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Tokyo Scoring Strings features five independently recorded sections (Violin=
s 1, Violins 2, Viola, Cello, Bass) in a typical Japanese ensemble size (8/=
6/4/4/3) suitable for small and large productions alike.

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As well as filling gaps in the instrumental ranks, the VSL PE features new =
playing styles and adds more variations and dynamic layers to the existing =
instruments' repertoire. One great advance is that all the ensembles' and s=
olo instruments' sustained notes have been looped, with the solo instrument=
s presented in a choice of looped or non-looped versions (the solo strings =
are currently unlooped, though one presumes VSL will rectify that in a futu=
re edition). The labour involved in seamlessly looping thousands of stereo =
recordings is back-breaking, so full marks to the company for making the ef=
fort.

Unlike other orchestral libraries, VSL's PE contains no woodwind ensembles,=
 but with 10 lavishly sampled solo woodwinds at your disposal, each of whic=
h can be played chordally from a MIDI keyboard, you should have no trouble =
using the library to produce a rich, convincing orchestral woodwind ensembl=
e sound.

As well as adding solo strings, the PE also substantially updates the exist=
ing string ensembles, supplying a host of new articulations which include n=
o-vibrato versions. There's a new sustain category called flautando, a hush=
ed, breathy and expectant sound which resembles a quiet tremolando. The vio=
lins' menu of crescendo and diminuendo performances is enlarged, and their =
trills now take in minor and major third intervals and accelerating version=
s, the latter a very arresting effect when played on 14 violins! Muted (con=
 sordino) and metallic-sounding sul ponticello versions of most of the main=
 playing styles appear for the first time, along with tight and loose col l=
egno hits and the Bartok 'snap pizzicato' noise.



The PE's seven new brass instruments add considerable depth and colour to t=
he library's brass ranks. Each one offers straight notes with a choice of d=
ifferent note lengths, attacks and vibrato styles, plus a wide range of cha=
nging-dynamic performances (fp, sfz, sffz, pfp, crescendo and diminuendo) o=
f different lengths and intensities. Three of the new instruments (piccolo =
trumpet, bass trumpet and contrabass tuba) play tone and semitone trills, a=
nd all but one of the PE's 14 brass instrument categories (including the en=
sembles) now offer VSL's beloved flutter tongue performances. Only the Wagn=
er tuba fails to flutter.

As with the Orchestral Cube, the Performance Set Pro Edition contains an up=
graded version of the Performance Set First Edition. VSL's new woodwind, br=
ass and solo string instruments are all extensively represented, and many o=
f the PS FE's instruments' performances have been expanded. There are 42 in=
strumental categories in all, comprising both solo instruments and ensemble=
s.

The four string ensembles each get a new category of repeated 60bpm quarter=
 notes, and all but the basses get a new set of fast repetitions (16th note=
s at 150-190bpm), which include crescendo and diminuendo versions. New perf=
ormances for the violin and viola sections include 120bpm note repetitions =
played with vibrato, 'performance tremolos' (much the same as normal tremol=
os, but benefiting from the Legato Tool's smoothing effect), grace notes in=
 a choice of tone or semitone intervals, and 'performance legato grace note=
s' in which the tool automatically selects an up or down grace note of a se=
mitone, tone or minor third interval, depending on the previous note played=
 (note: on this particular patch, intervals wider than a minor third played=
 with legato fingering result in no sound at all!).

The violins', violas' and cellos' performance legatos expand to include a n=
ew set of forte intervals played across different strings, giving a cleaner=
, slightly more articulated legato effect. In the FE, all the string ensemb=
le performance legato intervals are played on one string only. The aforemen=
tioned ensembles also gain a comprehensive set of con sordino (muted) perfo=
rmances, comprising performance legatos and note repetitions. Although the =
Performance Set upgrade gives few new performance categories to the double =
bass ensemble, the basses' upper range has been extended in places, and chr=
omatic and whole-tone scales have been added to their repertoire of octave =
runs.

When it comes to brass ensembles, VSL's Pro Edition adds comparatively litt=
le to the performances supplied in the PS FE. The three-trumpet, three-trom=
bone and four-French horn ensembles all get some extra note repetition cate=
gories and the horns get an extra mf velocity level for their note repetiti=
ons, but the only truly notable change is that the trombone ensemble now jo=
ins the four horns in playing glissandi and performance glissandi, covering=
 six semitones in range. No new categories are provided for the PS FE solo =
brass instruments.

Raza, Haider and Rathee, Dheeraj and Zhou, Shang-Ming and Cecotti, Hubert a=
nd Prasad, Girijesh (2019)Covariate shift estimation based adaptive ensembl=
e learning for handling non-stationarity in motor imagery related EEG-based=
 brain-computer interface. Neurocomputing, 343. pp. 154-166. DOI
 eebf2c3492