Here is the next "result" of my explorations of Synchron Strings 1.(and of course Synchron Percussions. Synchronized Chamberstrings nearly only for a few Divisipassages) Harp, Soloviolin and all Winds are from the Cube or Dimension Brass.
The challenge was, (not at least since it was so miuch discussed, here) to use Synchron Strings in a nearly completly singin and expressive Legato context. (As I already currently presented with an short excerpt).
On the other hand after having done a couple of recordings exclusivly or nearly exclusiv for Stringorchestra I prefer now to try the Synchron Strings 1 again in the Orchestral context. I at least have always felt in music for Stringorchestra was missing things which musically need to be there, since at least Stringsections for me belong to the traditional orchestra and have shaped as excatly this "part of a whole" the most acoustic expectations I have for strings.
I am sure at least some of those who follow this forum will more or less exclusivly search for everything they might find as indication for the inferiority aswell of the new Synchronstrings as well of my work and my person or what ever they feel currently the most need to bash. How ever I know that. So let me remind you again: If someone will really impress me, I would be the most interested, if ever anyone "argues" on the same level and is able to present anything audible which in any way comparable. So allow me to eventually neglect a bit the "criticism" of those who can't.
Still there might be some who are interested what others currently do with the new library and thats the only reason why I post this here. In comparison to my previous Reznicek-recording whiIe still starting with the "Classic Sur to stereo" presets I now raised the level of all Close mics since I felt the "classic" Preset might be perhaps a bit to focussed on the acoustic "ambience". This is not that bad for many tasks of Orchestral strings. Especially a low dynamic solotheme of the Violas relative early in the Intermezzo gave me some problems to achieve the convincing dominating presence I would like to have for a solotheme. So that was one reason to add significant amount of Close mics to the mix and for this melody I confess I ended up with layering Synchron Strings with the synchronized Chamberstrings. Nevertheless this recording is of course far from being without prohblems however. I tried to solve the often mentioned "synth" effect with relative dense CC11 editing (Expression) and of course with most longer notes Velocity-X-Fade. However some might discuss (in my eyes more or less theoretical) problems of X-Fade Samples that contain ambience I see in this option still the best chance to come closer to the individual attack and decay behavior which is naturel for longer notes in traditional Stringsections and which is of course not already inbuild in a flexible sectionstring-Library like Synchronstring.
So like it or like it not, here you can just follow what I currently get when working with Synchron Strings 1:
Giacomo Puccini: Intermezzo sinfonico (from Madame Butterfly)
Have fun with it I start with the next project😉