Better to stop with this conversation. The example wasn't a Solo Violin, it was Orchestral strings Violins. Obviously you didn't hear the difference.

And I haven't heard of a walking violins section, they sit steady, waiting until the conductor says/signals :  "OK, ready for coffee!".

Raymond

Ok, sorry. I didn't follow your link. In a violin section it may occur that some players play louder sometimes than other ones, which also leads to a varying panorama. Anyway, I'm not sure why you have such an angry tone. I was trying to help.

In a violin section it may occur that some players play louder sometimes than other ones, which also leads to a varying panorama.

This was just an example. I have more, e.g. staccato followed by legato and vice versa and it is clear to me that there is something wrong with the recorded samples. They differ in panorama - listening with headphones - so wide that I got confused which instrument was playing in the first place (I panned violins 1 to the left and violins 2 to the right, more or less as a baroque orchestra). Somebody I know suggested that it has to do with some other settings like CrossFade. I am not sure of that, it seems a bit far fetched.

This conversation wasn't meant to be hostile, but when you cannot handle criticism it is ok with me.Nevertheless you and your company made an outstanding sample library.

Raymond

Raymond

I don't consider myself a power user of the library, but certainly a power composer by comparison with what's around today. I am happy to read about another composer that is not just interested in lobotomotive music and wishes to exploit all nuances of the incredible VSL, and I personally wish they would record many more instruments and articulations - and I wholeheartedly agree, first of all they should certainly bite the bullet and make a completely separate Violin II and Solo Violin II sections/pleyer. Combining Orchestral with Appassionata Strings, or using different articulations, EQ etc. as Andi suggested, may get some results, but it really is a poor man's substitute; not what the flagship of sample libraries should be about...

However, and to my knowledge, VSL is the only library with so many demos that don't cater exclusively to the beat mongers (the opposite in fact), and Andi personally has composed quite a few tracks for the videos that very much fall within the realm of proper music, when he could just as easily have clicked his mouse a couple of times to arrpegiate some inane sequences in order to showcase some new addition to the library or software. Now that is just great and requires effort and time which he could have easily saved without hurting VSL's sales - maybe he did hurt them!... Similarly, VSL and thankfully EWQL as far as I know, have yet to record huge slabs of Hollywood earblockbuster claptrap for the deaf hopelessfuls (alla Gluemina, INaction Strings, etc.). I for one am very grateful for that.

As far as how to use the library to its potential (i.e. tutorials etc.) is concerned, they don't have to do anything, and they probably could not even if they wanted to. The best demos I have heard save for the original Blue Danube, have come from users who, understandably, won't publicize their secrets and will protect their livelihoods. Beat's and VSL's own tutorials address the beginner to intermediate level users, and then we are all on our own.

The other important thing to remember is that most of the other "libraries" address the """""""""Epic""""""""" cloneposers, and their knobs and buttons seem to be easier and get more immediate results, simply because those results are the only ones they are capable of. That's what they were created for. VSL's vast palette that allows for so many different kinds of musical use (as so many disparate demos from the top users have proven), has resulted in a "dashboard" that is much more sophisticated. To continue the metaphor, VSL is a Ferrari, and as such can be driven by an old lady, somebody like myself, or Schumacher, and of course the course results will be appropriate in every case. The difference with most other libraries/cars is that Schumacher will also be satisfied by VSL's handling.

Since VSL has yet to embrace my idea of its own notation+DAW all-in-one, my wish is that it will continue to explore more user friendly (i.e. musically intuitive) ways to work with the leading notation packages on the market. I compose with Sibelius and I will pay serious money for a "magic" VSL something that will read my sophisticated notation with all articulations and dynamics as automatically and integrally as Sibelius Sounds, ARIA, or NotePerformer do, during the compositional stages, and then it is up to me to export everything to a DAW for intricate nuances, automation, etc.

@Another User said:

As far as how to use the library to its potential (i.e. tutorials etc.) is concerned, they don't have to do anything, and they probably could not even if they wanted to. The best demos I have heard save for the original Blue Danube, have come from users who, understandably, won't publicize their secrets and will protect their livelihoods. Beat's and VSL's own tutorials address the beginner to intermediate level users, and then we are all on our own.

Why won't they publicize their secrets? This is a secret for me. When you put something at the Compositions area of this forum, why not telling (when asked for) how you did it? How did you do that great portamento? Is the Pitch wheel involved? Users on other forums do this regurarly.

I will go for this, but bring another 10 mil with you..........(haha). Please no, Vienna is strong in making sound libraries, others are more or less strong in notation programs, but some cooperation between those disciplines will be very welcome. Make programmers musicians and musicians programmers and hire authors for writing decent manuals.

