I'll add my vote, plus another one for a Synchron player app

Best

I second all the positive feedback on the Cantabile violins. I think their sound is warm and lively, the patches perform extremely well.

Congratulations on a long awaited, yet very well done update. Let's hope all other sections are in the pipe :)

Best

Hello,

If a project was made using "Kontakt5.component", Logic will conveniently open "Kontakt.component" (v6) in lieu of "Kontakt5.component" if the latter is not present in the Components folder / deactivated in Logic plug-in manager, which is super useful.

Is there a way to have VEP6 behave in the same way? It would be a huge time saver with large Kontakt-based templates.

Thanks

May I request the 3 Chopin demos for both the Yam and Steinway with the exact same settings?

Thanks in advance!

I can confirm the issues aforementioned on macOS 10.12.6

Originally Posted by: cm

Originally Posted by: 9u10m

I remember VSL saying they couldn't remotely deactivate licenses. I'm glad they can now...

though possible it is still not allowed to remotely deactivate licenses - this would be an intervention in a foreign computer system. however it is now possible to disable keys.

This is from an email exchange with Marnix two years ago (I'm not trying to be a smart *** or anything): "Also it's technically not possible to disable the licenses or the key via remote".

My point is that now it is indeed feasible, I would have expected this service to be offered –and charged for– on a case-by-case basis. VSL choosing to turn it into a new stream of revenue rather than providing actual customer care feels inappropriate.

Originally Posted by: Dominique

What I don't understand: 5. clearly states that VSL can and will deactivate a lost/stolen/broken dongle. Why don't you just do that when necessary, instead of making us buy an insurance biannually? If Steinberg charges VSL for deactivation of licenses, why not just pass these fees on to the customer that needs the service when it is actually needed?

In my opinion customers should not have to buy an insurance against the deficiencies of a copyright protection system that VSL needs, not us. VSL should.

Ditto. I remember VSL saying they couldn't remotely deactivate licenses. I'm glad they can now, but I certainly feel such protection should automatically be granted for any library purchase. I get why VSL might have to charge for it, I don't understand why they turn it into an insurance plan.

Originally Posted by: prodamu

I can reproduce this,
I load the Strings all VelXF patch and choose one of the Short or Pizzicato articulations with the Velocity Crossfade set to Off.

The drop outs do not always come directly, somthimes I need to play around for a while before they occur. It doesn't matter if I play fast or very slow.

The drop out is random. If I just repeat the same note, over and over again, some of them will sound and som of them will not sound.

I use two mic positions, Main and Surround, sent to different outputs and then routed to different speakers. The drop outs will be very clear because of the different speaker pairs and in my case it's always the Surround samples that drops. The Main samples never drops for me.

My scenario exactly, except I also use the mid mics so the drop outs are even more obvious

Originally Posted by: Simon Ravn

Unfortunately I think only VSL can improve SyS - and that will require huge amounts of new recordings. Let's face it, it's not gonna happen.

I certainly wouldn't settle for that.

When I am commissioned for a project and the client thinks it needs rework --whatever the reason, we talk about it and I usually get back to said project, according to what was discussed. Sometimes I feel the client is wrong because they don't know much about music. But they pay me, I deliver.

I don't think VSL has ever released a product that raised so many eyebrows. Those who voiced their concerns here and elsewhere spent money, sometimes long before the product was released. Lots of them have already had the chance to use a few other strings libraries, and thus usually provide VSL with informed, knowledgeable feedback. Sadly, what they have been getting in return so far is silence, and in my view an opportunity to raise more eyebrows (Synchronized Chamber Strings). 

The competition aside, everyone wants Synchron Strings to be a great product, which at this point I think it is not. Almost all of their other libraries are, and the rest of the Synchron line certainly is. So yes, I hope VSL do consider recording new material that fixes the library's shortcomings, because any other approach will sound like a slap in their customers' faces.

I'm back to work!

Hello everyone,

I own a fair amount of orchestral libraries that I use everyday. I have been following VSL for years, I'm a big fan of the Dimension series more particularly. I immediately set out to buy everything Synchron because like many others I expected VSL to do wonders with wet samples.

I will probably echo a lot of what has already been said here and elsewhere. The quality of the recordings is stunning. High definition, low noise floor, the hall translates beautifully, almost no room adding up or phase issues. I'm very impressed with Synchron Percussion, FX Strings I and the Yamaha CFX, both in terms of sound and playability.

In my view, Synchron Strings I fall short for the same reasons the Percussion and Yamaha work so nicely: on a one instrument = one sound scenario, precision, clarity and timing are key. Not so much when you record an ensemble of players, who would not perform so surgically in live conditions. Hence their sounding a bit thin and sterile to me, especially the long notes.

The legato transitions feel a bit jerky, I also find the layered sforzandos disappointing, and the absence of a portamento unjustifiable for the first instalment of a string library. And who needs a 12s (shortest) to 30s (longest) crescendo/diminuendo? It's nice to have them as a bonus, but they should not be our only option, it doesn't make sense in a day to day, practical basis.

I more generally think it is a pity VSL didn't go the same 'organic' route with Synchron Strings I as they did with the gorgeous FX Strings I. The two don't blend too well for the same reason by the way, which certainly feels counter productive. I find the mid mics a bit reedy and difficult to mix too, I haven't yet been able to EQ them to taste.

I managed things with Dimension Strings that I couldn’t achieve with any other libraries as far as realism goes. Synchron Strings I is still in its infancy, and I sincerely hope the VSL team makes them better, because they very well know how. Congratulations on the rest of the Synchron line!

Best

Hello,

I'd love a keyboard view within the Remote App. It would allow to keep an eye on the keys layout without having to check the VI Pro instance.

https://ibb.co/h2nvYF

Any chance this could be implemented? I don't think it would cluster the view too much

Best

Hello all,

I'm wondering how the remote app fares on an iPad mini. Is it displayed fine? Is it much less convenient than on a 10" screen?

Thanks

Will do, cheers

Thanks Paul.

So this is you confirming I'm not stressing my RAM/OS in any way if I force quit VEP? If so I'll be heretically saving minutes on a weekly basis, starting now ;)

I'm experiencing this as well, which brings another question: why does VEP actually need to unload samples ? I'm almost finding it convenient when it crashes...

Call me a heretic, I'm sometimes tempted to force quit it when I'm in a hurry so I don't have to wait for 60ish GB to unload. Looks like all it takes is a project save beforehand?

I get this too, about 1 time in 2-3, usually first launch

macOS 10.12.3

Best

Hello,

Paul Kopf recently unveiled the upcoming Synchron Stage Percussion library development in a public video.

This kind of heads up is unusual from VSL, and now it's official I think many would like to know just a little bit more ;)

Best

https://support.apple.com/en-us/HT203718

At last 

Most of the solutions that have been brought to the table here are not VSL's call because they have no access to the licenses themselves. In my view, they should either negociate a more reasonable arrangement with Steinberg / Yamaha, find another one, or set up their own protection system.

Technology allows software to be dealt with in a different way than the common goods and so it should, it's called progress ;)