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  • Vaughan WIlliams: Rhosymedre VSL

    Re-recording of this work by Ralph Vaughan Williams. Polishing my orchestration and mixing technique. As always, feedback is appreciated.
    VSL SE orchestra strings, with chamber strings as divisi, along with VS SE winds and brass, recorded in MIRPro Sage One.


  • Hi Michael,

    Here is my 2 cents worth!

    Generally, it's sounds quite good.

    Some suggestions for improvements:

    I would use more subtle changes in the tempo track (rall, rit, etc.) as well as more dynamic contrast to enhance the different musical phrases.

    I like dynamic change  you do at 1.52.

    The basses section parts (bass and cello) are not define enough in the left - right plane as well as the depth of the room.

    (I don't know which mic position you use but it may be too far away.)

    Take the pizz section for example, personally, I like to hear the the direct sound clearly define of the pizz from the  left side and hear the reverberation of the pizz sound filling up the rest of the room. (the indirect rebound of the sound) It is particularly stunning in a real concert hall.

    Right now, it seems to come from somewhere in the back as well as the reverberation. (less interesting in my view)

    You could have a good idea of the sound if you play with the Dry/wet parameter of the room while you listen to one section at a time and ajust accordingly.  The room you use is very interesting, I use it a lot too...

    Maybe you can enhance the dynamic shaping of different voices.  (like between 1.30 and 1.42)

    This would enhace the awareness of these different lines and hence it would become more interesting to the hear.

    Keep up the good work!

    Jean Roy

  • Jean Roy, thanks for the feedback.  I appreciate it.

    I've never tried to adjust wet/dry mix of different instruments or sections within the room.  That seems foreign to the notion of placing the instruments in the room and letting them do their thing, but I'll give that a try.

    Basses in this recording were far back on the stage and centered, so you're right, they have little left/right definition.  I'll try the piece as a traditional stage layout recording and see if that has an impact.

    You're very perceptive regarding tempo.  This piece has little tempo change, I haven't played much with that in this piece.  I never have had much luck with the dynamic tempo track input of my notation program (Notion).  Tempo changes are rather tedious to implement.  I'll listen to the piece further to see if some variation would help.

    Thanks for the encouragement!


  • Hi Michael,

    About the wet dry slider,

    I didn't meant to ajust the individual instruments but just take the instrument that are the further away and then play with the room wet dry slider as it will determine the max depth of the room.  When your are satisfy with that, usually, the other instrument fall into place as VSL room are pretty well calibrated.

    I would fiddle with the wet/dry parameter of an instrument if I have an instrument solo, (oboe or clarinet would be a good candidate for that but then just slight ajustment would usually do the job)

    As Dietz mentionned somewhere, the visual placement of instrument can be misleading as we tend to organize according to what we see and not what we hear..

    So trying different instrument position first  and then if needed ajusting  individual wet/dry slider .

    Since you mentionned that you did that with Notion, then its pretty good!!

    I use Notion just to enter the note, then I export it to cubase. 

    You have much more control then. But a bit more work.

    To vary the tempo, I agree that Notion is not very flexible but you can export it to a DAW and then draw your tempo curve precisely.

    That method does not require too much work.

    Have a good day!

    Jean Roy

  • last edited
    last edited

    @jeancello said:


    As Dietz mentioned somewhere, the visual placement of instrument can be misleading as we tend to organize according to what we see and not what we hear. [...]



    /Dietz - Vienna Symphonic Library
  • That's a tough one for me personally.  I'm an architect and very visual, and the visual aspect of MIR is very compelling.  If Dietz didn't want me to look at it he shouldn't have made it so damned seductive!!!



  • PaulP Paul moved this topic from Orchestration & Composition on