Sam, thanks so much! I'm obliged to you for your meticulous comparisons, especially in the case of WW - by far the most useful comparison I've seen to date.
Right now I'm seeking advice while mulling whether to buy the VI Solo Strings bundle in the sale, or else bide my time until the next Synchron sale and forgo the VI version forever.
Though it would be more expensive for me to go the VI route now and crossgrade later, uppermost in my mind is the still matchless quality of VI Solo Strings.
But there's also the question of 'driveability' of VI versus Synchron libraries. It's a leap in the dark for me because I've no experience of driving VI Pro in the highly intricate and often high-speed 'slalom'-type circumstances of programming solo instruments. I'm therefore extremely curious to know - from anyone in a position to help on this - whether the VI Pro or the Synchron Player has any relative advantages or disadvantages in programming demanding solo parts - most especially in the case of solo string parts.
Macker,
You're welcome! I'm glad my observations are useful 😊
My personal experience with the VI Solo Strings VS SYN-zed Solo Strings:
The SYN-zed Solo Strings are - next to the SYN-zed Dimension Libraries and perhaps the SYN-zed Appassionata and Chamber Sordino - the only SYN-zed libraries I would actually consider a real upgrade/expansion compared to a stripped down layering tool, and therefore worth the price. Here's why:
- You get Violin II and Cello II, which is MUCH more value than the VI bundle (not factoring in sale prices, of course). You can do a traditional string quartet without having to pitch-duplicate Violin I or discount-wrangle to get Violin II.
- The library turns the perf_rep articulations into "multi-shorts", which exponentially increases the amount of short articulations you have available (which is incredibly useful in solo strings, as you can imagine!) What this feature does is detect whether you're in the middle of a phrase or at the beginning of one, and adjust the round-robins accordingly. In a semi-recent project, I used this feature extensively and was able to create phrases that combined arpeggios with repeated notes without having to switch between perf_rep and staccato/spiccato patches. Out of curiousity, I tried to replicate this just using the VI version and it wasn't possible.
- The scaling release sample feature lets you inject pre-recorded dynamic patches in the middle of phrases without that abrupt cut-off from the dynamic sample. Such a small detail, but it allows for so much!
- With a slight exception (elaborated below), the library includes EVERY SINGLE ARTICULATION from the VI versions. Huge thumbs up!
- As with all SYN-zed libraries, you can turn off the impulse response and use it like the dry VI version. In fact, every time I've used them I've done this!
There are a few tiny quibbles: Violin II and Cello II's fast_rep patches don't include cut release versions, and the fast legato patches for at least Violin I sound somewhat phase-y to me (although that might be my ears playing tricks on me). But, in comparison to the above points, these are absolutely not deal-breakers for me.
Re: drive-ability
I use REAPER and an articulation management script for it that works very, very easily and smoothly, so from my POV the libraries have the exact same workflow: set up some keyswitches, program the script accordingly, and go to town with what is essentially REAPER's version of expression mapping.
Therefore, I have no idea whether or not one is more easily programmed than another outside of my particular set-up. If I had to guess, I would say they're both the same, as they both use keyswitches and controllers to switch articulations, and both are easily configured and set-up to your particular taste.
Synchron Player's "Dimension" structure makes it easier to create "playing modes" since it remembers where you are in a particular category of selection, but I'm sure you already know this. It's worth mentioning, though, since strings (and their huge amount of playing styles) are probably the kinds of libraries that make the most use of this kind of functionality.
Synchron Player is a bit buggier and prone to hiccups than VIPro for me (unless it's loaded up in Vienna Ensemble, in which case they both behave equally nicely.) I'd bet money this is particular to my computer, however (it's 7 years old).
In short: other than the few quibbles I mentioned, I can't see how SYN-zed Solo Strings is in any way a downgrade from VI Solo Strings, and I can see many ways in which it's an upgrade.
Hope that helps!