"The most notable change is that due to the realistic spatial depth, the samples simply sound more natural and "real" than the older libraries." - Jimmy Hellfire

That is totally false. Apparently, you've never heard MIR. Or have you and you are tone-deaf? You are saying MIR has no realism or spatial depth?

" I think it's odd what people are making out of this. Almost a quasi-religious discussion. " JimmyHellfire

What? Quasi religious? That is ridiculous. It is simply some statements posted here honestly by users.

" It seems to me that some of the notions expressed here have more to do with tribal instincts and "choosing sides" than with using one's ears." - JimmyHellfire

That is again B.S. - I have no "side." I always use my ears and am simply pointing out some aspects of the libraries.

I find this weird - this person JimmyHellfire who never posts any music previously totally contradcited me when I was praising Synchron Strings. Now he contradicts me when I say something contrary to that previous post. Even though I have repeatedly said Synchron is a great library. But having first started using VSL in 2003 and doing a number of their demos here, I have really loved the instruments they created. To you apparently though, everything is just fodder for your posts here, scoring points here and there.

BTW - "JimmyHellfire" - where is your music? I have never heard one note you ever did. All you do is post obnoxious comments and contradictions of people. But what music do you actually do? Post one piece of music, and if it is good, I will shut up. You can hear my stuff anytime - right here in the VSL demos, at Production Music Online, on my website, Amazon, etc. But I am very interested to hear what music you actually do when not contradicting people here on the VSL Forum.

WILLIAM KERSTEN

www.williamkersten.com

It's always the same with Billy Baloney. 😃

And the same with you - no music, just hot air.  I asked you this before and you were too scared to put anything up.  You still are.  

Well since you really want to know, I'm gonna explaint it to you William, but don't cry afterwards.

I'd never lower myself to playing that particular game with you, because it's nonsensical, anti-intellectual and an unsavory exercise in disingenuousness.

The finer points:

1) We're talking primarily technical details here. Whether you'd like my style of writing, my mockups or whatever does not play any functional role in this at all. What you're doing is a classic example of trying to discredit the person and what they do because you don't have jack to say regarding the actual matter. You're merely trying to feel better about yourself by childishly dragging the discussion down to a level you're fully certain that nobody will follow you to, because they're smarter than that and you're 100% aware. You're pulling up a smokescreen of condescending nonsense to hide behind.

2) Therefore, it is fully clear and inevitable that I could present to you the most magnificent music thinkable, but your wounded ego would find a way to drag it down because there's no other way. You're diverting the topic to a different level, that's the whole point of your query and there's no possibility or sense in you doing anything else than that.

3) I don't have to vindicate myself in front of some affronted and bellicose stranger, and most certainly not by his own boorish and futile criteria.

4) Needlees to say, I'm sure I'd find my music way more colorful, spirited and enjoyable than yours, so explain to me again what's in there for me?

5) Finally, in the usual egocentric fashion, you managed to spin what I wrote as something that apparently is solely tailored to aggravate, challenge and contradict you and whatever you may think or say. Truth be told, I wasn't even thinking of you at all when I made the post in question. But your reaction is normal for people who are in that certain headspace where they feel that others are doing things just to spite them. It's all about them. Everyone's against them, they're the center of the world with all their anguish.

Settle down, William! Please. We can talk about a libraries and stuff without acting up.

And you call me sarcastic - that is amusing.  And you're still wrong - I would totally respect you if you actually posted some music and maybe I would like it.  I don't try to hate anybody's creative work   I like hearing new stuff and comment positively on composer's work - something you never do.  And you never post any music.   I don't trust people here who never post any music.  

Well who cares? That's the whole point. You're like the weird old dude that patrols and polices the neighborhood. Reprimanding people who park their car in a way he doesn't like, screaming at kids who ride their bikes on the sidewalk. Everyone knows him, they all know he's a crank, nobody cares. I know it's hard to imagine, but it's not about you. Enough with your clownery.

Dear Forum-Members,

I think that everything that had to be said is said by now - can we please bring this thread back to more friendly and cooperative ground?

Thanks a lot. 

With regard to music bringing a lot of opinions to the floor, with few people showcasing what they themselves can achieve, I don't find it unreasonable to suggest that backing up your thoughts and criticisms with evidence of your own facility with sample libraries is such a bad thing.

Would you hire a 400 pound couch potato to be a personal trainer?

Would you cross a bridge designed by someone whose engineer training was comprised of watching "the greatest bridges in the world" videos on youtube?

Would you trust a pharmacist who told you the "pink pills are for girls and the blue pills are for boys."

