I think he said it in the NS thread - he's a composer. He develops these tools to aid HIS composition. Becoming a developer is another venture altogether. He could certainly make money with it, if he re-oriented his career. But if he feeds his passion without having to do that excrutiating task, why do it?

As has been said, it's the passion within (with the aid of some surgical scripting skills) that we're all reacting to. The best VSL demos demonstrate what someone with passion can do with world class tools. Thomas is no different. Right now, I just wanna hear more what he can do.

No one here seems to understand this is scripting of existing sounds. What was recorded might have been quite mediocre compared to VSL, which does things the most basic way - with a good sound from the ground up. This scripting allows an old limited sample library like x sample, or a private library of extremely small size to be used in a new way with all sorts of tweaks applied automatically, and probably adjustment of harmonics etc for realistic legato without pitch bend weirdness, etc.

If I am wrong about this, go ahead, correct me but I believe all this desperate desire for these samples is misplaced. It is not in the samples. You already have better samples. It is how they are used. I found that somewhat irritating, about the solo cello - the VSL solo cello is in no way inferior to this one. It is in the useage, not the samples.

Well Williams, I could'nt say I love every VSL instruments. If you listen to the Sonic Implant Strings, you'll be surprised how warm they are. This aspect is'nt already present in the VSL string sound. No warm soft sound, I can't use the bass instrument because it's too agressive. The solo violin vibrato is recorded as if the guy was playing naked in the North Pole. Beside that I Love a lot of other VSL instruments, it's just a question of different tast.

The VSL celo is not inferior, it's less usable.
A lot of us are into movie music and need some warmness.
I'm not a fan of the silent stage, because a recording stage is never silent.
As a conclusion I'm very happy of the VSL whole package that I bought, but more humanity and sensitivity would be very welcome.

Sensitivity

@Laurent said:

[...] I'm not a fan of the silent stage, because a recording stage is never silent. [...]

With all respect, Laurent - but you seem to have missed the idea behind our concept.

@William said:

No one here seems to understand this is scripting of existing sounds. What was recorded might have been quite mediocre compared to VSL, which does things the most basic way - with a good sound from the ground up. This scripting allows an old limited sample library like x sample, or a private library of extremely small size to be used in a new way with all sorts of tweaks applied automatically, and probably adjustment of harmonics etc for realistic legato without pitch bend weirdness, etc.

If I am wrong about this, go ahead, correct me but I believe all this desperate desire for these samples is misplaced. It is not in the samples. You already have better samples. It is how they are used. I found that somewhat irritating, about the solo cello - the VSL solo cello is in no way inferior to this one. It is in the useage, not the samples.

William - if you are right (and I believe you are on to something) - perhaps these scripting tweaks made with older samples could be in someway applied to the very well done VSL samples for even more playability (further VI updates perhaps)? [[;)]]

If it can be done in K2 - it should be able to be done in the new VI.

Laurent, I do tend to agree about the VSL solo violin vibrato being a tad on the nervous side. Be nice to be able to control rate and depth of vibrato.

Rob

@Another User said:

With all respect, Laurent - but you seem to have missed the idea behind our concept.

I'm with u on this Dietz, as I can easilly see the problems and limitations of having all sorts of reverb and ambience on the source samples. That being said, I am also missing the often mentioned "romantic" warm sound to the Vienna strings, something no amount of EQ, effects or writing chops will give me. That John Barry sound is just something I would die for, and would often be a better choice for film and contemperary music over the more "old-school", classical record sounding Vienna strings. Vienna nails the woodwinds and horns dead on, but the strings is just not there yet for me sound-wise. There it is again: I want meh Epic Strings library! [:D]

it's wonderfull.....we are not far of the perfection....and with a string orchestra it's very joyfull...congratulations to VSL and to Thomas.


cleriensis.

Yes Rob, that was what I was thinking. The concept of Synful is taking really basic samples - NOTHING like the awesome complexity of VSL - and coming close to making them sound o.k. That is a huge leap when you consider how much is done with tweaking. Very involved and complex, but still basically tweaking. So if you could take something as good as VSL and mold it similarly the mind boggles at the possibilities. VI uses this general principle at the instrument level, and will certainly use it at the sample level soon. Though perhaps this type of scripting engine can be generically applicable to all your old libraries. That would be nice - putting all that painful expense to new use instead of dead storage.

Laurent, I have listened to Sonic Implant and they are not better than VSL at all. You're hearing some real nice mixes. Of course I wouldn't protest too loudly if someone presented that library to me for free. [[;)]]

@William said:

Though perhaps this type of scripting engine can be generically applicable to all your old libraries. That would be nice - putting all that painful expense to new use instead of dead storage.

That is the key issue. Period.

@cleriensis said:

congratulations to VSL and to Thomas.
cleriensis.

For what?

[*-)] [*-)] [*-)]

@William said:

Yes Rob, that was what I was thinking. The concept of Synful is taking really basic samples - NOTHING like the awesome complexity of VSL - and coming close to making them sound o.k. That is a huge leap when you consider how much is done with tweaking. Very involved and complex, but still basically tweaking. So if you could take something as good as VSL and mold it similarly the mind boggles at the possibilities. VI uses this general principle at the instrument level, and will certainly use it at the sample level soon. Though perhaps this type of scripting engine can be generically applicable to all your old libraries. That would be nice - putting all that painful expense to new use instead of dead storage.

Laurent, I have listened to Sonic Implant and they are not better than VSL at all. You're hearing some real nice mixes. Of course I wouldn't protest too loudly if someone presented that library to me for free. [[[;)]]]

Herb,

You have been noticably absent from this discussion. What is your take on 'future possibilities' within the new VI to get some of the results as shown by Thomas and his wonderful K2 scripting?

