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1.Books about Forms/Structure 12/10/2011 1:50:02 AM
Angelo Clematide wrote:

Composing music has absolutely nothing

to do with reading music books.

It is true that "just" reading music books will not make someone a composer, that is obvious.  However, when you think about it, blindly composing hundreds of compositions under the direction of a misguided and malnourished musical intellect is "almost" as ridiculous, but more difficult to recognize for what it is.  That's where a proper course of study can provide solid intellectual development, and in an "indirect" way improve compositional skill, at least for those not naturally born with a keen musical mind.  

2.Books about Forms/Structure 12/9/2011 8:53:28 PM

Haven't posted in a while, but I came across this thread and felt the need to interject a my thoughts and opinions.  Please forgive me!  I suspect that anyone wanting to learn musical form really just wants to learn how to be a better composer.  If somebody asks about musical form it's probably because they believe their lack of knowledge on the subject is hindering the effectiveness of their compositions.  They probably also believe that writing with the knowledge of the various musical forms will help focus their composing and bring a stronger sense of purpose to their music.  This would all be true, in a sense, but it might also be totally missing the point.

I quote a passage, translated by Susan Gillespie, from an excerpt of Gustav Jenner's Johannes Brahms als Mensch, Lehrer, und Kunstler (Marburg, 1905).  Jenner was a composition student of Brahms for a short time, supposedly the only one, this excerpt is during one of his lesson:

"But then he went over the trio and the songs with me all the more exhaustively.  At the first movement of the trio there was much turning of pages back and forth.  With devastating precision Brahms demonstrated to me the lack of logic in the structure; it was as if in his hands the whole thing dissolved into its component parts.  With growing horror I saw how loosely and weakly they were joined together.  I realized that the bond that was supposed to hold them together was less an internal than an external one; it was nothing more than the device of the sonata form.  The essence of form began to reveal itself to me, and I suddenly realized that it is not enough to have a good idea here and there; that one has not written a sonata when one has merely combined several such ideas through the outward form of the sonata, but that, on the contrary, the sonata form must emerge of necessity from the idea."

Here's a link to another translation of some different parts of the book, a fun and short read:

http://davidsbuendler.freehostia.com/jenner.htm

So I gleam from this little passage the thought that knowing sonata form will not necessarily make you a better composer versus someone who doesn't know sonata form.  Knowing how to write an exciting 1st theme group, and coupling it with a beautiful 2nd theme will not yield a dramatic and purposeful exposition.  Each of these themes could be expertly written music, but if they don't demand the necessity of each other they are simply component parts of sonata form.  A 1st theme group must necessitate the 2nd theme, the 2nd theme demands the closing group, the exposition must require a development, a continuous chain of necessity that makes sonata form an emergence and not simply a formal structure to be recognized as existing.  The parts of a sonata form are not "muffin tins" that are simply filled in with the right material, baked to 350 degrees, yielding a full-fledged beautiful sonata; and yet, this is exactly what is taught in so many forms books.

The books will teach you to recognize various forms by identifying their component parts.  They'll show you how various forms grew in complexity as the component parts became more intricate.  They'll make generalization about form that will help you anticipate formal structures based on period and genre characteristics.  In other words, they teach form from the outward perspective, completely missing the whole point, that form must emerge of necessity from the idea.  Form is an inward process that is composition specific!  What these books won't do is thoroughly examine piece after piece and explain to you why a particular 2nd theme, and no other, must go with said 1st theme.  They won't explain to you why a particular 1st theme purposely under-develops some part of itself to necessitate a specific 2nd theme.  You can only get this kind of knowledge from mercilessly examining the masterworks, and asking the right questions!

I've been talking specifically about sonata form, but all forms are really the result of this inner emergence of the necessity of the idea (motive, phrase, theme, whatever you want to call it).  Simply knowing the common musical forms/structures and writing within their bounds will not make you a better composer from someone who doesn't know musical forms.  You can only write a good theme and variations with the proper theme, any old theme will not do.  A perfectly suitable 1st theme for a sonata form may not be suitable in a binary form work.  Any old subject cannot be turned into a good fugue simply because you know what a fugue is.  These decisions are unique to each composition!  You must realize that when you look at a completed masterwork, you are seeing the fully-flowered emergence of the form from the outside perspective.  What you don't see is the inward process of how the composer meticulously crafted the interlocking components (from left to right, from beginning to end) that causes the form to emerge as the work is performed from the 1st measure to the last measure.  This is the true essence of form!  I know that sounds ridiculously grandiose and pompous, but I really believe Brahms was right.