Basically, what I'm saying is that, if you scour interet forums on music, the sheer number of opinions by so many anonymous individuals does require a way to ascertain the value of said opinion.  In any other field, asking an individual for their credentials, experiences, and evidence of their accomplishments is perfectly normal.  Ask a musician to showcase their musical output, and they suddenly get offended, call others names, and/or suggest that they're a snob/snooty, etc.  At this point, I would vouch for the opinion on a library by one competent (as in their music illustrates their competence) individual over a hundred anonymous points of view from those who are too afraid to put their stuff out there for scrutiny.

Just my opinion, and no, I'm not exclusively suggesting that you can't have an opinion without doing something yourself, just that backing up your credentials with evidence of your own achievement will go further to reinforcing your point of view.

Really, just to drive the point home:  would you buy any library by any developer without demos of the sounds?  Why then is it so offensive to ask for evidence of your own musical output to determine the value of your opinion, even if the individual assessing that value is doing so purely in a subjective way?

@Acclarion said:

With regard to music bringing a lot of opinions to the floor, with few people showcasing what they themselves can achieve, I don't find it unreasonable to suggest that backing up your thoughts and criticisms with evidence of your own facility with sample libraries is such a bad thing.

...

Really, just to drive the point home:  would you buy any library by any developer without demos of the sounds?  Why then is it so offensive to ask for evidence of your own musical output to determine the value of your opinion, even if the individual assessing that value is doing so purely in a subjective way?

Dear member, you should be right in principle. I'm less positive than you, because we are in a very well known "grey area" between professionalism and social network. I've been accused by the same guy(s), and I answered posting several samples and precise argumentations, and... you guess what? surprise surprise... no comment... no more talk-show. Unfortunately here it's about trollish attitude and disturbed social behaviour, not about facts. So I simply ignore any useless discussion and provocation, and focus on constructive and technical topics.

@Dietz said:

Dear Forum-Members,

I think that everything that had to be said is said by now - can we please bring this thread back to more friendly and cooperative ground?

Thanks a lot. 

Words of wisdom, I quote.

If you're referring to me I never heard any samples from you.  I would be quite interested in hearing them.  Where are they? 

Also, I am not the one giving a "talk show" - nor am I a troll. By definition that includes anonymity and furtiveness. I am definitely not those as you can visit my demos here any time, or my website which I've posted. You can also read about me on Production Music Online, CD Baby, buy stuff on Amazon, SMP Press or buy the Bluray of my last film "Disembodied" here - all scored with VSL. Also you can pm me anytime no problem. Just don't call me "trollish." And please post the link for those samples.

WILLIAM KERSTEN

www.williamkersten.com

@Dietz said:

Dear Forum-Members,

I think that everything that had to be said is said by now - can we please bring this thread back to more friendly and cooperative ground?

Thanks a lot. 

Words of wisdom, I quote.

But if everytime VSL ignores important questions we asked (e.g. whether the new player would improve the legato), VSL basically just wants silence, not cooperation.

@Acclarion said:

Really, just to drive the point home:  would you buy any library by any developer without demos of the sounds?  Why then is it so offensive to ask for evidence of your own musical output to determine the value of your opinion, even if the individual assessing that value is doing so purely in a subjective way?

You're gonna have to scroll up a bit and have a read, it's perfectly laid out in my post.

Your comparisons miss a very important point: I'm not trying to sell anything to anyone. I don't have to "prove my credentials" to talk perspective on multi-mic recorded libraries and general tech. If we were arguing composition or whatever, that would be a different matter. But right here, right now: it's a disingenuous and anti-intellectual position and deserves to be shot down with every bit of sincerity and directness.

Go back to the post that provoked the contention in the first place. Go and read it. It was about amounts of reverb tail, timbre and available mic positions. That's a topic of tangible substance. You're telling me I first need to present my own symphony to be "allowed" to offer to you the notion that Synchron Strings actually has a balanced sound that isn't particulary colored at all? Seriously?

People have heard my work. Some of them have heard it in theatres. It just so happens that William hasn't. Is that important? I'm old enough to recognize when the principle debates come up and I know they always do when there's BS and ulterior motives involved.

Needless to say, I'd be way more happy to talk Synchron Strings instead.

@Acclarion said:

Really, just to drive the point home: would you buy any library by any developer without demos of the sounds? Why then is it so offensive to ask for evidence of your own musical output to determine the value of your opinion, even if the individual assessing that value is doing so purely in a subjective way?

@Another User said:

Finally, I'm not willing to die on the hill for this battle and don't want to pressure you to post music, as you're clearly not comfortable doing so.

Is that so? As I said - my work is not a particularly secret affair, so why would I wear that shoe? To be honest, I don't find it fitting to showcase my pieces here because apart from the Woodwinds, they didn't feature a lot of VSL lately (obviously I'd love to put SyS through their gears after having them lie around on my drive for 7 months, but like everyone else I'm waiting for that damn player). It doesn't mean that I don't know anything about multi-mic libraries.

