Having hung out recently with about a dozen low budget guys here in LA, (who do lots of shorts, ultra low-budget features, student films, etc), the Spitfire stuff is perfect for them, especially anything with "Hans Zimmer" in the branding.

Most of them come from pop/rock mid-2000s or late-90s bands and have no real knowledge of how an orchestra works.  If you show them a picture of an english horn and ask them to identify if it is a single reed or a double reed, they'll ask "what do you mean? Like, how does this instrument read?"

The Spitfire stuff is good for them because they can play block chords of vi - IV - I - V, slap on some takio drums in a 3-3-2 rhythmic grouping, and it sounds "cinematic" to a client who doesn't know any better.

VSL on the otherhand is for composers who need a tool that has a extensive expressive range.  I foolishly bought the Spitfire Symphonic Brass a couple years and absolutely hate it now that I know what I'm doing with sample libraries.  When I tested it and could play the horn solo in Till Eulenspiegel.  Months later I tried to play Petrushka with the trumpet and it's simply not possible.  Most things in the brass literature are not possible with Spitfire.

With the exception of works requiring extended techniques, the Synchron series has yet to show me that it isn't capable of rendering any passage from the classical repertoire.  I believe it engenders composers to rise to the challenge of being able to make use of that full expressive range.  Technology is leading the way, artistically, so far this millennium, and it is a benefit to us all.

That is a good point about the huge string sections -- I am now becoming tired of the "epic" sound and in fact believe it instantly screams "Sampled!"   Also it is very generic sounding and less expressive because of the size.  

I am thinking about this because I am working on a feature film score that is for a dramatic but small-scale low budget film.  In the past, with a live orchestra, this would be scored with a small ensemble, almost chamber, but nowadays the usual is to have  giant sampled string ensembles.  There is a clash that is weirdly inappropriate, so I am trying to figure out a small, even chamber sized ensemble, which has the added advantage of being more intimate, expressive sounding.  

The Chord progression is nice to work with. 

Is it documented how far each microphone is from any given section? I have the standard edition of Synchron Strings, and I am not sure where each mic is. I have looked at the manuel, the mic listing on the product page and the mic map, but things are not clearly listed. The map and list of mics do not match. For example, the "close" mic is not listed by name! The Decca Tree is clearly marked, but I have no idea where the Mid Mic is!

@esperlad

There is a separate manual "Setup Guide" for that purpose. Or have a look at the "Vienna Ensemble Projects" video at 3:50. There is an overview of all mic positions.

Hello，

Paul,

Hello yilalatavsl, 

The Legato System will stay the same for Synchron Player. 

We are making good progress with the software and internal testing is going well, but we are not ready to announce a release date yet. 

Best, 
Paul

Hello,

Paul,

Hi Yilalata, 

It's always great to reflect on problems, but we will keep the current testing in-house for now. 

Best, 
Paul

[引述=paul；270246]

Hi Yilalata, 

It's always great to reflect on problems, but we will keep the current testing in-house for now. 

Best, 
Paul

[/quote]

Several issues and expectations of future update of Syncron Stage Strings.

Hello, Paul

This is John Towse. For years, I am using VSL products, taking advantages from evolved technologies for years. VSL are always an inspiring products that influence users and other virtual instruments producers. By interleaving new concepts, VSL Libraries are never let us down. However, for the newest product, the Syncron Stage Strings. I’m sure there’s several misunderstandings and issues about this new generation of product.

I totally understand that it’s a long-term project like other deep sampled libraries. It need to be carefully crafted with time and patience. However, we’ve waited too long for the updates, we are putting expectations on the new Syncron Player, hoping it’s a game-changer to the existing library. With our anticipation, I would like to ask several detailed question for the existing library and the pending new player. I will try my best to objectively evaluate the questions based on personal use and the official video/audio demos.

1, The way how Syncron Stage performing Legato.

I have to say, this detail will define the value of a string library. From what I expected, the legato samples are more detached from what I normally think legato is. There’s no much connection between notes and notes, and I’m definitely can’t tell the difference from the Legato Bow Change samples and the Slurred Samples. By the information from the official website, I’m sure that you take the most patience and time in sampling the legato samples. However, it sounds not so clear. After updating my player into the newest version, I’ve notice there’s a new parameter called legato blur, It works well, but I think there’s still something different from Syncron Strings to previous string libraries from your brand and other 3rd party libraries. Mind if I ask is there any future plans in updating the script of legato samples? If so, will the new feature be introduced in the new Syncron Player? From the fact that how legato sound changes from the new parameter, I’m sure there will be a way to get a more detailed legato sound by scripting instead of redoing all the legato samples which I know it’s inpossible.

