VSL Synchron Strings I Announced (Nov. Release)

Salorom

Member
I just completed a few projects using the Synchron libraries extensively. The Strings shorts are a pleasure to work with. I managed beautiful textures with FX Strings, and the CFX is also a joy to use. I effortlessly achieved clear and defined mixes where everything blends and glues well.

There is so much potential for the Synchron line.
 

HBen

Active Member
VSL sold you a product that is failed to deliver what it's promised with flawed contents, and now they are selling you another product
I just completed a few projects using the Synchron libraries extensively. The Strings shorts are a pleasure to work with. I managed beautiful textures with FX Strings, and the CFX is also a joy to use. I effortlessly achieved clear and defined mixes where everything blends and glues well.

There is so much potential for the Synchron line.
Yes, these are bright sides for the Synchron line. That's why we wish VSL can fix bad parts of Synchron Strings I. Otherwise, it's crippled forever.
 
Well, I was curious to know what VSL Synchron Player's Tree Structure offers that is an improvement over the Matrix System of VI-Pro 2 ? I personally don't see any specific improvement/s except that the Synchron Patches have full names, and are easier to find/organize in the tree. But that could have easily been done in a Matrix System.

What are your thoughts on this ?
I think the tree system is a bad idea. Instead of the fixed 3-D (matrix/X/Y) of VI Pro you now have arbitrary and varying depth trees. One way to think about it is: every articulation has an address. In VIPro that's always M.X.Y, in syn player it's a.b.c.d...N Now you assign 5-6 CCs or whatever to the different depths. Where will you be when you change the 'b' CC? In the matrix system you could see in advance where you'll end up (if within the same matrix). What if you're on an articulation that uses a.b.c and move to one that uses a.b.c.d.e - where did you leave e? Fancy rules for what happens are hard to predict/remember and impossible to see.

I guess they are emphasizing some potential fluidity for live playing but that will require a) extensive tree design and controller mapping and b) lots of experience to gain the muscle memory to be fluid. And even if you can do that, what do you end up with in your DAW? A ton of CC's and no hope in correlating them to sounds, and an editing nightmare. Never mind trying to enter CC/switches directly into the DAW. Perhaps they presume everyone using a DAW directly just sets things up in the UI and then triggers the UI's send-MIDI? It still makes a mess.

In fact, the 3-D system of VI Pro is already a challenge for DAW use. I wish the player had a 1-D mode, just named slots in a (sometimes long) list triggered by a single CC or program change. A second dimension, if any, would only be something automatic like speed/velocity. This would be more in line with Spitfire's UACC, and, even if not universal, would be a lot easier to manage in a DAW when editing directly or assigning to articulation/expression maps. For most of their instruments, a majority of the articulations would fit in one list.

As it stands, multi-dimensional articulation addressing adds complexity everywhere down the line - editing, articulation systems (Logic's can't yet send multi CC) etc.

VSL already has so many great samples and tools, which I value highly. Some of them present real challenges for ease-of-use (tons of articulations) but are part of what makes them great. If they want to become more approachable while still delivering on their core value propositions (dry samples, MIR) I think they should consider:

  • Include some flavor of MIR/x so it's not an additional thing without which everyone struggles.
  • Add a 1-D mode to the VIPro player, with lots of well-considered and uniform presets for their existing libs.
  • Extensively embrace and support the articulation systems of every major DAW/Notation program that has one.
Synchron concerns me. Does VSL think dry samples are over? I don't.
 

Ben

VSL Support
Does VSL think dry samples are over? I don't.
They said there will be more dry libraries. And they are still working on MIR Pro.

I think they chose the tree structure for the complex crossfades over multiple stages. This can't be done with VI.
But if you are not using them the 2d matix is better to handle imo.

Hopefully they add some of the performance improvements from the synchron Player to VI Pro, or add all missing functionalities of VI and a matrix mode to it + compatibility with old libraries.
 

Eptesicus

Senior Member
Exactly, Synchron Strings 1 failed to deliver what it's promised for us, it's a false advertisement, and IMHO, some parts of contents are seriously below the average of the market. I know this may sound harsh and somehow a little bit personally. But, hey, not only myself, not only one person, it's many people out there share the same feeling, so there must be something wrong with it.

