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  • Dimension Strings Target

    I am very impressed with the Dimension demos. I am intrigued by the section sizes: 8-6-6-4. What is the target use or audience of this collection? It is a much smaller group than most orchestra or film groups, although it sounds fantastic. Was this aimed at pop, Broadway,....?

  • I think the idea is to duplicate instances of Dimension Strings to achieve the desired ensemble size and use your mixing enviroment (e.g., MIR) to differentiate the sound.  I guess to move freely between unison and divisi scoring in the violins, one would need to either use different articulations between the instances or the same articulation coupled with chamber violins in each section, combined with the 1/2 step transposition trick for both libraries.  

    Any other approaches come to mind?


  • aplanchard, Your answer is very clever and helpful, thanks. I am excited about using the small sections as they are because they sound so good and will lay in a pop track so well, but the concept of layering them (or blending them with my existing Chamber or Orch samples as someone else suggested) really opens some possibilities. I am going to order this package now while it is such a good deal.

  • I wonder then how one can use this product as a string section in a modern orchestra, as a means to achieve flexible divisi scoring in a large orchestra setting?   Perhaps that is not the goal, but simply to either act as a chamber ensemble or add detail to a large orchestra? 


  • That is what I meant - divisi without dividing Dimension Violins.  A full Violins 1 would include an instance of Dimension strings and Chamber strings, and Violins 2 would involve a duplicate setup but using the 1/2 step transpose trick, so as one moves between monophonic and polyphonic scoring (2-4 lines) using all violins, there is no phasing.  

    Any one else have thoughts on using Dimension Strings in this manner?


  • Hi everybody,

    You can use Dimension Strings in so many combinations.... There is not only one way. Once again, it´s really your choice what you want to make of it [:)]

    If you are using different players with different articulations for multiple sections and place them in the stereo field, there is of course also no phasing.

    I´m sure there will be quite some more demos, examples and explanations available soon.

    And of course there will be many opinions (which is a good thing!!).

    Best,

    Paul


    Paul Kopf Product Manager VSL
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    @aplanchard said:

    Any other approaches come to mind?

    If you double the players and reduce the dry signal in miracle ,you can even make Orchestral Violin with 14-16 players

    and i really need to have ssd for this

    Regards,

    Willy

  • FWIW... I think that among many sample orchestra people there is a tendency to focus on the 'Epic' sound of video games and movie scores.

    But in the real world (at least my real world of Seattle and Dublin) if you look at the size of most ensembles, either for live or recording, Dimension Strings is -totally- the right fit. Most sessions I see are 10 fiddles -tops-. I'm dating myself, but I played Motown sessions at the tail end and -all- those hit records were usually even less---but they sound suitably 'big'. Heck, I just saw Fidelio last weekend and the standard opera orchestra complement Seattle Opera uses is 4 basses, 6 celli... etc. And they sound totally 'heroic' in a good sounding hall.

    My point is that, I sometimes think one of the give aways of 'mock ups' is that they sound artificially 'big', I mean, sometimes I think it's like a synth with too many oscillators. :D

    Can't wait to get D/S! Although I do take yer point: I can see this concept scaling to, say 12 desks... Just waiting for those 1TB SSDs. ;)

    Cheers,

    ---JC