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Matrix Convolutions Once selected, a patch occupies a 'cell' which has adustable volume, delay and envelope settings.

vienna single instruments

Only 18 cells can be seen on screen at one time, but the view area can be shifted. A highly flexible system allows you to swtich between articulations vienna single instruments horizontal and vertically-aligned cells by a variety of means: The whole setup vienna single instruments be saved as a user matrix. Editing controller assignments to switch between the articulations loaded into each cell of the matrix is easily done from the Control Edit screen in the right-hand display.

Switches between up to 12 cells in any horizontal row are set in the 'H-Span' window, while switches between up to 12 vertically aligned cells are set in the 'V-Span' window.

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Shown at the top right of this screenshot is a list of possible controllers for articulation switching. More complex setups are possible: The Vienna Instrument Player is not partnersuche landkreis rosenheim about what type of instrument it plays although it will not import sounds from other sampler formatsso you can switch between strings and woodwinds within a blind dating hannover, or even layer brass and percussion in a cell.

Up to 12 matrices can be assembled in a preset and selected via keyswitches. VSL gleefully point out that this system makes 12 x 12 x 12 articulations available to a single MIDI track — and vienna single instruments that's more than most people will ever need, it demonstrates that the VIs incorporate very powerful tools for dealing with the large number of performance styles that occur within an orchestral piece. Happily, as the VIs all contain countless factory matrices and presets, you can vienna single instruments to make music without having to do any programming if you prefer.

Mind-Reading Act One aspect of the design of the Vienna Instruments is both innovative and vienna single instruments powerful: This unique facility produces excellent musical results, although I'd still stop short of VSL's claim that their instrument can read your mind!

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This is a huge relief, as loading a template for each instrument was always a bit of a chore. And the performance functions now work multi-dynamically — previously, the Performance Tool could only work on one dynamic layer at a time.

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Was this wise? Well, the VSL Pro Edition had taken the film and TV market by storm; those that could afford it snapped it up, and those that couldn't tried to find a way to remortgage their grannies. What's more, there was the prospect of improvements.

The Pro Edition 's stand-alone Performance Tool might have been powerful, but it always felt something of a half-baked afterthought, an awkward necessity.

VSL Vienna Instruments

Thus the idea that the library would finally appear in its originally intended bit format the Pro Edition was dithered to bitwith all the complex performance features handled by a new interface After the inevitable delays, the first collections as reviewed here arrived on my desk, and I duly ignored them. The Pro Edition had taken about a day and a half to fully install and decompress, so I was in vienna single instruments rush to tackle it all over again.

But much to my surprise and in contrast to Dave Stewart's experienceswhen I did get around to it, I found installation to be swift and fairly painless compared to installing many other orchestral libraries.

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Whilst the DVD drive was chuntering away, I had enough time to load up the supplied Syncrosoft dongle with all the necessary licences. If you have the extended library installed yes, I ended up ordering the lot Most of my first impressions are unprintable. I simply couldn't believe that a handful of people beavering away had come up with such a slick user interface that even a software dunce such as myself hardly needed to glance at the manual. What's more, the clever matrices, performance controllers and so on finally meant I could have a solo line on one vienna single instruments, switching articulations at will.

Previously I'd ended up with several tracks for the different articulations and had vienna single instruments comp them down to one. Moreover, there are so many different options for switching articulations — the speed you play at, different keyswitches, and momentary or linear controllers Finding that virtually all are assignable is the icing on the cake.

If you can't reach or be bothered to program your control surface, you just right-click on whatever you want to alter, to enable MIDI Learn mode, and wiggle the controller nearest to hand.

Hey presto, for this instance of the instrument, that controller is mapped. I feared that the Vienna Instruments would sorely test the resources of a single machine, especially with all the new articulations and matrices at my disposal, so I had already set up a spare PC with Steinberg's Vstack vienna single instruments a front end so I could load as many instances as resources would allow.

However, when the VIs arrived, I was already running headfirst into a commission deadline, and I didn't have time to sort out the licensing for another computer — yes, each computer you use with the VIs requires its own Syncrosoft dongle loaded with all the necessary licences.

You program your track including as many articulations, dynamic layers and so on as you see fit, then put the instrument into Learn mode, play back the track, and hit the Optimise button.

VSL Single Instr. Jazz Drums VI8D Standard

Every note, articulation, layer or dynamic that isn't actually used is removed from RAM forthwith. A window in the Perform page shows you the amount of RAM free and used. It's quite astonishing. However, to my mind and as strange as it may soundwith these instruments the beautiful sounds are almost secondary to the interface itself.

Rarely have I encountered vienna single instruments a complex, powerful tool that's so instantly accessible, transparent and quick to use. Where previously you would forever be loading up yet another articulation or would simply fake it if you were pressed for timeeverything is now available at the prod of a controller.

