The Sound Board

It looks interesting. The videos sound promising. Too bad it is Mac only. If anybody wants to buy, you can get it at a discount currently: use the coupon code 'rev40' and you'll get a 40% discount. Makes 119.40€. If there were a Windows version I'd probably have bought it.

Is it just me or are the lower notes much less powerful than the higher ones? If you play a downward scale from c4 to c3, f3 is noticeably quieter than g3. Or maybe it just feels that way because the lower notes are duller. Could be 'natural' behaviour with the practice felt on. But as it is I think...

If it is anything like the Emotional Cello it will be a strong contender in the saturated market of sampled solo strings. A very welcome addition, as I have reservations about all the solo strings I own so far. None could convince me for classical string quartet writing, but the Emotional Cello come...

After having played with the library for a while here are some first observations: the Synchron Stage is a really nice hall. Beautiful and versatile sound, unobtrusive and just right. The provided VE Pro-Mixing-Template is a great starting point. I haven't dug too deep into the different mic positio...

Quite strange how the thread on the other board is developing. I have the first violins and celli downloaded, but haven't had the time to test them yet. Maybe tonight. I am especially curious to hear how all the sections sound together. In the best case all sections blend together naturally to creat...

Paul posted a walkthrough video for the celli:

https://www.vsl.co.at/en/Synchron_Serie ... _I#!Videos

Mostly it sounds very good to me, with a few rough edges. But I like the legatos and crossfades in most cases.

Seem to be the only one, but I rather like the overall sound of these strings. It's unobtrusive, classy, cultured. Looks like it could be a very versatile sound signature. There are a few things I am less fond of here and there, but overall I am quite happy with what I am hearing so far.

Light and Sound have a 50% discount on their Chamber Strings currently: http://lightandsoundsamples.com/products/chamberstrings.html At 149$ they are priced very fairly. I do rather like their sound too. If Spitfire Chamber Strings are too expensive for you this might be an option. This one's killi...

Light and Sound have a 50% discount on their Chamber Strings currently:

http://lightandsoundsamples.com/product ... rings.html

At 149$ they are priced very fairly. I do rather like their sound too. If Spitfire Chamber Strings are too expensive for you this might be an option.

Only now had access to my monitoring setup to hear the trailer video. I don't know what Tanuj is hearing, but I like the sound. I think the piece of music is a rather poor fit for the strings sound, and there is definitely too much close mic mixed in for that kind of music. But the sound per se I li...

'With Synchron Strings I, we have achieved the ultimate in realism and expressiveness, while providing a new level of ease-of-use. Play short notes, long notes with various attacks, legatos, scalable vibrato intensities and note repetitions with a minimal need to switch articulations, and by moving ...

The pricing is geared towards postpro studios, not composers. We'll have to see if Spat revolution offers added value for composers over Spat. The good thing is that Spat Revolution may push prices down for second hand Spat licenses. But then again it's not like that it's impossible to get perfectly...

jneebz I hear you. I love the Sonokinetic sound and their recording philosophy, but phrase-based libraries don't suit my workflow. I'm lookimg forward to their 'multisampled' ochestral libraries. The woodwind ensembles are a promising start, but again not what suits my workflow.

"Spat Revolution is a tool for professionals, so it will cost around 1000$" - didn't the IRCAM guy say something like that in the video? If you can't afford Spat, have a good look at Magix Independence Origami. It doesn't hold up to Spat feature-wise - it is closer to VSS in that regard - ...

It packs a lot of content for the price, especially the intro price. The really down to the most essential articulation list and the fact that most patches are several instruments in one patch restrict its usefulness to sketching only, though. I would have been interested if it was closer to VSL Spe...

Well right now MIR supports "various surround formats on up to 8 output channels". Maybe they bring it up to line with Synchron Percs 9.1, but only VSL can answer that.

The one audio demo is really unsuitable to give an impression of that Room Pack, what with the Synchron Percussion being mixed in and no indication of what other tools were used on the cue. No way around downloading the demo if you are interested in it. I demoed MIR some time ago and found that it d...

Am I the only one who is not too keen on the sound in the first place? I was very interested when I read small string sections recorded at Cadogan Hall. Unfortunately that interest decreased quickly upon hearing the video demo. Not a desireable sound quality to my ears, and the timbre sounds a bit c...

The demos have an awful lot going on around the strings, but oddly they don't sound very good to me. Maybe it's too many players recorded from too close? They don't have that organic, breathing quality that I love about the string orchestra. In the beginning of Blakus' demo you hear the strings most...

'Les trahisons des samples (Ceci n'est pas une orchestre).' - René De Ridder

I quite like the name Guy suggested: Spitfires three quarter of a Symphony Orchestra.

Unfortunately I have to agree with the 'don't like'-camp. The Brahms-demo especially sounds as if filtered to my ears. Strangely that's true for the piano as well, so it might be something about the MIR-settings chosen. In any case I don't particularly like the tone of the cello. The one in the solo...

Sonokinetics approach of recording in a concert hall as opposed to a scoring stage is very interesting to me. The decca tree sounds mighty fine to my ears. Articulation list and the patch organisation/customizeability both look good. I don't need ensemble winds, but the whole series is definitely on...

Now you made me google Lindsey Stirling. Five minutes of my life I'll never get back.

He is a cunning businessman indeed. His tours can cost several millions, which he finances privately. So he is taking big financial risks. If a tour doesn't sell well, the loss is on him. With that model he did very well so far, and he created employment for musicians, technicians and so on. For thi...