just spouting off now, because my new computer is not yet fully operational and I have too much time on my hands,  but never mind that.    

I think that it will be essential for VSL to develop some totally transparent bridge between the old samples and the Synchron, because there is no way they will be able to reproduce all the previous instruments - especially the later masterpiece samples like Bass Flute, Flugelhorn, Cornet, 2nd Bassoon,  2nd clarinet,  etc.  (Not to mention many others.)   And since Dimension cannot be done practically, that is all the more reason to create a "backward" compatibility. ("Backward" being used very loosely when applied to Dimension Strings... which are truly a technological miracle.)  

I hope VSL will implement Williams' suggestion of a 'transparent bridge'. I guess now there is no chance of a 2nd violin section in the old format, but perhaps in the new??????

The "new format" will have for sure 2nd violins; now that "the hall matters", there's no option but recording the two violin sections separately, according to their position in the stage!

Good point Fabio, it wont be before time though.....steady William :-)

That would make sense, since the violin sections would be occupying a specific place on the stage as part of the recording process.

O.K. that was a robot who vanished!  

It seems like to me the solution isn't that difficult, create responses of the Synchron stage for MIR, tailored perhaps particularly for other instruments. Expense is another matter.

that doesn't address the differences, the advances of the new technology but I can't imagine what would 'bridge' the two, interesting problem

That has already been done and apparently working very well though I haven't used it so far.  But as suggested it makes all the previous instruments useable within the Synchron environment which is essential.

Just one very simple "basic" question about the future of VSL-Libraries to come:

Since VSL have moved completly to the Synchronstagebuilding in 2016: Is the Silentstage still "productive" or will there be no more new libraries recorded in the silentstage in future any more (except those which might be already recorded befor 2017 but not yet published).

in short: will VSL work in both studios in future or only in the synchronstage?