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.

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.

Funny to see that this topic comes up and up again.

I have only one question:

VI Version VS Synchronized Special Edition ... Are there changes (Remastering, "tricking", copying and remapping etc.) made in the SYzed Version regarding to this Topic?

Thanks.

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

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!!!

Hi LAJ, 

If I have learned something in product development, it's this: There is no way to make everybody happy. 

We are making our decisions based on what we believe is best, from choosing musicians and instruments to recording millions of samples, editing and mapping. 

There is no "boom ...  here we are!", although I think we're doing a good job in making it look like it. 

If we start to discuss singular samples with every user separately, we won't be able to produce new products...

Best,
Paul

Thanks for your feedback, Paul.

I've realized an uncomplicated solution in my case/ for my purposes. I can always go back to the sequence and modify notes and their parameters ...specifically, I can adjust some gain-staging for any troublesome "shy" notes.

All I can ask is to please let it be known there are still end-users who would like VSL's excellent Recorder Library to be on your list of products to consider revisiting & updating. 

Thanks!