I posted a similar query a while ago, and with a few new string libraries now on the market it would be great to get a sense of how Orchestral Strings (on its own or maybe mixed with DS) stands up in context, especially with MIR. I totally enjoy and appreciate the sound and flexibility (and lack of nasty surprises!) of the Solo, Chamber and DS strings that I have with VI Pro and MIR, and I get a good sense of Orchestral Strings capability with the SE version that I have. Given the price of the Orchestral Strings bundle, even with my SE discount, a few more recent demos would tip me over the line and keep me from potentially wasting my money on other products that I may potentially regret.
I'll answer this partially since I've been testing them for Visual Orchestration 3. Based on my testing, in general, the Vienna strings are vastly under rated, while at the same time, separate from MIR/MIRx some things are needed to really bring out the sound. One of them is within the VSL family, and that's FORTI/SERTI which is highly under rated. Once ERs and a TILT filter are added to the Orchestral Strings 1 and 2, they really blossom out and you get a much fuller sound from them that can work in any genre. At that point, it's the covering reverb.
Outside VSL, Ernest has a product that's been around for years called The Hollywood Impulse Responses which combine a reverb tail + a TILT filter. Add to this an ER from FORTI/SERTI and literally, in minutes, you've got your sound. Here's the link:
Tonight I applied the same procedural test to Appassionata Strings 1 to see if I could get them into the same room with Berlin Woodwinds (BWW). Worked. Like. A. Charm. Listening on Sennheisers, it was like having Von Karajan's string section in my computer. If you do the whole thing within FORTI/SERTI you have multiple choice on dark/bright factors for the TILT filters which helps in matching either Teldex or others in Kontakt that have a slightly darker quality.
RE: The Teldex sound. You have that available in the Vienna Suite with Hybrid Reverb and separate impulses for the Vienna Convolution Reverb.
SORDINO: I have the Cube and the complete Orchestral Strings 1 and 2 including the extended set. You have a VERY complete set of recorded muted strings vs. a switch that "enables" a muted string sound in Berlin Strings and also two other string libs that I'm aware of. This has been available since the days of the Pro Edition.
LEGATO: There are multiple legato bowings plus a "backdoor" legato with the trill legato.
SIZE: It's a larger string section (14 vs. 8 vs 11).
In fairness, I should point out that the other libs are multi-mic setups.
Speaking personally, I wrestled with this very question. But the career/musical decision that I came to, was that I defined the sound I was looking for. And here it is:
With this planning criteria in place (hellooo Lean Six Sigma), I would then look at these other libs for a secondary template with a smaller sized darker sounding ensemble. My model is the London Metropolitan Orchestra as used in the Endeavour TV Series from ITV. Here's a link with Barrington Pheloung conducting:
With VSL's new "audio division" you really do have a lot of different ways to go within the family!
Do you intend to show exactly how to get that sound(s) in visual orchestration 3?