That's especially true after you first try the portmento strings in the Performance set, which are that set's most dramatic feature.Īfter that first blush, though, it took me a few days to feel confident getting around the library, almost like learning a familiar, but new, instrument. The VSL is likely to inspire awe when you first load up some of its instruments and start playing.
There are samples of cymbal rolls played with various weapons, but cymbal crescendos are missing from the collection. The percussion is uniformly spectacular, and it includes some really nice exotic instruments such as spring drum and Japanese singing bowls. (I heard a beta of the solo violin from that set and it's absolutely stunning.)
#Vienna symphonic library orchestra pro#
Piccolo is really the only standard orchestral instrument missing from the initial release, but it will be among the instruments in the forthcoming Pro Edition, along with solo strings and many other instruments and articulations. The brass is more refined than gritty, but it still has power to go with its clarity both solo and four-person sections are available.įor now, the woodwinds are all solo, but VSL is planning to release alternative performances for making choirs. Sampled harps are usually recorded with mics way too close, but not this one: It's just outstanding. Looking at the individual sections, the strings are powerful, large sections, re-corded with just the right amount of rosin. I've been getting excellent results running VSL instruments through some of the hall programs in Audio Ease's Altiverb, a sampling/convolution reverb processor. Only after running it through a good reverb program do you realize just how outstanding the recording quality is across the entire library: miked closely enough to be detailed, back far enough to sound right in an orchestral context, well-managed dynamics it's just really satisfying to play. So if you hear the VSL dry, it sounds completely wrong! But it's not intended to be heard that way. Plus, not having reverb allows you to add your own and blend the VSL instruments with others very easily. (See sidebar on page 108 for more on the VSL facilities.) It has early reflections - the instruments are recorded with plenty of air - but reverb tails would have prevented the Legato tool from working properly. VSL was recorded in the Silent Stage, a custom room essentially devoid of reverb. Variations include notes of various lengths, all kinds of dynamics (accents, crescendos/decrescendos, etc.), and effects such as tremolo strings and flutter-tongued winds and brass, trills, rolls - all recorded at various tempos and mapped to the keyboard in different combinations.Ī low noise floor is especially important for sample recording. Every instrument has been meticulously recorded in stereo, playing a staggering number of articulations, making it possible to sequence highly expressive and realistic orchestral performances. Anyone who's heard the library's online demos knows that VSL is something special, in both quality and quantity. I think I'll just…sample an orchestra.” Austrian musician/composer Herb Tucmandl took this notion several hundred steps further: The Vienna Symphonic Library (VSL) is by far the largest and most ambitious sample library ever developed: Even the initial 16-bit/44.1kHz version comes on 14 double-layer DVDs, taking up 94 GB - yes, gigabytes - of hard disk storage. Imagine waking up one morning and saying to yourself, “I'm not happy with what's out there.
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