Contradance "La Lejeune"

Hi all,

It was high time I did something with the new Vienna Elite Strings (Synchron). Since I've always liked the 17th-18th century 'light' music, it was almost obvious to arrange a salon dance for these chamber strings (+ 3 flutes). This is really my first virtual performance with the Synchron Strings, so it is some kind of sonic experiment. I've alway liked the VI-libraries so much, but this was a totally different experience.

The introduction on this dance is on SoundCloud.

Enjoy the listen and of course feel free to comment.

Jos

 

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  • Great, a nice jaunty light-hearted number. It's breakfast time here and absolutely right to start the day. A nice length too.

    (I'm having trouble getting onto soundcloud of late - it usually thinks I'm a robot (LOL, about which judgement I won't care to comment) but it let me in for some reason this time).

    I was pondering the elite strings, initially offput by synchron being yet another learning curve - I've had a few too many of them of late. (I have the VI chamber strings for which VSL would have chosen good players anyway. But I'm disappointed by both Chamber and Elite strings. Neither offer glissandi nor sul pont / sul tasto, although the VI do the full set muted, including the Basses.) 

    I'm also uncertain about layout, strings in particular as I sometimes like to place Violins 2 on the right-hand side of the stage. I can't yet find out if this is possible with synchron.As things stand I have no spare disc space so I'll ask when that's changed. (I keep an exact back-up copy of all libraries which means 2 x 2Tb discs to take on new stuff).

    True, the elite strings sound very nice here in your work as well as VSLs demos but the VI set son't sound at all bad either!

    Anyway, a nice piece, Jos, and thank you for bringing some light into what's forecast as a pretty dull day.

    Cheers, 

    Dane. 

    • Hi Dane,

      Thanks for the encouraging word.

      Indeed, The VI chamber strings are my favourites too. To be honest (and so far) i don't see any benefit in the Synchron strings and other instruments. To begin with, they all lack a number of ver useful articulations (some even essential) and the prerecorded ambience and sittings can be very ennoying. Normally I position the second violins also at the left side to create a more balanced image (and that was common practice in baroque orchestras as well). So I can follow your criticism. But since Vienna doesn't intend to move on with the VI's, the future seems to be in the Synchrons... I'm quite happy that I own almost all VI instruments with which I can realize whatever I would like.

      Jos

      • @Dane: Of course I ment that the second violins are on the right side of the stage (not left) in most of my virtual recordings. Here they are left although it is possible to move them (more) to the right, but it is artificial because they have been recorded at this right position.

        Jos

        • Hi, Jos,

          This is all useful to know. What I read from this is that the Synchron libraries come with an acoustic - not recorded dry. That would be a nuisance! Difficult to match in other libraries.

          As to Violins 2 on the right, I also have to accept that the VI instruments produce a slightly fake acounstic in that their bodies face away from the mics / audience. I doubt too many listeners notice that though.

          ..

          • That is correct. All Synchron insruments are prerecorded with the acoustics of the Synchron studio (Vienna) and they are already positioned according to the ensemble they are playing in. It is possible to change these positions (the real Synchrons have been recorded with many different mics in various positions), but of course there are limits and a left recorded violin will sound less direct at the right hand side...

            But I was a little surprised to read that you actually hear the repositioning of the second VI violins (right side). I must say that I've never heard it so far. They were recorded 100 % dry with no acoustics at all, fully centered. You can even place them far outside the orchestra positions (in front or completely in the back of the hall). Maybe you positioned them with a DAW balance and not with the Vienna PowerPan. That's quite a difference.

            Jos

  • Very nice enjoyable piece Jos and a beautiful sound to go with it.  I know that VSL has to keep selling libraries to stay in business so I assume that they feel that supporting the Synchron system benefits their business so it's good to know that they do sound nice. 

    The Power pan that you mention is part of the Vienna Pro software and not the Mir software?  I believe that you said elsewhere that you use a different product to control stage ambience, and that you used that on this piece?

    • Hi Ingo,

      Thanks for listening and commenting.

      Indeed, Powerpan is not a part of MIR (it would be useless there anyway, because MIR has both IR and tail reverb integrated). What I mean is the Powerpan in Vienna Ensemble Pro or the one from the Vienna Suite (Pro). It provides the possibility to move any instrument horizontally and even accentuate it ('power'-pan).

      In my latest piece I didn't use MIR, because the Synchron instruments have a recorded position in the studio and therefore a typical acoustic for that position (left/right/depth). In the Elite Strings, there is a multimic recording (I believe 9 mics per instrument) so that you can play with positions and sonic quality/properties. Next to that, it offers a number of different main mics and mic positions, so that you can vary enormously. That could be a blessing, but a limitation at the same time. The positions are more or less fix. Another drawback is the lack of detailed articulations/patch variations/mutes which are present in VI Pro. 
      I simply used the IR of the synchron player (which has a detailed mixer for the Elite Strings) and a tiny little bit of tail reverb. The IR is the direct reflections (almost immediately after the sound) and the tail is the late reflection with the room color. The latter is not always necessary. So I didn't use any external stage ambience here.

      Jos

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