Now when I said you can only get this knowledge by examining the masterworks, that is partially true.  There is no substitute for a thorough, focused, independent analysis of the masterworks, but it is also true that an analysis will not provide meaningful answers unless you ask the right questions.  So I propose a course of study below, not an easy one by any means, but one that I think will help a person arrive at the relevant questions.  The questions that will ultimately lead to becoming a better composer.

1) You must get a solid grounding in tonal theory.  It is not the end all and be all (as there is so much wonderful music out there that completely ignores the tenets of tonality), but it is pedagogically the easiest starting point.  I recommend: Laitz, The Complete Musician; or Aldwell & Schachter, Harmony and Voice Leading; or even Koska & Payne Tonal Harmony is ok.  A warning, these books have the outward perspective flaws on composition like so many others, but sometimes you have to learn something slighty wrong first in order to have the foundation to learn it right later on.

2) Once you have the basic tonal foundation you must go through the Fux, Gradus ad parnassum.  There is a suitable cheap English edition by Dover Publications.  This will seem like a step backwards, but rest assured it is not; an indispensable introduction to good counterpoint.  Brahms would have approved!

3) Go through C.P.E. Bach, The True Art of Playing Keyboard Instruments.  This is an absolutely fascinating read, with insights into composing, learn improvisation through figures, kernels of compositional truths and exercises handed down to C.P.E. by his father J.S. Bach.

4) This is where my pedagogical approach will no doubt elicit some loud and understandable disagreements with others.  I have caveats that go along with this, but I feel there is more positive to be learned here than negative.  You must read Schenker, Counterpoint (Books I and II, translated into English by John Rothgeb).  Heinrich Schenker is clearly an influential, hotly disputed, and misunderstood figure in the music theory world.  Schenker's theories have flaws, but no other theorist has ever come close to Schenker's reductive analysis approach.  The major caveat is: you must have all your senses fully alert when you read Schenker, and do not believe everything he writes.   You will not fully understand what he is talking about on a first reading of his books.  You will have to read his books many times over before you will understand what he is getting at.  

5) Go through Schenker, Free Composition (2-volume set, text and examples translated into English by Ernst Oster).  Another Schenker book that you will have to read many times over.  For now it is sufficient to say that Schenker didn't invent reductive analysis, but this book really shows that his multi-temporal approach to reduction is unique and profoundly eye-opening.  Reading Schenker is where I realized that music is not simply linear, but operates on multiple layers of time.  It not enough to say that composing music is organizing sound in time.  Composing music is using sound TO ORGANIZE TIME!  Once you realize this extremely important truth, you'll begin to see how a musical idea can create necessity by presenting itself and interacting with itself across multiple time scales (or measurements of time, what Schenker refers to as Background, Middleground, and Foreground).  The necessity of this interaction causes the form to emerge, not from an outward process, but from the material itself, as Brahms instructs.  An appropriate analogy might be the emergence of a complex and beautiful fractal that comes from a very basic algorithm.  Of course, fractals organize space as their algorithms emerge, but a composition organizes time as its form emerges.  Remember, be suspect of everything Schenker writes, but keep an open mind when reading.  He shares more in common with Brahms than most realize.

6) Optional, read Schenker, Harmony (translated into English by Oswald Jonas).  This was the first book writiten in his three-part theory series (Harmony, Counterpoint, Free Composition), but I think it is best understood when read last.

7) Finally, a few more reading gems I'd recommend: Ledbetter, Continuo Playing According to Handel and His Figured Bass Exercises; Renwick, The Langloz Manuscript-Fugual Improvisation through Figured Bass; and Salzer & Schachter, Counterpoint in Composition.  Also, if you find Schenker's Free Composition too difficult to read at first try: Cadwallader & Gagne, Analysis of Tonal Music; and/or Salzer, Structural Hearing-Tonal Coherence in Music.

