What's new

[NEW] Synchron Duality Strings: Virtuoso

Ben

VSL


This library is packed with a lot of hard to immitate or programm articulations and performances!
Martele, Ricochet, Saltando, Dynamics, Glissandos, Runs, Rises and Falls, Arpeggios, in different styles and variations.
Check it out here:






Also, if you already own Synchron Duality Strings, make sure to open the Assistant, go to the product view of Synchron Duality Strings (regular) and install the free Regular expansion, containing an additional hard stacc and sustain non-vibrato!
 
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Bought and downloading.

I assume from what Paul says at the end of the video is that this is not the super secret thing that you've been working on (and, we already knew about this, so it wouldn't be a super secret plan). :grin:

1714664888501.gif
 

Thanks for this. Really interesting. I hope it's ok to post the full English translation here. I will hide it so it doesn't take up much space:

Hey, what are you doing? I'm exporting the last files for Duality Strings Virtuoso for Herb. It's almost done.

Should we go over there and show him?

Yes, let's take a look.

Hi Herb, the samples of Duality Strings Virtuoso would be ready.

Okay.

In general, you were well in time.
Yes, it all turned out quite well this time.

Let's start with something unspectacular.

Seemingly unspectacular - Martellato.

Here the point is that the release samples are actually almost more important than the wavs themselves,

because I'm interested in the ending.

Usually the string players always play a final note and then they let it sound

and that's not supposed to be the case here. They should stay on the string with the bow,

which is quite normal in a phrase or a normal piece.

But it's in the DNA of a string player ... The last note should sound.

That was quite a challenge to get the musicians to do that.

But it worked well, so it sounds pretty good from what I've heard so far.

The idea behind it is that you can then play faster passages

without the reverberation produced by the instruments building up,

but the reverberation that you need to make it sound good is still there.

Yes, sounds great!

Works great.

Let's take a look at the very quiet ones.

Great. Did you have to do a lot of cleaning with the releases of the martellatos, or were the players very disciplined?

No, that was actually quite okay.

Okay. Well, then maybe we'll take a look at the arpeggios.

My favorites are the fifth arpeggios.

And were you always able to use the fully played length of the arpeggios, or did you have to remove something?

We were actually able to use almost everything with most of the samples.

We had to correct some samples a bit, but the majority were wonderful.

And of course the

timing is important. It shows
if you hold it for a long time and then crossfade, you can see whether they remain synchronized. Let's see.

Awesome!

Yes, the musicians hated me.

In the high register ... because usually you always play it where you can reach everything well.

But from the fifth position upwards it gets really tight.

It becomes difficult.

But I said we need it in all keys. They said it doesn't exist normally.

And then, well ... After a lot of back and forth, they did it.

But they said if they'll ever see this in the sheet music of a live session they'll crucify me ;)

Maybe we should mention this in the manual: Please don't write for live orchestra in the upper register!

What is your favorite arpeggio?

Hmm ..

Dominant 7th I found quite nice.

And the composition is finished.

Let's also check the loop sync here.

Totally fine.

So, up to the, I'd say, up to the G, up to the fifth above the open strings, it's fine.

And having to play the top notes was always crazy. Like this ...

We haven't had any great difficulties here.

Now let's take a look at how it reacts when you turn up the speed here.

It's so interesting that the time-stretching always works quite well as far as the players might be able to play it in real life.

And then it gets unnatural because you've never heard it that way. Because it's no longer physically possible.

There are limits somewhere.

That works.

Super. The falls, I always call them falls. They are actually down bends ...

...at the end.

They have a history...

I thought by myself, I finally want to have an articulation that's like what David Arnold did with the strings in Stargate,

to create this oriental character.

Sounds awesome.

Great, and now the longer ones.

I think they work best in the lower register and you don't immediately get the feeling that it's so disco-like,

that it's somehow slightly off-key.

Because they sound exactly right.

Good. Stargate here we come.

They were also really cool to edit.

You also notice that these things are also a lot of fun for the musicians ...

Let it bounce!

Super. Cool. And then, of course, we have all the chromatic modules as a major extension.

So far we haven't heard of any problems that we need to correct.

I shouldn't play one after the other so quickly.

You can tell that they are challenged. But that's good.

Okay, but that sounds good too.

Sounds good too.

Let's play the very slow glissandos.

Up or down? Take your pick.

I think with these upwards is cooler.

Okay.

But now I still want to hear it downwards.

But let's do that with the tremolo.

That's where you see the difficulty with the really long, slow notes, that they have to remain reasonably synchronized.

But then again, that's what makes it so appealing, that

they are not always one hundred percent in tune.

How does that sound in two voices?

They are even the same length.

We looked at that, yes.

So if there were deviations, you made sure that they didn't have any overhangs or things like that?

The rough stuff in any case.

Great. Well, I'd say listen through all of it once again and then get it out, right?

Great work!

Thank you very much!

Thank you Patrick!

And?

I think it works for him!
 
Also, if you already own Synchron Duality Strings, make sure to open the Assistant, go to the product and install the expansion with additional articulations for free!
@Ben it may be wise to amend this statement to be more clear that this is a handful of articulations and not the full expansion for free. Not everyone is going to catch Paul's note in the video. :)
 
@Ben it may be wise to amend this statement to be more clear that this is a handful of articulations and not the full expansion for free. Not everyone is going to catch Paul's note in the video. :)
Thanks, and sorry for the confusion, I changed the text.
 
Thanks for this. Really interesting. I hope it's ok to post the full English translation here. I will hide it so it doesn't take up much space:

Hey, what are you doing? I'm exporting the last files for Duality Strings Virtuoso for Herb. It's almost done.

Should we go over there and show him?

Yes, let's take a look.

