Hi there,

Got a bit of a strange situation: been using VSL (VE + VI Pro) as VST in Nuendo for years now, using the modwheel of my Midi keyboard to control the "VelX" slider. Prety much like everyone else here, I reckon. Now, recently I updated my VE and VI software for the first time in years (to 6.0.17226), and found that all the sudden the modwheel is no longer functioning as it did. To make sure: yes, the M-wheel works fine, it still records data in Nuendo. But when I rightclick the "VelX"-slider to "learn" in the VI and then move the Modwheel as I always did...nothing happens anymore. Need to perform live with (this function working!) in two days, so any insights would be greatly appreciated!

Kind regards,

Alex

Live-setup: Laptop, Win10, Nuendo 4, VE+VI

That indeed solved the problem, all's updated and well now, thank you Herb!

Kind regards,

Alex

Hi Dirk,

I copy them from the desktop too, alas...

Thanks anyway!

Alex

Hi Paul,

Sorry, my misstake, I use this version: VI Pro 2.0.9650

I downloaded the Library Updates on December 3

Kind regards,

Alex

Hi there,

I somehow can't get the libraries updated. Using the latest VI Pro2, following all directions in the manual. But when I drag the zip

files onto the Directory Manager window, a message appears stating: "this file is invalid or corrupt".

Donwloaded library updates twice to make sure. Also dragging unpacked files doesn't work.

Any thoughts...?

Kind regards,

Akex

ViennaInstrumentsPro-WIN-1.1.8008

ViennaEnsemble-WIN-4.1.9621

Vista 64 bit, Nuendo4 as host

Thank you for the reassurrance, Maestro, I feel safe to venture to the great outdoors now.

All the best,

Alex

Hi there,

For a live performance I need to (temporarily) install my VSL software (+selected libraries) on a laptop.

Is there any catch, or can I easily do this, providing I install my license key on that laptop?

I'm asking this because the laptop will only be delivered shortly before the concert, so I won't have much time for trial and error.

Also I've never done this before, always using VSL on 1 home pc.

My thanks in advance,

Alex

Yesss, I have them now!

Thank you very much, Martin.

Kind regards,

 Alex

Hi Martin,

Sorry, but no such luck-:) I should have mentioned I work on Vista 64 bit. I have no such thing as ProgramData on my C disc,

and no VSL-folder either. My VSL software is spread over Program Files (with separate folder for Ensemble,Instruments and Suite containing only uninstall ex files) and Program Files (x86), where the DLL's are in the VST-plugin folder of host Nuendo 4.

I must have overseen something obvious, but I really can't find them. And neither can the Search-option...

Thank you again,

Alex

Hi Feenixx,

I like this a lot. It is original and interesting, while sounding very organic, totally real and honest.

Well done!

Alex

Dear Vienna people,

First of all: thank you for the Hybrid Reverb, I'm intrigued and inspired by the possibilities it offers!

Just a small question though: where are the impulses (with .vci extrension) stored?

As an experiment, I switched to other impulses (wav) on another disc to see if that would work. It does indeed,

but now I can't find the original files anymore-:)

Thank you in advance,

Alex

Thank you very much Beat, that was the logic I lacked.

And thank you too Frank, for your kind reply, I will certainly have a look at this compressor tutorial you mentioned.

All the best to you,

Alex

Hello to you all,

Here's something I've often wondered about: what comes first in the endmix, compressor or reverb?

Let's say we have a full orchestral mix, with inserts and eq on all individual channels, some routed to groups sharing the same "pre-reverb" (like an Altiverb Berliner hall 12 m on all Brass tracks) etc etc. Yet in the end I usually add some "overall" reverb to the master track, and of course some compression (depending the case). But I often wonder: what is "the way to go", how do the pro's usually do it?

Personally I mostly put the "masterverb" after the "mastercompressor", but I don't hear anything wrong when I reverse the order.

Both work for me, but I remain curious how others see this.

Feel free to share your experiences, and thanks a lot in advance!

Alex

Thank you very much Karel, that is good to know!

Kind regards,

Alex

Hi there,

Sorry if it was mentioned somewhere already, but I just wondered: can I run VI Pro in my "normal" Vienna Ensemble, or do I have to purchase

VE Pro (which I don't really need) as well?

Thank you in advance!

Alex

Thanks plowman, though I must confess this 4-page discussion makes me rather dizzy...

Could perhaps someone from VSL chime in on this one? They know for sure and I'd love to know!

Thank you,

Alex

Wow, both Samuel Adler as well as the Vienna Academy stand corrected by this little post. And to think I got out in one piece

And so we found another expression to add to the Strings Part III: Flautando sul ponti !

I think I have never heard this sound, is it close to a very light sul ponticello...?

Alex

Hang on... yes, they got that wrong. Perhaps not a bad idea to correct this, dear VSL-friends:

The
bow makes contact with the string near the fingerboard. The nearer the
fingerboard the string is bowed the weaker and softer the sound. The
number of partials decreases. The effect is a muffled and flute-like sound (the technique is often also called flautando ).

No need to apologize, it's your reply that led us to the answer after all!

Cheers,

Alex

Sounds logical indeed... just what I thought at first: flautando is playing really really quiet, almost like a gently whistling wind...

Sul tasto says it literally: it's about playing on the fingerboard.

So I'll tell mr Adler to get his "near the fingerboard" removed

Thanks for your input, DG

Alex

Thank you Martin.

But as I understand, sul tasto and flautando are different techniques?

I suspect however that difference in sound is probably very small; I checked our good friend mr Adler, and he says:

sul tasto: on the fingerboard

 flautando: near, but not on the fingerboard

The difference is really minimal, and many composers make no distinction between the two terms.

Adler, second edition, p 35

Still, it is a different technique , hence the confusion.

As for Chamber Strings: no, they have neither sul tasto, neither flautando.

I'm really wondering if the Strings will still be expanded, but VSL will probably not give a clue until they actually do it...

Correct me if I'm wrong, VSL-people

Cheers,

Alex

Hi Plowman,

Thanks for the enlightenment. However, we knew about the B natural, but still don't understand why the VI Flute 1 goes to Bb... I know, a lot of fuzz about a half tone, but we are maniacs...

Cheers,

Alex

Over 300 new presets, a brand new convolution reverb... and all free for registered owners...wow!

Very generous this is, so thank you once again VSL-people.

I highly anticipate these new presets

Cheers,

Alex

Hi again,

A different question requires a different post, I figure, so here goes: I dearly miss the "sul tasto" expression in Orchestral and Chamber Strings. It is a very common technique. Why are they omitted, and is there an update scheduled to add them...?

Thank you in advance,

Alex

Hi there,

Just to help me out with a discussion I had with a good friend: he claims (and teaches Composition at the Conservatory so I took his words seriously) that a Flute can play no lower than the Si.

Yet the VSL Flute 1 goes to Bb. Is this a "special flute", or does my friend need an update regarding testiture?

Thanks in advance!

Alex