Yes, was in the works. ;) 

You could check out "Turns" for muted trumpets.

https://vsl.co.at/en/Brass_Bundle/Vienna_Dimension_Brass_2

@Guy Bacos said:

Yes, was in the works. 😉 

You could check out "Turns" for muted trumpets.

https://vsl.co.at/en/Brass_Bundle/Vienna_Dimension_Brass_2

Phantastic demos, Guy. What did you use for spatial positioning (any VSL software in there)?

Thanks Goran ;) 

I don't have the project opened in front of me, but I used the Grosser Sall Stage, (Conductor), Dry/wet offset at -30%, MIRacle3.6s Gr. Saal set at 20dB wet. For this piece, in MIR, I preferred to have the strings more in arc shape of 2 rows and not too close from the coductor, each string section overlap a bit with each other, the muted trumpets are in the center closer to the back, the rest is scattered in the rest of the spots. I used the VSL compressor for each instrument, but for the strings I'd use the dimension strings compressing for the general section: One for violins, one for violas etc  A bit of exciter here and there, at the output a general VSL compressor "Modern clear Master" in this case, although it tends to be a bit too much sometimes so I brought down the volume before that a bit. A bit of VSL Master Equalizer and I think that's about it. I told you what I did, but honestly I don't think it's an area I'm good at, I just can't find the time to work at this more, but I can get by at least. 

Thanks for the detailed information, Guy. To my ears, these sound excellent not just in terms of performance shaping but spatial positioning and (for the very most part) overall mix as well, so I do think you are being far too modest ;-)

Apart from the brass, I also very much like the way the strings sound (especially in Turns, which turned out to be not just a phenomenal DB II demo piece, but one of the best sounding DS demo pieces as well imo) 

Your mention of the use of compressor on all instruments caught my attention: was the purpose of this having a tighter overall dynamic range for each instrument or something else? 

@goran_tsch said:

[...] Your mention of the use of compressor on all instruments caught my attention: was the purpose of this having a tighter overall dynamic range for each instrument or something else?

If I'm allowed to chime in here: I assume that over and all Guy likes the additional "glue" that a bit of compression can add to the performance of sampled instruments. Using comparatively low thresholds, ratios of 1:1.2 or 1.5 with just a few dB of gain reduction every now and then is all that's needed, most of the time. ... and if you're using Vienna Suite's Compressor, the optional "FAT" will add some warm, glowing saturation, too - especially nice on solo instruments! 😊

Hi Dietz,

ok, thanks for sharing this - I'll try this method out on some solo parts ;-)

Maybe I should add something since I've gone this far, and not to mislead anybody. I always first complete the piece without any compression anywhere, making sure it's to my taste, dynamics and all, only then I start thickening the sound, and making sure it adds body but without affecting the dynamic range or the least possible. Maybe I take it for granted, but balancing this in the final step shouldn't be under estimated. 

Thought so, to me this sounds like a technique one would (mostly) use in the "final polish" stage, not before... and again, thanks for the info...

An impressive  piece and a worthy addition to the set (and again with some great string passages ;-)