OK, thank you. Then I will take a closer look. I only heard demos on YTube and liked the colour of that Choir on a first impression.

Regarding to the Dimensions. ... But Herb wrote that last december (when the Synchron concept was already clear). And Paul made very clear that the Synchron Libraries are not meant to "replace" anything. Maybe Sections will be replaced, but the single Instruments and especially Dimensions will always be used on top ... I think even by the VSL themselfes. 

I do not plan to buy all Synchron Products.

I plan fix: 1. the full percussion package II with the Taikos and other stuff, 2. the Yamaha-Remote (but only when dry recorded) and 3. the Film-Orgel (for me the highlight to come). Everything else is optional and already there.

Herbs: "Yes, we do have plans."

That's all?

Of course they do have "plans" and of course still much more interesting ideas but I do have some doubts this will assure you anythiing about which of their "plans" are seriously considered to be realised (!). I also remember a likewise statement of Paul about the possibility to get the sets for the three or four missing vowels for the Vocal libraries. Until now other things obviously have had always higher priority, even such enormous important things like to sample an Ophikleide or a Serpent 😉. (While it would be a for sure a at least also a good Idea to sample historic strings to allow completly historic homogenous ensembles.)

Anyway, I think it is pretty clear that the Synchronstage series will establish an new level of Quality for the basic orchestral samples, like the dimension series have been in relation to the cube. However VSL care for that you can use still all librariies together I do not have any doubts, that the Synchron serie will be the new orchestral flagship, and insofar the cube or later the dimension series have set likewise standards for the highest available Quality in Orchestra sampling at the time of their release, the synchron series will of course be the next step forward.

However I am pretty curious..

👍This is exactly my impression. The Wordbuilder is a bit easier to use than the East-West-SC-Woordbuilder but the results still not as real as other sampled instruments can sound today. But even the very versatile last EastWestSC-Wordbuilder (which was horrible unstable for large text when I tried it) was not that breathtaking understandable.

In short, It is very difficult to become singing real language (however even "real" Singers and Choirs are often not realy understanable) , but in a musical view it is a very big difference to have the different Vowels of the text instead of only one or two very similar which makes a static impression which reduce realism very much, since what you hear while any note is held is primarily the Vowel, they determine the Colour. 

Imho, Virharmonic is not bad and their wordbuilder might be not always that satisfiyng but is still one of the best available. VSL has started their Choir with high musical ambitions and for sure will be the musically most satisfying as soon the vowels are complete.

@ one thing is good to know about the Czech-Boys.

the Intonation of this boychoir is explicitly meant as "realisitic" instead of "clean".  Yes the amount of wrong intonation is "realistic" for a boy choir but very good boychoirs are still able to sing more clean. (That's why I fear producing good realistic clean boychoirs, might easily become be a torture either for the boys, or for those who record or both)

May I make a request for a Synchron Piano?

-28 velocity layers

-half pedaling

-close, tree, and ambient mic positions

-Steinway Models "D" and "B"

-A parameter that allows you to adjust the velocity curve on different sections of the keyboard (e.g., a "power" curve set for everything below A3, normal curve Bb3 to C6, and light curve above that).

-Options to EQ specific notes on the keyboard and their sympathetic resonances

...I don't know if this stuff is even possible.

If I can get a piano like this, which would beat Ivory II, I'll make an album with it and out-sell every concert pianist that year, and promote the fact I did it with VSL's virtual piano.

Presumably Bösendorfer is the austrian/viennese way to make pianos, I do have some doubts VSL will bring bother their austrian musicsouls with producing another Sample-Steinway while they can have all at its best from Bösendorfer just around the corner.

I think they already sampled one of the best Bösendorfersample sets. but I have some doubts a synchron-Bösendorfer would make that much sense. the Synchronstage is as I understood it meantt ot record all Orchestral instruments in their original of a good Symphonic Studiorecording.

While for Orchestral instruments you nearly always expect them to be heard in Orchestral contexts this seem o me not that much thhe case for a Piano (as a Soloist of an Orchestra). Anyway If they finished their Synchronorchestra without recording a Synchronpiano, you still can put any Piano in the MIR- Synchronstage venue which I think is already a very nice acoustic for Pianosounds 😉

I heard from someone from VSL that (after the Imperial) only Pianos with remote features (like CEUS) will be sampled.

As far as I know the Steinway does not have a remote-funktion. I would be surprised I they changed their mind.

A Synchron Bösendorfer? No, I can't imagine ... 

CEUS is as far as I know developped by Bösendorfer for Bösendorfer. This will presumably mean In simple words viennese Sample Producers are patriotic enough to concentrate on "homegrown" regional musical resources.

= VSL will stay with Bösendorfer.

Still I  also dont understand at all, what benefit a synchronsetup for Pianosamples should provide, that would justify to do the whole Pianosampling proces again..

I disagree. I think the Remote-Yamaha is a hot candidate then. And I think they will use the ISO-Room for this.

Did you hear "the Harp-live-recording examples ISO-room VS. MIR" on the Synchronstage-Website? There is one example where you hear the Original ISO-Room-Recording of the Harp, which is really dry and beautiful. They had not created this room if they did not have plans to use it :)

Yamaha ????
 ... not so hot

@ Synchronstage or/and Silentstage?

Just for interest: The VSL-Company has moved end 2016 to the Synchronstage building Has anyone any Idea if the Silentstage is still part of the VSL-Studios ?

I know that VSL-Guys told there will still be Silentstage-Library to come. I wonder if those would be only the last unfinished project left from the Work in the Silent-stage, or if there are plan to use both the Synchronstage and the silentstage studios for new Libraries?

Concerning Steinway, there is a kind of CEUS mechanism available for Steinway grand pianos. It's called Spirio. Unfortunately until now only in the B model (211 cm) and the O model (180 cm). What somebody has played, can be replayed almost exactly. I can imagine that that mechanism can be used to sample a Steinway as deep as the Vienna Imperial was sampled...