# Morricone's Deborah's Theme (VSL Dimension Strings)



## ptram (Apr 18, 2021)

Hi,

With the release of their Elite Strings, VSL released a demo in a genre that is not typical of them, as much as it isn't for me.

I had to try myself on it, while also checking what Dimension Strings can do in the same domain. I like DS, because of their versatility. I'm curious to see how expressive they can be in a openly melodic piece.

It's not a type of writing that I'm in, so it would probably be an odd mockup.

These are the Synchronized Dimension Strings, plus Solo Strings, with no sordino. I went for the Synchronized, because they have 2nd violins ready, and I had to see that they make a clear difference with the VI Dimension Strings, where you have to create them with placement. In the "2nd violins to the left" setup, preferred in the Synchron Stage, this is not easy to do.

Not performed, but entered in Dorico and edited there.

Morricone, Deborah's Theme (88664)

And this is a version with a reduced set, matching the numbers of Elite Strings (65443). I didn't count the Solo Strings added to the melody parts, considering them as Solo mics.

Morricone, Deborah's Theme (65443)

This is a slightly different version, with more solo instruments layered in from a different library:

Morricone, Deborah's Theme (88664+other)

Paolo

(latest update: 2022-01-24)


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## ptram (Apr 30, 2021)

I've added Solo Strings to Dimension Strings, both for added dimension, and for mixing articulations to create the complicated bowed legato.

I've also reworked dynamics, expression and vibrato to make everything more expressive.

I've still some doubts about the higher dynamic range: should I let it "explode", like in my mock-up, or keep it more subdued?

Paolo


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## molemac (Apr 30, 2021)

ptram said:


> Hi,
> 
> With the release of their Elite Strings, VSL released a demo in a genre that is not typical of them, as much as it isn't for me.
> 
> ...


Sounds good , did you see this , I had a go at the same with SDS but eq to sourdine them. And others posted other versions.





__





VSL Synchron Elite Strings?


No, not yet. In the meantime you could save the auto-generated Sound Variations and use these saved maps in combination with VEP. Hi Ben, Wouldn't this require that I have the libraries on my Master PC to save the auto-generated Sound-Variations, before porting the libraries to the Slave PC ...




vi-control.net


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## ptram (Apr 30, 2021)

molemac said:


> Sounds good , did you see this , I had a go at the same with SDS but eq to sourdine them. And others posted other versions.


Thank you for listening! I've had a very difficult week, so I couldn't go through the whole thread your link. Thank you for reminding me of it!

Paolo


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## ptram (May 1, 2021)

I've added a version with a reduced set of Dimension Strings, to match the weight of Elite Strings (65443) more closely. While the full DS are next to a full strings orchestra (88664), this reduced set is more transparent, more intimate and chamber-like.

Paolo


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## Jish (May 1, 2021)

Hi Paolo/Charlie,

I checked both versions, and then the one linked to the other thread with Boris' version.

This piece (like a number of his others) will lend itself quite well to either smaller mid-sized ensembles or larger ones based on desired effect; the dynamic/'flow' is quite good in what you have posted, but I detect almost a nasal-like quality in both examples- almost sound at times likes SM's Solo/Ensemble strings was blended (which I know it wasn't) so really I think if that specifically could be honed/chipped at first, it would go some real distance in making these examples even better- It's a great piece to target for string mockup's with libraries, and we can learn alot in the process.

Rovelo still has everyone beat on mocking this piece, IMO, even a decade later- going for the bigger/wide approach found more commonly in Ennio's live performances of the song- (allegedly) using only HW Strings (Diamond).


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## ptram (May 1, 2021)

Jish said:


> I detect almost a nasal-like quality in both examples- almost sound at times likes SM's Solo/Ensemble strings was blended (which I know it wasn't) so really I think if that specifically could be honed/chipped at first


Jish, thank you for listening! As for my version(s), I suspect the nasal quality could be due to some phasing while crossfading between non-vibrato and vibrato. The best solution could be to fine-tune each of them, so that there is never too much overlapping causing phase issues.

If it is a more general issue, also appearing when no crossfading is happening, maybe it's a matter of equalization. Another thing to check.

