@tom@aerovons.com said:

Not really, if you are doing anything "in period".....listen to any of the old arrangements done on Sinatra recordings, or virtualy any film score from the 40s.....vibrato is heavy and omnipresent....

Tom

Sorry, you don't understand how violin technique works. You can't play everything with heavy vibrato. The sustained notes have it, but the hand has to stop moving in order to change the note. Actually, you can do a kind of vibrato on faster notes, but it can't be as wide, therefore the heavy vibrato notes can't be used on all notes. Just try it and you will find that it sounds like a bad LFO. The 40's recordings use a different sort of vibrato anyway, so there is not much point in comparing these with AV.

DG

I know a alcoholic violin player who will disagree with you about playing every note with heavy vibrato.... on the 2 till 5 session after a liquid lunch he plays everything molto espressivo !!!!

Sorry - all joking aside, DG is right - you pick 'key' notes out of a passage, (normally longer notes or where the melody needs to soar) and employ this device there.

To Christian:
Propably yes. If I just could have a listen to the different articulations (short melody, very simple - E - D- A) would be enough.
We just did a recording session with 8 Violins and Celli, Viola...
The sound is awesome. As far as I can hear, the AV sound very epic, not suptile enough. I can not say mor, because Herb is NOT posting any demo at all, or I cannot find it.
I would buy OS1 straight away when we could replace Violins (in an orcherstra playing live) by VSL... [*-)]

Propably there are lyrical vibrato patches etc. in it - but how should I know???

These strings ARE epic - they are recordings of 20 violins! - nothing subtle about that [:)]

The work title of these violins was 'Epic Violins'... But maybe at low volume layered with chamber strings is more what you are after. I dunno.

Maybe when VSL does a full appasionate collection you will see patches more akin to what you are looking for.

@tom@aerovons.com said:

Not really, if you are doing anything "in period".....listen to any of the old arrangements done on Sinatra recordings, or virtualy any film score from the 40s.....vibrato is heavy and omnipresent....

Tom

Sorry, you don't understand how violin technique works. You can't play everything with heavy vibrato. The sustained notes have it, but the hand has to stop moving in order to change the note. Actually, you can do a kind of vibrato on faster notes, but it can't be as wide, therefore the heavy vibrato notes can't be used on all notes. Just try it and you will find that it sounds like a bad LFO. The 40's recordings use a different sort of vibrato anyway, so there is not much point in comparing these with AV.



DG

Gee, it's a bit insulting for you, without knowing anything about me, to say I don't understand something. I've been doing LIVE strings for about 30 years, so I rather understand them, thanks[[;)]] Yes the hand has to stop to change notes, but in reality, many times the effect to the ear of that hand stopping for a millisecond between notes is irrelevant. And I'm sure we would ALL love to hear about the "different" kind of vibrato invented in the Forties. [[;)]]

Tom

anyone continued a track using the av strings and care posting a mp3?
i'm curious what you all did since the strings were released.

@tom@aerovons.com said:

Gee, it's a bit insulting for you, without knowing anything about me, to say I don't understand something. I've been doing LIVE strings for about 30 years, so I rather understand them, thanks[[;)]] Yes the hand has to stop to change notes, but in reality, many times the effect to the ear of that hand stopping for a millisecond between notes is irrelevant. And I'm sure we would ALL love to hear about the "different" kind of vibrato invented in the Forties. [[;)]]

Tom

That's pretty much how I think, the ear perceives a constant vibrato but at various intensities. I'd be very surprised to hear an orchestral recording where at some point the vibrato is dead.

@tom@aerovons.com said:

Gee, it's a bit insulting for you, without knowing anything about me, to say I don't understand something. I've been doing LIVE strings for about 30 years, so I rather understand them, thanks[[[;)]]] Yes the hand has to stop to change notes, but in reality, many times the effect to the ear of that hand stopping for a millisecond between notes is irrelevant. And I'm sure we would ALL love to hear about the "different" kind of vibrato invented in the Forties. [[[;)]]]

Tom

That's pretty much how I think, the ear perceives a constant vibrato but at various intensities.

Yes Guy, that's really it. The intensity does ebb and flow.

Boy I really love what VSL has done with these strings. I can finally play high notes without cringing[[[;)]]] Very smooth sound. A lot to play with here!

Tom

@tom@aerovons.com said:

Not really, if you are doing anything "in period".....listen to any of the old arrangements done on Sinatra recordings, or virtualy any film score from the 40s.....vibrato is heavy and omnipresent....