VIENNA INSTRUMENTS PRO - Vienna Symphonic Library

For once, an instrument interface feels like something that wasn't designed by a committee, but by a group of like-minded musicians and composers who understand what we bekanntschaften münchen. Here, they've given us vienna single instruments that, with few compromises in the design or functionality. This latest commission was the first time I let the VIs loose.

In one fell swoop, VSL have managed to make their own Pro Edition feel clunky and unmanageable, and Kontakt Player-based libraries just a little, well I cannot remember when I was almost begging for new software or a library, but after using VSL VIs, I resent having to go back to the Pro Edition for my remaining palette.

The rest vienna single instruments the collection simply cannot come soon enough. The Orchestral Strings I instrument As well as updating the Pro Edition patches, both VIs include a substantial set of new articulations.

Played by all four ensembles, the new 'short staccato' notes are considerably more brisk and businesslike than the longer staccatos from the Pro Edition, and impart a nice urgent 'zing' to rhythmic passages. There are also new eight-way vienna single instruments cottbus dating programs. Two patches layered within one cell. A new 'performance trills' style allows users to play their vienna single instruments trills, using intervals from a minor second to a fourth.

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Although reasonably lifelike, this style doesn't sound quite as fluid as a real-life trill, and unsurprisingly, it can't come vienna single instruments to reproducing the blurring effect of a string ensemble performing their trills at different rates. However, it's good to gain control over the speed and volume of a trill. The violas' and cellos' 'bpm furioso runs' are quick, frenzied chromatic octave scales, fierce and bristling with bow noise, which will instantly energise arrangements, and the string-ensemble 'upbeats', which were previously only available for brass, are repeated fast notes tacked onto the front of a short note.

The fast double upbeats sound like the galloping strings in the opening of the William Tell Overture, yet another useful and exciting rhythmic effect.

As mentioned earlier, VSL provide a set of basic 'strings orchestra' articulations which combine all four string ensembles the patches are on Orchestral Strings I, but to hear the cello and bass samples you'll have to buy Orchestral Strings II.

Since users can't create their own patches, it would be vienna single instruments if VSL provided some more of these useful keyboard-split combinations — fast attack sustains and short staccatos are top of my wish list. UK composer Andrew Blaney in his home studio. I like to have all instruments running in real time, which explains the need for five machines.

I created large patches with up to 29 keyswitch groups for strings, woodwinds and brass broken down into ensemble and solo instruments so I could change articulations on the fly as I was recording.

VIENNA INSTRUMENTS PRO - Vienna Symphonic Library

So during a take I was able to try out different combinations within a phrase. It's clear that the extensive switching facilities of the Vienna Instruments could substantially reduce the number of separate tracks required for such a big score. On the subject of VSL samples, Andrew says: It's written for a large orchestra, including two harps — unusually, the Vienna library has two — and I used just about everything VSL had to offer.

That's the beauty of the VSL libraries — choice. Every time I hit a difficult passage that felt impossible to pull off with samples, a bit of digging around amongst the articulations nearly always delivered the goods. The demo took about 18 vienna single instruments 20 days.

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The new 82GB Vienna Instrument of the same name vienna single instruments a fresh set of articulations to this material. I used the Solo Strings violin to put the Vienna Instrument through its paces, and its 'performance legatos' now featuring two dynamic layers sounded as smooth and convincing as ever.

A new 'performance legato fast' style injects more zip into legato deliveries — using the Speed control to automatically switch between the regular and fast-bowed legatos in response to my rate of playing created an even more lifelike violin legato performance.

New 'Zigane' gipsy legatos feature built-in slides between vibrato notes. When used on their own, these beautifully played samples produce a plaintive, singing vibrato style evocative of the Chinese erhu fiddle.

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I used the mod wheel to throw in these slides occasionally over the regular and fast performance legatos; the result was a very organic-sounding and enjoyable violin patch which could handle Irish jigs and reels as well as orchestral pieces. The same was true of the solo viola and cello.

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Zigane-style grace notes are also provided, ranging from one to four semitones — these pitch-slide gracings are more slow and deliberate than the nippy conventional grace notes. The only drawback is that the heavy, drawn-out bow attacks tend to make the samples sound a bit late, so you'll have to slide their MIDI notes back in your sequencer vienna single instruments make them play in time.

The six violins portamento pitch-slide legatos now have an extra quiet layer, which transforms an already emotive effect into something vienna single instruments lovely.

Once again, the pitch slides reminded me of an Asian stringed instrument, in this case the fabulous Indian sarangi.

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To see whether the VIs could cope with multiple layers, I layered the chamber violins, violas and cellos portamentos. They came up trumps: I ended up with three chamber string ensembles gloriously sliding between their notes in unison! If you're looking for an astringent, hair-shirt type of delivery, all the chamber string sections now have non-vibrato sustains.