I wanted to share my results/thoughts as I have had this library for many years. However once I purchased MIR Pro 3D -Dimension Brass (and many of my of my VI libraries) felt all shiny and new.
I don't think I need to mention that your videos on VSL libraries are always very good, but I'll do it again anyway. I especially like that you always show great tricks on how to get an even better sound out of the libraries! As a twenty-seven year old youngster and freshly graduated film music guy, I took a relatively late liking to VSL's libraries. They didn't convince me for a long time, because I could only test those of the VI series during my studies, as they were installed on the computers of the university's studio. So I was confronted with the dry samples, which don't sound so good on their own if you are used to wet samples, and I didn't really understand VIPro. MIR Pro (3D) was not installed in the studio, so I had to work with algorithmic and convolution reverbs from other manufacturers. There was Altiverb and Fabfilter Pro-R, but I could never get rid of the sound characteristic of close mics, which is why I always thought I couldn't work with VSL libraries. There were no SYNCHRON ones in the studio either - a bit pathetic if you ask me - so I didn't have the chance to try them. But what I have always appreciated from VSL is VEPro. With the upgrade to version 7 came the "SYNCHRON-ized Epic Orchestra", which first convinced me of the SYNCHRON(-ized) libraries: "finally I get a great sound out of the samples!" When I learned that the original VI libraries were converted using MIR Pro (3D), I knew this was the way to go! So I bought "SYNCHRON-ized Dimension Brass II" because I really needed muted brass and Wagner tubas. (How I just love the latter!) Then I bought the piccolo trumpet for VIPro, as it had not yet been converted for the SYNCHRON player. I also used the demo of MIR Pro 3D to experiment and began to really appreciate the flexibility. After I realised through experimenting that one very cool feature was missing in the SYNCHRON player, and that is that you can use different tunings, I kindly asked VSL if I could get a crossgrade price for Dimension Brass II for the VIPro player, and I got one (very nice of them). Some might call it a "downgrade price", but if you have MIR Pro 3D, you don't need the "SYNCHRO-nized" versions; and I need the ability to use alternative tunings. Since then I prefer to buy the dry libraries for VIPro. Of course, if they are libraries recorded in Synchron Stage, then it doesn't work, but you get what I mean. Since the beginning of this September, I finally own a licence for MIR Pro 3D. Another reason that made me finally try VI libraries is that I always struggle with a muddy sound when I use too many libraries at the same time that have wet samples, because the reverb on the samples adds up. Of course, the problem can be compensated for to some extent by using close mics more than main mics, but even those often have a bit of room sound when recorded in large recording rooms. So far, my workhorse has been Orchestral Tools' Berlin series, which it still is, but reduced. But after I noticed that the wind instruments from VSL are even better, I'm relying on them more and more. And so, bit by bit, I buy individual instruments from VSL. My VI collection now includes the following libraries/instruments: - Flute I, oboe I (Viennese type), clarinet in Bb I, soprano saxophone - Dimension Brass II, piccolo trumpet, fanfare trumpets, triple horn, Wagner tuba (solo), tenor trombone, tuba - Timpani, cymbals, gongs, tamtams, waterphone - Classical guitar As you can see from the collection, I focus a lot on instruments that other developers have not yet sampled, or at least not as extensively. For the SYNCHRON player, I only have SYNCHRON-ized Epic Orchestra, SYNCHRON-ized Dimention Brass II, SYNCHRON-ized timpani, duduks and the freebies. In summary, I can say that I now understand and have internalised VSL's philosophy, have grasped the handling of VI libraries and am increasingly relying on these libraries, as I value them very much.
Wow, what a journey you have been on and Thank you for watching and writing. The VSL libraries offer so much- however, they do take time to learn. Eloy
@@soundtreks Glad you liked it😁! Having a channel is a journey (as you know). Each mock up (in this case Dimension brass) teaches you something different and as time goes on - you get better (or at least you should). I just finished a piece using Performance samples (video in a week or 2 when I have time) - none of my other choir libraries could transalate what I heard in my head to sound coming out of the speakers. It forced me to use their string libraries - good stuff -you will soon see/hear. Thank you, Eloy
Thanks for this demo, they sound awesome! With VSL sunsetting their VI Series line within the month, I'm going to pick up the Dimension Brass which, based on their own hint, would be a cheaper upgrade path to the Synchron version ;) Really looking forward to all these, especially those Wagner tubas. I also recently picked up MIR Pro3D and it truly is a gamechanger (and I don't throw that word around lightly). Really makes all my libraries sound so much more realistic and beautiful. Anyway, great demo as always - and really beautiful opening composition!
