Even More CSW vs VSL Synchron WW vs Infinite Woodwinds
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- čas přidán 27. 12. 2021
- Which do you prefer? Another Compare / Contrast on a couple recognizable melodic sequences between Vienna VSL Synchron Woodwinds Solo Flute, Oboe, Cor Anglais and CSW Cinematic Studio Woodwinds and this time also Infinite Woodwinds.
I am using a new USB mic and the firmware update seems to have fixed the glitches from the previous video. But I didn't quite dial in the sound for Voice-Over, yet.
Previous videos:
• CSW vs VSL Synchron WW
and • Vienna Synchron Woodwi...
and • Vienna Synchron Woodwi... - Hudba
Great comparison, thank you. After hearing this without watching initially, CSW is still my favorite :)
Blind tests are the best. Cheers!
The "sus" patches mean that the modwheel works only with sustained notes(legato, trills, sustained etc...) but shorts are responding to velocity :)
Thank you!
One of the advantages of the IW instruments is the infinite vibrato. Real flutes tend to vary the vibrato with little or no vibrato on moving notes and a kind of vibrato "bloom" on a sustained note. If you look at Aaron's walkthru video (czcams.com/video/4KQZfkB3mMs/video.html) at the 19:05 mark, you can see how he articulates the vibrato depth on the Alto flute. Sampled winds usually have a simple on/off vibrato crossfade that often doesn't work well as a performance articulation. On the other hand, some sampled instruments will build the vibrato "bloom" into the sustained samples. Lot's of choices.
Wow perfect demo to link from Aaron, thanks! It looks like he must record those on a second pass, those vibrato moves (assuming he does the mod wheel the first time through) don’t you agree?
@@NathanDavidCarltonSoundbed I"m not sure, but i think Aaron prefers full real-time playability. I think he said that he uses a Leap controller (go back to the start of his walkthru) with MidiPaw(?) to control multiple parameters at once. czcams.com/video/1BcRA4srRnQ/video.html
Hey Nathan, Love your library comparisons! I actually own IB and IW, and love them for playing in parts, but as a conductor, I sometimes get midi scores from a composer and I‘m wondering whether I can assign IB and IW to the wind parts and then edit the midi the way I‘ve been doing it with Spitfire instruments. I’m yet to try it, but without key switches, I guess editing midi in IB and IW would be a lot of note length, velocity and expression editing wouldn’t it? Do you think I should grab CSS, CSW and CSB for a programming workflow vs. a playing workflow? Thanks in advance for any advice you can offer!😊
So, composers give you midi to transform into a mock-up…was it from a notation program? In any case, going from midi to virtual instruments always involves some work. I can’t predict which route (the programming workflow vs playing workflow) will be the least amount of work or sound the best or be the most fun for you. There’s advantages and disadvantages to both, and it’s tough to figure out which will be the most enjoyable until you’ve spent some hands on time with the various products. As a conductor, you might have more fun with IW and IB and the upcoming Infinite Strings. But that’s only a guess. I don’t want to steer you the wrong way. If you want to save time, you might spend less time tweaking performances from the Cinematic Studio Series (after a learning curve to get the best out of them).
@@NathanDavidCarltonSoundbed Thanks so much for taking the time to respond. I've now dipped my toe into the Cinematic Studio water with the strings library and I may ultimately add the brass. I don't think I'll get the Woodwind since I don't like the phasing I hear in the demos between dynamic layers. I generally find it beneficial to have a wide range of tools to work with. Sometimes the midi I receive translates pretty well with a keyswitching instrument, but occasionally I find it easier just to play articulations in using a flexible patch or indeed an Infinite instrument. Sometimes I don't get midi and have to play everything in by hand, so I'm happy to have a very comprehensive toolkit with which to keep workflow as smooth as possible. Ultimately my mock-ups are just for my own study purposes so they don't need to published or indeed please anyone but me! Thanks again!
I own all three and I think Infinite sounds the best. The oboe in particular is gorgeous. It's actually a bit of a bummer because I own EVERYTHING from Synchron and would love to use that exclusively, lol
Yeah there is part of me that would like to stick with one developer at times, but I always find places different packages excel … so I am always mixing different products. Infinite is certainly worth the investment imho.
@@NathanDavidCarltonSoundbed @tosvus yea, I agree - I love to use the Synchrony Player - recently picked up OT Solo Oboe thinking it would be nice to have - shrill. I love the VSL Oboe better - also the Timbre adjustment really produces the difference for me - maybe why I like them better? Recently I've subbed in SpitFire Symphonic Woods instead of Synchron? Is it my ears that day? Yes; I float between them - so 'you can't have enough strings' is now 'you can't GET enough winds'! As a fellow/former Minnesotan; say hi to MN for me! Thanks for the video.
CSW sounds the best by far. IW is cool because of playability and everything but man does it sound synthetic.
I do use CSW the most. IW is second choice for me.
@@NathanDavidCarltonSoundbed Infinite is only gonna get better and for free, a massive update is coming apparently...
@@LordComradeAnarchoCapitalus So I heard, from Aaron himself
Biggest drawback of Cinematic Woodwinds for me: Vibrato is not gradually controllable, it's only on / off. That's really a no go. But their instruments sound great.
Yeah if I really want to control the vib I use Infinite Woodwinds.
The thing that bothers me the most about CSW is the stereo image changing as the dynamic layers crossfade. Also, as someone who can play all these instruments (band director), the way IW handles the vibrato through the legato with such consistency is very impressive. Generally, when playing legato especially, real players don't stop and start their vibrato with the beginning of each note. So, in my opinion, IW delivers a more convincing performance of the instruments. To my ears, as someone who has been around and played these instruments for many hours, IW sounds the LEAST like a sample library and most like a real performance. I think that has the most to do with how the VSTs function from note to note. I think CSW has higher quality samples overall, but IW puts them to use in a more convincing way.
Great comments, thanks! I do think IW and IB work best for players ... or people who want to massage the MIDI to sound played. Whereas CSW works really well for people more accustomed to traditional sampling instruments .. although a certain understanding of the MIDI instructions is still required for CSW, it's less nuanced and straightforwardly documented. To deal with the dynamic layer crossfade concerns, I think the best workaround is to pick a layer for a phrase and (mostly) use the expression CC to ride volume changes. Or, change layers in places that are more or less "hidden" within a phrase, if necessary (but that can be tricky, and easier said than done).
@@NathanDavidCarltonSoundbed Totally agree. Both are amazing, honestly. I have everything else in the CS series and it's fantastic. These are both on my buy list!