Never mind. Noticed that I made a mistake on my own.

However, I will leave it to a question. Does the Synchron Strings Pro do anything different compared to the VI series in regard to VXF? I feel like the VI series seamlessly replaces samples to more and more expressive when moving up the VXF slider. Synchron Strings Pro feels more like additional samples are added on top of another moving up the VXF slider the same way.

Is there a difference here or is it just my interpretation?

Hi Jhonny, 

Glad you could resolve your problem. Do you want to post an example of what you hear?

The Velocity XF process is identical, but of course multiple mics create a different sound than 1 stereo channel that is sent to a reverb. 

Best, 
Paul

I concur with Plowman, there appears to be a small error in one of the factory presets.

In the factory preset: "01 1st Violins-14 Pro XF sus"; tree path: "Long notes/XFades/Flautando X pp/Pianissimo", the mapping of "Release" dimension keyswitches "Normal release" on F7 and "Soft release" on G7 coincides with Flautando voiced notes F7 and G7. The consequence is that Flautando note F7 or G7 will speak audibly if the dimension keyswitch F7 or G7 is operated while the "Dynamic XFade" dimension control is set to give Flautando a proportion of the mix.

Obviously the user can work around this either by moving the "Normal release" and "Soft release" keyswitches out of the way of Flautando notes F7 and G7, or else by restricting the highest-note keyboard mapping of Flautando voices to E7.

No biggie. I'm sure it'll be fixed in a future library update. :D

Thanks for the confirmation, Macker. Yes, restricting the range of the Flautando is the better solution, as it preserves the F7/G7 template found elsewhere. 

Hello plowman and Macker!
The little mistake in the 1st violins preset (flautando XF pianissimo range) will be fixed with a library update.
Best regards,
Andi

Cheers Andi 👍😊

I can also report what sounds like overlapping layers in the Tutti full range preset

> Long notes reg vib from C1 to E

Keep up the great work!

I wonder if there will be Cubase/Nuendo expression maps for the Synchron Strings Pro anytime soon. Or was I looking in the wrong place and they're already there?

Hi

I bought the library today and I really love it. I have one question though. For the Cellos legato patch (regular vibrato), the notes from C1 to D#1 sound very harsh compared to the other ones. It sounds like the tone is different. I don't have this problem with the molto vibrato legato patch or the one from Synchron Strings I. Has anyone noticed that too? Thanks! Great library!

Best, David

I know what you mean, but it's within the acceptable tollerance for me. Some extra dramam in the low register there ':D

But while we are bug reporting: The low velocity levels of 2nd Violins "Long notes" > "Regular vib." are very loud compared to the molto and senza vibrato. They are about equaly loud to the high velocity levels. Can someone confirm?

Hello 9u10m and Sandrew!

I tried to reproduce your findings.

>> I can also report what sounds like overlapping layers in the Tutti full range preset. > Long notes reg vib from C1 to E

=> I can't reproduce that. In the octave from C1 to B1 there are no keyswitches at all in the "11 Tutti full range" presets. In this range only the double basses play. From C2 to D7 there are always two sections overlapping.

>> I wonder if there will be Cubase/Nuendo expression maps for the Synchron Strings Pro anytime soon. Or was I looking in the wrong place and they're already there?

=> So far there are no Cubase Expression Maps for Synchron Strings Pro, but they are on our to-do-list.

>> The low velocity levels of 2nd Violins "Long notes" > "Regular vib." are very loud compared to the molto and senza vibrato. They are about equaly loud to the high velocity levels. Can someone confirm?

=> I can't reproduce this here.

Best regards,
Andi

@daviddln said:

For the Cellos legato patch (regular vibrato), the notes from C1 to D#1 sound very harsh compared to the other ones. It sounds like the tone is different. 

Sorry, I meant the notes from C2 to D#2 (the lowest notes of the Cellos section). Here is an audio example with regular vibrato (with the harsh notes) and molto vibrato.

Best, David

I just purchased the Syncrhon Strings Pro Standard collection and want to share that these are the most playable strings patches to date for me personally. The agile and bold short articulations play cleanly, accurately and musically.  As those of you with classical piano technique, usually we have to play down to the samples responsiveness to get the best sound from the samples.  Not with these shorts.  PLay away like you are playing a fast piano passage and the strings keep up with no hesitation.  Really nice.

The long articulations are especially nice in that they include a soft release option. This allows for larger voicings to be played without the samples building up with the dreaded end of sample build up sound.