In conclusion, one must not simply read them, you must do the exercises in them, play them at the piano, do the realizations, take a particular concept and explore it with a composition of your own material.  You must write a lot and not always keep what you write, as Brahms instructs Jenner, but you will just spin your wheels if you don't understand what is yielding your poorer work, and trust me, it is not simply a lack of knowing musical forms.  Examine what the masters do, armed with a thorough knowledge of emergence, organicism, and time in composition, and try the same thing out with your own material.  Once you understand the concepts involve, you'll realize how many different kinds of music can be made to work with the knowledge of how time plays an integral role in composition.  Also, I'd like to point out that these books deal exclusively with tonal music.  Tonal music has no monopoly on time, and good contrapuntal skill is always useful even in the most radical kinds of music.  If you follow the above plan I can guarantee that wonderful gems of compositional insight are awaiting you, but it will come at a price, and I don't mean the price of the books.  That price is time!  It will take years to digest all of this (5 years if you're fast, more like 10+ if you're normal like me), but anything really worth doing always takes time.  True understanding takes time, there's just no way around it.  Of course, a genius composer would work all this out on their own, and wouldn't need a course of study like this.  They would simply devise their own because they have an innate sense of what the right questions are when doing an analysis.  This course of study is for the rest of us, who need guidance to formulate the right questions that provide proper insight.  Reading books is not a substitute for composing, but this course of study is the other side of the coin (developing a fine-tuned musical intellect) to get you asking the right questions, which if you are disciplined, will aid your forward progress as a composer tremendously.  Also, you'll be doing some of the same exercises the great composers did when learning with Fux and C.P.E. Bach.  The real goal is to become a better composer, not just simply learn about form.

3.Finale and VSL 1/8/2011 12:05:21 AM

Jazzmin,

You've got the IAC Bus routed to "Input" on Finale, it should be the "Output"!  Think about it, you want the midi notes from Finale to go OUT the IAC Bus and then the IAC Bus goes MIDI IN to VI.  Howver, there's no need to use the IAC Bus at all.

1) Select MIDI/Audio -> Play Finale through Audio Units

2) MIDI/Audio -> Device Setup -> Manage AU Plug-ins

-Make sure "VSL: Vienna Instruments" is listed under "Active Plug-ins"

3) MIDI/Audio -> Instrument Setup -> Audio Unit Instruments

Make sure "VSL: Vienna Instruments" is listed for each midi channel that you're using under the "Instrument" category.

Hope this helps, if not, then you're on your own.

-Brian

4.VSL SE 14S TTB-mu legato gives a "eLicenser Control - Error" in VI PRO 1/7/2011 5:27:37 PM

Cyril,

"22S Tenor trombone mute +" is a matrix.  I bet you'll find that when you go to the "14S TTB-mu legato" patch in that matrix in VI PRO you'll find that the keyboard is greyed out and that no sound will come from that particular patch. The whole matrix isn't bad, it's just that patch that gives the error in VI PRO.  Also, VE PRO has nothing to do with it.  It is specifically a VI PRO issue.

nicks wrote:

Oddly, I have the same problem in MIR, caused in this case by some
patch in the Horn 1 VSL Preset 2 preset.  Only happened since installing the pre-christmas update.

nicks,

I also bet that the "Horn 1 VSL Preset 2" is not completely bad.  I'm sure you can go through the preset once it's loaded and find the specific patch(es) that are causing the error; take them out temporarily to avoid getting the error.  Again, you'll know the bad patches because the keyboard in VI PRO will by greyed out and no sound will come from them.

Brian

5.VSL SE 14S TTB-mu legato gives a "eLicenser Control - Error" in VI PRO 1/1/2011 5:46:11 AM

Dear VSL Team,

I've looked on the forum for this, but could not find an answer so I'm posting this to see what can be done.

When I try to load the "14s TTB-mu legato" VSL SE patch in VI PRO I get an "eLicenser Control - Error" box that pops up and says, "The key could not be identified. The format of the key is invalid."  I click ok, and then get another pop-up box that says, "Error accessing eLicenser USB dongle."

I thought this was a dongle issue, but the patch loads up WITHOUT ERROR in standard VI, but ALWAYS RETURNS a "eLicenser Control - Error" in VI PRO.  Dongle memory has been cleared and the database has been updated through the eLicenser Control Center, but this has had no effect on the problem.

Also, it gives the error in both the 32 and 64 bit versions of VI PRO.

