Hello VSL Peeps!
This is a follow up to several threads I've started over the last few years. I've long tried to find "the secret weapon" to getting VSL to sound right for me. EQ, verb, saturation? Something was missing. I never got it where I wanted. VSL has always been the most flexible library at programming a good performance IMO. I just needed to get the sound right. I have been convinced for some time that recording in the hall was simply essential to getting a good sound w/samples. I have now been convinced otherwise, thanks to MIR.
The first compares Spitfire and VSL: Bassoons & Bass Clarinet.
There are subtle differences in the voicing balance and obviously as I'm using a different hall, different samples, etc. But ultimately, they are both more than adequate in how they sound. The real question comes down to how flexible the library is then (which VSL easily wins at IMO).
The second starts with a short example from Star Wars. I'm using VSL Trumpets, horns, and bones as wellas Spitfire horns and bones. The first two examples simply highlight staccato patches vs multi-tongue. Then I show both libraries together again, then separately. Again slightly different, but very comparable. Given how well they work together, I'm very happy with the results. I'm even more happy that I have two libraries that blend very well together. I've come to think dry samples need much more than a simple verb, but a real space to go in. MIR does an excellent job at recreating that, thanks to the features and extensive capturing of the space.
What I did:
1 - EQ - A freaking ton of careful EQ'ing.
Each instrument is EQ'd simply in VIP, then fine-tuned on the track itself with IIEQ, then the bones have their own Miracle verb (shorter length) with unique verb EQ settings. And MIR is EQ'd for the whole thing. I went back and forth several times to get these just right. And even then I had to step away a few times just to be honest with myself. Lots and lots of patience.
2 - Wet Dry Balance at 19% with even the Offset at 19%
I did everything by ear using the icon knob in the room and all my dry/wet balances were exactly 19%. Even the dry/wet offset was 19%. Something about my brain likes that number I guess. The offset tool I found to be a must for controlling everything together! That said, the placement of the instruments in the room... was unique. I had the bones in front of other instruments. It just sounded right.
3 - Sometimes it didn't sound right at first. I'd then load the instrument profile, then start adjusting. This helped a ton. I left most instruments on the "pure" setting.
4 - I loaded a second Mic in MIR. Okay, seriously... this is freaking genius. This makes MIR SOOOOO much more powerful than a simple freaking verb. This blew my mind away at how much more flexible this tool is. Holy cow. Holy... freaking... cow. The cow has holes. Holy cow (I'm suddenly craving a glass of milk).
Hopefully I was clear enough in describing all this. Sorry for the novel! But ultimately, the results have been that VSL seriously holds it's weight over time as being a truly remarkable sample library. MIR has made a world of difference for my VSL samples. It's been one of the best things to happen to my template. Now all my samples will blend really well and it's only amplified how useful VSL is for me. Well done!
Cheers!
Sean