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Vienna Instruments Special Edition

Vienna Symphonic Library

Review by Carlos Garza

Originally Published in Pro Audio Review

The arms race in sampling is all about realism and audio quality. The new standard in sample libraries for computers is 24-bit and, for musical instruments, a variety of articulations must be within easy reach.

Vienna Symphonic Library (VSL) GmbH in Vienna, Austria is a leading provider of symphonic instrument samples and has recently introduced a dedicated software player for their Vienna Instrument products that tackles these challenges. Vienna Instruments Special Edition (SE) is an all-in-one symphonic sample library and is one of the newer products using this software.

SE comprises two products, the Standard Library ($465 US) and the Extended Library ($625 US), distributed in the U.S by ILIO. In this review, we’ll see if VSL has an affordable all-in-one orchestral library with the features and sonic quality you would expect from a company that repeatedly sets the standard.

Special Edition

Features

The instruments in SE were selected from VSL’s extensive line of Vienna Instruments (VI) products and require 81 GB of drive space. The Standard Library contains 28 instruments and ensembles from the post-romantic orchestra. It includes solo and ensemble strings and brass, solo woodwinds and percussion, which includes drums, gongs, cymbals, Taiko drums, thunder sheet, metal chimes and plate bells. Rounding out the set are, Bösendorfer grand, celesta, glockenspiel, xylophone, marimba and vibes.

The Extended Library adds 35 instruments and ensembles but does not augment the articulations in the Standard Library instruments. Highlights include saxes, contrabass trombone, chamber strings (small ensembles), Appassionata strings (larger ensembles), Epic Horns, harp, classical guitar, electric guitar, Vienna Konzerthaus organ and harpsichord. For all you Beatles fans there’s even a piccolo trumpet. A complete listing of tracks can be found at vsl.co.at.

Whereas previous VSL products relied on third party sample players, such as Giga, HALion and Apple Logic’s EXS-24, the VI products use proprietary software for performance control and hard drive streaming. The cross-platform VI player serves up the 24-bit, 44.1 kHz samples as simple patches, containing a single articulation, for example, violins with short notes, and in combinations called matrices, which combine related articulations for use in a single MIDI track or switched instantly for live performance.

The multi-patch matrices reduce the number of sequencer tracks needed to create a realistic performance using multiple playing styles. For example, you can play quick short notes, longer notes and tremolo in a single matrix set-up.

The VI player runs stand-alone (for live) or as a DAW plug-in with Audio Units, RTAS and VST compatibility. RTAS support OS X was introduced in October. The minimum configuration is 1GB RAM on a G4 1 GHz under OS 10.4 or a 2GHz PC with Windows XP. Most of the work is done by a background process, which shifts the memory and CPU burden outside of the host DAW, such as Logic.

In Use

I installed SE on a G5 Quad with 4GB RAM, OS 10.4 and Logic Pro 7. SE requires a Syncrosoft USB security key, which must be registered online. It is sold by VSL as the Vienna Key ($39 US). Authorizing the standard and extended libraries was nearly trouble free.  The only snag I ran into was caused by having both the Vienna Key and another Syncrosoft key for HALion connected during authorization. I temporarily removed the HALion key and completed the authorization with no problems. It would have been nice if the documentation recommended removing Syncrosoft keys used for other products. However, the installation tutorial video was otherwise excellent. Great to have a visual guide for a process that some find daunting.

By the way, VSL has created some excellent learning tools, including instructional videos and tutorial demo sequences for popular DAW applications. From my experience, nobody is doing a better job of helping their users get the most out of music sampling software.

The matrix approach is where the user interface gets powerful. Matrices are built from patches, each of which contain a single articulation of an instrument. There are several ways to call up the different articulations, including key switches and MIDI controllers and they can be used in many combinations in a single matrix.

Key switches are notes outside the range of the instrument (usually at the low end). For example, hit the lowest C with your left hand and the right hand plays for staccato notes, hit the C# and you are playing détaché, D for sustained and D# for legato notes and so on.

You can also switch articulations using a continuous controller, such as the mod wheel. For example, you could play long notes and use the mod wheel to layer short notes or switch to tremolo. The VI player can accommodate up to twelve rows and twelve columns in each matrix. And if that’s not enough, you can combine matrices into keyboard-switched “presets.” Many possibilities.

While you can’t create your own patches, which include velocity and sample mapping, you can create your own matrices and make personalized versions of the ones provided. I wanted to create a performance matrix with crescendo control, such as that provided in HALion Symphonic Orchestra (HSO), which uses the mod wheel to cross fade (or switch) between samples played with different dynamics. The first step was to assign a continuous MIDI controller, such as the pitch wheel or breath controller for “velocity” X-FADE. I simply control-click the fader in the PERFORM tab of the VI window and used the breath controller to assign it.

