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I notice a better legato transition, similar to the soft, but more responsive... a lot more natural than standard... finally!
Yep the strong vibrato is a great addition to the expressive palette of Synchron Strings.
This is a great update, it sounds based on customer feedback, definitely what we all expect from VSL.
Thank you to the team, listen to us, ignore polemics, never give up.
Love the Cantabile Violins! This is what I was hoping for the first time around with Synchron.
Please complete the series with the viola, celli, etc. I think you have a hit here.
First impression: I also love the vibrato, it's way more expressive. And there are some legato transition enhancements, right? Particularly in the upper registers.
Thanks for the free update. I'm looking forward to see the other sections following.
But I'm wondering... are these new recordings? Sounds a bit like the Appassionata Strings strong vibrato, but I don't think that you did a mishmash with them, didn't you?
The samples have indeed all been recorded new and exclusively for Synchron Strings (and Herb Tucmandl himself was the muscial director).
WOW, than I say again: MANY THANKS for this FREE update!
... (and that you listened to the dissatisfied customers and negative comments) ...
Hi Paul - any clarity on whether the rest of the Cantabile sections are in the works? Hope so...
The things that work for me: keep as a starting point a not too high velocity for all the patches, and use of the filter (cc24) for the non-cantabile patches.
Beside this I use the combination of Synchron Strings with the SYNCHRON-ized Strings (I use 4 players at the violins for example for this purpose), what also bring the total sound to each other. This makes the total sound also more living.
I hope this will help for you a little.
Another thing I do is, that with the Synchron Strings I only use the mics that are the most distant and almost not the near mics.
I came to this decision after a concert that I visited of the Rotterdam Philharmonic Orchestra in the concert hall "De Doelen" in Rotterdam, the Netherlands. I noticed, that in the concert hall the string section sounds so totally different from the studio recordings. It was almost a shock for me (with the emphasis on "almost" of course). So much darker, less harsh, warmer. I was sitting in the middle of the hall. I remember William brought this point in more than once. And I agree totally with him.
This brought me to the point to just use the mics that are the most remote.
