@Another User said:

actually, I think the biggest improvement for VSL would be a simpler way to find articulations. I have a lot of orchestral libraries and VIs, EWQLSO included, and VSL is by far the trickiest to find your way around.

so a user-friendliness enhancement would keep VSL ahead IMHO

Herb, do please give this some thought. IMO VSL is way ahead in attention to sound and musical performance...this comes with a steeper learning curve for the user however.

If those creative brains around you can simplify the way the user accesses the articulations, it would be an enormous improvement. Sometimes, under deadline pressure, I have consciously chosen another library because I figure I will probably have to spend more time finding the right EXS instruments with VSL.

Maybe VSL really does need its own soft interface to become more simply accessible for the user.

Thank you

Nigel

@Another User said:

They were unsure about the delivery medium and considered delivering on a hard drive. I guess you can expect they still have to compress the files to keep the costs down, so you can't use that drive for streaming and have to install the library to your own drives just as right now from the DVDs.

If I had the library on a drive I would never use it for stream. Only for easy (and quick) installation.
That medium is so fragile...

On another side : how many hours to put the Synphonic Cube on a drive with DVDs ?

Two ? Three ? Maybe four, it depends of the size ...

With DVDs The first thing I would do is to buy a drive only for the DVD to drive transfer, to do it one time, definitively...

And then using that drive only for drive to drive transfers to provide our ‘Gigastudio farm’.

I couldn’t spend the half of a day to only transfer DVDs for all dead stream drive... IMO it’s impossible in a productive environment.

But can we spend 6000 bucks or more for a fragile drive, with possible virus infection ? Or being a ‘read only’ drive, maybe, why not...


An other dilemma...

This is crazy.


I just realise that it’s maybe the first time in the computer history that a company have such considerations to handle...

Even in the Video world they don’t have that kind of problems... Not on that way. Although storage managing is incomparably bigger (specially for movie production), of course, but they don’t have to sell it on that medium !

VSL PRO Complete took me 3 8 hour days of uncompressing on a Dual G4 1.42Ghz. It's a lot fo DVDs. And the SYMPHONIC CUBE is 5 to 10 times as big! I assume. It may be some kind of a la carte option actually.

Evan Evans

In related news:
http://www.techtree.com/techtree/jsp/showstory.jsp?storyid=53986&s=ln

@Nigel Watson said:

Maybe VSL really does need its own soft interface to become more simply accessible for the user.

Thank you

Nigel

It could be interesting ... you connect your HDD via the USB or FIREWIRE port, active the software and play ! [:)]

@Crystal said:

32bit,Really ?

So guys, you have to update your presentation page, I can read on the ‘About us’ page : « recorded in 24-bit/96 kHz, stereo »

The recordings are made in 24/96, of course, but are saved and processed in 32bit floating throughout the whole production-process; the files are resampled and dithered using our own proprietary tools for the final products.

HTH,

/Dietz - Vienna Symphonic Library

Hi Ditz.

I understand Now. So you need a 32bit step in your process.

This is a bit OT, but... why, exactly ?

There was a discussion on NSS about that point : a piano library in 32bit, but it was a VSTI player, if I remember. So a player have to mix the polyphony.

Our sequencers, soft samplers and audiocard mixers all work now in 32 flt to keep the mixing, processing, or effects at a high level (and without digital distortion risk).

But in a editing process for sample libraries, I don’t understand. Cleaning ? Compression ? Stereo field tweaking ?



Still using Sequoia, I presume ?...

Sorry, Dietz, your question and your competence. But I may copy this from the samplitude/sequioa forum:

@Another User said:

A 32 Bit float file IS a 24 Bit file with extra information, to keep the full resolution above the complete dynamic range. No zeros were added. A 24 bit file looses 1 bit with every -6 dB destructive change. The extra bits in a float file preserve the full resolution (24 bit) also on lowest levels.

regards
Norman

That means a 32bit file is the SAME audio like a 24bit file. But as soon as you render volumes or fx into the file it gets interesting. The original 24bit resolution is preserved to whatever you do with it. You can lower the volume -100dB and it will still have 24 Bit audioresolution.

So speaking for VSL, when they record in 24 bit and would stay in 24 bits, then make the volume and tuning adjustments they would end maybe on 22 bit resolution or something. With 32 bit every bit is preserved.

Correct, Dietz?

That's it, in a nutshell. Thank you!

IOW: The only point where you have to bother about the volume of a 32bit-audio signal is the stage where you leave the floating-point domain and go to a lower (read: integer) bit-depth or convert to analogue.

/Dietz - Vienna Symphonic Library

Thanks mathis and Dietz.

This is instructive.

"William you are off the deep end baby" - Evan Evans
Ironic response, considering the source

"Are you working pro, William?" - Matt1
In other words, I am just scum and not to be paid any attention to? Sorry, I am an on-and-off pro (when I feel like it which is rare considering I am very lazy and I lack the required instinct for self-degradation). Though it WOULD be kind of nice being a complete amateur like my best buddies Schubert, Franck, Bruckner, Borodin, etc., etc., etc. Any other questions Matt1?

William,

Yes, it's a good place to be eh? [;)] intersting sea life.

Evan Evans