Next, I needed to assign a controller as a switch because I don’t want velocity X-FADE always on. For example, I still like to use key velocity for short notes. I used the ribbon controller on my Yamaha Motif ES-8 keyboard as the switch. After fine-tuning the response curve in the VI window, I had a zone at the top of the ribbon that I use with my left thumb to activate velocity cross fade with the breath controller when I need it.

SE is a very flexible product and it’s easy to create your own customized performance setups. Since VI is also a standalone player, you can create key-switched presets with completely different instruments for live performance. For example, a song might need cello for the intro, trumpet for a solo and tubular bells for the ending each with its own key-switched and controller-modified articulations.

Vienna Instruments has some impressive software features. The flexibility to arrange patches within a matrix is very logical. Using custom keyboard notes outside the range of the instrument is also useful but the ability to design your own articulation performance sets is a real innovation.

VSL decided that the Extended Library should widen the instrument variety rather than add articulations for the Standard Library instruments. I think some might prefer a deeper set of articulations rather than some of the slightly redundant instruments.

On the other hand, the variety of instruments between the two sets allows for more distinctive and expressive realizations where custom ensembles of solo instruments are needed. Three cheers for including the amazing solo strings in the Standard Library. I wish the harp were there too.

Also on my wish list for VSL products are the hardingfele (or Hardanger fiddle for you “Lord of the Rings” fans), and jazz inflections of the string bass, trumpet and trombone. There are several products providing the heart pounding drums that have become common in animal documentaries and action scores. It would be nice to have additional drums recorded on VSL’s “silent stage” to blend with VSL products. Native American and European frame drums would be a nice addition.

But I’m nitpicking; this is a versatile set. The saxes and muted trumpets and trombones lend a jazz versatility while the electric guitar takes it into action score territory. These are pro sounds with plenty of useful articulations.

The Appassionata strings answer the mail for those who felt that VSL strings are too pure or precise (not that that’s a flaw). This is a lovely cinematic sound for sweeping themes. The small ensemble strings, woodwinds and classical guitar are also excellent. I loved the Epic Horns in the Horizon series and I don’t know of any other all-in-one set that has such a sound.

While these instruments do not have all of the articulations or detailed range of samples of the Vienna Instruments products they were selected from, the sound quality is the same. These are beautiful recordings that work well in many genres, including symphonic mock-ups, TV and game scoring, rock and pop production and music education.

VSL records their samples in an acoustically dry environment. The bad news is that you have to add reverb to make a symphonic piece sound like it’s in a concert hall. The good news is that you have complete control over the acoustic setting. Logic’s Space Designer convolution reverb with a scoring stage or concert hall works wonders.

I like the fact that much of the processing and memory are handled by a separate process, the vsl-server, which shifts much of the memory and CPU burden from the sequencing or DAW application. This frees up DAW resources for software synths and other sample plug-ins. The VI software includes options for optimizing RAM utilization by clearing samples not in use in a MIDI recording. This makes laptops and some older computers a viable platform.

Thirty-two bit applications, such as SE can use up to 4GB of RAM. Since SE runs outside the DAW application, an 8GB machine supports a hefty number of instruments in SE while leaving another 4GB for the DAW and other plug-ins. Theoretically if you had 12GB of RAM you could add a another sample player that runs outside of your DAW.

As this article went to press, VSL announced their Vienna Ensemble product, which they say will be a free update for Vienna Instruments users. They say that the Vienna Ensemble stand-alone player is designed to host Vienna Instruments on networked computers, and balances memory use when run on the same computer with the DAW. It also adds support for 64-bit PCs and Macs.

Summary

Wrangling a symphonic orchestra, even one as easy to use as SE, requires practice. While the skills for “conducting” a symphonic library differ slightly than the live orchestra, the goals are similar. The performance should flow smoothly and dynamically and the instruments should blend acoustically into a symphonic sound.

SE does not let you tweak every conceivable nuance of a performance but most of the tweaking that you need to do is either easy or even better, it’s automatic. The intention of SE is to quickly capture a realistic performance so you spend more time creating the music and less time sweating the details.

SE includes a huge selection of professional symphonic instruments and I don’t know of any other all-in-one set that includes solo strings and horns this expressive. If you want top grade pro sounds at an affordable price, look no further. SE is an excellent value and a serious musical tool.

Carlos Garza is currently scoring an action feature film. His work has been heard on Image Entertainment DVDs, Turner Classic Movies and the National Gallery of Art. He is a regular contributor to Pro Audio Review.

