The SYNCHRON-ized Solo Strings do not miss any samples, in fact they add new ones. They simply do not include the content Solo Strings II (which are con sordino articulations).

The SYNCHRON-ized Woodwinds will also see an update with added articulations, but there are some instruments not included that are available in the Woodwinds I and II bundle.

In general the SYNCHRON-ized version is the one we encourage people to use, if the requiered instrument is already available as such. The samples are polished and reworked to take advantage of our new and advanced sample player, the Synchron Player.
This said, the VI instruments are by no means bad - they are not as straight forward to use compared to the SYNCHRON-ized ones.
But with the current deal and the possibilities to upgrade to the SYNCHRON-ized libraries later I would not miss out on these!

It's worth noting that you can turn off the impulse responses in the SYN-zed products and use them completely dry if you need to.  

@bbelius said:

The SYNCHRON-ized Solo Strings do not miss any samples, in fact they add new ones. They simply do not include the content Solo Strings II (which are con sordino articulations).

The SYNCHRON-ized Woodwinds will also see an update with added articulations, but there are some instruments not included that are available in the Woodwinds I and II bundle.

In general the SYNCHRON-ized version is the one we encourage people to use, if the requiered instrument is already available as such. The samples are polished and reworked to take advantage of our new and advanced sample player, the Synchron Player.
This said, the VI instruments are by no means bad - they are not as straight forward to use compared to the SYNCHRON-ized ones.
But with the current deal and the possibilities to upgrade to the SYNCHRON-ized libraries later I would not miss out on these!

 I realized I should not comment.  Probably a misunderstanding on my part. 

Hi William, 

How's it going?

We are all using both platforms here, no worries. 

Our Vienna Instruments Collections and the VI / Pro player are a very powerful combination, and we are doing our best to make our Synchron Player an even more comfortable and modern sample player. 

At the same time, we are adapting all VI Samples to fit the new Synchron Player (which is A LOT of work), sometimes even re-mastering and re-editing from scratch (like with our SYNCHRON-ized Chamber Strings). 

We are not trashing anything, and our VI Collection are great for what they are. 

The Synchron Series simply follows an adapted philosophy, and the famous "out-of-the-box" effect makes it easier to get going right away. Which makes it our go-to suggestion for new users. 

All the best, 
Paul

Sorry, I realized it is not really appropriate for me to comment.  I should shut the hell up and not create more work for a moderator.  

It appears the initial premise is out of kilter. The choice involved in buying either VI or Synch is not like buying a house to live in; there's no serious difficulty in buying, and using both together if desired, libraries of either kind, is there? (Unless of course if someone bought the Cube but was later stricken with a really bad case of the grass looks greener on the other side.) Are you confusing orchestral libraries with real estate, 154284? And technically, nothing's going to "literally blow up" by combining the two types in a DAW or VE Pro. (Oh BTW, have we seen you here before under a different handle, 154284? Your posting style seems very familiar.)

The most serious worry for VI users, expressed some while ago, was whether or not VSL would continue supporting VI. I for one believe the worry has been firmly and adequately addressed by VSL's subsequent assurances that VI libraries are not about to wither on the vine. I'm a happy user of both, and if I see a VI library I fancy in a sale I'll not hesitate to buy it (cash flow permitting, lol).

So other than trying to stir up dissatisfaction with VSL's pricing policies, I'm not seeing (on the surface) what this thread starter was really aiming at.

@Macker said:

there's no serious difficulty in buying, and using both together if desired, libraries of either kind

I'm experimenting in blending VI (+MIR), Synchronized and Synchron instruments, and I'm admired at how VSL was able to make them coexist in the same space with no problem at all. You can hear where they are placed in the same room, even if they come from different series.

Paolo

@154284 said:

FWIW, I did purchase another vendor's woodwinds library after getting frustrated by VSL's site.  Sad because I would much prefer to have just 1 go-to library and love the sounds of VSL (It's probably the only company that I think I might actually be able to use for all of my orchestral instruments ).  Lack of a development plan, especially given the large investment required, makes me a little skittish.  But given the current sale on VI instruments, I may reconsider if I can figure all of this stuff out and be confident in my purchase.  With the standard pricing model, why would anyone purchase VI instruments?

For three reasons:

1. There are a lot of things available in the VI line that aren't available in the Synchron or SYN-zed line.  And I mean a lot.  Solo Strings con sordino is just the tip of the iceberg. This will probably change in the future, but given the vast selection of deeply sampled orchestral instruments VSL offers, it won't happen soon.  Compare the articulations on offer between some of the SYN-zed libraries and some of the VI libraries (the Woodwinds or Chamber strings, for example) and you'll see what I mean.
2. They are forwards-compatible with SYN-zed and Synchron products if you use MirX Synchron or MIR Pro with the Synchron Stage roompack.  Plop them in the same room, tweak the settings to your liking, and boom: it might as well be as if all the libraries were released at the same time.
3. Synchron products are in-situ and thus can't have the ambience removed.  VI products, on the other hand, can be applied to any spatial situation you want.  Note: you can actually remove the ambience in SYN-zed (not Synchron, but Synchron-ized) products and use them just like VI libraries. 

VSL recently released MirX Synchron specifically because they haven't abandoned support for the line.  They may not develop any new sample libraries via the Silent Stage (I don't actually know if this is true, I'm just assuming based on the trajectory of the last year or so), but it's clear they are tending to their legacy and making sure VI products are as forward compatible as possible with their new direction.

Oh, a fourth reason:

Layering.  Judicious mixture of diff. kinds of string libraries (as one example) can yield very flexible and pleasing results.

Those are my scattered thoughts.  Hope that helps!

- Sam

Thanks @Paul and @bbelius (and @SeventhSam, and @PaoloT)!  Your insights were very helpful.  Kids, wife, mortgage, etc.  If I were younger with fewer responsibilities I'd buy the whole lot, lol!  But like I said, I'm sold on VSL being my main sample-based library.  I'm just trying to navigate the many choices and options.  So thanks to each of you for the advice.

Hi, 

You're very welcome! It is a broad spectrum to navigate.

Specific questions will be easier to answer, so don't be shy!

Best,
Paul

Hello Paolo

When you put everything on a MIR stage, do you have tracks of other instrument than VSL one's, synth,  singers .... ?

Do you have any any recommendations ? delay between instruments ? .... ?

Do you place them on the stage as an audio track thru the VE PRO ?

Does Mir know it is a Synchron instrument and remove the reverb ?

Thanks in advance for your lights

Best

Cyril

@PaoloT said:

I'm experimenting in blending VI (+MIR), Synchronized and Synchron instruments, and I'm admired at how VSL was able to make them coexist in the same space with no problem at all. You can hear where they are placed in the same room, even if they come from different series.

Paolo