Nearer my god to thee with Synch Strings I

[Beat Kaufmann]

Hi

Today I tried the VELx thing.
Full-Dynamic, Legato normal, lyric vibrato on all instruments
Room Mix 0dB / Mid -10dB / Main 0dB
These values achieve a nice depth of space. The sound follows the "VELx-curves" very well on all instruments. Because there are 8 layers that can be passed through, I can not make out any gradations. Great!
No EQ, no other effect, just what the synchronous strings deliver. The Reverb of the player is off. Also, note the last "fade-out". It almost goes to "zero" - so it comes very close to a real diminuendo articulation. Great!
And that's how the "dry" result sounds:

Nearer my God to thee (only Syn Str1 Orchestra)

Of course the result is not spectacular, on the other hand, you can not say much against it. Furthermore, we are used to the VSL samples "waking up" with some reverb ...

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Now I added a solo violin and put it all in a room that has more reverb than the "Synchron Stage". I added a "Cathedral-Tail" (over all) without "Early-Reflections". So the orchestra is still playing in the depth of the Synchron Stage, but now with the tail of a cathedral. The solo violin is still in the foreground because of the missing Early Reflections. Nevertheless, the solo violin plays in the cathedral as well. This leads to a beautiful contrast of "near and far". Beautiful music also.

Nearer my God to thee (with VSL-Solo-Violin2)

I do not want to miss the Synchron-Strings-1 here. I don't know which other VSL strings could do this job.

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Have fun

Beat

[Veola]

Thanks for sharing. I also find RoomMix+Main the bestfor general purpose. Not sure whether Mid is required, might just take up memory?

Does this piece convince you? To me it still sounds synthy. 

[Beat Kaufmann]

You certainly mean the sound of the strings and not the piece.

Rewritten for a better understanding---------------------------

Thirteen years ago, the chamber and solo strings were unbeatable libraries. You could hear real violins with beautiful legatos etc. The libraries had a lot of soul in them, although we play(ed) samples.

Today, new VSL string libraries are released, recorded in a real hall, so that we get strings that already have the missing real space feeling in them ...

Theme "soul and liveliness": In my opinion, today's VSL Strings libraries contain less soul than the old ones. The first time was a loss of "soul" with the dimension strings. The sound of them was different than that of all previous string libraries. Nevertheless some love exactly those "new" sound.

Theme "natural space":   When the Synchron Strings were announced, I thought that we would now get the sense of space, as we know it from live recordings. The samples will now have the real space integrated. To be honest, I am a bit disappointed in that point. I'll have to try out how it sounds when I use only one microphone version at a time, for example MAIN. Maybe then I will receive my desired room feeling. I will see. You just have to gain experience first.
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Luckily, there are so many different libraries today, there's something for everyone. As I mentioned in another thread: You just have to use the right library for the corresponding music.

Best
Beat

[William]

"In my opinion, with the sound of the string libraries, for the first time something happened with the release of dimension strings. It was something of the directness of the solo strings that Chamberstrings lost." - Beat Kaufmann

What does that statement mean?  It is incomprehensible in any language.  It starts off talking about Dimension strings then concludes that Chamber Strings lost the directness. of Solo strings  What? 

[JimmyHellfire]

@William said:

"In my opinion, with the sound of the string libraries, for the first time something happened with the release of dimension strings. It was something of the directness of the solo strings that Chamberstrings lost." - Beat Kaufmann

What does that statement mean?  It is incomprehensible in any language.  It starts off talking about Dimension strings then concludes that Chamber Strings lost the directness. of Solo strings  What? 

He meant that the Dimension Strings managed to retain some of the direct character that is typical for solo strings recordings - something that was missing in the Chamber Strings library.

[fahl5]

@Beat Kaufmann said:

When the Synchron Strings 1 were announced, recorded in such a great studio, I thought that an orchestra, played with the those samples, would then "breathe" a bit more and stand more airily and natural in the room, as we where able to produce it with the previous string libraries. And to be honest, I am a disappointed in that point. 

Sorry, but I think one can still work pretty well "breathing" with the new Synchron-Series. I think your examples does perhaps not tried it seriously enough what one can to do to achieve a breathing musical interpretation. I wonder what you think about the Adagio of my new Recording of R.Fuchs Serenade op.9 at least that example seem to me a bit more suitable to discuss how well this library is able to make music realy breath.

[William]

@William said:

"In my opinion, with the sound of the string libraries, for the first time something happened with the release of dimension strings. It was something of the directness of the solo strings that Chamberstrings lost." - Beat Kaufmann

What does that statement mean?  It is incomprehensible in any language.  It starts off talking about Dimension strings then concludes that Chamber Strings lost the directness. of Solo strings  What? 

He meant that the Dimension Strings managed to retain some of the direct character that is typical for solo strings recordings - something that was missing in the Chamber Strings library.

O.K. that makes perfect sense and is very true.