Fast Facts

Applications: TV/film music, symphonic realization, education and live.

Key Features: 24-bit samples, plug-in for VST, RTAS and Audio Units, stand-alone player for live performance, resource management, PC and Mac.

US Prices: Standard Library, $465; Extended Library, $625; both require Vienna Key, $39

Sales and product information in the U.S. from ILIO at ILIO.com (818-707-7222)

Product Points

Plus

• Astounding sound quality

• Innovative controls for efficient operation

• Automatic realism

• Computing friendly

Minus

• Harp missing from standard library

• Limited articulations for non-mainstream compositions

The Score

This friendly-priced, all-in-one symphonic library from one of the leading innovators of realism and quality is an outstanding value.

(c) 2007 Carlos Garza

HALion Symphonic Orchestra

By Carlos Garza

Capturing the nuances of a symphony orchestra in a sample library is no easy task but several products are aiming to do just that. Manufacturers such as Vienna Symphonic Library, Garritan, East West, Miroslav Vitous and Steinberg are a few of the companies working on the challenge.

The most compelling products offer multiple performance variations and controls. HALion Symphonic Orchestra (HSO) is a new product from Steinberg Media Technologies GmbH, a subsidiary of Yamaha Corporation that offers real-time performance features found in some of the most expensive libraries at a price well under $1,000.

HALion Symphonic Orchestra

HALion Symphonic Orchestra

Features

The 15,000 individual samples supplied on DVD-ROM require 27GB of disk space for both 16-bit and 24-bit versions. The stand-alone player is used for live performance and playback from ReWire applications. HSO also runs as a VST, Dxi and Audio Units plug-in. A Steinberg Key device (not included) is required to use the library. A single device can be used for multiple Steinberg products.

As the name implies, HSO includes strings, woodwinds, brass and percussion. The 1250 programs include solo instruments, ensembles and tutti sections all performed, according to Steinberg, by a leading European orchestra.

The strings include solo and ensemble violin, viola, cello and bass. Articulations include legato, spiccato, pizzicato, tremolo, portamento, espressivo and trills. The brass section includes solo and tutti trumpets, trombones, horns and solo tuba.

Woodwinds include solo flute, oboe, clarinet, bass clarinet, bassoon, piccolo and English horn. The percussion family includes timpani, bass, snare, tambourine, tubular bells woodblocks, temple block, finger cymbals, vibraslap, triangle, sleigh bells, cymbals and gongs.

As with many sample players, the HSO software keeps a short bit of each sample in memory and streams the rest from disk. RAM and CPU use can be managed through the number and size of voice buffers and the minimum sample memory settings. The RAMSave™ feature frees memory by monitoring the notes played in sequenced MIDI tracks and dropping unused samples.

Users can selectively reduce the anti-aliasing quality in order to get more voices, for example, during recording, and then switch to a higher quality setting when bouncing or mixing tracks. “Economy” programs, which use fewer samples, are available for some instruments.

The “Q Controls,” seen in previous HALion products, are a set of eight MIDI-assignable controls that vary by program. Examples include, attack velocity, bow sound, “body” and “air.” Room ambience was recorded with the samples but can be controlled separately in level and duration.

In Use

I tested HSO with Logic Pro on a G5 Quad with 4GB RAM and Pro Tools on a G4 Dual 1GHz with 1.5 GB RAM. I monitored through Mackie HR-824 speakers. A Yamaha Motif ES-8 and a 2-octave Oxygen 8 were used as MIDI controllers.

My project was a short film score calling for both emotion and dynamics. I focused on strings since they are so important in film music. HSO offers alternating up and down bowing programs, a feature that overcomes the “machine gun” sound you hear from keyboard strings. I played the alternating spiccato string programs in the solo violin and viola and was amazed at the realism and ease of use.

HALion Symphonic Orchestra

HALion Symphonic Orchestra

The combination, or “Combi” programs, available in all instrument groups, are effective but require a little practice to get realistic performance variations. The string “Combis,” for example, include short notes, long notes, tremolo and trills. Articulations are selected by holding a switch key outside the instrument range.

I found a small annoyance in the half-step trill of the solo viola xSwitch Combi, which was noticeably louder than the other articulations. The other Combis, including the corresponding violin are well matched though. This can easily be fixed in the mix or avoided by recording trills separately.

The performance and tone controls offer plenty of tonal variety. For example, in the vibraphone program, the “Body” Q-control adjusts weight while “Presence” controls the mallet attack, simulating soft or hard mallets.

