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Looking forward to the rest of the orch.... I sure hope to high heaven that there will be seperate Violin I and Violin II.
Chances for that are high I guess Jeff. With the sections being recorded in place, and with the Synchron Stage ambiance baked in, it wouldn't be possible to form a second violin section out of the first without compromising the natural ambiance and spatial cues.
if the new Full Library Synchron Percussion costs 1.490, imagine a Dimension Series?
Looking forward to the rest of the orch.... I sure hope to high heaven that there will be seperate Violin I and Violin II.
Chances for that are high I guess Jeff. With the sections being recorded in place, and with the Synchron Stage ambiance baked in, it wouldn't be possible to form a second violin section out of the first without compromising the natural ambiance and spatial cues.
Let's hope so. I have no use for a string lib which only has Violin I. Not the way I write and orchestrate 😊
The other thing I am hopeful for is true div. Recordings of everything re-done with half-size sections. THAT would be a game-changer (and oh boy how I hate that phrase!!!) - the only other string lib on the market w/div. is LASS. Which works well, but this could easily surpass that if done correctly. Hopefully the markest will dicate that going that extra mile is feasible.
Really, really looking fwd to this entire orch package. Currently, the only VSL products I own are Epic Horns, and VEPro. I am aware of VSL's rep for quality, and attention to detail, and hope that the VSL standards will be met here.
BTW - remember that NSS thread in '02 (?), where everyone was laughing at VSL, when they came on and announced that they were doing this huge mega-lib.... who's laughing now? 😊
Hi Paul,
the percussion sound amazing! Can you tell us yet if there is going to be a string library from this studio?
thanks,
Steve :-)
The other thing I am hopeful for is true div. Recordings of everything re-done with half-size sections. THAT would be a game-changer (and oh boy how I hate that phrase!!!) - the only other string lib on the market w/div. is LASS. Which works well, but this could easily surpass that if done correctly. Hopefully the markest will dicate that going that extra mile is feasible.Actually, there's also Symphony Series String Ensamble with auto real divisi capability. That's why I like to use it in combo with Dimension Strings.By the way yes, I agree it would be really nice to have this feature for a "future-proof" and complete strings library.I don't know if outside the silent stage, everything became more complex to achieve, because of the room contribution.
regarding to half-size sections:
I don't use the LASS, but I can say one thing for sure.
Since I have all existing String Libraries I agree abselutely with Herb who says that such a huge String-section like the Appasionatas can not easyly be replaced by combinations of several strings. Before I bought them I thougt he was wrong.
I created big String-Sections by combining the Chamber Strings or Orchestral Strings with dimension Strings and used a lot of detuning and so on ... But when I played the Appaionatas as a demo I found out in the end it is not the same "thick sound" of the Appasionatas.
To have all existing Strings is a real pleasure! And what ever is coming with SS-Strings ... it will surely a great addition to what is existing, but no replacement or gamechanger. At least everything what can be good already exists.
Hi, Paul
I have a similar quesiton as LAJ: I already have an orchestra template and am using a MIR Pro for the room (e.g. Teldex, etc.). I also take advantage of MIR's ability to draw from built-in presets for each type of instrument and set the mixer levels to the natural sound that allows each instrument to be at the right volume relative to each other.
How would I integrate a new Syncron Drum into that orchestra template? Would I use the "close mic"? Would MIR know what settings to use?
Hi Stephen,
You will get the best results if you just use the microphone positions to match your orchestral template (check the balance between the available positions, you will get quite close to the Teldex).
Synchron Percussion I is not supposed to be used within MIR PRO.
Best,
Paul
Paul said something about the"natural noise floor" in these new samples,, in one of the exciting Synchron Percussion presentations video. I don't know if I can share a youtube link in the forum, so in the Synchron Bells video at 0':45'' you can clearly hear the noise floor coming up in the high dynamic sample; that one doesn't sound like natural noise floor, but like "too much gain added" :) ,
Now, personally, I have plenty of beutiful samples from other companies made almost unusable because of the noise some layer has. VSL libraries are so perfect in that field, I really hope you were so unlucky to trigger one of the few "bugged" sample of this new thrilling library in the video! :P
OK another simple but presumably indiscrete question:
What should we expect from the Synchron-Series:
Am I that wrong if I expect it would it be
(I know that no VSL-guy will ever answer but, this is what seems to me reasonable to expect from the upcoming new Synchron-Series)
For the other readers .. Just to avoid misunderstandings. What I called "bad answer" refers only to Pauls info, that SS-Percussion 1 is not supposed to be used in MIR. That's all 😉 He did not give me "names" :)
I see. 😊
You're right: Technically you could use the close-mics of Synchron instruments with MIR. The results will be just fine, but you have to be aware of several important differences compared to VSL's Silent Stage recordings. The distinctive reverb tail is one of them. But most of all: These are close mics which were recorded as part of a "bigger picture", so to speak. These mics on their own won't (and aren't meant to) represent an instrument as comprehensively as we are used to by samples recorded at Silent Stage*). Close mics provide means to add definition and "grip" to potentially overwhelming spatial audio information.
... it goes without saying that it doesn't make much sense to send the Decca-tree or surround tracks of Synchron Percussion into MIR, of course.
*) Sidenote: Contrary to common belief and urban legends, VSL never recorded "close" or in an anechoic environment, just "without reverb". ;-)