Obviously, I am not asking for details that could hamper your competitive edge - just that you are working on something similar. As I write this, I think - yes, of course you are working on this. You guys have proven time and time again to 'lead the pack'. Anything to make your samples 'live and breath' even more is certainly something you would be most interested in.

...But, having said that, a word or two from you on this topic would be appreciated - at least by me [[[;)]]] .


Rob

I'm sorry, busy finishing the stuff for replication.

In short: the Vienna Instruments do not need a scripting solution for simulating intervall connections, because we have real performed intervalls.

But what's possible now with the "internal scripting possibilities" of the VIs is to connect the intervall sample- nippets with any normal single note sustains. Especially for string ensembles this works very well. So there will be for a example performance-legati using all four sustain velocity layers.

I plan to use this possibilities extensively with our upcoming "epic string" recordings. It will be possible to have intervall legatos connected to multiple instances of different sustain articulation. For example different vibrato intensities, ensemble in tune, sligthly out of tune etc.

If this works well and is worth the effort, it will be easy to offer also free updates for the existing strings sections with similiar multiple expressive sustain instances.

best
Herb

Is the demo of TJ really a sample library? I cannot imagine... It sounds too real and alive.
TJ should give us an answer, please. Anyway - VSL will be able to achieve even better quality, diverse sounds of strings. They can and will do it for sure.
Herb - you are doing a great job! PLease make those strings "feel alive"...


Matt

@herb said:

I'm sorry, busy finishing the stuff for replication.

In short: the Vienna Instruments do not need a scripting solution for simulating intervall connections, because we have real performed intervalls.

But what's possible now with the "internal scripting possibilities" of the VIs is to connect the intervall sample- nippets with any normal single note sustains. Especially for string ensembles this works very well. So there will be for a example performance-legati using all four sustain velocity layers.

I plan to use this possibilities extensively with our upcoming "epic string" recordings. It will be possible to have intervall legatos connected to multiple instances of different sustain articulation. For example different vibrato intensities, ensemble in tune, sligthly out of tune etc.

If this works well and is worth the effort, it will be easy to offer also free updates for the existing strings sections with similiar multiple expressive sustain instances.

best
Herb

Very cool Herb. This will greatly help our request for more dynamic expression - without a nearly as much tweaking / programming.

Thanks for the update. Really looking forward to recieving the first half of VI.

Rob


Rob

@William said:

[...] Though perhaps this type of scripting engine can be generically applicable to all your old libraries. That would be nice - putting all that painful expense to new use instead of dead storage. [...]

William, the key to all those new VI-features that just seem to be "some clever scripting" is the fact that the Vienna Symphonic Library has the _content_, waiting to be used.

As you may know by now, there is quite a lot of new samples integrated into the VIs; without this huge amount of newly recorded (or at least completely re-edited) audio, applying some clever key-switching or the like doesn't make much sense --- where should we switch to?

While so many attempts are being made to mimic our way of doing things, the major drawback behind all those seemingly competing concepts is swamped out a bit: The samples needed for these tricks are missing.

This is maybe not what everybody wants to hear, sorry ...

Hi Dietz - what we really want to hear is when in Jan you chaps think the first VIs will ship..... [[;)]]

Not that I'm impatient or anything....

@Another User said:

I'm sorry, busy finishing the stuff for replication. [...]

Sounds good, doesn't it?

@herb said:

I'm sorry, busy finishing the stuff for replication.

In short: the Vienna Instruments do not need a scripting solution for simulating intervall connections, because we have real performed intervalls.

But what's possible now with the "internal scripting possibilities" of the VIs is to connect the intervall sample- nippets with any normal single note sustains. Especially for string ensembles this works very well. So there will be for a example performance-legati using all four sustain velocity layers.

I plan to use this possibilities extensively with our upcoming "epic string" recordings. It will be possible to have intervall legatos connected to multiple instances of different sustain articulation. For example different vibrato intensities, ensemble in tune, sligthly out of tune etc.

If this works well and is worth the effort, it will be easy to offer also free updates for the existing strings sections with similiar multiple expressive sustain instances.

best
Herb

Very promissing, thanks these efforts

It's really all about vibrato and natural imperfections. VSL's samples are perfect to the point where they lack life. That's not a problem for the winds and especially the percussion work very well, but the strings are very hard to get sounding right. Where is the vibrato? Where are the fortissimo dynamics? I hope the Epic Violins will have the sound we are after and I also hope that atleast Epic Cellos (Celli?) will be made. I'm not going to get it as a bonus as I can't afford the full VI so I also hope that they will be sold separately. [[;)]]

Dietz, that is basically the way I've always understood it. If you don't have the basic sound, no amount of screwing around will make it sound good. Also, as Herb suggested, if you record actual legato intervals, why fake them? Well, I suppose you could like synful, and then use an old sample library that had a good sound otherwise.

Though basically I don't believe it! Or I will believe it when I hear it! Something far beyond a tiny demo like this one, which I am not even certain of how it was produced because the people who did it are trying their hardest to be mysterious and sexy. I am not impressed.

Though even if this succeeds, it will still be a fake. I do believe in actually recording these sounds, as VSL does, then automating the use of them as in VI. Suppose someone creates an incredibly good faked legato, with harmonics and formants and all the associated acoustical elements correctly offset and shifted, etc. Someone else will still come along, and incorporate a true legato later on. And then what good is the fake? All of these musical elements are pre-existent and unchanging truths, such as the timbre of a ponticello violin tremolo. But all these technical reproductions are shifting, ephemeral, and simply a matter of data. So whoever is most true to the musical elements, will win in the end.