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HOLD IT, Hold It, hold it....
Time Out.
Of all the patches NOT to include... in a reprogrammed WINDS LIBRARY--
You leave out the scale runs!?!?!?
Hi, I do not think that's too critical for all the WW-Solo-Istruments. There are good possibilities to "play" runs and trills (especially with the flute1 and all clarinets).
Dynamic Scale-Runs are more difficult to "play" when it comes to Ensembles. Here I agree that the runs of the Orchestral Strings are just "Gold"!
(Hope you continue with the "real" SY-Series soon. Most important SY-BRASS)
Hi
Do not hope too much. It will probably be a SYNCHRON-ized Brass library. I wish they had stayed with the VI Series and the Silent Stage. It was perfect.
Best,
David
I do not think so.
If you are listening to the sound of the Big Bang Orchestra and to the Single Channels of it, what are you hearing?
I hear the SY-Woodwinds which are pretty normal sounding. Not very good, not bad. Just Standard Woodwind- sound as we know it already from many Libraries.
BUT...
... I hear BRASS which is rocking the house (especially the Deep Brass). It sounds crips, clear & even if you push it hard it sounds still noble. That's why I am so much more excited when it comes to SY-Brass.
I do not think that SY-Brass will be a "best case" Library.
("best case" = a Setup like we see it in AudioBro's Modern Scoring Brass with all kind of measurable Instruments.)
But on the other hand the Mix of a) Synchronized Dimension Brass and b) SY-Brass with all these MIcs could lead to an interesting result!
I have four questions:
1) How many velocity layers are there now? What I'm missing in the new SYNCHRON-ized manuals (special editions, woodwinds) in general is the information on velocity layers, round robins etc.
2) [DELETED]
3) Is there a chance to have the re-edited samples for the VI libraries, too? In the future.
4) In the vi-control forum someone mentioned that the VI samples are normalized. Have you changed this? I think when playing e.g. the flute, it's louder in the higher registers.
Many thanks in advance!
2) I downloaded the library yesterday. Today there is a new verison. What's the difference? Do I need to download it again?
2) For Vienna Instrument products, go to the Start menu --> Vienna Instruments Pro and launch Directory Manager. Download the update and drag the file into the Directory Manager window, this will apply the update.
For Synchron libraries, I believe the update will automatically install through the download manager.
You dont need to redownload the entire library.
What I would like to know is, what am I getting with this new library that I would not already have with the Special Edition VI Pro or Special Edition Synchron Edition libraries I already have? No new instruments and I dont see any new articulations, with exception to I think fluttertongue, and, some confusing lingo about vibrato being progressive or auto, which I dont understand.
The video demo Guy Bacos put together is wonderful by the way, but could be easily reproduced with the Special Editions, so I dunno. Its a great price, I might have pruchased it if I werent going to be broke for the next month paying for Physics / Math classes.
Hi,
Where is a new Version? I see only 8th October ... ?
Yes, you're right, I mixed the date up (month <-> day). Sorry.
199 euro crossgrade from my SEs is a tempting price for more articulations, dynamic layers and improved crossfades!
Any info on the number of legato dynamic layers.in the new library compared to the old? If it matches the sustains in the full versions (4 in some cases I think?) this would be a sure buy for me. +1 for an alto flute in the future also (please!)
As was explained to me in another thread, the idea behind Synchron is to have an orchestral set up right out of the box. So you load your template and everything is already set up and ready to go. You don't have to mess around with panning, reverb settings, tedious keyswitch programming, etc. However, there is enough flexibility with the player to take your time and be a little more creative if you'd like.
Think VI Pro, VE, Sample libraries, Plug ins (Vienna Suite), and MIR all rolled into one application. Now if you want to do more intricate customized work then you would be better off with your VI, VE templates but if you're a film composer who needs something on the fly and needs it yesterday then Synchron might work better for you.
I don't know how VSL prioritizes the libraries or why they create a dedicated Synchron library (like the SY Strings or the Yamaha Piano) while other libraries are "synchronized" My guess is that it has something to do with being cost effective; you don't have to hire more musicians to record brand new samples and all the man hours that go into those sessions? But I'm not sure.
What I would like to see is a Synchron update or extension to the Vienna Suite for a Convolution Reverb. But they do have a Synchron Room Pack for MIR:
https://www.vsl.co.at/en/Vienna_MIR_RoomPack_Bundle/RoomPack_6
Price: 210 Euro
This is useful because then you can get your VI Libraries and Synchron to match sonically.
I've personally never especially liked the VI player - found matrices to be overly complicated when all I wanted were a few keyswitches.
I went to the Synchronized woodwinds and am very happy - crossfades are very smooth and we lose the huge level differences in the VI version that made it really hard to balance (not only the low velocity to high velocity difference but also sometimes sudden changes between layers in the VI version). I love the simplicity of being able to hit just a few keyswitches and I am going, instead of the X/Y matrix which I really have to be looking at visually to use (I can't really memorize the matrix like I can keyswitches). Auto speed legato is great and is capable of doing some crazy fast runs in a rather convincing way, so I don't miss the lack of pre-recorded runs.
There are only two minor things I would like to see:
1. I almost feel like the dynamic range is a bit too constrained now - I really end up now having to use both CC11 and Velocity XFade all the time for proper shaping. I suppose I can tie them together, but it would be nice to have a bit more dynamic range with Velocity XFade without going to the crazy extremes that the VI player did.
2. Register-based volume control over the span of the instrument (ex. making the low flute notes quieter and preventing the very high notes from being quiet). This could be accomplished with two curves (minimum amplitude and maximum amplitude) displayed vertically with a vertical piano keyboard as a guide. This way the built in normalization that seems to still be there can be overridden without having to manually ride CC11 to compensate for the natural behavior of the instruments in different registers.
Also, the other instruments (Alto Flute, Eb clarinet, etc.) I would hope are coming in a future add-on.
HOLD IT, Hold It, hold it....
Time Out.
Of all the patches NOT to include... in a reprogrammed WINDS LIBRARY--
You leave out the scale runs!?!?!?
Hi, I do not think that's too critical for all the WW-Solo-Istruments. There are good possibilities to "play" runs and trills (especially with the flute1 and all clarinets).
Dynamic Scale-Runs are more difficult to "play" when it comes to Ensembles. Here I agree that the runs of the Orchestral Strings are just "Gold"!
programming a good run takes much much longer than time stretching the appropriate scale run patch and using a CC/keyswitch for up or down-- especially if you have BPM time stretch lengths already saved! I could program something like the opening to to Pines of Rome much faster than someone doing it your way.
they are 100% essential if you need to create good mockups quickly.