I like the polyphonic legatos using the complete sections loaded.  They are to be played carefully as I am sure a lot of programming is going on here.  But it is possible to get a fantastic legato across many voices being played in one pass.  This seems to be a breakthrough moment for this library and string libraries in general.

Add to all of this the value of VSL's pricing for this Standard collection intro pricing and I feel they have the best strings to value package here.  I am perfectly fine with the Standard collection with basic mic positions.  Thought I'm sure the extra mic positions would be useful for certain mixing uses.

Hi Paul,

I believe a repackage would be much less confusing, especially for people who use "One track per instrument, with all the articulations" instead of using different tracks with different libraries.

Alternatively, and probably quicker and easier for you to do, is to at least provide us with presets that merge both libraries, so that for example I could load up my Violins 1 track, with one instance of the Synchron Player, and in that find all the articulations from SS1 Violins 1 and SSPro Violins 1.  

I hope you can pass this along as a feature request.

Best

-m

@Paul said:

Hi Kai, 

Thanks for your post. 

No plans to repackage Synchron Strings I so far, but we will be listening to the reactions of our users.
We also don't want to make this more confusing. 

Best, 
Paul

A question for the people who already bought the new library. One much debated topic of the first SYS release was "natural legato", or rather its absence, depending on how you look at it. Can anyone please tell if it's the same in SYS Pro, or different ? For me personally this would be an important part of the buying decision. Maybe for the others, too.

I'm listening to the demos; couldn't so far find one that could make the answer obvious. Also, apologies if I missed the question already answered elsewhere.

Cheers,

Crusoe.

Hi Crusoe,

To begin with: I could work well with Synchron Strings 1, also with the legato. It was just a little bit of work to overlap a little the notes. So I don't know if I am the right person to tell you about the legato of Synchron Strings Pro.
But okay: my 5 cents.

Yesterday I started working with "SSP" and Dorico. I'm just working on a piece for String orchestra. When I coupled the SSP to the music I had to adjust of course a lot, because it responds a little different from SS1. Today I went on working. Here a few of my experiences until this moment.

1. In SS1 I started always with some equing (how do you write that in English?). Here nothing. No extra reverb. I choose my microphones and off I went. (A very subjective experience of mine here: sometimes the sound is in a way just as breakable as in real life with a string orchestra, but you can build with it beautiful melodies, chords, accents, etc.)

2. The senza vibrato samples are great, because the sound is the same as the vibrato patches (without the vibrato of course), so you can very good xfade them, from senza vibrato, to regular or molto vibrato. In the past I discovered, that the senza vibrato patches were often a little brighter. I looks like that vibrato has an influence on the stroke. Of course. But it looks like now that the influence of vibrato is implemented in the non vibrato tones. Really, they are crafsmen and craftswomen.

3. In Dorico I had adjusted much tones of the piece with a little overlapping for a decent legato. Now I had to reduce or even delete most overlappings. And I have to say: I like this legato very much. I think (but I can't say of course), that you will enjoy this legato patches too.

4. Portamento. Until now I was not always a fan of Portamento, because it was often not totally the real thing (but sometimes it sounded nice in my ears). This portamento is very natural, of course the time stretch feature is a great help here. Unfortunately I encountered a bug with the violas, but that I report that to VSL. I'm sure they will fix that.

So I hope, this helps a little. I can't give you an audio example at this moment, because I have not finished yet my piece. But there are examples on the internet.

Kind regards.

Thanks MMKA for the detailed response. All I really care is the final result in the end, however it is achieved. Between real legato of VI libraries and emulated one of SYS, I'm in favor of real legato, personally. Apparently, things have changed given what you say about overlapping notes.

The observation about better crossfading is valuable, too. It was a similar experience for me with SYS. I simply had to avoid XF.

Cheers,

Crusoe.

Hi,

Q.  What does the 'Marcato'  labeled Fader in the Performance area do  ? 

I couldn't find any info about it. 

Thanks,

Muziksculp 

[URL=https://imageshack.com/i/pnhLgbGDp][IMG]https://imagizer.imageshack.com/v2/640x480q90/923/hLgbGD.png[/IMG][/URL]

@Paul said:

Hi Muziksculp,

You can control the marcato amount in the tremolo / marcato articulation with that controller. 

Best, 
Paul

Hi Paul,

OK. Got it. 

Thanks,

Muziksculp