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  • AudioImpressions DVZ Strings: opinions?

    Hello just curious if anyone tried these strings and how they are compared to VSL strings? Just wondering because it seems like a break through how they sampled each instrument individually even for orchestral patches etc. I haven't been able to find demos though.


  • The idea and technology is good. The sound is bad.

    DG

  • Hey Requiem,

    Hold your horses!  You can bet VSL has taken notice of the sampling by desk concept. I'd save my pennies for the next string update from VSL, and it will probably sound a hell of a lot better than DVZ.

    Brian


  • Well according to at least one response so far VSL ALREADY sounds better so I'm not worried in the least. I'm proud/snobby/elitist of my VSL collection and don't want anyone encroaching on the prestige I enjoy over my friends who don't have VSL!

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    @Brian said:

    Hey Requiem,

    Hold your horses!  You can bet VSL has taken notice of the sampling by desk concept. I'd save my pennies for the next string update from VSL, and it will probably sound a hell of a lot better than DVZ.

    Brian

    To me, all VSL string products sound better than DVZ, and always have done.

    The "sampling by desk" idea is a good one, but so far there is no proof that it works. IMO has more chance of working in an ambient studio or concert hall, so even if it did work, there is no guarantee that it would work in the Silent Stage.

    DG


  • DG, i don't see a mathematical reason now why it shouldn't work in the silent stage ... probably the number of positions to be adjusted in the MIR would explode - main advantage would be an option for divisi i'd think, main disadvantage that VI would need to become multi-timbral and get some extra rules for splitting/combining desks ... don't know if *crossing legato lines* (eg. desk1 up, desk2 down) would screw up such rules when trying to decide which is which ...

    christian


    and remember: only a CRAY can run an endless loop in just three seconds.
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    @cm said:

    DG, i don't see a mathematical reason now why it shouldn't work in the silent stage ... probably the number of positions to be adjusted in the MIR would explode - main advantage would be an option for divisi i'd think, main disadvantage that VI would need to become multi-timbral and get some extra rules for splitting/combining desks ... don't know if *crossing legato lines* (eg. desk1 up, desk2 down) would screw up such rules when trying to decide which is which ...

    christian

    Christian, the reason that I'm not sure that it would work as well, is that it has a lot to do with positioning in a space, which is something the Silent Stage is designed not to do. However, with MIR in the equation, it may not be any different to a normal studio/concert hall environment.

    In any case, there has yet to be an example of this sort of ensemble building actually working. [;)]

    DG

  • i noticed and understand your concern, though i'd consider the defined space of the silent stage to be of more help than hinderance ...

    cm


    and remember: only a CRAY can run an endless loop in just three seconds.