TEXTURES | How to get the PERFECT string sound!

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TEXTURES | How to get the PERFECT string sound!

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Vienna Symphonic Library

Күн бұрын

Пікірлер: 30

@NikolaNikitaJeremic Ай бұрын

I've said it before, and I'll keep saying it. VSL Libraries are the only ones that are properly balanced. Instruments within a section, and sections between themselves. Just load it up and play, no fuss at all!

@Zaleskee Жыл бұрын

Brilliant Master Class, thank You VSL!! ( and Paul)

@sonicstoryteller Жыл бұрын

Great demo stunning sound quality 👍 best wishes Phil UK England 👍

@41Fingers Жыл бұрын

one of your best videos VSL. Thx

@acomposersdiary 10 ай бұрын

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!

@MichaelSmith-on1ig Жыл бұрын

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

@issiewizzie Жыл бұрын

I learnt something today

@LesSentiersInitiatiques Жыл бұрын

Thank you very much! A Very usefull master class!

@panchiquesada Жыл бұрын

Marvelous!

@jingleskhanaudioproductions Жыл бұрын

very nice ideas

@RobertSuchorski Жыл бұрын

Great tutorial ! Thank you 👍

@comm2005 Жыл бұрын

Lovely.

@mr_don_key Жыл бұрын

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)

@panchiquesada Жыл бұрын

Thans a lot!!!!

@nilsunderseer2157 Жыл бұрын

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.

@ViennaSymphonicLibrary Жыл бұрын

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

@nilsunderseer2157 Жыл бұрын

@@ViennaSymphonicLibrary Thanks for taking the time to put it clear (...again) Thank you very much.

@MrOrenburgsky Жыл бұрын

Simply.... You need live musicians , live orchestra . Vienna - plastic sound

@guybacos Жыл бұрын

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.

@MrOrenburgsky Жыл бұрын

@@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 ?

@guybacos Жыл бұрын

@@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.

@emanuel_soundtrack Жыл бұрын

@@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

@emanuel_soundtrack Жыл бұрын

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