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  • Dear Nick,

    Thanks a lot. All what you told me is very precious for me. It confirms some ideas I had, adding some more information.

    Really, thanks, again.

    Now I'll go back to the composition tryng to do my best.

    Good life and good work to you


  • I read somewhere that EWQL only simulates con sordino by some convolution. It would be pretty nice if this could be somehow applied to other strings as well, so also this might be worth some additional investigation.

  • Hello Gabriel

    I don't know EWQL. What is it? Thank you for the information


  • Actually EWQL is competition of VSL, so I will not write any details or anything ... Also I assume that their "plugin" is purely internal and can not be used for other sources.

    Also googeling for ewql and con sordino convolution i did not find that much anymore (only some indicators that it is not sampled con sordino e.g.:

    So i fear there is no "convolution Emulator" Plugin easily available for all strings ;(

  • Ok, Gabriel, thank you again for your time and interest.

    Good work to you


  • last edited
    last edited

    @nicks said:

    ...the usual (maybe a bit unsatisfying approach) to achieving a faux-sordino sound is to filter out a reasonable swathe of the very high frequencies (the engineers amongst this board's readers will be able to give you a much better idea which ones)...
    I, too, was trying to emulate con sordino (also sul ponticello and sul tasto), sadly missing from Dimension Strings (for now?). The challenge is that these playing modifications affect the frequency spectrum of each note differently. So what is required is a filter that changes with each note. You can reasonably fake con sordino, for example, with a variable low-pass filter, and automating the cutoff frequency and resonance to change with each note. Sul ponticello can be similarly emulated with a high-pass filter, and sul tasto with a notch (band-stop) filter. This is only effective with monophonic lines or small-interval double stops.

  • I am a heavy user of con sordino strings in my projects. I am not an experienced arranger and I am not a string player, but to my ear the biggest difference in the con sordino sound is that the fundamental and lower harmonics are being damped. I'm not so sure that taking out the high frequencies is the way to go.

    Having said that, I avoid simulated con sordino because it can't come close to the real thing. Most string libraries skimp on con sordino, which is a real mistake. Vienna has provided more con sordino than anyone else, but we could still use more. I would love to see more articulations and more real trills (I'm sorry, there is no substitute for a real trill). 

    Good luck!


    Large Vienna Library all on SSD, Protools/Carbon on M1 MacBook Pro, OSX Monterey 12.7, Steinway D, Rhodes Mk8-FX, Osmose, Moog One, Trigon 6-DT, OB-X8, Prophet 10 rev4, OB-6-DT, Kawai VPC-1
  • since I am researching it myself I like to point you to two threads.

    One handles brass mutes using an EQ

    the other uses a convolution reverb to achive CON SORDINO on all string libraries



  • Hello Roberto,

    I'm sorry I don't have an answer for you but if I may borrow your thread to ask a related question(s).

    Is it relatively easy for string players to switch back and forth between Con Sordino and back again?  I mean could they switch back and forth on a dime, say within the span of a few bars?

    So if a piece is written Con Sordino is it pretty much that way for the entire piece?


    Well, actually some audio engineers specialized in impulse responses and acoustics (even cooperating with VSL for some projects) have a website explaining the topic and offering a plug-in for strings sordino emulation.

    I can't remember the name, but you may find it for sure searching not only the web, but even the VSL Forum, since we had recently (few months ago) a full post debating it, with all the details.


    EDIT: I did it for you :) here you are