This Collection brings the performances of the VI Series Vienna Solo Voices to the powerful capabilities of the Vienna Synchron Player. The entire sample database was re-edited, updated and optimized for Vienna’s proprietary sample player to achieve improvements in terms of authenticity, usability and flexibility.
Four female soloists (coloratura soprano, soprano, mezzo soprano, alto) and three male soloists (tenor, baritone, bass) were recorded in our second studio, the Silent Stage, a recording facility with a tight, controlled ambience specifically designed and built for recording samples. The short ambience of this room allows for placement of the singers in any virtual acoustic environment.
Using the Synchron Player’s reverberation and placement presets you can put each vocalist at his or her perfect spot in the large hall of our scoring stage, Synchron Stage Vienna, with options such as close, classic, and distant. This way they perfectly blend with any other product of the Synchron Series, resulting in a production-ready sound “out of the box”.
But these soloists are much more flexible. By turning off the internal convolution and algorithmic reverb of the Vienna Synchron Player the singers can be placed in any virtual acoustic environment, from dry closets to cathedrals, from the authentic natural rooms provided by Vienna MIR Pro 3D to artificial reverb and delay effects. You’ll find a variety of FX presets in the Mixer Preset menu of the Synchron Player.
Our team of sound editors recreated a perfectly balanced and pristine-sounding sample database that lives up to the high standards of the SYNCHRON-ized libraries. The meticulously balanced volume levels of the recordings guarantee seamless note transitions when moving from one articulation to the next. Velocity crossfading has been further optimized for extra-smooth volume changes. All legato transitions have been improved, and the new release sample technology greatly increases the flexibility and usability of many articulations. Notes such as crescendos and diminuendos can be played at various lengths and always trigger the correct release sounds. This way, for instance, you can use the first part of crescendo notes as very soft portato articulations, or the first part of diminuendo notes as an espressivo technique with a slight decrescendo that sounds very musical and natural.