I am not afraid to change to Synchron - I already have used it. I am talking about VI being a perfected system and I love MIR. With the system I have evolved using them it is a workflow limited only by how much I can do creatively - not by the technology. That happens with almost no other software.
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Yes MIR is great and to handle the Mikrophone-Mix is something completly new and different, what affords some time to get what one is looking for.
However I am pretty confident, that once you explore the customizability Synchron-Player, nothing will keep you from adapting or developping exactly what you need. And the "balanced Levels" will make important things much easier.
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Steffen - fahl5 -
I don't need you to introduce me to VSL products. Like you try to with Guy Bacos who has done one minute sections of music that obliterate everything on your website put together. I am one of the original demo makers for this library - creating performances that sold this library while you were doing General MIDI performances that were horrible - even embarrassing - and your condescending "teach me" attitude is not appreciated or needed in the slightest.
You can learn something from me - but I know you won't, ever, because you are incapable of that. You are mentally ill. You are so egotistical and self-centered it is incredible.
Don't tell me how to do anything, don't contact me, don't respond - I don't care what you think. It is an insult to be told anything about VSL by you.
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Steffen - fahl5 -
I don't need you to introduce me to VSL products. Like you try to with Guy Bacos who has done one minute sections of music that obliterate everything on your website put together. I am one of the original demo makers for this library - creating performances that sold this library while you were doing General MIDI performances that were horrible - even embarrassing - and your condescending "teach me" attitude is not appreciated or needed in the slightest.
You can learn something from me - but I know you won't, ever, because you are incapable of that. You are mentally ill. You are so egotistical and self-centered it is incredible.
Don't tell me how to do anything, don't contact me, don't respond - I don't care what you think. It is an insult to be told anything about VSL by you.
OMG William has his next rage attack.....👎
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I love the new SY-zed Chamber Strings because it brings some great improvements. But as William said, the Appassionata Strings are already perfect. So, I don't really see the point. I would have preferred to see SY-zed Solo Strings. Maybe for the next time ?
If they bring more or less all legacy Libraries (except the Cube) in the Synchron Player, this allows a much more generalized and standarized workflow for all libraries.
- keeping Sampleselection uniform over all Libraries, will make the exchange of Samplesets without loosing Articulation asignement tremdously easier
- Authentic Placemant and "balanced levels" of all available Libraries will be a timesaver for the Mix and Acoustig setting
I think that are some pretty good reasons However no one is currently kept of from using and even buying legacy Libraries with the legacy Player. Nevertheless I welcome each addition for the Synchron-World.
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I think they will present a VI Pro 3 Player inspirated by the look of the Synchron Player with easier handling and modern algorithms and the VI Series will go on separated. I understand the Synchronized Libraries as exception and I say Chamber and Appassionata will be the only transfer to the Sy Player FOR STRINGS. To understand why they do the Synchronized Line will be more obvious when the Brass Library comes out. To my surprise the Trombone- and Trumpet- Players are only 2!! in the SY Orchestra while the so called Synchron Epic Horns are 6 Players. I guess the future looks like this: Trumpets: 2 SY Players + 3 Synchronized Trombones: 2 SY Players + 3 Synchronized Horns: 6 SY Epic Players + 8 Synchronized Epic Horns + 4 Synchronized as divisi variant That is the concept as I understand it. Solo Instruments are good enough in VI. BTW ... What I would like to see in the Brass Package is some Combi-Bass with bassy Woodwinds. It should have quite a few articulations but less Velocity Layers and repetitions. A good example came quite some time ago from Vienna and brings some Godzilla-Hollywood touch into the Brass Package;) Listen to the last sequence ... that is the scene when Godzilla comes in the picture! Wouldn’t it be great to have a „monster-Bass-combi“ like that in the Brass-Package?? https://m.youtube.com/watch?v=-bnaQCp4xQ0
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The Appassionata strings are already incredibly beautiful! Probably the richest most perfect out of the box strings of any library. I don't really understand this.
Perhaps with less fanatic customers like you VSL would try harder to impress us and to present serious and competitive product, as it was in the past.
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... try harder to impress us and to present serious and competitive product, as it was in the past.
