I still need to get through them all, but I started with the Borodin. Great job!!

Thanks again for these. They really are inspiring to hear and to study. Priceless!!

I knew the Borodin would make a great demo, good job.

I was expecting the 1st movement of the Brandenburg 3. The (3rd) movement is well done by Guy and almost captures the heartiness and movement of the piece. Not bad at all.

The Queen of Sheba is too slow.

The Guy original is very interesting and sounds good.

The Borodin is about as real as it gets and is very, very good.

Well Done !

The new "Appassionata Violins" sound much better than the Pro-edition Violins. I have been always critical about the overall sound of VSL's Strings. so to see a move to fix this issue is very refreshing. About time this took place.

Listening to the Handel and Bach demos, I liked the string timbre, but would it be possible to give the string attacks a bit more bite in some phrasings, also is it possible to vary the sound of each bow attack via some controller mechanism or velocity, so that a more colorful, and dynamic string performance can be produced.

I also find the overall sound of the strings a bit too washy, meaning not focused enough when compared to a Baroque sound, this might have to do with the lack of a more defined bow attack sound that players produce, and vary with the force of the bow stroke, producing many if I may call it "micro-timbres" that the ear can distinguish and enjoy while listening.

Maybe I am being a bit critical here, but if this type of control is possible, then the Appassionata Strings are a sure winner ! (I am a big fan of Baroque Music, especially with Period Instruments) [:D]

On the other hand the Appassionata Violins in the more romantic, cinematic, lyrical, classical style of writing sound wonderful.

Finally, a few questions,

when will The Appassionata Violins be available ? I am guessing they wil be offered as a VI, rather than the older formats.

How many violins were used in the Appasionata Section ?

Pricing information ? Articulation info. ? Any plans for Appassionata Cellos ? (I hope they will be next ).

Thanks.

Guy. Brandenburg No 3.. Are those chamber strings, or Appassionata? Just excellent.

All of the demos are great. Very, very impressed guys. [:D]

Edit: Question, how long did it take you all to put these demos together (using the VI's)? How much time do you estimate it would take using the "older" method comparatively?

The Brandenburg demo are solostrings, therefore it is placed in the Vienna Instruments / solostrings demo section.

best
Herb

Thanks herb, Kubelmage, muziksculp, Paul, Mahlon and Jay for your encouraging comments.[[[;)]]]

@muziksculp said:

Well Done !

Listening to the Handel and Bach demos, I liked the string timbre, but would it be possible to give the string attacks a bit more bite in some phrasings, also is it possible to vary the sound of each bow attack via some controller mechanism or velocity, so that a more colorful, and dynamic string performance can be produced.

As far as my Bach demo I agree with that comment, although not always easy to do but your ear is not lying.

Kubelmage,

Neither, they are all solo instruments except for the cello, I used chamber since all 3 cello parts were playing in unison throughout.

Jay,

It is a small ensemble indeed, I used the original score for the instrumentation, 9 solo string parts, well the cello line is tripled. I think most versions today are performed with larger string ensembles. I would of liked to add a basso continuo with harpsichord but didn't have any descent sound of that.

The downward slides were not done using the portamento strings nor any special effects, just with appassionata violins!

Mahlon,

Love Theme from Vertigo?

Mmm! I think I'd rather leave that to others who are much better than I am for mockups.

If I may, Miklos Power has raised the quality of my demos by refining the sound through his mixes. [[[;)]]]

Gentlemen

Well done on these pieces. A query to you both, did either of you think of adding a harpsichord continuo to your realisations?

Regards

Mirabile

Guy
I just love Mickey's Berlin Fantasia. Brilliant, wonderful Old Hollywood sound. Superb!
Now I wish the Apassionata Strings were available for purchase. If they ever go for sale to regular people I'll be first in line.
Brilliant sound.
Jamie

Yes. I do agree.
I think those who have the Pro Ed.(and VI strings.ex) should get this bonus for free, but also that it should be released sale for others. VSL would probably sell alot of such a release.

[:)] Thanks Guy It was a lot of fun especially mixing Mickey's Berlin Fantasia.

Jbacal, Mahlon, JWL, Kubelmage, mirabile... thank you for your praising words! [:D]
Herb, thank you for the title „master of Baroque“. [:D]

mirabile With Harpsichord?
This Sinfonia exists in 1000 different arrangements: For Organ, for String- and Brass- quartet, for Piano etc. Because it is a very festive piece we also have very "overload" arrangements. So it also was the question for me: What's Handel's original arrangement.
I googled in the Net and I come to the end that the oratorio Solomon -which includes this sinfonia - is composed for 2 Oboes, Violins 1, Violins 2, Violas and Basso Continuo (Cellos, DB, Bassoon, Harpsi, Organ...). The continuo-setting depends on the piece in this oratorio.
In the case of the Arrival-piece violins1 and 2 are playing unisono most of the time. So I decided to play the Violin's track with Chamber-Violins and the Solo Violin. Then I listened to some mp3 files of famous recordings. I wanted to know which continuo-instruments I need to have. Beside the Cellos and the DB it finally was the bassoon which wins. I tried it also with a Harpsichord but the piece's sound was no more transparent then.


PaulRtempo too slow
I agree that the tempo indication for this sinfonia is „Allegro“ (= 120 - 168 beats per min).
The tempo-indications where fixed by Johann Nepomuk Mätzel in 1816 with his invention: the metronome. The Arrival of the Queen of Sheba was composed in 1748. So Handel wrote perhaps „lively“, „animated“ or „joyful“ or also allegro in the score. But I’m not sure if it means to play this piece with a tempo > 120.
This piece is the welcome tune for the Queen of Sheba. Therefore it also should be a little festively and ceremoniously - that’s my opinion.
The sixteenth are also playable with older instruments (gut strings) with the chosen tempo. I don’t believe that the old instruments can produce the festive and joyful sound for the queen with a higher tempo.
Today we have 2 versions which we can observe:
1. The tempo which we believe that originally was played > around 112 - 116
2. The tempo which is adapted to nowadays. Very often orchestras demonstrate their ability with such pieces. They often play as fast as possible.
I decided to go with Sir Nevill Marriner and his Stuttgart Orchestra (~ 112) - the old fashion way so to say.
But it is a matter of taste, PaulR. Perhaps you like it more to go with Nigel Kennedy, the „high speed violinist“ (the speedy [:D] ).
BTW: It wouldn’t be a problem to play faster than the fasted orchestra in the world with VI...

musiksculpmore attacks, more bite, strings too washy
There are others who want the opposite. It seems to be a matter of taste.

musiksculpvary each bow
Please check my midi-file. I always varied the tones' volume but I didn't it with its positions. This would prevent the bite... Midifile + PDFs

Thanks again - also for the constructive feedbacks.

All the best
Beat Kaufmann

What terrific work! You guys all have so much to teach...

I recently put a mock up of my quartet, THE AMAZING X RAY MACHINE on my website. I used the V Solo Strings on this project. Helpful critcism would be appreciated!

http://garyeskow.com/xray.html

Two movements of my Custer: A Strange Fantasy, are also on the site. The strings- very weak- are not VSL. Thoughts on this one would be appreciated as well!!

http://garyeskow.com/custer1.html

Thanks!