Percussive instruments derive their volume and tone from the initial hit and change little as the note decays. Strings, brass, woodwinds and percussion rolls, on the other hand, are capable of complex note dynamics. MIDI note velocity therefore controls percussion dynamics well but is less effective for other instruments.

Steinberg developed the Crescendo Control as a solution. Crescendo can be mapped to modulation wheel, breath, foot or expression controllers. The Xfade programs use Crescendo for continuous crossfade of samples, while the Xswitch programs switch between samples (requiring less memory).

The Crescendo Control can be used to create very natural sounding performances, especially in the strings and brass. By cross-fading actual samples played at different volumes, HSO has captured realism that can’t be simulated with volume and filter controls. Mastering Crescendo Control is a piece of cake. Combining it with key switch control is another thing, but it’s much easier than learning the violin, oboe, trombone, etc.

Most of the instruments sound very convincing to my ears. The solo strings are very expressive and the string sections are closer in quality to a more expensive library than they are to other libraries I’ve heard for under $1000.

The range of instruments and articulations cover the needs of basic symphonic mock-ups for education, film composing and pop music accompaniment. You won’t find esoteric articulations used in advanced orchestration, which is no surprise given the price. My wish list for a product update includes harp, celesta and muted brass.

While the stand-alone player and ReWire are required to use HSO with Pro Tools, ReWire can be useful even with DAW programs such as Logic Pro that support the Audio Units plug-in. Using ReWire I was able to keep my favorite HSO instruments in memory while switching Logic “songs.” This approach can also be used to optimize memory and CPU use under certain conditions.

HSO worked flawlessly on the G5. Memory limits on the G4 restricted the number of instruments that I could use at once but it worked fine with planning and occasional bouncing. HSO ran without problems as a Logic plug-in on the Quad and it seemed to run even smoother as a ReWire application.

Summary

This is an excellent sounding set that strikes the right balance between ease of use and flexibility. The inclusion of both 16 and 24-bit samples combined with advanced features make HSO a valuable tool for live performance and professional recording. Many composers will appreciate the inclusion of both first and second violin sections, something that even higher priced libraries occasionally skip. Others will miss the harp and muted brass.

With a little practice, the Crescendo Control can create very believable performances and the results are impressive. The Combi programs take more effort to master but the effort pays off and the price, sound quality and advanced features make HSO an excellent value.

Fast Facts

Applications: Symphonic, pop and TV/film orchestral realizations, music education and live performance.

Key Features: 16 and 24-bit symphonic instrument samples. Includes a stand-alone player and plug-ins for VST, Dxi and Audio Units. Crescendo controls and alternation features add realism.

Price: MSRP: $499, education discounts available; Steinberg Key: MSRP: $29.00

Contact: USA Online Shop 877-253-3900,  On-line:  Steinberg

Product Points

Plus

• Choice of high quality 16 or 24-bit samples

• Crescendo Control enhances realism

• Automatic alternation of repeated note samples

• Excellent control of resource utilization

Minus

• No harp, celesta or muted brass

• USB key not included

The Score

An excellent value in high quality 24-bit symphonic samples with advanced controls for performance realism.

(c) 2006 Carlos Garza

Vienna Symphonic Library Horizon Series

Horizon Series: Solo Strings, Chamber Strings, Woodwind Ensembles, French Oboe and Epic Horns

By Carlos Garza

Choosing a symphonic sample library used to be so much easier.  Dedicated hardware samplers from the likes of Roland, Yamaha, Kurzweil, EMU and Akai once ruled the studio and stage and sample libraries were designed around limitations of the hardware — memory and processor speed being the chief constraints. Price and sound quality were the key discriminators.

The sound quality expectations are higher than ever but another battle ground has risen around the software features of disk-based streaming sample players. Vienna Symphonic Library (VSL), GmbH, based in Vienna, Austria and distributed in the US by ILIO, is one of the leading contenders in this market. VSL was one of the first to build a controlled recording environment has developed a proprietary, real-time performance control mechanism compatible with four major sample players covering Windows and Mac.

Our look at the Horizon Series began in the October 2005 issue with a review of the Opus 1&2 Orchestra bundle, a selection of strings, brass, woodwinds and percussion instruments. In this review, we uncover the Solo Strings, Chamber Strings, Woodwind Ensembles, Epic Horns and French Oboe.

VSL Horizon Series

VSL Horizon Series

Features

All products in the Horizon series are available for Apple Logic’s EXS24 sample player, TASCAM’s GigaSampler/GigaStudio, Steinberg HALion and Native Instruments Kontakt.