This develops into a very interesting discussion, thank you Errikos

Raymond

I am not a bookkeeper but this table puzzles me:

Standard: full price € 490 - savings € 130,- = ?

also with the other columns.

RR

The "Bundle Savings" is the difference between the bundle price and the unbundled price of Solo Strings 1 (not muted) plus Solo Strings 2 (muted). The price of those separately would be € 620, bundle savings of € 130 = € 490. The "Your Price" line shows the discount on the Extended library only that you receive as a result of owning the Special Edition. This means you do not pay full price to license libraries that partially duplicate samples you already own, though indeed you pay full price to license the Standard library even though many of those samples are present in the Special Editions. It is a not-so-subtle way of encouraging people to license the Full library. I'm not sure it's necessary, since the Extended libraries contain many articulations that are difficult to live without once you have them, but that's the way it is ...

Raymond, just my opinion, but how one converses, even on a website, matters.  To me, your tone is something other than "friendly".  As to why high-end users don't share very much (I am not a high-end user), high-end power users will protect what they have learned through their years of experience.  What they have learned helps differentiate them from other not-quite-as-successful users, and preserve their advantage when it comes to earning money.  One can learn, but there is no subsitute for hard work.

There is another long-standing technique, often discussed, to avoid phasing between the violin parts.  For the second violins in SE, another possibility is to transpose the part down a whole step (a half-step in the full libraries) and then raise the pitch back to concert level by adjusting the pitch via the modwheel.  Using that technique avoids phasing on any unison note as the two parts trigger different sound samples.

@noldar12 said:

Raymond, just my opinion, but how one converses, even on a website, matters.  To me, your tone is something other than "friendly".  As to why high-end users don't share very much (I am not a high-end user), high-end power users will protect what they have learned through their years of experience.  What they have learned helps differentiate them from other not-quite-as-successful users, and preserve their advantage when it comes to earning money.  One can learn, but there is no subsitute for hard work.

There is another long-standing technique, often discussed, to avoid phasing between the violin parts.  For the second violins in SE, another possibility is to transpose the part down a whole step (a half-step in the full libraries) and then raise the pitch back to concert level by adjusting the pitch via the modwheel.  Using that technique avoids phasing on any unison note as the two parts trigger different sound samples.

Dutch people are direct in their answers and questions. I hate literature in letters. If that offends others, I am sorry.

I admire those who made outstanding recordings thru hard work, but one can work as hard as possible, trying out different settings, experimenting until kingdom comes and still be at the wrong track or tackling the problem from the wrong angle. Any help will be appreciated in these cases. Not everybody is a MIDI king or a professional in making excellent "mock ups." So far this.

Your solution with the pitch wheel will be examined and it makes sense to me. Thank you for that. If discussed before at the forum, possible, but after several searches with different keywords I didn't find this.

Greetings,

Raymond

As you pointed out in the very beginning that you won't be willing to pay beat kaufmann for his work on his tutorials, well, consider him being one of the pro-users of this library who decided to share their experience with other users. He often does this for free by giving hints to other users here in the forum, but if you want his knowledge step by step he wants some money in return.

You also could consider your piano-teacher as a pro-user of that instrument. Whether you buy a steinway or a yamaha, none of them comes with a manual, yet the "knobs" are quite self-explaining. Still, after some playing around most people decide to get some professional assistance and agree to pay for it.

Personally I do not know a pro-level audio software product which explains you what a delay is doing to the sound. The manual tells you it's being there - that's it.

That being said, I still can understand the call for a „First steps into the vienna world“ kind of brochure, maybe in the kind of the tutorials of Sibelius.

I think the example of the piano teacher has nothing to do with this subject. With or without the teacher when I press a knob I get a sound and all knobs are giving me different sounds. There is nothing to explain here. It becomes different when I play a violin, cello (and I did this also), a sax or trumpet. There is more than just moving the arm/wrist/hand or blowing some air into that thing. This leads automatically to some manual (as you stated) : How to begin and what are the pitfalls. When it comes to excellent performances I will look for a payed teacher.

By the way, I had a Schimmel Grand (medium size). If I could do those years again, I would have bought a Blüthner or Erard. I never was very fond of Steinway or Yamaha (played on both during my concerts).

[I think I solved that phasing problem, not by different pitches while notating]

RR

.

Andi, if I offended you, that wasn't the intention. I apologize for that.

What William wrote is way out of line. I never thought it to be simple and a phrase/held note must undergo some sculpturing to get the best out of it. But when I cannot find the tools for this and when I encounter some problems trying to get it right, then I go to this forum asking for advice, some extended written instructions or explanation in the video's.

But the nature of this whole thread, accusing me of being rude, impolite, even hostile, is just that. Black is black and not blackish.

Good bye,

Raymond

never mind - forget my post