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In general... I don't want to discuss with you, William. (Especially after reading the "crazy-threads" which were pretty amusing for me, but paint a terrible picture of some people here.) But let me ask you something. If someone hears a problem in a Sound and even after years several people (INDEPENDEND from each other) explain exactly the same problem ... I think there must be something true on it. Do you agree? It had been easy as a joke for such an experienced Company to artificially fix this bug by using a sample which is ok and layering it over these 3 Keys/samples which sound different AS FIRST SAMPLE.
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Here we go, there's always one! So everyone who has defined this fault is wrong?! I am not going to get into an argument with you. Life is too short for this kind of crap. I know what I can hear, and so can others.Are these people shills for another company? I seriously wonder this...
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My reaction is based on how you dismiss the entire library, saying it bad overall, simply for one flaw - which is hardly noticeable. Instead of simply pointing out a bug. But I have no interest in debating it.
Two flaws actually. I would certainly not trash the whole on that basis. As I said ".. what is an otherwise excellent library which to my ears is the best recorder library presently available." As I like the library so much I am working around the debated "bad" samples using pitch bend. Everybody happy?!
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Although I don't own Recorders library, I can totally imagine the flaws you are talking about. I am flute player and have tried couple of sizes of recorders. I think it is because with recorders there are certain notes have several different fingering alternatives, each one has a different tone and intonation. It is tricky when sample these instruments, because the consistensy of tone is hard to remain, sometimes It is even impossible when you play long notes. (if it is in runs or trills that's ok).
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Is this the final word on the subject? Dietz? Such an old thread... but the issue of "bum notes" in (mainly) the Alto & Tenor Recorder instruments is really disappointing. These objectively weak notes should have been better volume-matched to the rest of the package and they simply were not. The only workarounds I've found mentioned here are pitch-bending or after-the-fact-Melodyne rendering. "Recorders" was nearly the first VSL library I bought, and it's great. But flawed. :( Also, The Soprano Recorders “42 RE-So_perf-rep_leg_noVib” seems to be a duplicate of “41 RE-So_perf-rep_leg_Vib”, as Albino mentioned two years ago.
If I can extend the range of instruments using VI Pro, can't I replace a note (and it's dynamic variations) within an articulation/patch? Why in the world hasn't VSL issued an update for this library? How many "man-hours" are required to (not even re-record them but digitally) replace a few individual notes?
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Xiadong Li's comment is well-taken, but, no, the notes in question don't require alternate fingerings to sound properly, volume-matched, and properly in-tune. Although the character of a baroque recorder has a different quality depending on the tessitura, these several bad notes aren't particularly rogue notes. Perhaps the issue is only with the digital signal & post-production intricacies?
I've owned and performed with all the Yamaha instruments used for this library & owned many other instruments from mass-produced to hand-made wonders. Yamaha recorders in this line are very decent instruments, and, imo, well-chosen for this sampling library as they're reliable, have interesting color, and they sound consistent across the ensemble.
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Personally, I like the C Greatbass and find that I’m covered regarding the lack of an F Bass …”and then some.” Yamaha’s YRGB-61 (C Greatbass) & YRB-61 (F Bass) match very well, and their response and (especially) tonality/timbre are nicely matched/ compatible. But, of course, they’re each different horns with different dimensions. No one but “Andreas1” can be the judge of what he requires, what he hears, or his preference.
Modern “Baroque” recorders, as a standard, play two octaves and a whole-step. Handmade instruments should speak all of them well. Factory instruments are sometimes challenged with particular notes & one needs to become very familiar with each individual instrument’s idiosyncrasies in order to play all the notes well. Sometimes one should just replace the instrument if it has flaws / special needs. These things aren’t rocket-science, but this wooden tube with holes & a whistle built-in is a small miracle in the hands of a master artist.
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Quote: Sometimes one should just replace the instrument if it has flaws / special needs. That‘s exactly what we did. We had a lot of instrumts to choose from, and the ones we‘ve used for the sample recordings are the instruments with the best sound balance in every aspekt. But that‘s a question of personal taste as always... Best, Michael Hula
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When it comes to historical horn instruments you were creative with "closing the gaps" (I mean the empty keys) for the sustain articulations. You did that by pitching an existing sample +copy & paste ... done! Very good! That is what we want. Sometimes "creating some unrealism" for the benefit of playability on the keyboard is the right thing!And now ... If you emagine the "flaws" as empty keys ... Why not so here?
Just a little sample-exchange and boom .... there we are! Happy!!!