Specs:

Windows 7 Ultimate 64-bit

Intel Core2 Quad

14GB RAM

5 250GB 7200RPM SATAII HDDs

eLicenser Control Center 6.1.4.1048

VI PRO 1.1.7553

Thanks,

Brian

6.Bb Trumpet Range MAHLER'S 5th 11/23/2009 7:40:36 PM

Of course a written F in a Bb trumpet part will sound an Eb; so even with the E mapped you will still need to pitch shift a half step lower. Smile

7.Instruments frequency table 10/11/2009 11:16:39 PM

Hi Gilles,

There was a recent related discussion of this on the vi-control forum.  Please see the link for a chart and discussion of EQing.  Personally, I thought what re-peat had to say made a lot of sense.


http://www.vi-control.net/forum/viewtopic.php?t=13878

-Brian Smile

8.MIR Demo "ET - Adventures on Earth" 9/21/2009 12:05:27 AM
Dietz wrote:
Brian -

Thanks Dietz!  I love you guys! Smile I love how uncompromising VSL is!  I love how you guys decide to do something, and it just doesn't matter if anyone else has every attempted it or thought of it, you guys are going find a way to make it happen.  I love that.  Thank God you guys are out there to combat against the cinematic product drive ("monkey at a keyboard mentality") of some other sample libraries.  I believe in the VSL mission, to make the most realistic sounding sampled orchestra.  I believe VSL has the most talented team possible for that goal.  That's why I'm with you guys for the long hall (pun intended Smile).  MIR is definitely 100% true to the spirit of VSL, its uncompromising and groundbreaking.  MIR is absolutely the most advanced reverb/mixing software ever built period.  I have no doubt it will be the new standard to which all other convolution reverbs will have to reckon with at some point.  Throw in VE PRO on top of all this, and it just adds that much more to the reason why you guys are my go to company for sampled orchestra products.

However, as revolutionary as MIR is, the first two video demos were....to be honest....disappointing.  It's just the sound wasn't as revolutionary as I knew the product itself was.  If only Jay's demo had been the first demo then I probably wouldn't have my current mental block against MIR, and feel the need for direct comparisons with Altiverb all the time. Jay's demo really proves the realistic room quality of MIR.  The room sounds practically real, Altiverb can't touch that.  However, I can't quite put my finger on it, but there is something more realistically satisfying with the timbre of the instruments in Jay's Rite of Spring with Altiverb compared to the E.T. MIR demo.  I would like to try MIR myself to test this, but then I'd have to buy Windows Vista to do so, not to mention buy a whole new $1600 computer to run the same size orchestra as my current setup.  So then to buy MIR is another roughly $1000.  So in my mind MIR needs to sound $2600 better than Altiverb for me to break out the bucks at this moment.  In fact, its probably worse than that, because I'd feel better thinking MIR is $3600 better than Altiverb, and that I'm getting it for a deal by only paying $2600.

I see MIR like Frankenstein.  You guys created the monster, but I'm willing to bet that you're still learning things about your Frankenstein.  Even though you are the current experts, I think you guys are going to be better experts on MIR in a couple of years than you are right now.  In the future, when every one else is just starting to get on the multiple-impulse response train, you guys are going to be so far ahead of them.  So in a couple of years when it comes to doing a major upgrade and I'm looking at Altiverb 7 or MIR, I'll probably go with MIR.  I'm not quite ready to buy right now, but you never know if you keep putting out demos like Jay's....I might change my mind. Wink Still, no matter what I'm with you guys for the long haul, and I can't wait to hear future updates and demos! Smile  I love you guys! Stick out tongue

-Brian

P.S. You're right Dietz, there isn't always a right and wrong tempo in music...it is an art after all, but would someone please listen to track 17 (about 4:25 in) on the E.T. original soundtrack recording and tell me they like the slower tempo better.....honestly.....you like slower tempo....really???? Wink

9.MIR Demo "ET - Adventures on Earth" 9/19/2009 10:13:42 PM

Congratulations Jay! Cool This is truely a remarkable demo for MIR.  I am now considering MIR because of this, but still need to hear more demos like this to absolutely sure.  The tempo seems a bit slow for me, as I'm use to JW's original soundtrack recording, but you did a magnificant job.  I think sometimes people forget how hard it is to do a convincing mockup of an existing well known piece, and you're brilliant at that.  This is a big step forward for MIR compared to the other demos. Smile

-Brian

10.Playing Viola Taksim / Middle East Style 9/15/2009 2:53:10 PM

Hey Lony,

That came out really great.  I love the sound, really nice job with the timbral quality of the viola.  Would you mind commenting on how you achieved the pitches, was it just the pitch-wheel, what patches did you use? Thanks for posting this! Smile

-Brian

11.Newsletter re: VE Pro 9/6/2009 3:48:42 PM
MS wrote:

VE Pro will not work on 10.4 Tiger.

Hi Martin,

To clarify it says on the system requirements page that "Please note that a slave computer has to comply with the Vienna Ensemble specifications, the master computer to those of the host application (e.g., Cubase, Logic, Sibelius etc.)"

