There are moments where there are strange gaps. I think adding a little more reverb can help with that. I kind of despise the whole elitist attitude about "real" instruments though. If I can play on the keyboard and "write" it on the keyboard, then I know how to write for it. Do I need to be a violinist do be able to write for the violin? Do we always have to push the bounds of the instrument like a Sibelius Violin Concerto? Yeah, we should know what is possible on a real instrument. Anyone really can write a piece of music, it's just that there are degrees of competency and the more we study and the more we do it, the better we get. And the beauty of instruments like Bohemian Violin is that they are programming them to at least behave like the real instrument, so playing it would help us to learn to write for the Violin. So I disagree with you whole heartedly on your last point.
Loving all the debate my comment has sparked. Just to be clear:
I do not own this instrument, but I do think it is one of the best sounding virtual violins out there.
My comment on learning to write with virtual instruments is indeed only relevant if you want to write for real instruments eventually. If you do, then you absolutely do have to study the real thing - you don't have to play it, just understand enough of HOW it's played to be able to write idiomatically. That is part of the job of being a composer after all - if you want other people to play your music, you have to respect their craft as much as they respect yours. Over the years I've had a number of "composers" tell me "why can't you plat that, when my computer VI can?" Incidentally most of them wanted to write something "like Fratres", yet none of them could even name the open strings of a violin, nor understand why that is required knowledge to be able to write arpeggios like that. (Incidentally I made a video about this years ago, but that's beside the point). So that's part one of the equation. The other part is imagination - if you rely on a virtual instrument, no matter how good it is, to inform your creative decisions, you are limiting yourself creatively, because it will never, ever get even close to what a real, skilled human being can do. Once you understand the basics of idiomatic writing, you are in my opinion much better off writing with pen and paper and using your imagination to imagine what it will sound like, rather than reacting to sounds of a VI.
If however, the end result you're after will never be recorded by a real player, then yes, anything goes, the computer becomes an instrument, and if you can play it on your keyboard, then yes, you know all you need to know.
Unless of course you want your computer produced piece of music to sound like it was played by a real violinist...then everything above comes back into play. You have to understand enough to know why a real violinist would never play like the example I reacted to. And this, I believe, is where virtual instruments become a double edged sword that can potentially limit your imagination and harm your musicality.
I spent 10 years working as an orchestral musician, and as much I loved it, I came to despise the snobbery of the classical world, so I'm pretty sure I'm not an elitist. On the other hand, since discovering VI's, making music on a computer, and this forum, I have never been able to understand the way that some people look down on skill and knowledge (not saying you're one of them, I've been here long enough to know you're extremely skilled!). Everybody wants to write "orchestral music" but they don't want to learn about how the orchestra actually works, because they live entirely in the world of recorded music and virtual instruments - I really don't understand that mindset at all. This is where I think VI's are a curse, rather than a blessing. For example, I personally blame them for the prevalence of the omnipresent string ostinatos, because short notes where sort of the only articulation of early string libraries that sounded good. What I fear is an entire generation of composers who have learned to write with VIs, because you inevitably end up writing to the strengths of the library, and that severely limits your imagination. Real orchestras can do so, SO much more than strings ostinatos and footballs in the brass, but you have to actually study and develop real musical skills to tap that potential.
Sorry for the rambling stream of consciousness....