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  • Well, as I've said many times before, I'd _love_ any extended techniques VSL was willing to sample (and no worries of modernism here, Paul - such techniques have been used by composers from all sorts of "isms"! ;-) ). Big ones that come to mind? Flute breath tone. Strings scratch tone (subtone). Smack tone. Timbral trills. Multiphonics, where possible/effective (might need some sort of chart in the manual).
    And I think it would be great if the multiphonics were recorded with absolute "honesty", in the sense that the different dynamic levels of multiphonics would reflect the relative success of the multiphonic to speak (since most multiphonics only "work" at certain dynamics). That is, if the multiphonic fails to speak at a certain dynamic, the note would just be a regular sustain note. This could have the added bonus of serving as a reference for those of us who work with live musicians, to help us avoid writing multiphonics at impossible dynamics - which could be handy, if you don't have direct access to the player. (Though I realize that even "playable" mulitphonics for one player are impossible to another player, on another instrument... anyway... blah, blah...)

    I'd also really love to have *individual string* articulations (and legatos) for each string. And by "strings", I literally mean _strings_, as in G D A E, not Violins, Violas, Cellos, Basses... It would be great to be able to take advantage the actual colour of the string now and then (particularly for higher parts played on the lower strings), so to have a full sampled range on the G string, D string, and so on. I know you can get a certain amount of this effect on the Solo Strings using the "sul" articulations, but that's a somewhat limited application of what I'm talking about.

    There's loads of stuff I'd probably request in addition to the above, but I think those are my big wishes.

    Cheers, William and All.

    J.

  • William, you sure know how to get a good discussion going with one question!

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    @jbm said:


    I'd also really love to have *individual string* articulations (and legatos) for each string. And by "strings", I literally mean _strings_, as in G D A E, not Violins, Violas, Cellos, Basses... It would be great to be able to take advantage the actual colour of the string now and then (particularly for higher parts played on the lower strings), so to have a full sampled range on the G string, D string, and so on. I know you can get a certain amount of this effect on the Solo Strings using the "sul" articulations, but that's a somewhat limited application of what I'm talking about.

    J.

    Actually, now that you mention it, so would I. The Sul patches just don't cut it, because there is always a certain amount of portamento, which is not the same thing.

    DG

  • More dynamic layers for everything please. m

  •  Great topic!

    So here goes my wishlist:

    1. The Strings made Complete (Solo, Chamber, Orch & AP). And I mean all the things that are still obviously missing, either in this family or that.

    2. A full collection of contemporary techniques & expressions for every instrument, aimed at soundtracks and modern composition in general.

    3. Various "Lyrical Sustains" for most (all?) of the solo instruments. Most sustains are rather "clean" which is good in many cases, but uninspiring in other.

    That's about all I can think of now.

    Cheers,

    Alex 



  • My only real request for articulations would be flautando/non-vibrato legato strings. Sure, vibrato is great, but I'm really craving that silky-flat tone that is achieved with a non-vibrato string section!


  • I would love to hear more jazz and big band articulations in the clarinet, trombone and any others lacking such things - for example falls at the end of the note which I have only discovered in the Trumpet a3 (though there may be more I've missed). These provided in single instruments and ensembles would be very cool.

    Also, an 'A Clarinet' which just has that extra depth of tone, and is used so regularly in the orchestra. We clarinettists have pairs, not singles!

    For that extra sense of realism, a full set of sneezes, coughs, splutters, watch bleeps, whispers and wrapper rustlings would be really cool - then you might try and pass off recordings as live! 

    Nick 


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    @Nick K-B said:

    For that extra sense of realism, a full set of sneezes, coughs, splutters, watch bleeps, whispers and wrapper rustlings would be really cool - then you might try and pass off recordings as live! 

    Yes, add some booing to that and it would really evoke a live performance of one of my compositions.

  • I don't know if this has been mentioned, this thread id getting too long to read it all, but I'd like to have solo con sordino violin, sometimes it's nice to be able to use that expressive vibrato doubling the ensemble con sordino. I think this thread should of been called "herb's shopping list" I noticed nobody made mention of bagpipes! Where are the bagpipe lovers?

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    @Guy said:

    ...Where are the bagpipe lovers?
     