When some people say SyS 1 is a product, I questioned myself, is that so? I would go back to check demos, and play the library by myself, however, the sound for some content parts, they are just synthy and fake to me. This fact is just being proved over and over again.

Only shorts articulations are excellent, everyone likes it. No complains.
Agreed.

I am still royally ******* off that i wasted money on this as their advertisment of it was nothing short of completely false.


"With Synchron Strings I, we have achieved the ultimate in realism and expressiveness, while providing a new level of ease-of-use."

"Performance Legato Re-invented

Bringing together new recording techniques and innovative algorithms tailored to recordings on a scoring stage, Vienna’s revolutionary Legato Performances excel with a newly heightened realism."


Both of those claims are demonstrably false.

The library has been met with universal criticism, yet they just stay silent and do nothing or say anything about it.
 

pavolbrezina

Active Member
I completely skip this synchron series. I knew that with Dimension series they achieved maximum with sampling. I think that synchron series is for beginners that do not want or do not know how to work with very complex articulation matrices. I just think they selling less and less in recent years because more people want to do music just with one click.

I try to do my own classical composition that has 20 minutes using VSL and this took mi one year of work from scratch to mastering. Incredible time consuming process. Who has time to do this?

But I just dont think that simplified synchron series is right way for VSL.
 

Tice

Active Member
To me VSL is absolute control. Stray from that design philosophy in favor of ease of use and you lose the primary reason for choosing VSL over other companies. Part of that absolute control means having dry samples. If they go the spitfire route and start focussing on recording in their concert hall, then they tread on someone else's turf and it won't play out well for them, I reckon.
 

Salorom

Member
I’ve used plenty of VSL before Synchron and in my opinion they should definitely try and go the wet route because it’s different, and because it works if done well.

Silent stage means a bit more flexible, a bit less organic. I totally want to hear their take on more organic. They got it wrong with SS1 but the rest is stunning.

As to where their priorities lie regarding the Synchron endeavour, VSL set out to reconcile the recording of soundtracks and libraries from the get go. When working on the latter most of the time is spent editing/scripting, which is obviously done elsewhere by a different team. Recording the samples is a matter of days, if not hours.
 

pavolbrezina

Active Member
When working on the latter most of the time is spent editing/scripting, which is obviously done elsewhere by a different team. Recording the samples is a matter of days, if not hours.
it is done in that same building where is Synchron stage. They have various edit/programming rooms. Everything is connected via Dante, so for example if editor in room 1 wants to record something he just calls someone in main room and setup recordings literary in minutes. This is huge!
 

al_net77

Active Member
be aware that synchron stage was not build for creating samples, it is high tech facility mainly fore recording soundtracks, they working 24/7 on this. Less time is for sampling.
Surely, but when you own a stage you don't want to hire another to record your samples...
 
OP
muziksculp

muziksculp

Senior Member
Paul/VSL posted on their forums, that we can expect some new features to be added to the Synchron Player, and the release of the Synchron Percussion Player during Sept.

So far, there is no mention of any specific plans to improve Synchron Strings I.

I also wonder what their next Synchron library release will be.
 
OP
muziksculp

muziksculp

Senior Member
Meh. The Synchron range is dead to me if the strings aren't right. With it being a wet library with all the room ambience it would have been optimal to have all sections as a complete and coherent orchestra.

if the strings are broken then what is the point?
I agree. I have already black-listed the entire VSL Synchron Library line, unless they fix their Strings. but that doesn't look like it is going to happen. I'm just curious where VSL is heading next with Synchron Libraries. I also find it odd that they still don't have the Synchron Perc. Player.
 
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Sovereign

Senior Member
Thanks for posting the score!

Here is an example with Synchron Strings.

Rise Of The Guardians Soundtrack Prelude - Syncron Strings.mp3

The original sounds different because it is probably played with sordinos. And it's bit hard to do the polyphonic stuff without legatos in 2nd violins and violas so I replaced the moving parts of them with copies of violin 1. Same for the divisi parts. The VI Pro player has polyphonic legato but for voice separation it's better to have individual CC curves.
Sorry for bumping this old post (and thread). I revisited this with the latest Synchron cantabile patches. Would be unfair of me IMO not to update this since VSL did try their best with their update. So here's my 2019 version, which IMO compares favourably I think to the CSS version and the original I posted here. Too bad there's no portamento though in Synchron.
 

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