TEXTURES | How to get the PERFECT string sound!
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- čas přidán 7. 07. 2024
- Get an overview of the sonic possibilities with the different section sizes we offer for our string products!
All Synchron Series Strings:
www.vsl.co.at/Synchron_String...
All SYNCHRON-ized Strings:
www.vsl.co.at/SYzd_Strings
Orchestral Strings I&II:
www.vsl.co.at/Orchestral_Stri...
00:00 Intro
00:21 Overview
00:50 Example Info
01:15 Additional Libraries
01:48 SYzd Appassionata Strings
04:29 SYzd Dimension Strings I
06:35 VI Orchestral Strings I
08:24 Synchron Strings Pro
09:50 SYzd Chamber Strings
10:39 SYzd Solo Strings
11:40 Synchron Elite Strings
13:07 BBO Zodiac
14:33 BBO Lyra & Musca
15:56 Synchron FX Strings I
17:18 Thanks for watching!
#vsl #strings #synchron #violins #arrangement #textures #mixing
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Vienna Symphonic Library is one of the leading developers of orchestral sample libraries and award-winning music production software for all genres. For over 20 years, we've been recording high-quality samples of almost every instrument of the symphonic orchestra in the city of music, Vienna. Driven by our passion, we've built by far the largest sample database ever created by a single company. For our users worldwide, we continue to innovate and develop the most advanced virtual instruments. Our goal is to inspire artists and excite them to turn their musical ideas into reality.
➤ Get inspired by our libraries: www.vsl.co.at - Hudba
Brilliant Master Class, thank You VSL!! ( and Paul)
Could we please have more of these Strings texture video explaining the Voicings and Spred properly... As in how he is using divisi to voice the chords in each section to make it sound so silky....that would be extremely helpful... :)) Please!
one of your best videos VSL. Thx
Great demo stunning sound quality 👍 best wishes Phil UK England 👍
This video was immensely helpful to me! I’m currently working on a John-Williams-like piece, featuring the orchestral strings. I might substitute them for apassionata, because currently it lacks some oomph
Marvelous!
Great tutorial !
Thank you 👍
Thank you very much! A Very usefull master class!
I learnt something today
very nice ideas
Lovely.
Thans a lot!!!!
the orchestral strings still sounds very good (one of the best actually) next to appassionata and dimension strings (the others lesser so in this example).
Too bad the orchestral strings doesn't offer true 2nd violins, only emulated ones: manupulated 1st violins to act as 2nd's (potential phasing issues)
I still hussle with the "synchron-ized" term in the newer product lines and it feels like I come back to that every 2 years still being confused. So sorry if I asked that already somewhere else. To help me better understanding, let's say: I add some of my VI series library presets to a MIR Synchron stage room. Do I have the same (or near similar) result then like if I would use the preset of the Synchron-ized series libraries but without adding MIR Synchron stage room additionally from my side? Does that mean - on the other hand - that I cannot (or better should not) use Synchron-ized libraries in other rooms than Synchron stage? "Cannot" refers to the professional attempt to better NOT mix rooms in an orchestra arrangement simulating ONE recording stage. Simply asked: Does "Synchron-ized" refers to "VI series (plus newer recordings) converted to a Synchron stage room mixed/added/recorded library"? And if so, should I rather prefer the VI series over Synchron-ized if I need the most possible flexibillity regarding room simulation? I am in the same boat on this with another collegue and composer on a bigger scale working in big productions (even Hollwood), we both share the experience or worry to have purchased almost the complete VI series in the last 2 years mistakenly, even while Synchron-ized product lines already existed. And we both worry that we purchased not future proofed sets, since there hasn't been any new product coming up in the last time in the VI series. Which I presume is the "dry" series? Sorry for repeatly coming back on this.
Hi Nils, SY-ized products are basically the VI instruments in an updated version and in a new player, the Synchron Player. The SY Player additionally offers a seated orchestra at Synchron Stage by using built-in impulse responses. Sonically, you get the same flexibility, as you can switch off all internal processing in the SY Player by loading the "99 Unprocessed" mixer preset, which provides you with the dry original recording.
Hope that helps! Fell free to contact us via support@vsl.co.at, easier to discuss such questions in detail!
- Paul
@@ViennaSymphonicLibrary Thanks for taking the time to put it clear (...again) Thank you very much.
Simply.... You need live musicians , live orchestra . Vienna - plastic sound
Nobody is claiming that samples are a replacement for live instruments, but if you have the financial means to hire a 100 piece-orchestra, and at any time you want, good for you! Until then, this is not a bad option at all, and if at some point you want to have your composition played by a live orchestra, you already have a good idea of what it sounds like. Your CV is appreciated; however, a large number of the people using samples are professionals who have CVs that are very impressive.
@@guybacos OK . You are right . My answer was like joke , but some man start fight with me ... Of course I understand that live and samples is different , but most arrangers who used virtual orchestras don't know how arranged for live strings . No? Am I right ?
@@MrOrenburgsky I agree that the quality of the writing, arrangement, and orchestration, whether for a sample library or a live orchestra, is what makes a piece come alive.
@@MrOrenburgsky the situation is so: it is true that most composers who rely on samples do not master basics of arrangement and theory, but is also true that most pen and paper composers do not master nothing about true contemporary techniques, while they think they are contemporary. Inbetween there is still a third group: the composers who write a symphony on Sibelius and later realise they have no money to go forward with the project. To inetegrate technology and tradition with art requires a lot of time and some crazy ambitious mind that decided to add technological problems to cllassical compositional problems
A live orchestra needs a good conductor, and the samples need a good producer. Their samples are in general very good, not plastic.But we can compose like plastic using them, when there is no technique or patience