2, Performance in loading/playing the Syncron Library.

Compare to other libraries, I know Syncron Stage is the first library that introduces the multi-mic functions, and there are massive of samples will be loaded into the memory. Just wondering if there’s any other method to improve the loading performance? My friends and I were trying to get the loading time faster by using nvme ssd, but still get a disappointing result. Is there’s any moderation that I can do to get a better loading performance? Or if the performance will be better once I’m managed to use the unreleased Syncron Player.

3, How to include dynamic x-fade into the Syncron Strings.

I’ve been using dynamic x-fade from the first time I use VSL products, and Vienna are doing well in this part. However, for the time I’m using Syncron Stages, I can’t find any advantages from using dynamic x-fade. I’ve tried use dynamic range keyswitches to get different dynamic range into my orchestral project. However, the result of the whole sound (long and legato) are still a bit weird. From the official introduction and tips, I understand you are trying to make us get use to get rid of dynamic x-fade. By giving up the dxf skill, will the final result be better? If so, will that be any other detailed tutorial to help us not using the dxf?

4, I’m expecting there’s support of Syncron Percussion once I’ve got the Syncron Player, and I’m sure you are figuring that out. But I need further information about the features of Syncron Player. It will be disappointing to see there’s only UI change compare to the VIPro. Will there be any improvement in sound quality (mainly on scripting legato sample), Performance, and changes in user scripting? By using dxf, I noticed that if I want to keyswitch to some short articulations like stac and spic, I still need to draw CCs in order to trigger several layer that I want. Will that be any way for me to disable layer xfade in Syncron Player in order to get the most obvious sampling trigger method? Also, is there any way for me to get a transient like marcato just by making velocity higher if it’s not triggering the legato sample? The matrix editing system in the VIPro are awesome, but it’s still not so convenient once I want to include my production skills and experience from using other commercial orchestral libraries. Hope there will be a more flexible scripting system included in the new Syncron Player.

I’ve using your product for years, with my growth and skills in it. That’s the reason I’m strict in several details to help me getting use the newest product. Thank you for understanding that, also I appreciate for both the effort you putted in this product and the result I’ve already seen. It’s a nice product for now, a great project in progress, and I really hope it can be a killer libraries once things been done.

Best wishes,

John Towse

Hello again, 

And thanks for your continued questions. 

We will address them with the release of the Synchron Player.

Thanks for your patience!

Paul

Are there plans for separate detache/portato articulations? I am very weary about using the sustained patches to acheive this sound.

@Paul said:

Hello again, 

And thanks for your continued questions. 

We will address them with the release of the Synchron Player.

Thanks for your patience!

Paul

Hi Paul,

Thanks for letting us know that you will address the issues mentioned with the release of the Synchron Player. 

Hopefully your development team can release it during May, and May has 31 days, which gives you an extra day for that month. Patience is the name of the game, but I know it will pay off. 

Cheers,

Muziksculp 

@Paul said:

Hello again, 

And thanks for your continued questions. 

We will address them with the release of the Synchron Player.

Thanks for your patience!

Paul

Hi Paul,

Thanks for letting us know that you will address the issues mentioned with the release of the Synchron Player. 

Hopefully your development team can release it during May, and May has 31 days, which gives you an extra day for that month. Patience is the name of the game, but I know it will pay off. 

Cheers,

Muziksculp 

All good, but Paul has stated a few posts earlier that the Legato System will stay the same for Synchron Player. That's the main thing I'd like to see improved.

@Paul said:

Hello again, 

And thanks for your continued questions. 

We will address them with the release of the Synchron Player.

Thanks for your patience!

Paul

Hi Paul,

Thanks for letting us know that you will address the issues mentioned with the release of the Synchron Player. 

Hopefully your development team can release it during May, and May has 31 days, which gives you an extra day for that month. Patience is the name of the game, but I know it will pay off. 

