Hi,

Yes, newer updates always include previous updates, as written on top of every Library Update Info.

Best,
Paul

@Paul said:

Yes, newer updates always include previous updates, as written on top of every Library Update Info.

Thanx, Paul! I had always missed that sentence. Cleaning up my folders!

Paolo

Thank you for replying, just bought this library and really can say that the sound is amazing!

@Seventh Sam said:

- VI Brass does not contain anything like the Low Brass patch in Synchron Brass (Which is also available as single BBO libraries).  Since that patch was recorded in unison and in situ, it has an extraordinarily powerful sound.

Actually, Dimension Brass contained a Low Brass section. Only, you could access the separate components. But they were recorded all together.

Paolo

@Seventh Sam said:

- VI Brass does not contain anything like the Low Brass patch in Synchron Brass (Which is also available as single BBO libraries).  Since that patch was recorded in unison and in situ, it has an extraordinarily powerful sound.

Actually, Dimension Brass contained a Low Brass section. Only, you could access the separate components. But they were recorded all together.

Paolo

I know.  I was comparing to the specific "Brass I" and "Brass II" bundles, as that's what Viktor asked about (I think?)

Hi Mark, 

Glad you like Synchron Brass!

We have limited the dynamic range of this articulation to make it fit better with the rest of the articulations. You can easily adjust the volume with Expression (CC11), if you like. 

Hope that works for you!

Best, 
Paul

@Paul said:

Hi Mark, Glad you like Synchron Brass! We have limited the dynamic range of this articulation to make it fit better with the rest of the articulations. You can easily adjust the volume with Expression (CC11), if you like. Hope that works for you! Best,Paul

Hi Mark, 

Here is the philosophy behind this decision: 

We are generally avoiding Velocity XFade for alle articulations with only one layer, also because 2 identical layers would have to be triggered, which doubles the voice count - a considerable fact with our multi-mic libraries. 

Psychoacoustics is a big topic for all libraries that were recorded in a big hall like our Vienna Synchron Stage (and that room-sound is an integral part of the sound). Changing the perceived volume of an articulation isn't something we'd suggest to do, which is why the difference between Velocity 1 and 127 is only 3 dB for those articulations. 

In our eyes, this is also a question of workflow, as you can generate any kind of dynamic change by using the Expression Controller, which is the main task of this controller anyway. 

"Timbre Adjust" will be an even better option at this point, with it's very natural dynamic changes. 

I believe that you could achieve the results you are after by using 2 MIDI Channels, with the sfz on one channel, triggering Timbre Adjust with your player Velocity. Definitely worth a try. 

Best, 
Paul

@Paul said:

Hi Mark, 

Here is the philosophy behind this decision: 

We are generally avoiding Velocity XFade for alle articulations with only one layer, also because 2 identical layers would have to be triggered, which doubles the voice count - a considerable fact with our multi-mic libraries. 

Psychoacoustics is a big topic for all libraries that were recorded in a big hall like our Vienna Synchron Stage (and that room-sound is an integral part of the sound). Changing the perceived volume of an articulation isn't something we'd suggest to do, which is why the difference between Velocity 1 and 127 is only 3 dB for those articulations. 

In our eyes, this is also a question of workflow, as you can generate any kind of dynamic change by using the Expression Controller, which is the main task of this controller anyway. 

"Timbre Adjust" will be an even better option at this point, with it's very natural dynamic changes. 

I believe that you could achieve the results you are after by using 2 MIDI Channels, with the sfz on one channel, triggering Timbre Adjust with your player Velocity. Definitely worth a try. 

Best, 
Paul

Hi Paul

Thanks for the very detailed explanations about this. That would be helpful and I will try what you suggested. 

The "Timbre Adjust" is a very cool feature. Love this library. Thanks again.

@Paul said:

...

We are generally avoiding Velocity XFade for all articulations with only one layer, also because 2 identical layers would have to be triggered, which doubles the voice count - a considerable fact with our multi-mic libraries. 

Paul,

Does this explain the multiple preset types in recent libraries like SSP, SES and SY Brass? Types like VelXF, XF sus, Velocity, etc.? It seems like the labels are not consistent between libraries, and it seems like this has been a process developing over time as libraries continue to be released. Is Timbre Adjust is one more element in that process, one we might see commonly in future libraries?

For planning purposes going forward, your comment suggests that, while they will work with the appropriate preset, the straight XF presets may not be the best if VSL is now "avoiding" them. Is there a fuller explanation that might help customers like me be sure that their custom Synchron presets and DAW expression maps are based on the most enduring approach. A lot of work goes into these, and I'd hate to have to replace everything I've done because I'm used the Vel XF only. Nevertheless, if that's the direction, I'd rather make the changes now than face a larger project later.

Thanks for any advice you can give.

Hi DaddyO,

My comment was ONLY aiming at Velocity XFade for single-velocity patches like sfz, sorry about the confusion.

Here is an explanation of the different variations of our presets.
The naming is consistent and will stay like this. We will add the same preset structure to previous products with the switch to iLok.

Velocity XFade is still THE go-to option for dynamic control for all our libraries, with Timbre Adjust being a great addition for Synchron Brass that adds even more control. If you like Timbre Adjust for your custom presets, you can of course add it!

Best,
Paul

Ah, thanks for clarifying, Paul. I'm sure it's my being too ready to extrapolate from your comments.

Apart from the small Bruckner piece I did during the latest days, using just the two Trombones, it's the first time I can put the full ensemble to work on a larger scale piece.

In my view, the small Bruckner already proved incredible for realism. The full brass orchestra, mixed with the Synchron Strings Pro and the Synchron (well, BBO) Percussions, is really stunning. Big, malleable, creamy and metallic on need – again, utterly realistic.

And they give a new perspective on SSP, now getting their true sense in context.

Can't wait to complete this piece. It's a revelation for me.

Paolo