Vienna Symphonic Library Forum
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  3. Synchron Series
  4. Synchron Strings Pro

  • Synchron Strings Pro

    B
    B

    I'm currently doing my first project with Synchron Strings Pro. To me this is the best VSL library ever. And the first time I've done strings with VSL where I don't have to mix in other libraries at times. Bravo!
  • PaoloTP
    PaoloTP

    Alan, I'm still in my courtship stage, with SSP. I understand how good they are, but still trying to understand how to use them in the best way. Care to tell what you like the most, from the point of view of a modern classical composer?

    Paolo
  • B
    B

    Lots of things, but especially the fact that molto vibrato is available so easily, all the time. Also many varieties of staccato.
  • PaoloTP
    PaoloTP

    Being able to smoothly transition between different vibrato degrees (including the full range n.v. -> vib. -> molto vib.) is indeed great. This is quite unique.

    Paolo
  • W
    W

    belkina - I never had to mix in other strings.  So Appassionata, Orchestral, Chamber, Solo, Dimension - you just can't find anything good enough there?   - that doesn't make sense
  • PaoloTP
    PaoloTP

    I still find the Orchestral Strings a bit more to my taste, and the Appassionata Strings much more expressive than either of them. In the Synchronized version, Appassionata got n.v. parches, that can help controlling vibrato better.

    Paolo
  • B
    B

    I have all those libraries, but the Synchron Pro has it all in ONE library, and the cross fading between no vibrato, normal vibrato and strong vibrato is all in one place.
  • PaoloTP
    PaoloTP
    last edited
    last edited

    @belkina said:

    Synchron Pro has it all in ONE library, and the cross fading between no vibrato, normal vibrato and strong vibrato is all in one place.

    I always think in relation to my own presets. I don't remember if VSL gave something like this, but I have cells in the matrix containing slots xfading between vib./molto vib., n.v./vib., and molto vib./n.v.

    With Synchron Player one can xfade between more than two patches, and this allows for continuous xfading between all the available degrees of vibrato in a single sweep.

    In the case of Appassionata, the original VI library lacked non vibrato, but this has been added in the Synchronized version.

    Paolo
  • PaoloTP
    PaoloTP
    last edited
    last edited

    With SSP I've done, up to now, a few more or less extended tries. I wanted to compare them with the other VSL strings libraries I'm using.

    First, I tested their more "sentimental", "fragile", "transparent" character with Elgar's Enigma Thema (this one). Transparent they are. The sound is clean, and can be very delicate without being thin. They can respond well to dynamics, but I found that adding Expression to Dynamics may be needed more than with the old VI series, due to a bit more limited overall range. Extreme dynamic layers have been separated, so the Dynamics control has to run larger steps (or be helped by Expression). In the Elgar example I remained too shy, and the dynamic is a bit flatter than it should be.

    Something great in the Synchron Player is that you can control microphones separately. Again in the Elgar above: there are passages where I find advisable to make the Close mic come out more, to highlight the more expressive passages (in particular in the Cellos). I've done it sparingly, and it's something very easy to do. I guess this is similar to what can be done in VI when layering solo strings, and controlling them separately from the ensemble. In this case, however you have sort of a remote control of all the mics in the ensemble.

    At the same time, I've tried the "fatter" character of the strings in Nimrod (this one). This is however still just a first reading of the score, with nearly no refinements. Despite the rough corners, I think I could see that SSP can sound full and warm, if asked to do it in the right piece.

    What I already knew is that these strings can be "harsh", "nervous", "fast", almost "violent". Again, a first reading, but this Mahler torso (here) proves it in full. These can easily be disruptive strings.

    They are very different from the older collections. William and I have already quarreled about them, and I think we will have to continue beat us until I've not convinced they don't work as well as the older ones. At the moment, I'm very fascinated by this new animal!

    Paolo