Jonathan, Thank you for the kind words. Allow me to share a great recipe for Dimension Brass/Strings. Use MIR Pro (for instrument placement) Schubertsaal "Pop" setting then insert on your DAW channel Vienna Hybrid Reverb Pro (Opera 1.5 or 1.7 for brass and Opera 1.2 for Dimension strings) and you will be amazed. Eloy
@@eloysherlockmusic I've been playing Dimension Brass & Strings all day and loving it - the amount of samples here really pays off, so much detail and nuance. I've also been really loving the Vienna concert halls including Schubertsaal which I have found is instant mix magic on chamber ensembles. I can't wait to try your recipe, thanks so much! 🙏
@@eloysherlockmusic also - as soon as my budget allows, I'm definitely going to get me one of those holberg breath controllers. I've heard great things about them and it seems you're enjoying it!
Thanks Eloy for this great review on the Dimension Brass. Just a clarification, what you call Wagner Horns, the correct name is 'Wagner Tuba' which is a marvelous instrument that has been used in the classical late romantic era by a few composers other than Wagner who invented it... Personally I don't understand, but I respect, why people dislike so much complete dry samples like in the case of the VSL Vienna Instruments series. I love completely dry samples because they give me so much possibilities that wet samples do not. It is certainly a matter of taste but to me personally the trend to release sample libraries with countless of microphone positions is pointless and an exaggeration. I know mockup artists that create stunning music renditions using simpler sample libraries with dry samples. Mine are not by any means criticisms on your work or your way of working, just simple considerations. All the very best and blessings, MaxT
Synchronized Dimension Brass are quite good. I use them with Synchron Brass in places where the latter legato isn’t quite as good. The shorts on Synchron brass however are amazing. Both have their place in my set up however
I wanted to share my results/thoughts as I have had this library for many years. However once I purchased MIR Pro 3D -Dimension Brass (and many of my of my VI libraries) felt all shiny and new.
I don't think I need to mention that your videos on VSL libraries are always very good, but I'll do it again anyway. I especially like that you always show great tricks on how to get an even better sound out of the libraries!
As a twenty-seven year old youngster and freshly graduated film music guy, I took a relatively late liking to VSL's libraries. They didn't convince me for a long time, because I could only test those of the VI series during my studies, as they were installed on the computers of the university's studio. So I was confronted with the dry samples, which don't sound so good on their own if you are used to wet samples, and I didn't really understand VIPro. MIR Pro (3D) was not installed in the studio, so I had to work with algorithmic and convolution reverbs from other manufacturers. There was Altiverb and Fabfilter Pro-R, but I could never get rid of the sound characteristic of close mics, which is why I always thought I couldn't work with VSL libraries. There were no SYNCHRON ones in the studio either - a bit pathetic if you ask me - so I didn't have the chance to try them.
But what I have always appreciated from VSL is VEPro. With the upgrade to version 7 came the "SYNCHRON-ized Epic Orchestra", which first convinced me of the SYNCHRON(-ized) libraries: "finally I get a great sound out of the samples!" When I learned that the original VI libraries were converted using MIR Pro (3D), I knew this was the way to go! So I bought "SYNCHRON-ized Dimension Brass II" because I really needed muted brass and Wagner tubas. (How I just love the latter!) Then I bought the piccolo trumpet for VIPro, as it had not yet been converted for the SYNCHRON player. I also used the demo of MIR Pro 3D to experiment and began to really appreciate the flexibility. After I realised through experimenting that one very cool feature was missing in the SYNCHRON player, and that is that you can use different tunings, I kindly asked VSL if I could get a crossgrade price for Dimension Brass II for the VIPro player, and I got one (very nice of them). Some might call it a "downgrade price", but if you have MIR Pro 3D, you don't need the "SYNCHRO-nized" versions; and I need the ability to use alternative tunings. Since then I prefer to buy the dry libraries for VIPro. Of course, if they are libraries recorded in Synchron Stage, then it doesn't work, but you get what I mean.