Paolo


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## molemac (May 2, 2021)

Jish said:


> Hi Paolo/Charlie,
> 
> I checked both versions, and then the one linked to the other thread with Boris' version.
> 
> ...



Good detective work Jish


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## Jish (May 2, 2021)

ptram said:


> Jish, thank you for listening! As for my version(s), I suspect the nasal quality could be due to some phasing while crossfading between non-vibrato and vibrato.
> 
> If it is a more general issue, also appearing when no crossfading is happening, maybe it's a matter of equalization. Another thing to check.
> 
> Paolo


Hi Paolo,

No worries, you are getting alot right (in fact a majority of the heavy-lifting, IMO) and while there are still other nit-picky critiques that of course can be made, honestly, I think if that pervasive 'nasal' quality wasn't nearly as present this would be in good shape.

Thing is, it's also easy for me to forget the objective nature of why you started the thread- to put VSL's new Elite's to the test- and for me, at least, the test has already been a fruitful one- it has demonstrated that I would _not _use these strings as a base/foundation for this type of writing- my weapon of choice there has long been a mix of CSS/Afflatus/SCS and a variety of other libraries for solo's (which can be very important for his music). I don't really suspect that you are doing all that much wrong on your end, here- in fact I would wager based on several examples that stood out to me months ago that OT's Berlin Symphonic String's would have the potential to really knock this one out of the park- but, again, those are entirely different section sizes. Frankly, I seldom viewed VSL in general ever as a go-to for this type of writing, Guy Bacos' brilliance be damned.


molemac said:


> Good detective work Jish


Hey, I got a reputation to live up to- _and that's being the Robert Stack of Sample Libraries_.


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## ptram (May 2, 2021)

Jish said:


> Frankly, I seldom viewed VSL in general ever as a go-to for this type of writing, Guy Bacos' brilliance be damned.


Not very common in their demo repertoire, no. Guy Bacos, on the other side, can do whatever he wants to make every library get _his_ personal sound.

VSL usually go for a bright sound. I would say that this is the 'purest' sound for strings, as far as I can recollect from my live encounters with them. With the Synchronized series, I think they also slightly hyped the highs, to compensate for the less shiny sound of the old libraries compared to the newer Synchron sound.

What I want to do, now, is going deeper into shaping each section's sound, by lightly equalizing each track. Let's see if I can make the mids softer, rounder and sweeter, without removing the singing.

Paolo


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## ptram (May 3, 2021)

Jish said:


> I think if that pervasive 'nasal' quality wasn't nearly as present this would be in good shape


I've replaced the old 88664 version with a new one, where I fine-tuned each part with a separate equalization. I also reshaped the final equalization to make middle-high frequencies a bit softer.

If you have time to listen to a few seconds of the new version, I would be very happy to hear what's your impression. My ears are not in the best shape, now, and I fear to have overdone with EQ.

Paolo


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## ptram (May 7, 2021)

I've tried something different: more (multiband) compression instead of less. I don't like to overdo with compression, but it seems that smoothing things out can improve the coherence between sections.

Also, I've reduced the amount of vibrato, by limiting it to shorter portions of the notes. Too much vibrato, at least in this mockup, could sound artificial.

This mockup is proving to be a true training room!

Paolo


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## ptram (May 22, 2021)

I've done some other changes. Just some smoothing in tempo and dynamics, and a more transparent mastering, with less aggressive EQ (just a hint of attenuation around 500 and 3500Hz) and very slight compression and limiting.

Paolo


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## ptram (Jan 24, 2022)

I've tried a slightly different mix, with some more instruments layered. Probably, I prefer this version, a bit fuzzy but more lively.

Morricone, Deborah's Theme (88664+other)

Paolo


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## Mel O. Dee (Jan 30, 2022)

'ptram'..

I think the second and third versions are warmer-feeling and express more of the emotion that is inherent in the best of Maestro Morricone's compositions.

I applaud the commitment, dedication, and the effort you put into learning to master the technical aspects of your orchestral software to produce 'realistic' virtual performances. I simply do not have the energy or the patience to do so, myself.


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