Hi Herb, the samples of Duality Strings Virtuoso would be ready.

Okay.

In general, you were well in time.
Yes, it all turned out quite well this time.

Let's start with something unspectacular.

Seemingly unspectacular - Martellato.

Here the point is that the release samples are actually almost more important than the wavs themselves,

because I'm interested in the ending.

Usually the string players always play a final note and then they let it sound

and that's not supposed to be the case here. They should stay on the string with the bow,

which is quite normal in a phrase or a normal piece.

But it's in the DNA of a string player ... The last note should sound.

That was quite a challenge to get the musicians to do that.

But it worked well, so it sounds pretty good from what I've heard so far.

The idea behind it is that you can then play faster passages

without the reverberation produced by the instruments building up,

but the reverberation that you need to make it sound good is still there.

Yes, sounds great!

Works great.

Let's take a look at the very quiet ones.

Great. Did you have to do a lot of cleaning with the releases of the martellatos, or were the players very disciplined?

No, that was actually quite okay.

Okay. Well, then maybe we'll take a look at the arpeggios.

My favorites are the fifth arpeggios.

And were you always able to use the fully played length of the arpeggios, or did you have to remove something?

We were actually able to use almost everything with most of the samples.

We had to correct some samples a bit, but the majority were wonderful.

And of course the

timing is important. It shows
if you hold it for a long time and then crossfade, you can see whether they remain synchronized. Let's see.

Awesome!

Yes, the musicians hated me.

In the high register ... because usually you always play it where you can reach everything well.

But from the fifth position upwards it gets really tight.

It becomes difficult.

But I said we need it in all keys. They said it doesn't exist normally.

And then, well ... After a lot of back and forth, they did it.

But they said if they'll ever see this in the sheet music of a live session they'll crucify me ;)

Maybe we should mention this in the manual: Please don't write for live orchestra in the upper register!

What is your favorite arpeggio?

Hmm ..

Dominant 7th I found quite nice.

And the composition is finished.

Let's also check the loop sync here.

Totally fine.

So, up to the, I'd say, up to the G, up to the fifth above the open strings, it's fine.

And having to play the top notes was always crazy. Like this ...

We haven't had any great difficulties here.

Now let's take a look at how it reacts when you turn up the speed here.

It's so interesting that the time-stretching always works quite well as far as the players might be able to play it in real life.

And then it gets unnatural because you've never heard it that way. Because it's no longer physically possible.

There are limits somewhere.

That works.

Super. The falls, I always call them falls. They are actually down bends ...

...at the end.

They have a history...

I thought by myself, I finally want to have an articulation that's like what David Arnold did with the strings in Stargate,

to create this oriental character.

Sounds awesome.

Great, and now the longer ones.

I think they work best in the lower register and you don't immediately get the feeling that it's so disco-like,

that it's somehow slightly off-key.

Because they sound exactly right.

Good. Stargate here we come.

They were also really cool to edit.

You also notice that these things are also a lot of fun for the musicians ...

Let it bounce!

Super. Cool. And then, of course, we have all the chromatic modules as a major extension.

So far we haven't heard of any problems that we need to correct.

I shouldn't play one after the other so quickly.

You can tell that they are challenged. But that's good.

Okay, but that sounds good too.

Sounds good too.

Let's play the very slow glissandos.

Up or down? Take your pick.

I think with these upwards is cooler.

Okay.

But now I still want to hear it downwards.

But let's do that with the tremolo.

That's where you see the difficulty with the really long, slow notes, that they have to remain reasonably synchronized.

But then again, that's what makes it so appealing, that

they are not always one hundred percent in tune.

How does that sound in two voices?

They are even the same length.

We looked at that, yes.

So if there were deviations, you made sure that they didn't have any overhangs or things like that?

The rough stuff in any case.

Great. Well, I'd say listen through all of it once again and then get it out, right?

Great work!

Thank you very much!

Thank you Patrick!

And?

I think it works for him!
Youtube video has English CCs!
 
Youtube video has English CCs!
Yes, but by default they don’t show up if you play the embedded video on here (at least for me) so thought a transcript would be helpful. But yeah, I guess it’s better to enable them and read while the video plays. :)
 
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Hi @Ben amazing the expansion and super welcomed the 3 arts upgrade, congrats!

I have to ask these… the expansion have many shared real core main articulations from regular library, the regular main one that cost surpass $590 us price tag…

If so… why this doesn’t have further discount for Regular users?

In fact, for me one of the initial features that guides me to buy Regular months ago was those special techniques! Because this substancial amount of unique recorded gb and well executed material, so the price tag becomes accordingly to what it offers. I cannot see why any outside costumer have the same price as the Regular owners really

Glissandos and Runs is already available, but now offers new edited variant as loop version for runs right?
The source material appears to be the same, how this shared material overcame into the articulation system into one structure now having Regular? Will show as duplicate sources or will blend as one?
 
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…and thank you very much for the additional non vibrato and hard staccato articulations for the Regular library. They were really missing, and they are really excellent!

Paolo
 
@Ben Not to hijack the thread, but is there any way to view all my vouchers? I track the codes in a google spreadsheet because otherwise the only record I have is the confirmation emails :-(
 
@Ben Not to hijack the thread, but is there any way to view all my vouchers? I track the codes in a google spreadsheet because otherwise the only record I have is the confirmation emails :-(
If you contact VSL support via email, they can give you a list. They did that for me earlier this year.
 
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On the product page, it lists these section sizes for virtuoso:
1714691174803.png

Whereas on the content page it only lists first violins:
1714691204936.png

So I'd assume no basses and the content page is still missing the info for violins 2, violas and celli.
@Ben a friendly boop to the content editors.
 
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