Some of the Horizon products include samples from the Pro Edition while others are completely new. For the most part, these are single-note instrument samples rather than phrases. All Horizon products covered in this review are 16-bit/44.1kHz stereo. VSL claims an average of 95 dB signal-to-noise ratio. (See the Opus 1& 2 review for more recording details.)

Solo Strings includes 50,000 samples requiring about 29GB of hard drive space and ships on five DVD-ROMs. It includes samples from the Pro Edition and new samples. Each instrument, violin, viola, cello and double bass, is represented in a number of articulations. There are more articulations for violin than the others but all include: short notes, staccato détaché, long notes (with and without vibrato), dynamics, tremolo, trills, pizzicato, Bartok pizzicato, col legno, performance-legatos and repetitions.

Woodwind Ensembles contains around 14,000 new samples (6.1GB) and ships on a single DVD-ROM. It includes ensembles with 3 flutes, 3 oboes, 3 clarinets and 3 bassoons. The French Oboe set contains over 13,000 samples (7GB) and ships on a single DVD-ROM. It also contains instruments for “French style” English horn, small E-flat clarinet and piccolo runs. Epic Horns ships on a single DVD using 2.7GB for about 5,900 all new samples.

Chamber Strings includes almost 32,000 new samples (17.8GB) and ships on four DVDs. It includes programs with 6 violins, 4 violas, 3 celli and 2 double basses.  Each instrument group includes short notes, sustained notes, tremolo, pizzicato, trills, harmonics and other articulations. The performance articulations include legato, with and without portamento, and several styles of repeated notes. Also included are ensemble instruments, incorporating combinations of string families.

All reviewed sets include the samples (taking most of the disk space) and the EXS24 and Giga instrument programs on the DVD-ROMS. HALion and Kontakt instruments can be downloaded from the VSL website after registration.  Updates to Instruments and samples and the performance tool can be downloaded by registered users.

The performance tool, which is included with all of the products in this review, supports smoothly connected legato playing and key switched articulation selection for on-the-fly substitution of samples.  For example, users can switch between various short notes, staccato, long notes or pizzicato samples while playing in a single phrase.

In Use

I tested the VSL Horizon products using the EXS24 sample player plug-in under Logic Pro 6.4.2 and 7.1 under OS 10.3.7. Early testing was done on a 1 GHz Dual processor G4 Mac with 1.5GB RAM. The G4 was monitored through a Pro Tools HD|1 with a 96 I/O and Mackie HR824 speakers.

The samples were loaded on an OWC Mercury Elite FireWire 400/800 enclosure, which I attached to the G4 at FW400 speed. I later acquired a Quad G5 Mac running OS 10.4 “Tiger” with 4GB RAM and attached the OWC drive using its FireWire 800 port.

A few years ago, my group, Silent Orchestra, recorded a surround score for the Image Entertainment DVD of the silent vampire classic, Nosferatu. Most of my symphonic sounds came from a Kurzweil PC88 keyboard and two Akai S2000 samplers with the Miroslav Vitous mini set, Roland Strings and the Peter Siedlaczek Advanced Orchestra.

I’m fond of the Akai samples I used but the S2000’s 32MB memory and the limited real-time performance controls are a hindrance to realism. Instead of simply remixing and editing the score for CD, I decided to see just how much better the strings, woodwinds and brass could sound using the new VSL products.

Our score uses a solo cello melody as a leit motif for the vampire. I found the edge I wanted in the forte performance-legato cello from the Solo Strings collection. The automatic features of the VSL performance tool made it effortless to create an animated part with smoothly connected notes and subtle slurs.

The VSL products are not a panacea. Effective realization of symphonic arrangements requires an understanding of each instrument in the orchestra and a willingness to explore the capabilities of the product. A combination of articulations (varying the note length and dynamics) help create a more realistic performance. Since the VSL samples were recorded dry, you can create any acoustic environment you can imagine through EQ, panning and reverb.

One section of our score features woodwinds. I used Opus 1’s solo flute with the Woodwind Ensemble clarinets, oboes and bassoons for the accompaniment. I put a very quiet Epic Horn part in the upper register to add weight to the high parts while the bassoon section held down the low end. The blend was sonorous and so convincing, that Rich O’Meara, co-writer of the score commented, “it sounds like a real orchestra.”

VSL products have potential in non-symphonic settings. For example, I was hired to write solo cello and violin parts for an alternative rock recording. The parts were to eventually be recorded with a cellist and violinist. Plans changed when they heard my mock-ups using the Horizon Solo Strings. Time and money may have been factors but I like to think it was the striking quality of the samples and the convincing performance-legato programs.