I interpret this to mean that VE PRO will not work on a OS X Tiger SLAVE machine, but will work as a plugin in the DAW on a OS X Tiger MASTER machine. So the blanket statement of "VE Pro will not work on 10.4 Tiger" is not entirely true.

Thanks, Brian

12.Newsletter re: VE Pro 8/27/2009 8:47:13 PM

The Epic Orchestra pack looks like mostly previously released samples, except "Woodwinds Ensemble".  I've never seen that before....

13.FREE Bricasti M7 Impulses from Acousticas! 8/21/2009 6:47:27 PM

Hey Guys,

Acousticas is giving away their complete set of Bricasti impulses for free. Thought I'd share this: http://www.acousticas.net/World/IRs/AcousticasM7.zip

In the words of Ermz, "Oh my, I don't think I ever clicked on something so fast in my life...."  Absolutely hilarious!

Cheers, Brian Smile

P.S. See the original thread here: http://www.gearslutz.com/board/new-product-alert/391486-free-bricasti-m7-impulses-acousticas.html

14.5 of 6 Movements for Pierrot Ensemble (-vocal, +perc.) 8/4/2009 11:30:55 PM

Hey Guys,

I'm doing a mockup of a set of pieces for a client.  He was commissioned to write these pieces for a festival and then the commissioning ensemble had to cancel the premiere of the work until next year due to the bad economy.  I'm doing mockups of the movements for him and here they are:

http://www.aeneaseditions.com/ThreePairsSuite/

Hope you guys like them, let me know if you hear something strange.  I'm trying to do a really good job on them.

Thanks, Brian Smile

15.Help me make this Legato please 8/4/2009 8:55:48 PM

If you increase the release time to 60 as well as the attack time then it will help eliminate the swooping sound.  The samples aren't perfect and you aren't going to get a true legato out of them, but I think this might be more what you're looking for: http://www.aeneaseditions.com/LegatoSoloCello/.  I think solo strings are probably the hardest instruments to sample realistically.  VSL has the best solo string library out there, but still I feel like that library in general has a very aggressive timbre to it that makes the legato patches sound a bit raw.

Cheers! Brian

16.Vienna Imperial 6/4/2009 11:22:47 PM

Sorry to be a butt here and point this out, but if a piano has 88 keys and there are 1200 samples per key; then why are there only 69,633 samples?  88 keys x 1200 samples per key = 105,600 samples.  I apologize if this question has already been asked and answered, I did a search for it and didn't find anything.

By the way, Jay's demo sounds absolutely incredible, by far the most fantastic sampled piano in the universe....that is until VSL creates the next one! Smile

17.Strauss Zarathustra with Altiverb versus Zarathustra with MIR 3/14/2009 4:25:39 AM

Hi All,

Thought I'd offer this as a comparison test.  I did a mockup of the opening of Also Sprach Zarathustra with Altiverb to compare with the MIR demo on the same piece.

http://aeneaseditions.com/Strauss/ZarathustraOpening.mp3

versus

http://vsl.co.at/en/65/71/393/1165.vsl

Cheers, Brian Smile

18.Complete "The Rite Of Spring" performed by Jay Bacal 3/12/2009 6:45:43 PM

Congratulations Jay!  A truely remarkable achievement, and I can't think of a better sample library than VSL to give you the right tools to do it! Cool  You're the man Jay!

19.Elgar Enigma Theme & Variations 1-4 1/10/2009 4:56:11 AM

Thanks Guys! I really appreciate the comments!

I'm trying really hard to get the Elgar variations worked out to a high level.  Now that I've been working with samples for a while I'm starting to feel the auditory effects of sampled sounds, especially with these pieces (which I keep modifying every time I re-listen to them).  It's amazing what the human ear will accept when subjected to a sound long enough.

I've played in orchestras, conducted a couple of orchestra pieces, been to more orchestra concerts than I can count, and listened to oodles of orchestral recordings.  I'd like to think I know what an orchestra sounds like, yet working with sampled orchestral instruments does weird things to your ear.  You spend a whole day working on a piece. You listening to it over and over, isolated instruments, sections, the whole ensemble.  You think you've got a good sound.  You think it sounds like it should and then you listen to a live orchestral recording and you think, "Oh God, what was I thinking, my mix sounds terrible!"  So you go back, you edit articulations, releases, you adjust EQ settings, you refine the reverb, check the stereo imaging, the balance, modify compression, etc. and it starts to sound better; but this got me wondering, "Is there a glass ceiling to current sampling?"  Is there a point when you finally say, "This is as good as my current libraries are going to sound without me buying a newer, better sampled future product?"

