Gosh! I wouldn't know where to start!

The VSL lib has expanded so much that it's getting difficult to narrow down to 5, but I'll try.

1) Appa: I'm willing to agree that appa strings will rank #1 not just because of it's great sound but because of its importance, let's face it, it's the heart and soul of the orchestra. A few more articulations and I'd be in 7th heaven.


2) Horns: I'll go with the horns à 4, because I love the repetitions sound they have, another very important feature in larger orchestral music, it makes it so much easier to score these kind of passages.

3) Strings 1-2: Because of the inclusion of the scale runs, a really unique feature! I hope to see more of that, maybe arpeggios?

4) The cornet: Everything seems perfect with that sampling, just love it! The leg/porta is awesome!

5a) Concert Organ and Oboe d'amour (tie): The organ is outstanding, I did one demo with it and found it very convincing, the amount of stops possible for each manual is very impressive, even the valves noises and concert hall noise, a first I think. As for the bass notes, that really will depend on the quality of sound system you have, obviously a woofer will help a lot, but personally I'm plenty content with my modest speakers.

5b) Oboe d'amour: The oboe d'amour has such a natural and warm vibrato to die for, I've been starting to use it more often now.

oh man,

you start an appetizer here... think i have to take a credit [:)]

well just tested all at the fair trade in frankfurt.. to me from the beginning the solo strings were simply the best for my ideas... you can create everything from start and the sound is outstanding... its sounds all warm, personal. like sitting in front of a genius cello player (if you know how to use it correctly [:)])!!

boesendorfer: this one is huge. i listened to so many sample-libs like steinberg the grand, kontakt presets, and so on... i even tried to record a steinway D on my own in a concert hall (though they cleaned the concerthall-entrance, i happy, that vsl has a silent stage [:)]) no i have my own "prepared piano" [:)])...
nothing is that big like the bösendorfer... its adding itself to the mix as much as it works solo, the sound is brilliant, the bass is warm and gentle... its sounds prefectly natural!!

appsionata... by listening to the demos... this will definetly be one of my upcoming invests [:)]

enjoy
markus

In addition to Appassionata, I've still quite fond of the flutes. Solo violin ranks high for me as well.

But picking a few faves is almost an unhappy tasks because the collection has so much to offer.

I too will have to decline from a "top 5", for the time being, but I'd have to say the Solo Strings are it for me. They're just so damned useful and flexible. Pretty ram hungry, but it's certainly understandable, when you consider how much they've sampled. I also choose these guys because solo strings are traditionally the *hardest* instruments to sample convincingly, and if written for carefully, this library really can deliver stunning results!
I have Chamber Strings full library as well, which is very handy, but not a full-timer for me. My winds and brass are all still Standard libraries... boo hoo... one day, though...

J.

@William said:

I had another thread about the pipe organ but it was not too well written so this is for a similar purpose. What are your 5 favorite VIs and why? I know, another silly list but what the hell.

1) Appassionata Strings: by far the best string ensemble available, it can be used to create almost instantly a perfect rich string ensemble sound with little or no tweakng.

2) Pipe Organ: a flawless sample library that is absolutely huge in its representation of every single note of a great musical instrument. Also has the fringe benefit of allowing you to record audio without reverb, or processing of any kind since it includes the hall ambience in the notes and release samples. And is very CPU-friendly, since organs have only one velocity by definition.

3) Bass Flute: the most exotic, erotic and sexual instrument ever invented. You may need to take a cold shower after playing it.

4) Horns: all the Vienna horns, solo and ensemble, are fantastic though perhaps the 8 horn ensemble (that used to be called Epic Horns) is the most spectacular and expressive in both the massive fortissimo and the beautiful fluid legato.

5) Processed Percussion: these are the first choice in timpani and general orchestral percussion, as the velocity/crossfade/looping/mapping work done on them makes them extremely useable and practical.

There are lots of others but... so many samples, so little time.

William - I also like the bass flute but have you noticed any 'tuning' issues with using this flute in a WW or flute chord? No doubt, great for solo passages but on a project a few weeks back I was rushed and couldn't spend time to analyze but I remember their being some out of tune issues on the Bass Flute.


Rob

Rob I have only been using it solo so far and have not noticed that.

I wrote this thread because I like to hear what people are doing with their favorite instruments, as it gives one new ideas. Though it is difficult to pick 5 out of so many good possibilites I agree. However there seem to be standout instruments and it is inspiring to hear different perspectives on them.

@William said:

Rob I have only been using it solo so far and have not noticed that.

I wrote this thread because I like to hear what people are doing with their favorite instruments, as it gives one new ideas. Though it is difficult to pick 5 out of so many good possibilites I agree. However there seem to be standout instruments and it is inspiring to hear different perspectives on them.

Thanks William. Agreed on the Bflute solo - it is SO usefully in thinly orchestrated material. I find I must give it plenty of 'room' - but it truly is an expressive instrument.

In addition to all instruments mentioned above, I would say that really any of the WW's are right at the top of the list. Particularly find myself using the clarinets often.


Rob

(I am thinking that VSl would blow away all competition on 'exotic' woodwinds, i.e. - dudick, etc.)

DON'T MAKE ME CHOOSE!!!!!!!!! PLEASE!!!!!!![:O]ops: [:O]ops: [:O]ops:


It's like Sophie's Choice....


But I find this thread interesting just to have a general idea of some of peoples fav even though you're omitting a bunch others of your fav.

1. App Strings
2. Cornet
3. All the Flutes with Alto Flute as 1st- don't have the bass flute yet
4. Solo strings
5. Strings 1 & 2

I haven't had a chance to try the rest of the new brass out yet.

