• Register
  • Help
Results 1 to 2 of 2

Topic: VSL Template Examples?

  1. #1

    VSL Template Examples?

    Posted on the VSL forum but no reply yet - so I thought I would try here aswell

    VSL Pro Edition is on its way in the mail - yeah!

    So now the daunting task of going through the material and setting up a template begins. Could some of you maybe post how you have done, how you organise it in your sequencer, what articulations you have chosen and how you have organised it on your giga machines...


  2. #2

    Re: VSL Template Examples?

    Congrats on VSL Pro. I own Opus 1 and I'm very happy with it.

    This possibility of setting up and constructing a system which works just the way you want it, is probably the main reason why I chose VSL over the otherwise very fine EWQLSO. If one chooses to manipulate the original VSL gig-files it does make the "getting started" process slow, but once I got it up and running I don't even think about parameters anymore.

    VSL Pro does have many well working "Performance Sets" which are sort of pre-programmed templates that you can work with and modify at will. The VSL package also contains many different controller variations of the same sounds. For example, You can use 1st violins with, or without 4-layer velocity crossfading by simply loading the gig-file that supports what you need at the moment. If you use crossfading velocity layers, then each note will consume 8 voices out of your system, and that might not always be what your system can provide (i.e. full orchestra chord < 300 voices). I'm sure that in VSLs vast amounts of pre-programmed gig-files and templates you will find something that fits you.

    The gig-files response to MIDI-signals is the best and most consistently programmed I have seen so far. However, I went along and made my own improvements anyhow . My sequenser's velocity system is linear, so I would want the gig-files to respond in the same linear amount. That was not present in the original gig-files - those were non-linear in a sense where they are quite soft in velocity until you reach about 85, then it takes off in volume and the envelope changes more drastically.
    Some notes on some instruments are also quite uneven in comparison to the next note on the same instrument so I evened those out as well. The un-eveness on some notes is usually done to provide some variation in the sound and not make it completely streamlined and "too perfect", which is a good idea. However, if you need the cellos to play staccato 8-notes for 8 bars and the note they are playing happens to be the "variant" note, with some kind of mis-hit by the bow on the string or whatever, it's not going to sound very good at all if that sound is repeated for a long time.

    Next change I did was to remove all "unusual" and "odd" samples, like for example Tuba Flotter tounge sforzato and such. Those samples were baked into the "Tuba" gig-file and did basically nothing but eat memory, since I don't expect to use those kinds of samples often at all - if ever. So I took all those "unusual" samples out and made them into separate gig-files, to use if needed - freeing up memory.

    Next thing was to make all the note values respond to the correct value on the note sheets. I use Cubase, and many times I need to be able to print the scores and sheets out simple and conveniently. This turned out to be a problem - especially with the percussion. For example, snare drum (or kliene trommel or whatever) is usually notated on C2 in a score sheet. The note that triggered the snare drum sound however, was not on C2 - far from it. The different snare drum hits was also spread out all over the keyboard (i.e. snare=E1, roll=G1, rimshot=A1, brushes=C#2 etc) which does not agree with the notation system for snare drum. So I took all the snare samples and put them all onto one note, namely the correct note in in the notation system, and made key switches to be able to adjust the playing technique. I did this with all instruments in all gig-files.

    I could probably sit all day talking about how I want my system to work I how I made that possible, but at least you might be getting some ideas on your own. The performance sets and the preprogrammed gig-files will probably make starting out a pure pleasure, and I'm sure you might find that most of the VSL original stuff works very well. The VSL system and their way of naming their gig-files is very coherent. Once the first confusion settles you get the overview of what you've got at hand very quickly. But you also have the options of extracting the wave-samples out of the GIG-files and programming your own gig-files, like I did.

    Good luck with your new stuff
    Kid: When I become an adult I wanna be a musician.
    Parent: Son, you cannot become both.

Go Back to forum


Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts