Hats off to VSL for showcasing Synchron Solo in such detail. It's really unfair to the library, you can sample all articulations you want, but replicating the seamless note transitions, micro variations in vibrato, pitch, and the natural expression of a live performer is incredibly challenging. No sample library can fully capture that level of nuance.
@@karayuschijI've yet to hear a single example of SWAM that doesn’t sound synthetic. While it offers many controls, the sound is very disappointing in my opinion. I'd choose Synchron Solo over SWAM any day.
This is legit one of the coolest instrument library demos I've ever seen. What an amazing player as well. Shows off how great the tonality of the library is in comparison to the original, which is super impressive, but yet also shows that the real player is clearly superior (in the legato performances in particular although the shorts are damn near perfect), so it doesn't come across as trying to fool you into anything either. That said, the comparison is from playing the samples live which means no opportunity to fine tune them in post so this is a much more honest way of comparing them in terms of what you get out of the box. Really well done and great concept, absolute gold standard for a string library demo. I honestly don't need any more string libraries but I'll likely pick this up from this demo alone.
I wish someday you release a samples piano with such details, sustain pedal down/up samples, una corda samples with/without sustain, sampled sympathetic resonance, sustain resonances, silent strikes and repetition notes If anyone's gonna do this, it's gonna be the vienna symphonic library ❤
I appreciate the transparency, but this feels like a lost duel before it starts, of course the live instrument will always sound better! One thing could have been more useful is to compare the Synchronized version to the new Synchron one, for owners of the SynZed version to be able to decide if it's worth it to purchase the Synchron version. Unless you would provide a demo license, which would be even better! Cheers!
@@GuyVignati Even with better libraries that have more convincing legatos and programming it is hard to approach this realism. The closest I've found so far for solo violin is Virharmonic and Performance Samples, maybe Embertone JB. But I appreciate VSL's efforts here - the short articulations are detailed and seem to approximate nicely.
@@prevolition The reason the performance samples legatos sound so good is that Blunk records them as a performance, infusing them with musicality. Same for the sustains. It works. VSL could learn a thing or two from his approach. If anything, the legato performance of the real violinist vs the Synchron version is not convincing me to get this product.
As I saw this video, I got a little idea for the Synchron Player in conjunction with your string libraries with adjustable vibrato intensity (I dont know if this could sound good in practice). Sometimes it seems to be quite hard / time consuming to emulate the behaviour of real players using MIDI CC for vibrato intensity (slot XF). So as you did with Timbre adjust, instead of using a crossfade, you could add a "Playing Intensity" slider which controls parameters of an internal modulation envelope thats linked to the vibrato crossfade. Watching and listening to Marina, her vibrato intensity seems to increase faster (on sustaining notes) the more "intense" she is playing, and increases slower and less "molto" on less accented notes. Also this could be controlled by playing speed, so as she is playing realy fast there is basically no vibrato. As I said, I dont know if this could work out in practice, it could sound synthy in the end, but I imagine this could work out like the humanize envelopes for pitch.
Je vous trouve un peu severe dans l'ensemble . A bien comparé je trouve que bien sur le legato et le vibrato est moins expressif meme si je pense que l'on peut faire mieux dans le DAW ! L'idée d'avoir un CC consacré uniquement ( facon timbre ) serai sympathique meme si ds le cas du Spitfire cela ne fonctionne pas a mon gout . Alors les gars faut pas réver nous n'aurons jamais la meme souplesse avec un samples et un vrai instrument . Mais bravo a la VSL pour sa qualité de timbres et une forme de modestie par rapport a l'instrument pour qui veux bien comprendre que le défie reste une illusion ...
so funny, as close as the sound is, the vibrato and speed of the bow are the problem... they are always the same in VSL and that makes it sound robotic... the intensity of her vibrato is so so so much better!
(1:32) I just noticed this Vienna Symphonic branded keyboard controller. A custom in-house model, I presume? Edit: After some detective work on the logos, it looks like a Lachnit keyboard controller. Possibly a custom build for VSL. Pure speculation on my part at this point though.
@@ViennaSymphonicLibrary Thanks for the confirmation, Paul! It would be great to see a video on it one day. Behind the scenes gear, even the custom stuff, is always fascinating to see how it gets used and implemented in the development/creation workflow etc. 🥂
A very interesting exercise, having the human source playing side-by-side with the sampled result. I do this by matching live recordings of classical pieces with VSL's demoed versions. And yes, talented humans still win with unlimited variations of micro expression in time, touch, and more. However, as I anticipated, this library contains remarkable realism. It appears to have exceeded my high expectations. I like to keep in mind the fact that when using a well sampled library, one still has the ability to add their own forms of human variation with time, pitch, speed, and to a degree, touch. Musical arrangements can by design, take advantage of what's in the library to realize a greater human feel. Bravo to this one, as someone who's played in live orchestras and attended many concerts of the best, this library sounds like a new level in sampling has again been reached.
This demonstration simultaneously affirms my admiration of VSL's sample libraries (which I use practically every day) while highlighting the artistry of the musicians "captured" -- but only partially -- therein. I'm relieved that Marina playing her actual violin trounces Herb playing the very same sampled violin, even though I'm in the same boat as Herb. Still, one of his final comments -- "I have to practice my piano skills" -- says so much about how the keyboard (or other controller) artistry of the sample library player is almost as key to the quality of the performance as the instrumental artistry of the original musician. Not that Herb's keyboard skills are lacking, but deploying them most effectively to play a violin or a guitar or a trumpet or a choir is a talent unto itself. Thanks, VSL, for opening these worlds up to us with so much artistry as sample library developers.
I've been playing with the library for the last hour. It sounds so good, and it's very detailed. It was worth the wait. Congratulations to the whole team!!
Holy - that is REALY amazing :) So VSL -> the brass and woodwinds incl. ALL things what a player do ... and Pipeorgan. May i think brass and woodwinds could be complex or ??? ....
Most libraries don't get that subtle portamento and "lean" into the notes, especially on position changes. All the more sorely obvious the smaller the section and/or in solo libraries. Most libraries implement a cartoon version of legato slides and portamento. But it's wholly unnatural without some kind of expressive transition. Current sampling and physical modeling both provide for it; it's just difficult to implement authentically. But we still need it. Just in a subtle way. ;)
too many words to demonstrate the unprovable: the glory of the true violin, absolute winner compared to its faded and expressionless emulated instrument
@@ElectroPanPipes there are no cons. The parts played by the violinist are incomparably better. I don't understand what this comparison is for, though. You can't compare a performance done on the keyboard without a subsequent in-depth control of the control changes on the sound, and a real performance in which the musician controls all aspects of the sound. Sure, with hours and days of work a virtual violin part can be made better, but what's the point? it would just be a waste of time, the vsts that emulate real instruments should only serve to approximate the sounds, to create prototypes and not to replace the real sounds..
@@antonioserio3806 Yet the violinist herself is impressed. As she is the recorded artist, I'd say that was good. Nobody has claimed an actual person would be replaced by a plugin. There's many film score done with these plugins, nobody in the cinema is bothered. I'm not even sure what your point is tbh
@@ElectroPanPipes My point is simply this: what was the purpose of the plug in? To demonstrate that it sounds better than the real violin? The answer is a resounding NO. But what is annoying is the superficiality of creating this comparison without a minimum of preparation. How can a vst without the proper programming sound good compared to a real violin, played by a good artist? It is simply disrespectful and ridiculous. I don't understand, then, what is the point? Furthermore, there is nothing to demonstrate, since the sampled sound is identical to the real one, but music is made of expression, and that comparison highlighted an abyss of difference: the real violin made people cry, the fake one did not arouse any feeling. Certainly there are soundtracks made with plug ins and I use them myself (but only because I can't afford an orchestra) but the final result is not comparable. However, I always use the real violin if I have to express feelings with music while I use the fake violin to create the music and create the prototype as close as possible. Music is expression! Do not forget.
Def the Human player but the Synchron player could have tried a bit more. The Human player had this sense of yes I am going to own this. For example her swagger puts depth into the performance and I do not see much efforts on the keyboard.
It’s actually very good. To those complaining: sampling a solo instrument is much more difficult than doing a session for starters. Then you have to consider in this video is just played on the keyboard, but you can go much further programming on the daw. For example you can program vibrato variation especially in slow legato patch.
This demonstration doesn’t do any good to the library in my opinion . Violins are much more than staccato notes, and staccato sounding good has never been an issue on any library…
Sorry it’s not the same the sound from the violin 100 time much better The solo violin from VSL sound so much electronic and very dead no life in the sound. Sorry very bad example you do much better.