What exactly do you mean with that? What are your wishes? (Always better to explain because what you wrote is not enough to understand your wishes)
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I mean that it's an oxymoron to say "the best out-of-the-box library" about a complete dry library. It's not a critique against VI dry libraries, it's just a fact that you have to add MIR (or another reverb) and you have to shape your sound from scratch. That's amazing actually! But it's the opposite of "out-of-the-box".
And if you ask me, I'm not interested at all in the Synchronized series, because in my humble opinion it mixes together the worst of the two worlds: with the Synchronized series you miss the freedom of VI-libraries, so as the the naturalness of a "real-wet recorded" library (MIR it's great, but to simulate virtual mics it's not the same that recording the real thing, for many reasons).
Not to mention (and this one is a VSL choice, not a technical reason) the synchronized series miss many articulations of the original VI-counterpart (and this one looks like a sad trend in the Synchron Series).
This is just me. There are plenty of new and old users that may find this new series useful.
No wishes anyway :) I'm quite stuffed with samples, so it's more and more difficult to convince me to buy new stuff; at the same time it looks like all companies release more and more similar products. Two skew lines at the moment :)
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the synchronized series miss many articulations of the original VI-counterpart (and this one looks like a sad trend in the Synchron Series).You know, that:
- Many Articulations provided as tons seperate Articulations in the VI-Series are already integrated in the main patches, like "repetetitions" or "Harsh" etc.
- Synchron Strings "I" is just a Volume "I" to get the full set, we still have to be patient (good things need their time)
- You can already now achieve many charateristics of VI-patchtypes currently not part of the Synchron Strings I with use of the Manipulating-Options of the Synchron player
- Filter for Sordini - as the only way many competitors are providing Sordini,
- different Attack values for smoother or more aggresive character,
- Editing Velocity-Xfade+ Expression via CC to get the natural tone development of longer stringnotes
As I said I do respect your Opinion and do not intend to convince you to anything, but those are the aspects, which seem to me a bit different, from how you described it as I understood it.
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I understand the Synchronized Libraries as exception and I say Chamber and Appassionata will be the only transfer to the Sy Player FOR STRINGS.Regarding to Paul's new introduction video my assumption was correct.
Means: No transfer to SY for EVERY VI-product (... and this is good)! It is better to keep the VI-Series separated with a dedicated Player that will be modernized/improved one day. (Time-Stretching, MirX-Mode and Humanizing make no sense for the SY-Series anyway ...)Cheers.
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I understand the Synchronized Libraries as exception and I say Chamber and Appassionata will be the only transfer to the Sy Player FOR STRINGS.Regarding to Paul's new introduction video my assumption was correct.
Means: No transfer to SY for EVERY VI-product (... and this is good)! It is better to keep the VI-Series separated with a dedicated Player that will be modernized one day.Cheers.
OK "transfer to SY for EVERY VI-product" is presumably already therefore not necessary, because new Synmchron-Libraries will in any case be build originally for Synchron-Player and therefore fit much better, than anything "synchronized".
While I still believe the Dimension Strings would benefit very much from being transfered (and the player perhaps to if we think about the humanizating features introduced with dimension strings.)
However the Dimension Strings are still a very powerful and most appreciated Libraries, which in their complex structure will scarcly be replaced so fast by any Synchron Library..
If ever they would teach any Editing-Software to edit their existing samples in kind of any "batch rendering" as diligent, as their engineers currently do, this will boost up the output tremenmdously and a Synchronized Dimension-String Library will be much more realistic to get.
(Oh shit again one of my impudent futuristic suggestions for the VSL-Developpers, which will not be realised earlier than in approximatly five years😛)
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If ever they would teach any Editing-Software to edit their existing samples in kind of any "batch rendering" as diligent, as their engineers currently do, this will boost up the output tremenmdously and a Synchronized Dimension-String Library will be much more realistic to get.
That is what I mean with improvements. But as I wrote above (edited) some features like MIR-X-Modi (for all kind of Roompacks etc.) do not fit in the SY-Player. That's why I think a dedicated solution - similar to the SY-GUI is better. And ... think of the "Transposition Trick-Button" ... 😄 ... biggest wish of all ... :D💡😎🍺
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The Synchron-Player is by far much more individual configurable than the VI ever could be. As far as I can see you are of course always able to work with it in nearly every aspect as you did with VI before.
