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  • Best Way to Learn Synchron? And question about "Delay" Setting

    I am really loving the Duality Strings now that sordino and colors have been integrated. I get the sense that a lot of innovation has been developed under the hood in Synchron, but I can't always find the explanation I need in the original manual. So - what approaches have others found to climb this learning curve? Are there any Youtube videos recommended for a more intermediate to advanced presentation of the current Synchron features? Any other resources you might recommend?

    Here is an example of the sort of questions that are coming up for me:

    In the mix section of duality strings, there are "delay" settings to compensate for different microphone distances. I am looking at a factory preset, and the "room mix" of Hall A shows a delay setting of 21. The dark and bright mics in Hall B are both at 0. I don't think this means that the large string ensembles in Hall A are being delayed further, since their mics must have been further away than those used to record the small string ensemble in Hall B. Does "delay" dial in delay compensation for the plugin? Or, does "delay" delay the other tracks and not the track in which the setting shows up? Inquiring minds want to know...


    Large Vienna Library all on SSD, Protools/Carbon on M1 MacBook Pro, OSX Monterey 12.7, Steinway D, Rhodes Mk8-FX, Osmose, Moog One, Trigon 6-DT, OB-X8, Prophet 10 rev4, OB-6-DT, Kawai VPC-1
  • @strytten said:

    ...Here is an example of the sort of questions that are coming up for me:


    In the mix section of duality strings, there are "delay" settings to compensate for different microphone distances. I am looking at a factory preset, and the "room mix" of Hall A shows a delay setting of 21. The dark and bright mics in Hall B are both at 0. I don't think this means that the large string ensembles in Hall A are being delayed further, since their mics must have been further away than those used to record the small string ensemble in Hall B. Does "delay" dial in delay compensation for the plugin? Or, does "delay" delay the other tracks and not the track in which the setting shows up? Inquiring minds want to know...

    This topic has been discussed before. VSL's response at the time was:
    Basically, all microphones are compensated as far as time is concerned. This means, for example, that no delay time needs to be built in between the room microphone above the conductor (main) and the spot microphone of trumpet 1 so that the two signals match. It is therefore technically correct for us users if 0ms is entered everywhere.
    Of course, what counts in a mix is always "what sounds good is OK". So the manufacturer of the presets where you can read 21ms for certain instruments probably thought this was better for some reason.

    You can find videos on the VSL video channel, for example.
    You can also find some tips and tricks on my website (You need to serve around a bit).

    However, if you have very specific questions, this forum is normally a good platform to get concrete answers.

    All the best and a lot of Success

    Beat


    - Tips & Tricks while using Samples of VSL.. see at: https://www.beat-kaufmann.com/vitutorials/ - Tutorial "Mixing an Orchestra": https://www.beat-kaufmann.com/mixing-an-orchestra/
  • @Beat-Kaufmann said:


    @strytten said:


    ...Here is an example of the sort of questions that are coming up for me:



    In the mix section of duality strings, there are "delay" settings to compensate for different microphone distances. I am looking at a factory preset, and the "room mix" of Hall A shows a delay setting of 21. The dark and bright mics in Hall B are both at 0. I don't think this means that the large string ensembles in Hall A are being delayed further, since their mics must have been further away than those used to record the small string ensemble in Hall B. Does "delay" dial in delay compensation for the plugin? Or, does "delay" delay the other tracks and not the track in which the setting shows up? Inquiring minds want to know...

    This topic has been discussed before. VSL's response at the time was:
    Basically, all microphones are compensated as far as time is concerned. This means, for example, that no delay time needs to be built in between the room microphone above the conductor (main) and the spot microphone of trumpet 1 so that the two signals match. It is therefore technically correct for us users if 0ms is entered everywhere.
    Of course, what counts in a mix is always "what sounds good is OK". So the manufacturer of the presets where you can read 21ms for certain instruments probably thought this was better for some reason.


    You can find videos on the VSL video channel, for example.
    You can also find some tips and tricks on my website (You need to serve around a bit).


    However, if you have very specific questions, this forum is normally a good platform to get concrete answers.


    All the best and a lot of Success


    Beat

    Thank you Beat!


    Large Vienna Library all on SSD, Protools/Carbon on M1 MacBook Pro, OSX Monterey 12.7, Steinway D, Rhodes Mk8-FX, Osmose, Moog One, Trigon 6-DT, OB-X8, Prophet 10 rev4, OB-6-DT, Kawai VPC-1