Hi Igor, I feel compelled to respond to your inaccurate posts. I'm sorry to say that your comments are coming off in a very rude manner. Based on your comments, I'm guessing that you really haven't checked out this VSL project much at all. I think you need to take a closer look at that VSL website. (Let me state again that I have absolutely nothing to do with this library, and don't make a penny off of it....I've just been checking out their process and the project and I'm blown away at what they are attempting here...it's nothing short of mind blowing in scope). You statements are WAY off the mark and show very little knowledge of sampling or of orchestral sample libraries. Sure working with any live orchestra is great and always preferrable....but since this is a forum about sampling, then let's stick to the topic..OK? Your argument is silly....sure ANY real instrument played well is always better to have than a sampled simulation....but there are obviously many people who find it very useful to have samplers to do mockups, orchestration, education, demos, film trailers, commercials, low budget projects, etc.....this shouldn't be news to you. With sampling orchestral instruments in particular, the quality of the musicians is incredibly important and the location of the players often affects the end result dramatically Professional String players in Hollywood, London, or Vienna each have a unique and identifiable sound and playing style...and there is a HUGE difference between sampling amatuer players and pro studio or concert level players. I've done it both ways and there's no comparison. Only the musicians who have a masterful command and control of their instrument, plus a great tone and expressiveness (with large doses of patience and good temperment) can make high quality multisamples. It is a rare to find all these qualities even amongst pro musicians. The more you learn about this incredible VSL project they are doing, you will see that there are very few cities in the world that could even attempt a project of this magnitude. It would be unthinkable to do in the US for cultural reasons alone. This is by far the most impressive ( and expensive) feat of sampling ever undertaken. The sampling sessions for each musician went on for 6 months to a year or more! (normally sampling sessions are from a couple of hours to a week maximum for any library) 45 highly skilled people editing 1.5 million samples over a several year period....Custom orchestral sampling soundstage and recording studio studio designed and built just for this project!.......geez, at least show them a little respect by not being so negative about it....it takes some serious balls to attempt something like this, and I for one salute them for the amazing thing there are doing here.....there is really nothing else on the market like it. Just go to the site and read about what kind of magnitude this thing is (5 TERABYTES guys!) and you'll see that this is hardly a "marketing" gimmick.....that's really an insult to the dedication these people have put into this thing. I know that I'm very curious and excited to check it out more in depth at the upcoming AES show. Best regards, Eric Persing Chief Sound Designer Spectrasonics Roland Corporation