I decided to try the Chamber Strings in an arrangement for another rock band, Red Racer. One piece called for an aggressive part based on a guitar riff.  A solo cello wouldn’t have had the impact I was looking for. The détaché celli in the Chamber Strings set had just the right combination of attack and weight.

The “French style” English Horn and the French Oboe — both are from the French Oboe set — are the most evocative woodwind samples I’ve ever played.  In this pop setting, the English horn added a stately quality but it would be equally at home in a world music arrangement or a moody film score.

The guys gave me complete freedom to experiment so I put the “French” English Horn, Chamber violins, violas and celli and a soaring Epic Horn solo on one track. The Epic Horns are majestic, powerful and inspiring while the English Horn and strings are seductive and enveloping. It feels like a hit.

VSL’s studio team has done a great job of capturing the instrument sounds.  The extended frequency response is generally a huge advantage. The winds and horns are detailed and airy. The strings are bright and crisp. The horns are commanding.

All VSL samples are recorded in a “silent stage” with standard articulations making for a very compatible sound across all Horizon products. Some performance features are very straight forward, For example, programs using the mod wheel to cross fade between dynamics are very easy to use. The performance tool features is very effective but some features require a bit of study. Most of my problems resulted from running too many EXS24 tracks on my G4 and maxing the 1.5GB of RAM. I had no problems on the Quad G5 with 4GB of RAM and the FireWire 800 interface.

There is plenty of depth in the articulations but I’d like to see more atonal effects — perhaps a single product incorporating spooky and amusing strings, brass and woodwinds. The alternate English horn and oboe are fantastic but more alternative instruments would be welcome. Wouldn’t it be nice to have another identically recorded solo violin for duets? How about a rock or jazz flute?

Summary

These Horizon products score high marks in sound quality and ease of use. They are expertly recorded, beautifully played and offer exciting ways of creating realistic performances. You’ll want a fast G4 or a G5 with plenty of memory if you plan on sequencing many tracks. A fast drive is also recommended.

The recent price reductions have created a bargain situation for all but the Chamber Strings, which is priced closer to Opus 1 Orchestra than the other Horizon products. Chamber Strings is still worth the asking price, it’s just not the bargain that the others are. Solo Strings is a steal.

VSL offers discounts on certain 24-bit Vienna Instruments for owners of First Edition and Pro Edition products and some related Horizon products. See the discount calculator on the VSL web site for specifics.

Whether you are scoring for stage, TV, film or pop arrangements, these VSL Horizon products are a fabulous resource and highly recommended.

(c) 2006 Carlos Garza

Vienna Symphonic Library – Opus 1 and 2 Orchestra

Orchestral Sound Library

Review by Carlos Garza
Originaly Published in Pro Audio Review

Vienna Symphonic Library (VSL), GmbH is based in Vienna, Austria and is distributed in the US by ILIO.  Their main product lines, First Edition and Pro Edition, are symphonic orchestra libraries for Windows and Mac OS Digital Audio Workstations (DAWs).

Our look at the Horizon Series begins with Opus 1 and Opus 2 Orchestra, a selection of string, brass, woodwind and percussion instruments from the Pro Edition.  Opus 1 and 2 are available individually and bundled.

All products in the Horizon series are available for Apple Logic’s EXS24 sample player, TASCAM’s GigaSampler/GigaStudio, Steinberg HALion and Native Instruments Kontakt.  The EXS24 instrument programs were tested for this review.

Features

Opus 1 covers the standard instruments of the modern symphony orchestra.  Opus 2 expands on the articulations in Opus 1 and adds instruments.  Note the use of, “Instrument” for VSL sample programs and lower case “instrument” for real-world objects in this review.

Opus 1 Orchestra contains around 1,300 Instruments using over 40,000 samples (25GB) and ships on four DVDs.  Opus 2 Orchestra includes almost 400 Instruments, using around 13,000 samples (9.3GB) and ships on two DVDs.

VSL reports that the samples were recorded using Schoeps mics through a Millenia Media HV3D preamp and a Daniel Weiss ADC1 MK2, 24/96 AD converter.  They created the original 24-bit/96kHz.recordings on their “silent stage” with minimal room ambience.  The samples have  the same resolution as the Pro Edition, 16-bit/44.1kHz.

The Instruments are nearly identical for all platforms with only small differences based on sample player features.  EXS does not support release velocity, for example, while GigaStudio does.  The unique Performance Instruments are powered by VSL software that integrates into EXS24 and runs as a standalone utility for the other environments.

VSL Opus 1

VSL Opus 1

Opus 1 includes solo harp and ensembles with 14 violins, 10 violas, 8 celli and 6 double basses with articulations including staccato, tremolo, pizzicato, trills and more.  The “bonus files” include major scale runs on violin and viola and harp glissandi.