I already said that I won't be dorked into this kind of "credentials" game here because I know who I'm dealing with and that it's a diversion tactic. From that standpoint, it's probably smarter not to die on this particular hill, as you put it, because so far you have been involuntarily playing my "antagonist's" game by making it about "me" and fully diverting the discussion from the original point it was about. Absolutely no offense to you, I get your perspective, but context matters.

I'm personally not offended that you choose not to share your work, and further, I agree that you shouldn't be subject to any form of abuse by offering opinions, but I really think you shouldn't keep suggesting that your work is not a particularly secret affair, when in fact, it actually is.  Your phone number is known to many people I'm sure, but if you haven't made anyone on this forum privy to it, then, your phone number is a secret affair here.  In essence, by saying your music has been heard in films, and is known to many people, but not revealing your actual identity, you're playing the game of building yourself up without the consequence of having others vet your statements.  It's a small point, but I think it goes to what a lot of people do on forums, in terms of hiding behind a pseudonym, and bragging about their accomplishments, without subjecting themselves to any scrutiny.  

That's the only thing I'm personally strongly against.  Have at it with a discussion of libraries and, in no way, do I discount your voice in sharing your thoughts.  Power to you for it!  Anyway, I do at least appreciate your explanation as to why you aren't sharing your pieces, although I can't speak for others.

I'm checking out, but do welcome a continued discussion about the Synchron strings, as I learn from all of your ideas and insights, and am eagerly waiting for the release of the player as well.

All the best,

Dave

@JimmyHellfire said:

I think it's odd what people are making out of this. Almost a quasi-religious discussion. Even more so considering the fact that the Synchron series so far has been still very much in line with VSLs "philosophy". Some people act as if the Synchron Strings were swimming in a sea of reverb and had this totally distinct, immutable sound, like it came straight out of a Hollywood movie.

Quite the opposite is true. SyS might be the driest "wet" library out there. It's not at all comparable to the Spitfire stuff or whatever. It has 100% VSL character - pristine, flexible, more "classical" - and has such a subtle reverb tail that would hardly get in the way of anything you might want to do. And the multi-mic setup is exactly what you need for the same flexibility you always had with VSL. If you need a closer, drier sound - what's the problem? Dial in the mics accordingly! It's easier and faster done than previously.

 The most notable change is that due to the realistic spatial depth, the samples simply sound more natural and "real" than the older libraries.

 It seems to me that some of the notions expressed here have more to do with tribal instincts and "choosing sides" than with using one's ears.

Jimmy,

I'm not sure if this was in response to my previous post or if you were just making a general statement about the direction the thread was heading but maybe the point I made became diluted from the irrelevant rambling that I started so I'll try to make it again.

For the record, I've heard the SyS demos and I've seen the videos.  I really like what I saw and heard👍  I'm especially attracted to the details in the samples😊

But I was trying to make the point that there is an artistic process in creating a sonic environment all your own whether you're using MIR, Vienna Suite, or some 3rd party plug ins.  This process can be just as involved and require just as much passion as stringing notes together to create a composition and that is why I don't want to see the Silent Stage retired.  Now if this is a "tribal" instinct then I guess I'm a proud card carrying member of the Silent Stage Tribe but that doesn't mean I'm taking sides against the SyS Tribe.

I think VSL has recognized a market trend here and SyS is their answer to it.  Working composers are under more pressure to create more product faster than before and SyS can be used to that end.  Everything sounds bueatiful right out of the box which saves time.

There's an old saying," I don't know what the secret to happiness is but the secret to failure is trying to make everybody happy" 

Well, I think maybe VSL has figured out a way to "make everybody happy" by creating the Synchron series.  If you want the spatial reverbed samples go with Synchron but if you like to create your own sonic environments stay with the Silent Stage samples.  But!!!  Give us the choice.  And I propose we call the Silent Stage samples just that "Silent Stage" not Classic, not Legacy not the old stuff, etc.

@jasensmith said:

Give us the choice.  And I propose we call the Silent Stage samples just that "Silent Stage" not Classic, not Legacy not the old stuff, etc.

I concur, but saying it more to VSL... if VSL does not put out new products (soon enough) for the Silent Stage soon enough, the series will get stale anyhow.

What was the last product for the Silent Stage? Wasn't it "Roompack. 6: Synchron Stage Vienna"?? And what was one before that???

I empathize decisions are often market-driven, but IMHO, if they rely too much on the market, there will be no vision, or the vision might not be that unique.

With the release of Synchron Piano and Synchron FX Strings, VSL has proven that they have maintained their standard of excellence. If they could be slightly more transparent with their roadmap, I think many of us will be a lot less anxious... and more than happy to embrace new products in either series.

Hopefully, VSL understands that we are investing in not just their libraries but also their vision. Edit: Probably VSL understands that aspect too well... 😄

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