Nice idea, Paul, but I was referring more to the possibilty to use instruments at non-conventional, strange-sounding positions of the MIR-sampled halls, too, like standing outside the stage-door .... [;)]
/Dietz - Vienna Symphonic Library
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@cwillsher said:
Funny this should come up. I've had this idea for a long time...seriously...to do a 'School Orchestra' sample library, for those very moments - they come up more often than you think don't they?
Probably won't need 500GB though! [:)]
Colin
Nah, I can do that without samples, and without trying. It's the pro orchestra sound that I have trouble with.
DG
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"Just for info:
to produce a performance interval instrument with one dynamic layer would take the major part of the six sessions. some small add ons are possible.
It's not possible to produce two performance intervall sets in this time.
We have to decide: focus on this performance thing, or more variations of "standard" samples
best
Herb"
This is a lovely offer...
I think Jay hit it on the head with extend it to include 2 dynamics with per-legato. It would also be nice to get a set of staccs to go with them.
That said I have never seen a large string ensemble sampled well. Most often in samples, the larger the section, the more synthy it becomes. Large sections of course can be fantastic recorded live, but so far the larger sections sampled (EW, KH) do not work well. Jay also pointed out doing a test session. I realize it would be another expense but far better than spending 3 days recording and coming out with what seemed to be great recordings, but not great samples.
My 2 cents
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I agree with that - the larger section does not necessarily translate into larger sound in a mix. You stop hearing individual players within sections (which helps with an impression of size) and the sound becomes more homogenous. It can actually sound smaller because all those players are being crammed into one patch. In general, layering accomplishes far more size in a mix than using one monolithically huge section.
It's not that I'm against a larger section, but just that it's far more crucial to do the recording of the missing legato articulations.
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@Dietz said:
Nice idea, Paul, but I was referring more to the possibilty to use instruments at non-conventional, strange-sounding positions of the MIR-sampled halls, too, like standing outside the stage-door .... [;)]
Dietz, there are tons of IR reverbs that can do that, please don't spend 3 days recording a string orchestra from a bathroom !!
[*-)]
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@Dietz said:
[Uhm - things become a little bit weird now, so I will just emphasize that we neither sample strings in a bathroom nor the reverb of the latter, and rest my case.] [*-)]
The words "Vienna Symphonic Lavatory" come to mind. [[;)]]
Sorry, I just couldn't suppress that one.
Duncan
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@Craig Sharmat said:
That said I have never seen a large string ensemble sampled well. Most often in samples, the larger the section, the more synthy it becomes. Large sections of course can be fantastic recorded live, but so far the larger sections sampled (EW, KH) do not work well.
Having produced one set of the above initials in three different formats, I can experientially disagree. That's because we found that what creates the synthiness is processing.
I have a set of gig files from the above initials that were not processed. Just basic looping, a little filtering for noise, and that's it.
The sound is really unbelievable. I had Larry Seyer (Larry Seyer Reverb in GS3) listen to it, and he concurred.
Then I talked to the fellow who's reprogramming GOSII but in Kontakt. He removed all the processing from the original set and got the same results we did.
Both of these string sets were recorded in two different halls. One was in Lincoln Center, and the other I'm under non-disclosure to not reveal. But independent of each other we achieved similar results.
I tested my set with very dense harmony from Vaughn Williams, and I didn't have any synthiness at all. Nor phasing.
FYI, the above is NOT an ad. [[:|]]
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As the flow of sugestions for the string sampling session appear to have dried up or taken a different tack can I add my voice to those who would like the silky strings option. One of the most used samples has to be legato violins (well strings really).
Also I do find the jump between dynamics (where there are only 2) to be very obvious and can only be sorted by either a massive overlap crossfade between the dynamics or staying on one dynamic only. In addition the louder dynamic, to my ears does not have the realism of the quieter.
So my vote would be for a looped legato violin section (+violas if possible!) that could be played in chords but has 4 dynamics with a suitable crossfade acrss the sample switches. If we end up with a instrument that can start smoothly and quietly and carry a movement right up to an fff climax that would be really cool!
Thanks
Julian
ps I have seen a number of posts about the effect of splitting say a 12 section violin sample into a 3 way chord and suddenly having 36 players when really you only want 4 per note. Is this something that could go on the development list for VI. To offer the ability to call up 2 or 3 or 4 smaller ensemble samples when there is a chord recognized. This could create an added level of realism in some compositions. With VSL breadth of recordings and uniformity of sampling techniques this might be a possibility?
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Julian,
you're not so far from an idea i had a little while back about recording 'desks' or pairs of players. Sections could be built according to requirement.
Whatever the end result is, i think it's generous of the company to offer this.
There are few that would consider such a step.
And Herb said he had three days spare to do this. Makes you realise just how busy and well organised the team are that three days is 'spare', and it's only three days. Plus scheduling so far ahead. Well planned i'd say, and a positive sign of things to come.
Regards,
Alex.