Opus 1 includes Performance Legato Instruments for all woodwind, brass and string instruments, except harp.  Opus 2 includes solo violin, viola and cello and bass with basic articulations.  It also includes sixteenth-note repetitions and harmonic minor, chromatic and whole tone runs for ensemble strings.

Opus 1 woodwinds include solo piccolo, flute, oboe, clarinet, English horn, bass clarinet, bassoon and contrabassoon in a variety of articulations including Performance Legato.  Opus 2 adds looped solo woodwinds including piccolo, flute, oboe, English horn, clarinet, bassoon and performance legato bass clarinet and contrabassoon.

The brass family in Opus 1 is represented by solo tuba and solo and ensemble trumpet, trombone, and horn.  Opus 2 adds muted solo and section trumpets and trombones, and a stopped horn section.

Opus 1 includes a comprehensive percussion section with timpani, snares, bass drum, cymbals, gongs, thunder sheet, bells, glockenspiel, xylophone, celesta, assorted hand percussion and, of course… TUBULAR BELLS (couldn’t resist).  Opus 2 adds marimba, vibes, cencerros (Brazilian cow bells), waterphone, plate bells and timpani glissandi.

The Performance Tool included with each version of the product must be registered to activate its features.  This tool, created by VSL’s engineering team, creates a more authentic sounding performance through real-time sample substitution.

In Legato Mode, the tool substitutes samples of notes played in succession in place of individually played notes.  The Repetition Tool substitutes alternate samples to avoid the “machine gun” effect.  Alternation Mode allows switching between different articulations in a single phrase or performance.  Notes outside of the instrument range are used to select the articulation change dynamically.

In Use

I tested VSL Horizon products with Logic Pro 6.4.2 and 7.1 under OS 10.3.7 on a G4 2x1Ghz Mac with 1.5GB RAM and a Pro Tools 96 I/O.  The sounds were monitored through Mackie HR824 speakers.

All installation DVDs contain both EXS24 and TASCAM GigaStudio Instruments and audio files compatible with all formats.  Installation is accomplished by dragging the compressed Instrument and sample archives to appropriate hard drives and folders and uncompressing them.  The sample files can be stored on any fast drive — preferably not the system drive.  I used a external FireWire 400 drives for the samples.

HALion and Kontakt Instruments can be downloaded from the VSL website after registration.  Updates to Instruments and samples can be downloaded by all registered users.

A good way to get a feel for the range and power of VSL products is to download a MIDI file and a corresponding MP3 demo from the VSL web site (vsl.co.at).  MIDI files and MP3 demos are posted by VSL on their public site and by users on the Forum.

I chose a realization of Ravel’s “Little Ugly” posted by an Opus 1 user because it uses articulations and performance features in several instrument families of Opus 1 and includes around 60 Opus 1 Instruments.

I imported the standard MIDI file into Logic Pro, moved each region to an Audio Instrument track and assigned the recommended Opus 1 Instrument in the EXS plug-in.

In a large arrangement, you could have thousands of sample files open at once.  Before I could load all the Instruments and associated sample files I ran into an OS X limitation on the number of open files.

I could have bounced a few Audio Instrument tracks to regular audio tracks and removed some EXS24 instances.  However, a less compromising solution is available with EXSManager from Redmatica, which performs a number of useful chores for owners of large EXS24 sample sets.

One function takes a large number of sample files for an Instrument and merges the audio into fewer yet larger files.  Also, EXSManager drastically improves the initial load time for Instruments with many sample files by pre-linking the Instruments and samples.

Once the MIDI tracks were active, I could hear the sounds individually and see the mod wheel and volume data that makes the sounds come alive.  The mod wheel controller was used extensively in this realization to cross-fade samples with different dynamics.

Several things became clear after trying several MIDI files and my own pieces.  First, a great amount of knowledge went into the generous selection of Instruments and articulations.  The VSL creative team clearly understands how each instrument and section functions in the context of a symphony orchestra.

Secondly, the VSL samples are very well played and recorded.  The MP3 demos on the site are a useful preview but compression loses the full quality of these gorgeous recordings.  With the performance features and a nice reverb, you have the makings of a very realistic sound.

The realism in the Performance Legato Instruments is a major breakthrough.  The Performance Tool is not snipping note starts as other sample libraries do.  This is real legato playing.

The woodwinds and strings are detailed and expressive.  The English horn in the Opus 2 set practically sings with joy.  The performance legato contrabassoon and bass clarinet are positively spooky.  Hitchcock would have loved these sounds.

