Discussion in 'Newbie Questions' started by dsblais, May 29, 2018.
2031, with Symphobia VIII.
Nobody's posted mojo madness yet? i'm impressed.
It's just not VI-Control without mojo madness
I would say May 1987.
Helloween's "Keeper of the seven keys part 1 and 2".
After that, everything is a fraud.
This is a little proof-of-concept put together by VSL's founder Herb Tucmandl in 2001, mixed by Yours Truly in the same year.
Loved those songs.
That's really amazing!
Thanks! Actually I was surprised myself how gracefully this little snippet aged.
When? I guess it was the Stringularity.
I'm totally researching/writing about this for my PhD dissertation. Advanced Orchestra was definitely a precursor, but as far as I can tell from running through trade magazines from the late 90s to early 00s, VSL and EWQLSO were totally game-changing. They established a set of norms for recording/sampling, visual representation in the DAW, and marketing that is still for the most part in place. Native Instruments was in the mix too (EWQLSO initially released for the now-defunct Kompakt sampler), but I think the main priority for NI has always been synthesis. That may seem counter-intuitive given the success of Kontakt, but Kontakt made its name by hosting third-party libraries, and even today NI's proprietary sample content for Kontakt is a bit anemic compared to many of the third-party libraries it hosts.
This question is obviously super subjective though. I think everybody agrees that the quality of production you can get "in the box" has definitely improved, but there are a lot of factors that go into that on the production side (how well people can use their tools) and on the perception side (how accustomed listeners' ears are to the subtleties of orchestral sounds).
That's a very interesting question. While a lot of the patches aren't that realistic, they still sound really good. Back when I first started writing music on the PC, I used some of the string patches on a piece. No other virtual instrument could quite get the same, silky sound. It was synthetic sounding, but in a very warm, pleasing sort of way --like it was a real strings section with it's edges and imperfections smoothed out or something. Really nice tone. Just not realistic.
Pianos when Synthogy released Ivory 1
Orchestral sections and solo winds/brass when EW released Hollywood orchestra.
Solo strings just recently.
That's very helpful! Thank you and good luck on your dissertation (perhaps you could share it here when you're done; it sounds fascinating)! Your final comments seem very relevant to me, especially in this time of retrowave analog synths, etc. I simply mean a realistic reproduction that can, at least now and then, cross the uncanny valley.
While VSL did change things by letting us make a real jump in quality and realism, I wouldn't dismiss the importance of Peter Siedlaczek's Advanced Orchestra (and a bit later, of Miroslav Vitous' answer – already, at that time, an opposition between dry samples and samples with recorded ambience…). This library was really a great advancement in realism. You can still hear how good it was in the demos (and I will be so kind to spare you my pieces composed at the time with the library).
Also, I wouldn't dismiss Garritan's effort to create a good quality orchestra at a reasonable price. While it was not at the same level as VSL, this library was good enough to let many of us compose while listening to the sound of a real orchestra.
Go back and listen to Jeremy Soule's mockups in the very early 2000's. Amazing realism was possible back then. And he was using Garritan Orchestral Strings on Gigasampler. It all comes down to talent, I'm afraid.
I think it was Winter NAMM in 1999 when I first heard Miroslav Vitous strings, on I believe the original Gigasampler, and I was blown away. The demo was a slow emotive piece and sounded like nothing I had ever heard before. My Kurzweil strings were never used again .
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