Where are "simulate virtual mics"???? You never could or even was supposed to do that in Mir. The Synchronized Libraries also doesn't provide anyother than the real recorded Microphoneposition and the Microphonepositions in the Synchron Series-are of course not at all "virtual" in any way. So perhaps I did'nt understood you but I can not see any "virtual mics" at all.
First, thank you very much for answering politely 😊
You got my points wrong because I express myself poorely, my fault!
When I said that you lose the freedom of VI series (when using the Synchronized series) it's because you're not able anymore to change room, position on the stage, and many other factor. And at the moment you don't have special VI Pro feature like humanize and stretching.
And about MIR, I'm pretty sure I'm right instead 😊 MIR makes ambisonics computing simulating the propagation of the sound of instruments and "virtual microphones" patterns that catch the sound. You don't see that, because you get a"stereo decoding" as result. I hope someone will correct me if I'm wrong.
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To try explaining myself better: I think you never have a simple convolution with the "real recorded responses" in MIR PRO, neither in MIRx or with the Syncronized Series. It's always new IRs calculated taking into account several factors; in the case of MIRx and Synchronized seris VSL already made that choices computing for you, so that your system is "simpling" doing a convolution with a pair of responses, where you can just set the ratio of the convolution.
But even if you do a 100% convolution with a simple IRs recorded in an hall, it's not the same result of a real recording (as for the syncron series and for the majority of libraries out there) ; I think every users here agreed that the 3D definition of the Syncron Series is a "step-forward. It is so obvious, but it comes with a price: the only way you have to change the stereo imaging perception is to change the balance of various mics positions.
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And about MIR, I'm pretty sure I'm right instead 😊 MIR makes ambisonics computing simulating the propagation of the sound of instruments and "virtual microphones" patterns that catch the sound. You don't see that, because you get a"stereo decoding" as result. I hope someone will correct me if I'm wrong.
As far as I understood it, MIR does not rely in any way on different (virtual) Microphone positions, but calculate the acoustic reflections of a "Source" depending to its position in the room nevertheless "recorded" by only one Stereomicrophone. I hope someone will correct me if I'm wrong.
If I remeber right Dietz has already experimented (inhouse only) with a Multimicrophone Version of Mir, which gave several complex possible simulation problems to solve that he rejected to develop anything like that for the user. However what we currently are able to mix in MIR is nothing more than the Dry + wet ratio.
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"I think every users here agreed that the 3D definition of the Syncron Series is a "step-forward." - fabioa
What does that mean?
You are saying it is better than MIR?
I'm stating the obvious 😊 : a well-done real recording will always be more natural than dry samples plus digital/convolution reverbs.
That doesn't mean that difference is huge, and as we know wet samples comes with some downsides.
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The Synchron-Player is by far much more individual configurable than the VI ever could be. As far as I can see you are of course always able to work with it in nearly every aspect as you did with VI before.
Where are "simulate virtual mics"???? You never could or even was supposed to do that in Mir. The Synchronized Libraries also doesn't provide anyother than the real recorded Microphoneposition and the Microphonepositions in the Synchron Series-are of course not at all "virtual" in any way. So perhaps I did'nt understood you but I can not see any "virtual mics" at all.
First, thank you very much for answering politely 😊
You got my points wrong because I express myself poorely, my fault!
When I said that you lose the freedom of VI series (when using the Synchronized series) it's because you're not able anymore to change room, position on the stage, and many other factor. And at the moment you don't have special VI Pro feature like humanize and stretching.
And about MIR, I'm pretty sure I'm right instead 😊 MIR makes ambisonics computing simulating the propagation of the sound of instruments and "virtual microphones" patterns that catch the sound. You don't see that, because you get a"stereo decoding" as result. I hope someone will correct me if I'm wrong.Well... Fabio to be honest I don't think his answer was polite at all, the opposite was enphatic (as usual) and dictated by ignorance of basic sound engineering! Obviously you are right and anybody with a minimal understanding of digital audio and wording knows.
About VI vs. Syn. again the statement is enphatic and wrong: it's obvious that VI has more features than Synchron: disregarding the sequencing features, anyway at least the brilliant humanization functions are missing in Synchron.
