While I fully understand and sympathize with the decision by VSL to embrace the "wet" samples market, I am also a bit sad to see this happen. Obviously no company has unlimited resources of monetary or human captial. As a result every "wet" product means one less "dry" product that could have been created.

I own many VSL products. In fact almost all of them. I love the quality, the consistency, and the flexibility of VSL products. The Vienna Instruments Pro player is the best sample player, period. Because of the highly efficient VSL dry samples and Vienna Instruments Pro I can easily have a large symphony orchestra of very high quality samples loaded on my 48GB I7 computer. No slave computer needed. So I really appreciate the "dry" sample technoloby.

I had hopes that VSL would begin to improve on some silent stage products with more velocity layers and perhaps an even wider range of instruments.  Personally I would really love to have a true Eb Alto/Tenor horn, a true Baritone horn, and Cornet ensemble, as well as other products related to Brass Band and Symphonic Band.

Still, I understand the logic behind the decision to go "wet" and I hope that it will be a tremendous economic success for VSL. If the "wet" products boost cash flow, perhaps VSL can also occassionally do an improved version of an existing silent stage product or a completely new release.

Hello,

Let me present my profile, which is not at all unique, I imagine.

I’m a young film composer, using mainly orchestra, and I’m not an audio engineer (I had to learn all the audio mixing by myself, and I still learn each day&hellip😉, so I need software/samples which facilitate my life, as intuitive and simple as possible, ideally with good presets. This is the case with Vienna Instruments, Vienna Suite and MIR. MIR is not perfect for someone like me, since I still have to set volumes (natural volumes are a start, but not all instruments have it specially in percussions, and some are not coherent, at least at my ears), and to apply some effects to try to reach a satisfying sound, the most I’m able to have. So, not perfect (nothing is&hellip😉, but a very BIG help, without which I couldn’t achieve many projects.

Since many years, I buy new Vienna instruments, one by one, sometimes bundle by bundle when I can. Lots of money, but I consider this like a sort of investment (yes I know, investments don’t exist in software).

Today, a new concept arrives in Vienna, and seems the new era /philosophy of VSL. Excellent sound, nice promises (a true “natural volume” due to the same gain if I understood well, many velocities&hellip😉, the hope to fill some lacks in the libraries, coherent approach…  But, not to be used with MIR.

I feel not confident enough to mix these new instruments, apart from MIR, with all I already own in MIR. So I have two ways :

1/ stay with something which could be called an obsolete approach in few years and continue (with envy for people who could have this new system and a nice sound) my all day fights to reach a sound I can’t get

2/ or accept that all I bought is obsolete, discard all this “investment”, and spend many many many more money to have the new series, usable by me only when it will be complete (since I don’t see me mixing old and new instruments, due to my lack of expertise on the subject).

Don’t see anger, I just explain how I’m lost. So much lost that I plan to not buy any new instrument anymore, until I have visibility on this new Synchron series (rhythm of releases, instruments/articulations, feedbacks and reviews, instruments mixing easily and clearly). Which doesn’t suit me neither, since I need (or feel the need for 😊) new instruments/articulations and the situation could last months or years.

Again, no anger, VSL does a great job, with MIR and dry samples or with this new series. Just the fear I did the wrong costly choices, or that I would do other wrong costly choices.

I’m really open that someone reassure me or explain me.

Stay confindent, as far as I understood, you will be able to combine previous and new Libraries at least as soon as the Synchron-stage-venue for MIR is available. Which allows you to bring your dry libraries in a likewise acoustic environment so you may use the natural recorded acoustic of the new libraries with them.

@fahl5 said:

Stay confindent, as far as I understood, you will be able to combine previous and new Libraries at least as soon as the Synchron-stage-venue for MIR is available. Which allows you to bring your dry libraries in a likewise acoustic environment so you may use the natural recorded acoustic of the new libraries with them.

Yes, that's the plan. 😊 We work on it.

... obviously you will still hear certain differences between the two approaches, but MIR will build the bridge between them. In some cases, the similarity between the room impression you get from Synchron samples and the MIR'ed version of Silent Stage recording is quite staggering. Listen to some audio files we created as proof-of-concept (with actual instrument recordings instead of samples, but the principle is more or less the same):

-> https://www.synchronstage.com/en/technology#!mir_synchron_tech

PS: Just to avoid confusion: The Synchron Stage venue in MIR Pro won't look exactly like the screenshot shown on the page I linked to in my previous reply. That one was meant for in-house use only.

