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  • Giving it LARGE: SS I & SS Pro combined

    Sometimes you just have to have 92 string players on stage.

    This is readily done by combining Synchron Strings I with Synchron Strings Pro, giving 28:20:16:16:12. Each of these doubled sections is able to do 2-part divisi authentically; even 4-part divisi at a pinch (avoiding the 2 parts of either SSI or SSP meeting in unison at any one time). And I'm aware I'll sometimes have to use a bit of ingenuity to work around the fact that SSI and SSP don't share exactly the same set of articulations and velocity layers - it's well worth going that extra mile.

    Spatialisation is a doddle. I've just tried out a scheme using only the Main mics (Decca Tree sides), taking left and right each to its own dedicated pair of azimuth generators (HRTF) and algo verbs, so there are 4 direct-path azimuths and 4 verbs for each combined section of Vn1, Vn2, etc. I use the Berliner Phil/Karajan seating of Violins 2 stage-right. In this way I have a superbly authentic-sounding wide spread of Vn 1 and Vn 2 all across stage-front; no hole in the middle; no significant excursions into negative phase. It's big and really beautiful! 

    I've only been able to do this since last night, when I took up VSL's very gracious special offer for upgrading my SS Pro (Full) and SS Elite (Standard) to the Synchron Strings bundle (Standard). And I just love SS Fx also!

    Vielen Dank an dich VSL.

    The bundle special offer expires in early October. So if, like me yesterday, you have SSP and SSE but not yet SSI, don't shilly-shally, GO FOR IT! You know you want to.


  • Gargantuan! But are the two string orchestras together really perceived as double the size of a single orchestra?

    Paolo


  • Good question Paolo. I had the same doubts at first, which is why I just had to experiment straight away. My ear says yes.

    I think the key is getting a good stereo spread from each mono signal, as I described. Having 2 different direct-path azimuth angles per side of the Decca Tree in each combined section, each then going into its own reverb plugin, helps enormously. (Vn 1 and Vn 2 together are heard through a total of 8 azimuth generators and 8 reverb plugins.)

    It's probably also something to do with the continuous perceived movements within the resulting stereo field - my Vector stereo scope shows lots of seemingly random instantaneous shifting of azimuth around a fairly steady mean pan angle. Every single instrument can make its mark in that way.

    It's not as effective doing this this with left and right sides of the Silent Stage stereo mics in VI and Synchronized libraries - the Decca Tree is a wonderful piece of magic! (That said, using the transpose trick with Silent Stage libraries does very effectively double the perceived number of instruments.)

    Well, proof of the pudding is in the eating. I'm satisfied that I am indeed hearing a double-size string orchestra. But of course a public demo is the best proof, so I'm aiming to do a production of Sibelius's Karelia Suite Intermezzo (once I've got Situater into its new shape).


  • Very interesting! An experiment to try!

    Paolo