@kamil said:

Hello all, I have a question if you agreed. Can I use the synchron library (as a dry) in any reverb or any Mir room pack in Mir pro? Sorry if someone asked this question before and apologies for my English.... Kind regards, Yasir

Well of course you can (adjusting the pan to center and getting rid of the additional changes as delay, eq and algorithmic reverb). But with Synchron lybraries the result is sometime not perfect due to the already wet soud sometime creating little resonances and artifacts.

Synchronized Chambers instead can be mixed in the usual way because you may turn-off the convolution reverb simulating Synchron stage.

I don't agree that the Synchronized Chamber is a "backward step"

Others have said that there are fewer articulations which isn't the case.  They simply have been incorperated into

other patches.  There are now 2nd violins (instead of using the transposition trick).  Not to mention the new dimension capabilities of the Synchron player.  

I always thought that Chamber Strings were a great value and now even more so.

I can't wait till Dimension Strings receive this treatment, although the huge sample set make it an altogether

larger task.  

The Synchron Player is a backward step compared to VI Pro. I hope they don't evenutally retire the latter. Ater the Synchron Strings debacle, I decided that I had my share of the "Synchron" experience. But I still love my classic VSL libraries. I hope they don't ruin them by eventually giving them the Chamber Strings treatment and abandoning VI Pro in the long run.

@JimmyHellfire said:

The Synchron Player is a backward step compared to VI Pro. I hope they don't evenutally retire the latter. Ater the Synchron Strings debacle, I decided that I had my share of the "Synchron" experience. But I still love my classic VSL libraries. I hope they don't ruin them by eventually giving them the Chamber Strings treatment and abandoning VI Pro in the long run.

The Synchron Player ( and likewise the SynchronSerie) is of course far from bneing a "debacle" there is not a single audible proof for that. It is simply "new" And everybody who is used to something, tends to hate everything new which is going to replace it, since that always demands to learn to handle what is new. 

The Synchron Strings are (notably if you really compare them with the more than 10 Years old Orchestral Cube Strings which is the only thing they are going to replace when the Synchronstrings will be accomplished in all its Volumes) in many aspects a huge step forward and the Synchron Player when it comes to streamline the usage while at the same time  expand its power and versatility is definitly an ingenius quantum leap in the technology of Orchestra-sample-players - but you are right it is of course different to what you are used to . So let us be patient with all who grumble, be sure in a few years no one will seriously prefer VI over Synchron-Player and Series any more. 😉

@JimmyHellfire said:

The Synchron Player is a backward step compared to VI Pro. I hope they don't evenutally retire the latter. Ater the Synchron Strings debacle, I decided that I had my share of the "Synchron" experience. But I still love my classic VSL libraries. I hope they don't ruin them by eventually giving them the Chamber Strings treatment and abandoning VI Pro in the long run.

The Synchron Player ( and likewise the SynchronSerie) is of course far from bneing a "debacle" there is not a single audible proof for that. It is simply "new" And everybody who is used to something, tends to hate everything new which is going to replace it, since that always demands to learn to handle what is new. 

The Synchron Strings are (notably if you really compare them with the more than 10 Years old Orchestral Cube Strings which is the only thing they are going to replace when the Synchronstrings will be accomplished in all its Volumes) in many aspects a huge step forward and the Synchron Player when it comes to streamline the usage while at the same time  expand its power and versatility is definitly an ingenius quantum leap in the technology of Orchestra-sample-players - but you are right it is of course different to what you are used to . So let us be patient with all who grumble, be sure in a few years no one will seriously prefer VI over Synchron-Player and Series any more. 😉

I'm sure we've been here before, fahl5 ...

@JimmyHellfire said:

I'm sure we've been here before, fahl5 ...

I gave you just an answer which seem to me reasonable and worth to be given 😃

@kamil said:

Thank you fatis12. That is mean the old library (VI) it is better, (in term of general use). And the synchron string I library is a backward step. Because they (i.e. VSL) limit of how to use it. Simply I can not use the synchron library with different room in Mir Pro, only with synchron stage room. I hope I can explain my opinion with my humble language, however I wish I was wrong. Kind regards Yasir

Well, we must be carefull when we talk about rating "better" or "worse":

for instance your point is pretty clear: if you want to be free of placing the instruments around on stage, and get very different ambience, of course this task is easier and more effective with VI and MIR Pro.

Synchron is designed to always use Synchorn stage acoustic: but they are very flexible acoustics, in perfect line with the practice of orchestral recording for Media production scoring (e.g. movies, TV, videogames etc.). To make them flexible they use multi-mic approach and digital reverb instead of Convolution Impulse repsonses.

The result is a more realistic depth because the early refelctions are very wet and real, always better than simulated virtual reflections. Anyway it's a matter of taste, and I agree that the flexibility of VI + MIR Pro is an unmatched value.

The SYNCHRONIZED products can be used in the very same way of the VI series, from a MIR Pro compatibility point of view, by the way. The limitations are for SYNCHRON series only.

