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 :-)
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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.
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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.
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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?
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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 Kopf Head of Product Marketing, Social Media and Support -
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
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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
- all what is Part of the Symphonic cube
- with 7 mixable Synchronstage microphone-positions ( Hi Jeff....😛) and
- auro 3D acoustic
- considerably more Velocitylayer with
- Need for ten time more SSD-Storage (3-4 TB)
- and all that twice as expensive as the current silentstage Symphonic cube.
(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)
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I think they record everything you heard in the Jurassic Parc Video ... their own Orchestra. Regarding to this Percussion 1-package ... I had the Time 2 watch all Videos now and listened with Headphones. The Bassdrum is the best in the Package - love that bass! Timpani Sounds good too - especially the glissandi. On the other hand the Celesta sounds like all the others outthere Nothing overwelming here. If I had to choose the best of the Package I would go with drums 1. And maybe ... because the bassdrum and the timpani are standing in the Center of the room, both could work with other roompacks. If I should buy the drums 1, I will make a test with the Bassdrum and inform you about that. Maybe you have to use a Gate-PlugIn that cuts the reverb-tail automated off. BTW ... the bad answer from Paul made looking for other MIR - friendly Products wich are compatible to Orchestral Instrumtents & I endend at Bestservice buying PHOBOS from BT yesterday. (Goddamn ... It is a "gamechanger for itsself" too ;)
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Hallo Dietz, die "schlechte" Antwort lautet, dass man die SS-Percussions 1 nicht in anderen MIR Packs einsetzen kann. Jetzt wo ich das Setup Video gesehen habe verstehe ich es erst recht nicht. An der Stelle 1:40 des Setup-Videos erklärt Paul, dass man über den Drehknopf 1a im Vienna Instrument die "Position des Close Mics" bestimmen kann und dreht ihn auf die 11 Uhr Position, damit man die Toms auf der entsprechende Position hört. Also gibt es doch eine Positionierungsmöglichkeit ... So und jetzt noch einmal die große Frage: Wenn ich die Toms von 11 Uhr auf 12 Uhr drehe, sind diese dann nicht im Center, sodass ich (NUR) die Close aufgenommenen Samples auch wunderbar in anderen MIR Roompacks verwenden kann? Es geht nicht darum die weiteren Mikrofonpositionen in anderen Roompacks zu nutzen!! Dass das nicht geht ist klar... Es geht nur um die Funktion desReglers1a im VI, der offenbar ein L/R-Positions-Button für das Close-mic ist? Denn dann wäre es ja doch möglich, die Close Samples in anderen Roompacks zu verwenden ... Falls es ein Misverständnis wäre, dann sollte man diese Möglichkeit den Usern klarmachen, denn die Mono-Samples in anderen Roompacks zu nutzen, ist (denke ich ) alles was sie wollen. Es geht auch nicht darum, dass die Close Position keinen Reverbtail haben darf ... der kurze Reverb stört die meisten User nicht - wie man an anderen Libraies sieht, die von Drittherstellern in MIR verwendet werden. Und man könnte den ja auch weg-gaten, z.B bei Instrumenten wie Cymbals, wo der Reverbtail lauter zu hören ist als bei Tiefen oder tief-mittigen Klängen. Außerdem bin ich Paul ja nicht böse ... PHOBOS ist genial : )
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It's not supposed too, but you can quite successfully do that. Synchrom close mics sound beautiful and pretty dry, so you could try to use them inside Mir. Otherwise it means any other library but Vsl ones could be used in Mir, because I can't recall many other library recorded in anechoic rooms.
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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". ;-)
/Dietz - Vienna Symphonic Library -
Thanks for the great conversation here... Paul, Lars, Dietz, Fabio, et al. It's remarkable that we can have this conversation with the actual product managers themselves. I have watched the demo videos, and am really impressed with the improvements to Tympani. The new set handles releases so much better and looks easier to use. It sounds great! I also love the sound of the new bass drum. Regarding the room space, I may be fortunate in that Teldex is my "go to" MIR room, and Syncron stage looks to be a similar style room. So, mixing the old and new might work okay. (And when a Syncron Stage MIR Pack is available, it would obviously match even better). On the other hand, if I want to use a larger space like Sage Gateshead, it sounds like there isn't an ideal soulution, but two workarounds. 1) use the close mic alone from syncron stage and run it through MIR to place it in the room, or 2) run the syncron recording through a traditional reverb to add a longer tail, fiddling until it sounds good. I am still trying to envision how to make this as intuitive as possible, because I really liked the flexibility of the silent stage recordings, to position instrumentalists where you want them, whether using MIR or not. I wonder how easy that will be with Syncron stage.
