Morricone's Deborah's Theme


I wanted to try something that is not very usual for me. It was a chance to test VSL Dimension Strings on something that I ignored it could do. It’s not a type of writing that I’m in very often, so it would probably be an odd mockup.

Notes entering and exiting should be very precise in this type of piece. I suspect Dorico ‘humanizes’ them, and they are not always exactly the same after each editing (editing something has effect on other things, I seem to notice).

Not performed, but entered in Dorico and edited there.

Morricone, Deborah’s Theme


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To clarify: you entered the score in Dorico, but did not record the audio from dorico? So you exported it es a midifile and opened it in a DAW where you had loaded the VSL DS, did some finetuning, and then bounced the audio?

As far as I know Dorico does no humanizing at all, but the VI Pro player does, if you do not set the according controls (3 in total) to zero. This would explain why you got the impression that little things changed after every edit in Dorico.

But this would also occur in the DAW, assuming that the settings of the VI Pro player were identical.

There’s a humanize in the playback options: Humanize allows dynamics to vary randomly by the degree you set to mimic the natural fluctuations in a live performance.

No, I confirm that the audio was generated from the Dorico file. I had it connected to VE Pro, where Synchronized Dimension Strings were loaded.

As Patrom reports before me, Dorico has a humanize feature acting on note position, length, dynamics. Not something as sophisticate as NotePerformer, but good enough to give a starting point for further editing.

My fear is that it does too much, continuing to change what one has already changed by hand.

As for the humanize features in the VSL player (in this case, Synchron Player), it affects tuning and attack delay of each players of the Dimension Strings. It’s turned on, since it is the essence of DS.


I further smoothed things out, and added Solo Strings to Dimension Strings, to blend articulations.

What I learned:

  • Making the layered staves smaller considerably helps navigating through the score.

  • Different CC values for the main and the layered parts is a good thing. But, sure, it would help a lot to be able to copy the original CC lanes to get a starting point.


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you know that this piece is featured in the audio demos for the new Synchron Elite strings? Might be worth listening to in comparison – it’s a quite different sound.

Yup! That’s one of the things I wanted to do: compare the sound of the new Elite Strings with the old Dimension Strings, in a piece that was not typically in the mood of VSL instrument – an overly expressive piece.

Obviously, comparing my mockup with the official demo from VLS would not only compare the two libraries, but also the two musicians making the mockup. So, several points less for Dimension Strings right from the start!


you’re too modest…