    Here is one [:$]

    Beat 

    ____________________ 

    www.beat-kaufmann.com


    - Tips & Tricks while using Samples of VSL.. see at: https://www.beat-kaufmann.com/vitutorials/ - Tutorial "Mixing an Orchestra": https://www.beat-kaufmann.com/mixing-an-orchestra/
  • 100% agreement on the desk sampling of violins, full articulations for Appassionata vlns and Bagpipes! (no kidding on bagpipes - one of the great instruments in the universe - I'm Irish and any Scottsman will tell you we invented them.)

    • Washboard
    • Jug
    • Jew's Harp

     in fact, anything instrument the Darlings played on "The Andy Griffith Show"

    And throw in a Kazoo for good measure.

    Also, those party favor "Blowout" things:

    Imagine the glorius sound of a Sforzandissimo Con Sordino Blowout Party Favor (in E flat)

    Ahhhh. ..  


  • More than anything I would like 2-3 extra layers for the Legato: pp, mf and fff. But in general more dynamic layers would be great.

    As DG said more punctuated and fast staccatos for winds.. I know there are some in the Repetitions BUT you have the same problem as above - too few layers. fff layers I often find I miss.

    Ethnic Instruments surely - and I would love a bagpipe ;)

    And a second Violin would also be lovely.


  • One more vote for more vel layer - especially on the strings.   With velxfading and some controller (pedal, breath, ESP[:)], etc.   this would really help us 'express more..) 

    Of course always open to a patch that is 'instant killer theme'.   I'd pay big bucks for that one.[Y]

    Rob 


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    @Guy said:

    but I'd like to have solo con sordino violin, sometimes it's nice to be able to use that expressive vibrato doubling the ensemble con sordino.

    Thats it!!!

    I desperatly wait for that since years!!

    [quote=Alex]2. A full collection of

    I second that. Thats a field VSL really might excel and inspire the users.


  • oooh, I hope VSL is listening! Lots of requests for contemporary/extended techniques... Nice!

    I'd also like the con sord violin solo. Rihm opens his Jagden Und Formen with a fairly aggressive violin duet, played con sord, and it has the most unusual effect. We're accustomed to muted strings being rather subdued, but this aggressive writing for muted solo strings works really well - a strange masking of the colour which is hard to place, on first listening. Cool. Of course, we have to keep in mind that sampling something as general as con sord requires sampling _all_ of the various articulations again, with the mute on... Loads of work...

    On the other hand, sampling of certain extended techniques would just be a matter of covering the various dynamic levels - not a huge job at all!
    So come on guys, let's see it as a downloadable product. It's a perfect opportunity for downloadable "add-ons" to some of the major libraries. Since they may not be _huge_ sellers, this would save some cost on packaging and distribution...

    J.

  • The articulations I am most interested in are as follows: 1. Con sordino solo and chamber strings. 2. More dynamic layers for legatos, sustains and dynamics. 3. 2 French Horns in unison. 4. Clarinet in A. 5. 2nd Bassoon. 6 Trumpet in Bb. 7. 2nd solo violin, viola and cello. 8 2 Violins, Violas, and 2 cellos in unison. Regards Mirabile

  • Hmm... the 2 French Horns in unison is an interesting comment! I'm with you here... now with 2nd Bassoon, A-Clarinet and Bb-Trumpet that makes the list quite long and hard to set in proper order ;) Therefore I'll adjust my suggestion to this, taking the others into account:

    1. Choir

    2. MIR impulses

    3. Single desk Violins (2 in unison)

    4. 2nd Solo Violin (with different timbre)

    5. 2 French Horns (in unison, also with different mutes perhaps) 

    6. Single desk Violas and Celli (2 in unison)

    7. More legato layers 

    8. 2nd Bassoon 

    9. Clarinet in A 

    10. Con sordino Solo and Chamber Strings and also where missing in the above

    11. Epic Trumpets

    12. Bb Trumpet 

    13. 4 French Horns (in unison)

    14. 2nd Solo Viola and Cello

    Wow, that's quite a list already! I guess the order has to be changed slightly so that this will hopefully not end up in a shopping nightmare ;)

    All the best,
    PolarBear


  • Polar Bear

    4 French Horns in Unison are already available in the Brass I package of the cube or Special edition.

    I am also after a set of deep bells.  That is a set between C2 and C4.  I have not seen these available in any sampled library.

    Regards

    Mirabile


  • I wouldn't mind seeing the 6 trumpets split into 2's. And the 8 or 4 horns split into 2's. I would like the trumpets to be all Bb's.