Tom

Sorry, you don't understand how violin technique works. You can't play everything with heavy vibrato. The sustained notes have it, but the hand has to stop moving in order to change the note. Actually, you can do a kind of vibrato on faster notes, but it can't be as wide, therefore the heavy vibrato notes can't be used on all notes. Just try it and you will find that it sounds like a bad LFO. The 40's recordings use a different sort of vibrato anyway, so there is not much point in comparing these with AV.



DG

Gee, it's a bit insulting for you, without knowing anything about me, to say I don't understand something. I've been doing LIVE strings for about 30 years, so I rather understand them, thanks[[;)]] Yes the hand has to stop to change notes, but in reality, many times the effect to the ear of that hand stopping for a millisecond between notes is irrelevant. And I'm sure we would ALL love to hear about the "different" kind of vibrato invented in the Forties. [[;)]]

Tom
I'm sorry if you think that I've insulted you; it was certainly not my intention. However, if you think that it takes a millisecond to change from a note with vibrato to another note with vibrato, then you are obviously a much better player than I am [:D]

If you want to hear vibrato from the forties, you only have to listen; it is all to do with amplitude and speed. I never said that it was invented in the forties; you made that up [8-)]

DG

DG, I have a question for you. Are you a violinist? I think it's interesting to have feedback from violin players.

@Guy said:

DG, I have a question for you. Are you a violinist? I think it's interesting to have feedback from violin players.

Yes, in my younger days I was Professor of Violin at the Guildhall School of Music and Drama as well as an examiner for their external Grade and Diploma exams.

DG

DG,

What did you think of my Concerto Cadenza (for violin and orchestra)? If you haven't heard it it's in the demo section. (symphonic cube)

@Guy said:

DG,

What did you think of my Concerto Cadenza (for violin and orchestra)? If you haven't heard it it's in the demo section. (symphonic cube)

PM sent.

DG

@Another User said:

I can finally play high notes without cringing[;)]

by the way, these patches playrange go up to A7:

11 VI-20_sus_Vib
21 VI-20_sfz
02 VI-20_perf-spiccato_fa
03 VI-20_perf-harsh_fa

02 VI-20_perf-rep_por (G#7)
03 VI-20_perf-rep_spi
04 VI-20_perf-rep_harsh

best
Herb

@Another User said:

I can finally play high notes without cringing[;)]

by the way, these patches playrange go up to A7:

11 VI-20_sus_Vib
21 VI-20_sfz
02 VI-20_perf-spiccato_fa
03 VI-20_perf-harsh_fa

02 VI-20_perf-rep_por (G#7)
03 VI-20_perf-rep_spi
04 VI-20_perf-rep_harsh

best
Herb

I've just been using the Perf Legatos and the Prog Vibratos, and the high notes seem so much better. I put the old Legato Vlns in and if you switch between them and the new ones, there is a great textural difference. I really love these new strings. I still wouldn't call them "Epic"...not in the sense that the Epic Horns are, but they are so much better than what we've had for first violins. Can't thank you enough and I hope the work continues...would be great to hear muted violins in this fashion, and yes, CELLOS!

Tom

Excellent, excellent work on the Appassionata Violins. Nothing I've ever heard from ANY other library even comes close. In addition to the great expression and tone of the violins, all the notes up and down the keyboard (including the legato instruments) are very even in timbre, with no notes sticking out or sounding thin or shrill in any way. Fantastic.

Gary

@tom@aerovons.com said:

Yes Guy, that's really it. The intensity does ebb and flow.
Tom

Tom, what's ebb? [*-)] These abbreviation drives me nuts being french and all.... [[;)]]

@tom@aerovons.com said:

Yes Guy, that's really it. The intensity does ebb and flow.
Tom

Tom, what's ebb? [*-)] These abbreviation drives me nuts being french and all.... [[;)]]

"ebb and flow" - "to and fro" - "back and forth"

as of the tides. [:)]

Guy,

The term 'ebb' is not an abbreviation but means to reduce or lessen and is most often used to describe the movement of the tide back out to sea. So the phrase 'ebb and flow' describes a constant pattern of movement back and forth or in terms of dynamics, gradually less and more.

Maybe you can improve my French sometime. It really sucks!

Colin

Edit: Beaten to the punch by Dave - I really must try and use less words in my responses. [:)]

AC=Appassionata Cellos=Me want=Me pay [:D]


(great job on the AV's)


Rob

Thanks y'all!

Colin,

Donc ton français n'est pas fort? Mais ce n'est pas grave, au moins on se rejoint par la même langue: VSL [[;)]]