Well, the limit of 5 favorites was only for one post. [[;)]]

My next 5 are:

1) The entire Flute ensemble including the alto as Tripit mentioned, but also the variety of sound/expressions in the two different c flutes, and the new VI "Lyric Piccolo" samples which have that extremely beautiful, delicate solo piccolo sound, as opposed to the shrieking high-pitched piccolo everyone thinks of. And then there is my new love the bass flute... but I already mentioned her. I mean... it. (Sorry dear!)

2) Celesta, because it is one of my favorite instruments anyway and also is a great job of sampling to capture the soft mysterious sounds so characteristic of the instrument.

3) Oboe d'amore as Guy mentioned - that is such a beautiful. soft, espressivo sound. It is going to make many people writing oboe solos instead write oboe d'amore solos.

4) Violas in all the versions -appassionata, orchestral, chamber and solo. Now the reason for this may be my bias for the viola but all the different samples VSL did - including the very First Edition orchestral - seem to capture the quality which makes violas stand out from the other strings - that particular dark, rich but hollow and melancholy tone.

5) Harp - the basic harp is great and the best available now, but the additional articulations of flageolett and glissandi as well as the other more specialized ones make it fantastic.

The harp is fantastic!

I'm thinking I really have to get the Oboe d'amore. I've used extensive oboe in the past, but usually relying on recording a real oboe as I've yet to find a sample oboe that I really liked. The bass flute sounds like it's worth it as well.

And I agree with Guy about the Harp. It's by far the best sample harp I've heard.

@Tripit said:

I'm thinking I really have to get the Oboe d'amore. I've used extensive oboe in the past, but usually relying on recording a real oboe as I've yet to find a sample oboe that I really liked. The bass flute sounds like it's worth it as well.

And I agree with Guy about the Harp. It's by far the best sample harp I've heard.

Tripit,

The Oboe d'amore is my 'go to' oboe. It now resides on my template. These guys get better and better at this sample thingy! [:D]


Rob

@Tripit said:

I'm thinking I really have to get the Oboe d'amore. I've used extensive oboe in the past, but usually relying on recording a real oboe as I've yet to find a sample oboe that I really liked. The bass flute sounds like it's worth it as well.

And I agree with Guy about the Harp. It's by far the best sample harp I've heard.

Tripit,

The Oboe d'amore is my 'go to' oboe. It now resides on my template. These guys get better and better at this sample thingy! [:D] Rob


Yeah, I think you are right Rob. The samples do seem to be getting better and better, specially at capturing expressiveness and warmth. The original oboe just sounds a little too cold and sterile to my ears - especially after using the real thing on numerous scores. Sounds like most of us are leaning the same way when it comes to what we like.

Although they ARE improving and the samples are getting better and better, the oboe d'amore is not meant to be an improvement on the reg oboe, they are like different instruments for different uses, in orchestral blend I would be careful about using the oboe d'amore and for solos I would use only for special passages.

@Guy said:

Although they ARE improving and the samples are getting better and better, the oboe d'amore is not meant to be an improvement on the reg oboe, they are like different instruments for different uses, in orchestral blend I would be careful about using the oboe d'amore and for solos I would use only for special passages.

Of course, you are correct. They are different, with different purpose. I still use the regular oboe - sans amore, to blend into passages, but I hardly, if ever, use the regular oboe in a solo passage unless it's really brief. I just find it to be lacking in making me feel and hear what I want. So far I've still used a real player if I'm doing any kind piece that features oboe at length as a solo instrument.
I can't speak for the d'amore, because I don't have it yet, but I'm encouraged by the others favor toward it. If it offers for oboe what app strings did for the strings, it can't hurt.

With that said, the flutes have become one of my favorites. I don't even miss using the real thing in a lot of situations. (not all though, because there are still many articulations I can get with a real player that VSL doesn't have) But over all, I think the flute samples sound and react the way I want. I get them to move me. I've had a couple score tracking dates were we didn't even replace the flute solo because the VSL sounded so great, everyone agreed we should keep it in.

I've always loved Oboe, and I've written one or two long pieces that really featured Oboe as the primary solo instrument but I can't seem to get the VSL Oboe to hit me the way I want. It's very nice, but it just doesn't come alive for me. Like I stated before, I think to me, it sounds a little sterile and lifeless somehow.
But, that's just me. I'm sure there are those out there that would disagree and love it.

@Tripit said:

I've always loved Oboe, and I've written one or two long pieces that really featured Oboe as the primary solo instrument but I can't seem to get the VSL Oboe to hit me the way I want. It's very nice, but it just doesn't come alive for me. Like I stated before, I think to me, it sounds a little sterile and lifeless somehow.
But, that's just me. I'm sure there are those out there that would disagree and love it.

I know what you're saying, I get that problem with the solo french horn (reg), unless the overall texture is very thin I'll prefer to use the horn à 4 for single horn passages, the solo horn, seems a bit thin to my taste in mf-fff and doesn't give me what the horn à 4 gives. I would propose that someday VSL comes up with an extended Solo Horn library, thin horn sound, medium, thick, very thick, etc... I think that would be very important for good orchestral sound.

We already produced a second solo horn included in Brass II, which offers a thicker sound.

best
Herb

Goodness! Is my lib missing something? [[:|]]

Yeah, I have Brass II, the Wagner tuba which is pretty much the thickness and sound of 2 horns can be used in place, didn't really think of that, and I even did a demo for it! [:O]ops: