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Exactly, as Paul mentioned, we didn't have access to the powerful Synchron player yet, so we had to improvise a little bit with multiple VI Pro instances per section.I guess this won't be the case once the library will be released.
In general I must say that this whole thing might be a game changer.
Hi,
I'm sure that Guy and Christof can add much more information here, but in general, they both had access to all microphone positions, and they were performing with the classic Vienna Instruments.
Best,
Paul
Guy,
I hate to sound this picky...
But would it be possible to hear a version of The Hatchling without percussion? I know we'll get more demos, but it highlights the staccatos all over the place, just with a lot of percussion mixed in. That isn't a complaint about the writing. I just think an alternate version would be really useful to hear is all.
Either way, thanks for making everyone salivate enough as it is. 😉
-Sean
Guy,
I hate to sound this picky...
But would it be possible to hear a version of The Hatchling without percussion? I know we'll get more demos, but it highlights the staccatos all over the place, just with a lot of percussion mixed in. That isn't a complaint about the writing. I just think an alternate version would be really useful to hear is all.
Either way, thanks for making everyone salivate enough as it is. 😉
-Sean
Thanks a ton! It's great to get a "closer" listen to the strings.
My initial thoughts after hearing both demos:
Oh.. oh my. This isn't like before. It's not like when you hear a sample library and go "that's impressive". Synchron's best qualities literally make me weak at the knees. I'm saying to myself "this... this is what we've been waiting for all these years."
I could marry the Pizzicatos accross the range. The tone and color of the library overall is stellar. But everything pales in comparison to the absolutely gorgeous low end and dynamic expressiveness of the whole library, especially the variety of staccato attacks going on. It's magical.
At first the higher notes caught me off guard. The upper violin staccatos in The Hatchling reveal the room slapping back at you. I'm just not used to it with VSL's traditionally dry stage. But as I think about the various recordings and spaces I've played in myself, I realize it's the character of the space. I'd EQ it a bit differently, but that's just personal taste.
Some of legato transitions sound brilliant. Some are harder to tell, but I realize I don't have a clue which articulations were used where. Heck, we all use samples differently. Only time will tell as we get more demos and see video walk-throughs.
Overall, I think layering Synchron with Chamber Strings is basically just a must. It just must happen. I'm still weak at the knees here. I've never heard samples by so expressive. It's velvety chocolate goodness from quiet to loud then it gets gritty and bold but still very warm. It melts in your mouth. I'm dying here. Breathe Sean Breathe...
If Synchron Brass is modular/divisi, I'm going to need to get a better 3rd slave machine. I may as well start planning for that now. Dang it... Dang it dang it!
I'm in love.
-Sean
P.S. With Synchron, every other string library out there is probably a waste of hard drive space... and money. I'm seriously impressed.
Superb, this is truly worth the wait and plus a new Synchron player... thank you Lord (Paul!). lol
Great sound! Question on one of the pieces. In Christof's demo, it sounds as if he is not using legato. Slight detaché articulations instead? I hear separation between notes in most of the piece. Thanks.
So these demos are without EQs, Comressors, Limiters, MIRs, Reverbs, just pur, pur, pur?
If not then please do it once more without any effect please so that we only can hear the library...
Thanks!
All the best
Beat
It seems that I bought the right christmas present for me.
Hi Beat,
I can't speak for Christoph but my demo has some stage recording MIRacle. No EQ at all.
I think most demos are presented with some reverb to help unify it and it's also important to show how it would sound in a more finished mix to not give a wrong impression.
However, in the folowing days I'll be posting some simple melodies, with and without rev.
Guy
Many thanks for your help, Guy ! We would really appreciate simple melodies too.
However, in the folowing days I'll be posting some simple melodies, with and without rev.
Guy
Thanks Guy for your work.
It will be also very interesting to have a version of the piece played with VEP and String, another with VEP and Dimension String
However, in the folowing days I'll be posting some simple melodies, with and without rev.
Guy
Thanks Guy for your work.
It will be also very interesting to have a version of the piece played with VEP and String, another with VEP and Dimension String
That's really to much work to ask to Guy! 😖
More demos will come.
But regarding alternative versions, demos are not meant to be dissected, re-mixed or re-arranged with other libraries, this isn't my job, the objective for me is to show how a piece could sound with with synchron strings. What I can say is that the piece was written using a bit of MIRacle. I'm working on other demos which will give more variety and hope to post soon, however you may have to wait for Paul's walk through for specific kinds of demonstrations.
Overall, I think layering Synchron with Chamber Strings is basically just a must. It just must happen.
Why? I think they sound fine just the way they are. However maybe some solos would add a little kick to em'
You know it's interesting, I thought the release of Synchron Strings would make "layering" obsolete but it has apparently become yet another ingredient in our beloved "strings recipes." You take some App Strings mix in some chambers a touch of Synchron and just a dash of solos and there you have it😊 A wickedly sweet string concoction for your ears to feast upon. But if spicy is more your taste then replace the chambers with Dim Strings mutes.
But Sean does bring up a good point here and that is layering has really become an art form by itself and even the mighty Syn;chron Strings won't change that. There is just something about layering strings that make the strings come alive in a mix and everybody has there own way of layering (recipes). I've experimented with creating two viola sections instead of violins and others layer mutes in their strings with even some, dare I say it, synths😔