Cheers,

Muziksculp 

All good, but Paul has stated a few posts earlier that the Legato System will stay the same for Synchron Player. That's the main thing I'd like to see improved.

Well, I guess it depends what Paul meant by 'Them' here, Quote "We will address them with the release of the Synchron Player."

Hopefully he does acknowledge that the Legato system in Synchron Strings needs further improvements, and the Synchron Player will do just that. If it won't improve the legato system, then this needs to be clarified by Paul. 

They may have done all they can with the legato with the addition of the blur function, so I'm not hopeful the player will bring anything new to the table re legato. Plus the transitions are already in the can as is.

@garylionelli said:

They may have done all they can with the legato with the addition of the blur function, so I'm not hopeful the player will bring anything new to the table re legato. Plus the transitions are already in the can as is.

Hi gary,

Maybe, maybe not, I have no idea, but any further improvements to the legato functionality of Synchron Strings 1 will be great. I have not installed Synchron Stirngs 1 on my System yet, and have decided not to do so until they release the Synchron Player, so I have no experience working with Synchron Strings 1, but according to the feedback I am reading posted in this and other forums,  some users are not very happy with the legatos as it stands today, even with the blur function. So, I'm not sure if this is a valid complaint, or if it is a user methodology, or technique thing that needs to be followed to get good results. 

If you are using Synchron Strings, do you feel comfortable, and are you happy with the way the Legato Articulations sound ? or would you like them to be improved ?

Oh.. by the way, if you are Gary Lionelli, (the soundtrack composer), I'm a big fan of your soundtrack work. You have a great talent, just wanted to let you know.  Do you use VSL Libraries in your scores ? or are they all pure real orchestral performers ? 

Cheers,

Muziksculp 

@muziksculp said:

If you are using Synchron Strings, do you feel comfortable, and are you happy with the way the Legato Articulations sound ? or would you like them to be improved ?

I'm happy with the legato of Synchrons Strings 1. There are a few things that make the legato working.

• When I work in PriMus (notation software), a problem is, that between notes there are very little time intervals (a couple of milliseconds). That makes, that the legato doesn't sound good. The solution is to use the sustain pedal, cc 64 (and of course the legato setting on mono, standard in this library). I get a good legato then.
• In my daw I need to lengthen the legato notes a little so that the notes overlap the next a little bit (unless there are 2 same notes one behind the other of course). Then it sounds well, in my ears in any case.

@garylionelli said:

Hi Muziksculp - thanks so much for the compliment! (Yes, that is me.) 

 

Almost all the time I use live strings, but sometimes the samples I write with end up in the final score, depending on the cue. I’ve used VSL libraries since day one, and still use many of their instruments over newer stuff from other libraries. 

 

I really like the sound of the Synchron soft legato presets, and would be thrilled if the legato transitions were a little slower, and maybe a little more prominent, somewhere in-between slur and regular. As is, it’s a little on the clinical side for some pieces, but I’ve already used SS on a number of mockups, and in the right cue, they can sound great. In addition to using Blur, what I’m doing in the meantime to create the illusion of a slower legato transition is setting up a multi with two layers, Leg-Soft-LyV (X) Leg-slur-LyV, with a Slot Crossfade between them, and somewhere in the middle setting the perception is of a slower crossfade. Not ideal, but it’s a workaround for me. I could also slow the transitions down using the Stretch function, but would rather not do that as it creates other issues. Looking forward to using the Sychron Player.

Hello Gary,

Thank You Very Much for the helpful feedback, and tips. 

I'm delighted to see you on this forum, and look forward to enjoy more of your soundtrack works.

Your score for 'Last Days In Vietnam' is one of my favorites. I also like the O.J Made In America score, currently listening to your latest work 'The News Paper Man : The Life and Times of Ben Bradlee' a wonderful, and interesting score as well. You have very good taste. 

Going back to VSL, I really wish they improve the Legato system for Synchron Strings via their Synchron Player, we will know when they release it in May. 

Again, it is a pleasure and honor hearing from you on this forum. 

All The Best,

Muziksculp 

Thanks again Muziksculp! Just FYI, I hadn't used the Stretch function since trying it on Dimension Strings a long while back, but just it tried on Synchron Strings (using the stock PortoSlow preset) and the results are very good. It slows the transition just a little and helps add some expressiveness.