Since the beginning of this September, I finally own a licence for MIR Pro 3D.
Another reason that made me finally try VI libraries is that I always struggle with a muddy sound when I use too many libraries at the same time that have wet samples, because the reverb on the samples adds up. Of course, the problem can be compensated for to some extent by using close mics more than main mics, but even those often have a bit of room sound when recorded in large recording rooms. So far, my workhorse has been Orchestral Tools' Berlin series, which it still is, but reduced. But after I noticed that the wind instruments from VSL are even better, I'm relying on them more and more. And so, bit by bit, I buy individual instruments from VSL.
My VI collection now includes the following libraries/instruments:
- Flute I, oboe I (Viennese type), clarinet in Bb I, soprano saxophone
- Dimension Brass II, piccolo trumpet, fanfare trumpets, triple horn, Wagner tuba (solo), tenor trombone, tuba
- Timpani, cymbals, gongs, tamtams, waterphone
- Classical guitar
As you can see from the collection, I focus a lot on instruments that other developers have not yet sampled, or at least not as extensively.
For the SYNCHRON player, I only have SYNCHRON-ized Epic Orchestra, SYNCHRON-ized Dimention Brass II, SYNCHRON-ized timpani, duduks and the freebies.
In summary, I can say that I now understand and have internalised VSL's philosophy, have grasped the handling of VI libraries and am increasingly relying on these libraries, as I value them very much.
Wow, what a journey you have been on and Thank you for watching and writing. The VSL libraries offer so much- however, they do take time to learn. Eloy
I really like this piece Eloy!
@@soundtreks Glad you liked it😁! Having a channel is a journey (as you know). Each mock up (in this case Dimension brass) teaches you something different and as time goes on - you get better (or at least you should). I just finished a piece using Performance samples (video in a week or 2 when I have time) - none of my other choir libraries could transalate what I heard in my head to sound coming out of the speakers. It forced me to use their string libraries - good stuff -you will soon see/hear. Thank you, Eloy
Thanks for this demo, they sound awesome! With VSL sunsetting their VI Series line within the month, I'm going to pick up the Dimension Brass which, based on their own hint, would be a cheaper upgrade path to the Synchron version ;) Really looking forward to all these, especially those Wagner tubas. I also recently picked up MIR Pro3D and it truly is a gamechanger (and I don't throw that word around lightly). Really makes all my libraries sound so much more realistic and beautiful. Anyway, great demo as always - and really beautiful opening composition!
Jonathan, Thank you for the kind words. Allow me to share a great recipe for Dimension Brass/Strings. Use MIR Pro (for instrument placement) Schubertsaal "Pop" setting then insert on your DAW channel Vienna Hybrid Reverb Pro (Opera 1.5 or 1.7 for brass and Opera 1.2 for Dimension strings) and you will be amazed. Eloy
@@eloysherlockmusic I've been playing Dimension Brass & Strings all day and loving it - the amount of samples here really pays off, so much detail and nuance. I've also been really loving the Vienna concert halls including Schubertsaal which I have found is instant mix magic on chamber ensembles. I can't wait to try your recipe, thanks so much! 🙏
@@eloysherlockmusic also - as soon as my budget allows, I'm definitely going to get me one of those holberg breath controllers. I've heard great things about them and it seems you're enjoying it!
Thanks Eloy for this great review on the Dimension Brass. Just a clarification, what you call Wagner Horns, the correct name is 'Wagner Tuba' which is a marvelous instrument that has been used in the classical late romantic era by a few composers other than Wagner who invented it... Personally I don't understand, but I respect, why people dislike so much complete dry samples like in the case of the VSL Vienna Instruments series. I love completely dry samples because they give me so much possibilities that wet samples do not. It is certainly a matter of taste but to me personally the trend to release sample libraries with countless of microphone positions is pointless and an exaggeration. I know mockup artists that create stunning music renditions using simpler sample libraries with dry samples. Mine are not by any means criticisms on your work or your way of working, just simple considerations. All the very best and blessings, MaxT
Max- Thank you for watching and catching my TUBA'S! Yes dry samples enable you to place your instruments anywhere with a great reverb.
@@eloysherlockmusic 🙏
Synchronized Dimension Brass are quite good. I use them with Synchron Brass in places where the latter legato isn’t quite as good. The shorts on Synchron brass however are amazing. Both have their place in my set up however