The brass instruments are resounding.  I was disappointed in the lack of muted brass until Opus 2 came along.  The muted trumpets and trombones are going to get a lot of use in my next animation score.

There is plenty of variety in Opus 1 — strings for every occasion and percussion to launch an army.  The variety of articulations in the cencerros  and waterphone in Opus 2 is a real plus for anyone interested in exotic percussion effects, especially suspense, sci-fi and horror composers and sound designers.

Another favorite from Opus 2 is the “flautando string” sound.  It’s mysterious but not as edgy as tremolo.  The solo flute with vibrato in Opus 2 is beautifully executed and includes a graceful embouchure change with a progressive vibrato.  Lovely touches like this have been very hard to find in orchestral samples at any price.

The lowest octave in the grand marimba in Opus 2 is an awesome sound.  My only gripe is the bottom two notes, which sound a bit on the bright side compared with the rest of the octave.

The vibes were programmed with a long release, which makes it impossible to vary the length of each note.  I’d rather use the sustain pedal to get longer notes.  Maybe this will be fixed in an online update or another user will post a version without the long release time.

Note that VSL customers are free to swap Instruments but not the underlying samples.  This is a good move as it has allowed the VSL products to be improved by their user base.

Another gripe — 24-bit/48 kHz samples would benefit those of us working in higher resolutions for audio and video production.  I realize that would turn a 6 DVD set into a 9 DVD set and require faster drives and more memory but I suspect the sound would be awesome.

Summary

Opus 1 is an impressive collection and combined with Opus 2 it’s even more remarkable.  The nuances in the playing and tone quality of the recorded instruments make these sounds come alive.  The sound is nothing short of beautiful.  Articulation playing requires new playing skills and possibly some patience to perfect but the payoff is astounding.  Realism has never been this close in sampled instruments.

But you are wondering, are they worth the price?  Opus 2 is roughly half the price of Opus 1 but is closer to one third the size.  To quible about this would be missing the point.  Opus 2 combines some basic articulations of instruments from other Horizon sets and adds articulations and instruments not found in Opus 1 and the First Edition.  The highlights include basic articulations of solo strings, ensemble flute and clarinet, muted brass, looped sustained woodwinds, French oboe, marimba, vibes and percussion effects and the phenomenal Epic Horns.

The Opus 1 and 2 bundle canno be compared with the two to three hundred dollar mini-sets because it so broader and deeper in every instrument family.  User feedback went into the selection of sounds in Opus 1 and 2.  It is also priced well below the Complete Orchestral Package, Pro Edition, which lists for $5990 and the First Edition, priced at $3690.  The combined bundle has enough variety to fill the needs of composers and arrangers working in almost any genre without breaking the bank.  If you need a comprehensive orchestral set and are just jumping into the Horizon series, then the two together are a excellent value.

Opus 1 and 2 are the cornerstone of VSL’s Horizon line.  In other reviews we will look at how other Horizon products such as Solo Strings, Chamber Strings, Epic Horns and the Woodwind Ensembles expand on this versatile library.

Fast Facts

Applications:  Symphonic and pop composing and arranging, television and film scoring, music education.

Key Features:  Opus 1:  Over 25GB of symphonic instrument programs for Apple Logic EXS24 sample player, TASCAM’s GigaStudio, Steinberg HALion and Native Instruments Kontakt.  Opus 2 adds 9.3GB of instruments.  The sets include strings, woodwinds, brass and percussion.  Performance Tool adds realistic legato, note repetitions and dynamic performance.

Price:  Opus 1, $895 USD; Opus 2, $495; Opus 1 & 2 bundle, $1,295

Contact: ILIO at 800-747-4546,  http://ilio.com

VSL web site:  http://vsl.co.at

Product Points

VSL Opus 1 & 2

Plus

–         Impeccable recordings of stunningly beautiful instruments

–         Large variety of articulations and instruments

–         Performance Tool is a major innovation in realism

–         Purchase cost applies fully towards upgrade to Pro Edition

–         Opus 1 and 2 together form an extensive orchestral library

Minus

–         Requires DVD drive to load samples

–         A fast computer with at least 1GB of RAM is recommended (3GB is better)

–         Higher resolution samples would benefit the post production and high resolution audio communities

The Score

An outstanding value for a very complete and versatile collection of professional symphonic orchestra samples.  An affordable way to get started with the Vienna Symphonic Library.

Carlos Garza composes music for films.  His work has been heard on DVD, Turner Classic Movies and the National Gallery of Art.  He is a regular contributor to Pro Audio Review.

(c) 2005 Carlos Garza