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AcousticSamples VWinds

How have people found placing these for orchestral use? Especially when using them a2? Does the (amazing!) sound develop well in an orchestral context?

Would be super-interested in whether people have had success using these with Mir too.

Thanks in advance!
 
Would be super-interested in whether people have had success using these with Mir too.
Here's a link where you can hear the VWinds isolated in a mockup I did. It's all running through MIR 3D (Grosses Festspielhaus Salzburg). (This is the v1 version of the Double-Reeds.)

 
I’m never 100% sure on this as I’ve only ever used CC1, is there a difference between volume and expression?
My limited naive understanding is that the default name for CC7 is "volume" and CC11 is "expression", and that traditionally both affect volume and largely have the same effect, but that the expression CC can sometimes affect other attributes too depending on the virtual instrument itself. e.g. many patches from EastWest Hollywood series use CC11 expression for xfading dynamic layers and CC1 for vibrato.

I would love to learn from people who know more, if there is more nuance to it!
 
Here's a link where you can hear the VWinds isolated in a mockup I did. It's all running through MIR 3D (Grosses Festspielhaus Salzburg). (This is the v1 version of the Double-Reeds.)

I'm a MIR Pro user as well. How do you 'push them back' in the room? I've played with different mic settings in the UVI player and can't get anything that still doesn't sound close up even if they're at the back of the MIR venue.
 
My limited naive understanding is that the default name for CC7 is "volume" and CC11 is "expression", and that traditionally both affect volume and largely have the same effect, but that the expression CC can sometimes affect other attributes too depending on the virtual instrument itself. e.g. many patches from EastWest Hollywood series use CC11 expression for xfading dynamic layers and CC1 for vibrato.

I would love to learn from people who know more, if there is more nuance to it!
East West's CC standard is contrary to trend and thus quite annoying for me. If I can change it in Play or Opus I do, to the emerging standard:

CC1 - dynamics for sampled inst (proper sampled or scripted dynamics, not volume)
CC2 - vibrato
CC7 - fixed volume, used as a master fader so you can trim and to set the max your CC11 will go to
CC10 - pan
CC11 - general volume use



Then I like to use:
CC3 for vibrato speed
CC4 for filter if CC1 is used as dynamics
CC5 for anything time based such as portamento or legato speed
CC6 for additional time based parameters
CC8 attack
CC9 release
CC13 to 20 - mic volumes
 
I'm a MIR Pro user as well. How do you 'push them back' in the room? I've played with different mic settings in the UVI player and can't get anything that still doesn't sound close up even if they're at the back of the MIR venue.
The Dry/Wet Ratio will "push the sound further back/forward" in the room (well, more of give you more/less of the positioning, but sort of the same thing).

1718084633856.png
 
How have people found placing these for orchestral use? Especially when using them a2? Does the (amazing!) sound develop well in an orchestral context?

Would be super-interested in whether people have had success using these with Mir too.

Thanks in advance!
it is taking time to get it right. there are so many different ways of doing it and i'm obsessing.

that said, i used them for the first time on a largeish orchestral project earlier this year, and as much as i've improved them since, they sound fantastic in that and let me do things i wouldn't have been able to do with anything else.
 
How have people found placing these for orchestral use? Especially when using them a2? Does the (amazing!) sound develop well in an orchestral context?

Would be super-interested in whether people have had success using these with Mir too.

Thanks in advance!
I think they work pretty well!

The thing is, if you're just doing staccato stuff or semi-buried chords in the background, then I think that you may as well use other libraries.

But as soon as there's anything even slightly exposed, these start to shine. For me, they are blending well enough and I don't even have any placement software. Just chuck in Panagement, a bit of EQ and they seem to be placed far enough back in the hall ...
 
I think they work pretty well!

The thing is, if you're just doing staccato stuff or semi-buried chords in the background, then I think that you may as well use other libraries.

But as soon as there's anything even slightly exposed, these start to shine. For me, they are blending well enough and I don't even have any placement software. Just chuck in Panagement, a bit of EQ and they seem to be placed far enough back in the hall ...

+1
In an exposed solo, it really shines for its expressiveness.
Here's another mockup of "Lujon" from Henry Mancini, using the transcription of Clemens WOLF



The alto sax is from Vhorns, though it's not a vwinds instrument. Me too used the free Panagement in this mockup.
 
+1
In an exposed solo, it really shines for its expressiveness.
Here's another mockup of "Lujon" from Henry Mancini, using the transcription of Clemens WOLF



The alto sax is from Vhorns, though it's not a vwinds instrument. Me too used the free Panagement in this mockup.

this is my favorite mancini! what strings are those?
 
The Dry/Wet Ratio will "push the sound further back/forward" in the room (well, more of give you more/less of the positioning, but sort of the same thing).

1718084633856.png
This. And check the mic position relative to the instrument. And if all that isn’t making it feel more distant, check if you are using MIR as a send or an insert. If you are using it as a send, then you are blending the dry sound with MIR’s dry sound + MIR’s wet sound. You’ll get better results if you use MIR as an insert since MIR will “position” the dry sound for you in addition to adding reflections.
 
How have people found placing these for orchestral use? Especially when using them a2? Does the (amazing!) sound develop well in an orchestral context?

Would be super-interested in whether people have had success using these with Mir too.

Thanks in advance!
They work great in an orchestral context as heard from all the amazing demos and they really dont need much imo! Heres 2 mockups from before the flutes were released. Just the close mics, tiny bit of EQ, and reverb sends. Havent had any problems implementing the flutes in the same way :)


View attachment Symphonic Dances III-01.mp3
View attachment Danse Générale.mp3
 
They work great in an orchestral context as heard from all the amazing demos and they really dont need much imo! Heres 2 mockups from before the flutes were released. Just the close mics, tiny bit of EQ, and reverb sends. Havent had any problems implementing the flutes in the same way :)


View attachment Symphonic Dances III-01.mp3
View attachment Danse Générale.mp3
Very nice! Blends well with the rest of the orchestra. What are the other libraries in the 2nd piece?
 
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