Hi Dietz: just one question:

As far as I understand right, I found exactly the same microphonepositions in the Synchronstage-venue as are used for the recording of the synchronstage-series.

but...

currently (in your inhouse use screenshot) I only saw only one Volumecontroler on the side bar, as we are used in all other venues to have only one stereooutput (= one Microphone which we may position in the venue),

Will the Synchronstage venue-have multiple outputs to mix the different microphonepositions as one will be able to do with the Synchronstageseries-samples?

No need to use bold fonts! 😉 We hear you.

****

Please understand that there is no Secret Master Plan To Rule Them All, but just a bunch of audio guys, software engineers and music affcionados who want to cut a swath through the jungle of virtual orchestration. 😉 We're all learning while we're proceeding.

Regarding your question: That's exactly why I added my "PS". 😊 What the screenshot shows is an in-house testing setup which is not meant for use with a release-version of MIR Pro. It shows a recording setup similar, but not identical to Synchron Percussion. But MIR Pro will offer Ambisonics IR recordings, otherwise it won't (it can't!) work as expected. - More details are available in the addendum to MIR Pro's manual, called "Think MIR!".

MIR has eight outputs since its initial release, and while we are indeed discussing the options for even more outputs, the software will stay like it is in this respect for the foreseeable future.

@fahl5 said:

Stay confindent, as far as I understood, you will be able to combine previous and new Libraries at least as soon as the Synchron-stage-venue for MIR is available. Which allows you to bring your dry libraries in a likewise acoustic environment so you may use the natural recorded acoustic of the new libraries with them.

Hi Dietz

(Oh "bold" does not mean anything emotional at all for me, it is only a way to point out what seems to me the most important aspects of my from time to time a bit clumsy wording😉)

OK 8 Outputs I just used MIR inside VE and obviously didn't looked so much for external routing. I only think it would be a very interesting enrichment for MIR if we would be abls to work in one venu with multiple microphones (everything is fine I am just trying to point out the main Idea😃)

However there will be still enough new things to organize to make the best of what is going to come.

Please help us to make powerful complex things simple (=easy) to handle.

There is always the Secondary Micophone to play with! This feature alone gives us countless options, for stereo as well es for multi-channel usage.

Kind (and emotional! ;-D ...)  regards,

I am quite curious about what ever path you find in the djungle of sampleproduction.

Any Idea how long we should wait for the next Synchron-Series-Library ? (....perhaps italic is a bit more charming😃)

@fahl5 said:

[...] Any Idea how long we should wait for the next Synchron-Series-Library ? (....perhaps italic is a bit more charming😃)

Definitely more charming. ;-D

Personally, I honestly have no idea about VSL's release schedule. I just can assure you that a bunch of editing engineers is working like mad day and night on new stuff. ☕

I can already hear the Synchron Strings playing beautiful music in my dreams 😃 and they sound Amazing !

Hopefully I will hear them when I'm not dreaming in the near future. 

As I understood, no need to buy Vienna MiR Pro for the Synchro series?

No, you don't need MIR Pro for the Synchron Series.

And if i am planing to buy a new instrument, I should wait and buy the new series of Synchron instruments?

I do not know, it depends on what you want and need. VSL will record an Orchester. But who knows if there comes another Synchron-Cembalo, -Concert Guitar etc. ...

I have the Vienna Super Package with all Vienna Software (and more) which is installed on one Computer. I like the Instruments and would buy everything again. And I started to collect the Synchron Series too.

What you cleary have to see in Comparision with the existing Instruments is,
that the Synchron Instruments are VERY Hardware intense and you will have to invest in powerfull SSD-Computers with huge DDR4-RAM!

A whole Synchron-Orchestra with Synchron-Single Instruments will not gonna be cheap (Samples/Software and especially Hardware)! That's for sure. 

LAJ

thanks for your replay, and i apologise for my poor languages. i am just start with Vienna Synphoinc and i have spicial editions, Chamber strings, Wood wind, all full, and last i have Syncron string 1. so i just want to know how i can plan for the future with VSL. thanks again LAJ.

Synchron versions of chamber and solo strings would be nice to have. Do we really need very many microphone positions for solo strings? My thinking on this is that since those instruments tend to be feartured more, their sound would be closer to the virtual or simulated stage.