DVZ is a good concept but the actual sound ends up being poor. This is the entire phenomenon with sampled strings in a nutshell. No matter how excellent the technical concept is, there is a mystery and artistry to it that somehow makes the final sound good or bad. In other words, the sampling process is itself a meta-performance that can turn out good or bad.
An example is - Appassionata Strings, which are the best overall sampled strings. You simply HAVE to use them in order to do virtual string recordings. But they actually have fewer articulations than the orchestral strings (which definitely sound thin though that makes them good for divisi sections).
Of the other strings in existence the LASS seem the second best after VSL. And this is because of the use of different-character divisi sections that can be combined into the final single line. This is a monster that keeps rearing its head - DIVISI. It must be incorporated as a basic part of the sampling process, not an afterthought, because what makes sampled strings do the various bad things they do is probably the fact that you are taking 21 players and turning them into a single mass. What may prove this is that if you take any given library and record pure string ensemble writing - no other instruments - they always sound better. In other words certain things are happening to the overall sound of the sampled string ensemble in a larger orchestral context that do not happen in a live orchestra. Why? Probably because of this phenomenon of reducing a whole ensemble of players into one simple mass. It will never work, completely.
Of course VSL know this and I predict they are going to pull a divisi card out of their sleeves soon. I'll bet that the Dimension Brass approach which they have pioneered - separating simultaneously playing instruments - is a smaller scale dry run for the big challenge of the divisi/tutti recording of the strings. This same company used an extremely innovative method for recording humanly impossible velocity differences on piano, which were what was missing from all other sampled pianos. The same kind of innovation is almost certainly in the works right now with the strings.