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  4. From Orchestral Strings SE, to the Full version

  • From Orchestral Strings SE, to the Full version

    PaoloTP
    PaoloTP

    HI,

    I have a question for all those who own both versions (SE and Full) of the Orchestral Strings. I would like to ask them if and how they use the additional features of the Full edition.

    As for me, by reading the specs I can see that there are a few articulations that I would really love to have, and the SE version doesn't include (sul tasto/flautando, non vibrato, performance trills).

    I don't see myself using the other articulations very much. In particular, I can't understand if prerecorded scale runs or upbeat repetitions are really used while composing, or when finishing a mockup.

    Do you use them? Are they superior to the same thing you could do with an external sequencer or the internal VIPRO APP sequencer?

    Thank you for enlightening me!

    Paolo
  • M
    M
    last edited
    last edited

    Hi Paolo,

    a few experiences with the full orchestra library (yes, I used the Special Edition Plus before).

    • A very useful sample is a combination of the legato samples with the sustain samples (with vibrato). The legato patch has 2 layers in velocity, the sustain has 4 (the sustain in Special Edition had just 3 !). With the combination you have a legato patch with 4 layers, very useful in combination with the normal legato patch (2 layers, make together 6!).
    • The runs I didn't use... until about a month ago. I made a full orchestra mockup of a few songs for use in my family as a accompaniment with brass and timpanis and piatti and snaredrum and tam-tam (don't worry about the costs, they all play for free for you 😊) and what I never expected, I could use very well the runs. Just fun. Of course, I could have made these runs also with other samples. But I must say, these runs sound very well.
    • The more detailed dynamics (velocity layers) in the sustain is something that I use every time I make a piece for an orchestra with strings.
    • For second violins purposes there are some patches, for unisono playing with the first violins.
    • There are more short, and long notes (short staccato, long staccato, short detache, long detache)
    • I feel myself very rich that I can use all these samples and I didn't regret one second that I bought them
    • I have to say, that I use them always together with 2 or 3 solostrings in every group (violins, violas, celli, doublebasses) and I make rather strong humanize settings for them. That combination gives much more liveness in the sound, especially with the fast notes.

    I hope this helps you a little with making a good choice.
  • PaoloTP
    PaoloTP

    MMKA, thank you very much for your view and hints. The finer dynamics are something that will undoubtedly be of use when composing, and even more when producing the final audio file. SE patches usually lack the softer dynamic level, therefore resulting (to my ears) in a bit "rougher", less rounded sound. I work a lot in the softer area of the spectrum, and the added realism of that additional layer would be inspiring.

    Still, I don't totally get the utility of sampled runs. Not that I consider them not useful (they add a lot of realism), but I'm just thinking to my personal situation while composing. I should probably start projecting myself towards the finishing touches phase.

    Paolo
  • M
    M
    last edited
    last edited

    I understand totally your question about the runs. For me it was the same.
    Just for your understanding about the runs:

    You can start a run on every note of the scale, for example scale c-major you can begin on an e.

    You can use a part of the scale, f.e. scale c-major, cdef. Just make the note short enough to just hear that 4 notes. You can get the run cdef defg efga fgab etc. just by writing c d e f etc..

    In Vienna Instruments Pro you can adapt the speed of the runs by stretching the runs.

    The minor scales are harmonic. I could make a scale with the septime without a sharp by using 2 scales, for the first 4 notes I used the minor scale, and I used another scale with the notes I wanted, f.e. the "a" minor scale for the first 4 notes and the c major scale for the last 4 notes (of course you start the c-major scale on the e). (Comment of MMKA: of course the more easy way in this case should be just starting the c-major scale on the a ðŸ˜Š)

    This just to get an impression how you can use them.  
  • PaoloTP
    PaoloTP

    MMKA, thank you very much, this makes things a lot clearer! By combining several parts of scales, one could build a whole universe of music. That's very interesting!

    Paolo