Other people here talk about different aspects (e.g. Synchron player advantage and limitations) and again is a matter of opinions and practice: Synchron Player is very powerful and does lot of interesting things, and SYNCHRONIZED version of Chamber Strings is providing several nice features (e.g. consistency of dynamics, and some performance of repetitions improved in a single patch) but of course the VI Pro has a lot more features non existing yet in Synchron player (e.g. humanization, sequencer matrix, multy patch playback, and lot more).

@ddunn said:

I don't agree that the Synchronized Chamber is a "backward step"

Others have said that there are fewer articulations which isn't the case.  They simply have been incorperated into

other patches.  There are now 2nd violins (instead of using the transposition trick).  Not to mention the new dimension capabilities of the Synchron player. 

I wrote a review and explained in more details, and I didn't talk about step-back. I wrote it's a no brainer at 75€ and a great companion of Synchron Strings I, then we agree.

Actually Kamil was also referring to Synchron series and not to Synchronized.

About the incorporated articulations, sometime it helps (e.g. repetitions) sometime it doesn't (e.g. espressivo vib.).

Anyway I'm not sure about 2nd Violins being free from artifacts if you don't use the IR and you play in unison... I hope they edited samples velocity to avoid unison of same samples, but I didn't find a reference yet on this. Did you?

@bbelius said:

Hello Paul,

I have some questions about the Synchronized Chamber Strings (please correct me if I got something wrong):

1. If understood correctly, Syn. Cham. Strings are re-edited dry samples + matching IR.
   a) The IR is ony stereo and so the output is only stereo
   b) No (control for) different IR mic-positions like with the other Syn. products

2. I have the Chamber Strings and MIR Pro + Synchron Room-Pack. The main advantages if I upgrade are
   a) access to the new synchron player
   b) re-masterd samples and more velocity layers
   c) any other advantages?

3. Are there any plans to provide jsut the reworked samples as update to the Chamber Strings Library?

Could you please post a link to the manual?

Thank you!

Best, Ben

Hi Paul,

these questions are still unanswered for me.
Could you please answer at least some of them?
Thanks!

Best, Ben

Hi Ben,

Sorry about that. Here you go:

1. If understood correctly, Syn. Cham. Strings are re-edited dry samples + matching IR.
a) The IR is ony stereo and so the output is only stereo
=> Correct

b) No (control for) different IR mic-positions like with the other Syn. products
=> Correct.

2. I have the Chamber Strings and MIR Pro + Synchron Room-Pack. The main advantages if I upgrade are
a) access to the new synchron player
b) re-masterd samples and more velocity layers
c) any other advantages?
=> Compatibility with Synchron Strings I in preset structure and velocity mapping.

3. Are there any plans to provide jsut the reworked samples as update to the Chamber Strings Library?
=> No.

EDIT: the manual should be available to all users right here.

Best,
Paul

@ddunn said:

I can't wait till Dimension Strings receive this treatment, although the huge sample set make it an altogether

larger task.  

I should like this very much, but I think, this only would work very well, if humanization is implemented in the Synchron Player. One of the things that gives the dimension strings the very lively performance, is that you can give every player his own little imperfections, just as in the real world. 

Thank you, Paul!

Yes, absolutely!!  Especially the tuning.  It's one of the most important things that contribute to realism.  Wish I had a second set!  

Thanks again VSL.  I feel lucky that there is a company in my lifetime willing to take on these sampling experiments.  

@kamil said:

Thank you fatis12. That is mean the old library (VI) it is better, (in term of general use). And the synchron string I library is a backward step. Because they (i.e. VSL) limit of how to use it. Simply I can not use the synchron library with different room in Mir Pro, only with synchron stage room. I hope I can explain my opinion with my humble language, however I wish I was wrong. Kind regards Yasir

@ddunn said:

Yes, absolutely!! Especially the tuning. It's one of the most important things that contribute to realism.

I must say that my enthusiasm over the recent Synchron products is, well, muted... no con sordinos which is a "must have" for me. Between that and the disappointing legato intervals in Synchron strings I am much more cautious and concerned about buying more of these products.

@strytten said:

I must say that my enthusiasm over the recent Synchron products is, well, muted... no con sordinos which is a "must have" for me. Between that and the disappointing legato intervals in Synchron strings I am much more cautious and concerned about buying more of these products.

Top be fair you should consider

a) VSL has been always the only Producer who provided a complete Set of muted articulations as Volume II of Chamber, Solo, Appassionata and Solostrings. So you cant judge the whole propject from just the first Volume

b) what the other Competitors provide is either just the Filtertrick (which you already can do now with Synmchron-Strings I by simply closing LPF12) or even worser they provide in general just one or two sordinio articulation making it nearly impossible to work musical reasonable with sordino passages which are anything else than just smooth stringchords,

In my humble opinion (after having already produced nearly an hour of ambnitious classical music with SyStr.) there is no real evidence for any substancial lack of legato, while it of course it may be that some people who didn't worked yet that seriously with that library might be the victime of their missing expierience to get out of it what they are looking for.

@fahl5 said:

In my humble opinion (after having already produced nearly an hour of ambnitious classical music with SyStr.) there is no real evidence for any substancial lack of legato, while it of course it may be that some people who didn't worked yet that seriously with that library might be the victime of their missing expierience to get out of it what they are looking for.