I feel like I'm constantly changing my template(s), at first the changes were dramatic, now they're starting to get more fine-tuned.  I'm hoping enough fine-tuned adjustments together will equal a dramatically better sound, but who knows?  I'm constantly worried that working with sampled sounds is leading my ear astray, but I try to remain vigilant. Smile

Thanks again guys for listening!

Brian

P.S. The 4th Variation's got me puzzled right now, the single rhythm tutti sections don't sound quite right and I'm not sure how to fix them.

20.Elgar Enigma Theme & Variations 1-4 12/30/2008 9:40:24 PM

Hey All,

I just finished variations 3 & 4 and thought I'd share.  I used SE, SE+, AS I & II, and SB

Hope you like it!?!?

Brian Smile

http://www.aeneaseditions.com/Elgar/

21.Beethoven Symphony No. 7, IV - Allegro con brio 12/21/2008 8:25:21 PM

Until Paul replies, see this:

http://community.vsl.co.at/forums/t/18019.aspx

Brian Smile

22.Unofficial Vienna Suite ver. 2.0 wish list 12/21/2008 8:11:18 PM
Dear VSL Team,

Vienna Suite is certainly a very nice addition to VSL, but I believe it is missing some basic functionality when it comes to using it inside Vienna Ensemble.   I'm referring to the fact that you can't automation a VS plug-in's parameters from your master computer's sequencer when it is placed inside a VE instance.

This isn't a problem unless you need to adjust a plug-in's parameters dynamically during the course of the sequence in order to suit the needs of the music.  I do this quite often and I bet I'm not the only one.

Now I can use VS plug-ins in this way (i.e. dynamically), but I have to place them on the tracks of my master computer's sequencer in order to get that kind of functionality.  This uses my master computer's resources when I would much rather have them in a VE instance on my more powerful slave computer.  This means that unless you intend to use VS in a static fashion you can't use VS inside VE.

Now I realize that this kind of functionality is probably not easy to implement, but I'd like to point out that this type of automation already exists for VI.  Using VI in Performance Control I can assign MIDI CC numbers to Velocity X-Fade, Cell X-Fade, Release Time, Expression, etc.  I can control the CC data values from my master computer's sequencer and they automate the various parameters of the VI's that are inside the VE instances on my slave computer.

I'd like to see the same kind of functionality for the VS plug-ins.  I would imagine it to work very much the same way it works for VI.  (Example: I open the VS Power Panning plug-in and right-click on the "Width" parameter.  The "Width" slider would blink red and I could assign a MIDI CC number by sliding a controller or by selecting the CC from a "Map Control" interface like the one with the VI's.)

Now am I the only one that would use this kind of automation for VS with VE?  If so, then promptly ignore this.  If not, then......?

Thanks, Brian Smile
23.Vienna suite demo licence 11/23/2008 5:52:54 PM

Thanks for answering Christian!  I'm still confused, but I'll live. Stick out tongue

Brian

24.Lexicon vs. convolution 11/21/2008 5:42:18 PM
Jack Weaver wrote:

Apparently according to Apogee I won't be able to use the Rosetta 800's Dig i/o with it (Bricasti M7). Well, actually only either out or in. I'll have to find out more from Apogee today on that. I'll probably go out dig and come back in analog.

Hi Jack,

Do you happen to know if this issue also occurs with the Rosetta 200?  I assume you're talking about the AES in/outs. I checked the Apogee website and searched the internet, but couldn't find any information on this issue.

Thanks, Brian

25.Vienna suite demo licence 11/20/2008 4:26:54 PM
Paul wrote:

Brian, the Demo License is time-limited, it will only work for 30 days. 

Best, 

Paul

Thanks for the answer Paul. Smile I think I've got this straight.  OK...so every time you demo a Vienna Suite plugin it subtracts a demo start while at the same time the Vienna Suite demo license itself is limited to 30 days.  This means that every time you run out of demo starts you have to refill them to demo the Vienna Suite even if you still have time remaining on the Vienna Suite demo license. So if the demo license only lasts for 30 days then why do you need to subtract demo starts at all? Wouldn't it be a lot easier if the demo license just worked unlimited for only 30 days? Huh? This way you wouldn't have people confused about why the demo stopped working before the end of the 30 day trial period.  Maybe this is a Syncrosoft thing, but it seems complicated to me.

Brian

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