Okay, thanks.

I've read a review of these faders, which says that they forget the top 5% and the bottom 5%, so you then have to correct by hand. Is this true? That's why I haven't moved on to these Sparrows.

Yes, the BCF2000 didn't work after the update. I also tried midi.

For the X-touch One, I confused it with the X-touch, which doesn't seem to be at the same level. Your version 1.10 is the right one. 

I have two Korg nanoKONTROL2 in the cupboard. It's unusable for me too.

Best regards.

Hello again Willem,

I must add a true piece of information gleaned from the forums that may be useful to the community. The X-touch One, and maybe all Berhinger products (and this may be the problem I had, finally, with the BCF2000), do not work with AMD Ryzen computers. Berhinger has provided an update (version 2.0) to the firmware in this direction, but this can only be done on an Intel computer first. Once done, the device can be connected to AMD Ryzen. Note that I had done this update with the BCF2000 from a MAC (logically, without knowing the above-mentioned problem), but the thing failed and I could not connect to AMD afterwards. I don't know if the device was really faulty or if the new BCF2000 firmware doesn't contain a patch for AMD.

That's all. Kind regards.

Hello Willem,

Thanks for your answer.

I just bought a BCF2000 on Reverb, but it was defective and I returned it. Then I looked for others and the prices were high. On the other hand, at least under Windows, several aspects of this rather old controller made me worry about compatibility. This morning, I decided on an Xtouch One (quite rare themselves today, but found on eBay). I figured what was good for one Berhinger device was good for the other, especially newer ones. On the Nuendo forum, however, it says you have to adopt the MCU protocol.

I'd like some advice on midi controllers whose faders can be assigned to any MIDI CC, in order to make good use of automation in my use of the Synchon Player. I'm on Nuendo (under Windows 11). This is far from obvious. I see the JL Cooper masterfader, which looks fantastic, but it's only in MAC. I don't know whether SSL's UF1 allows the fader to be assigned to the MIDI CC of choice. I don't see anything to that effect on the SSL site. 

So I'm wondering what controller Vienna users use to maneuver among MIDI CCs, like expression or whatever.

Any help would be most welcome.

Merci Dietz !

Dietz,

I understand, that's great thanks.

cm

Dietz,

You could do the same thing and unlock the subtitles for the Vienna Suite PRO? (here is an example):

VIENNA SUITE PRO – Hybrid Reverb & Exciter - YouTube

Best,

cmb

Thanks to you and thanks to Paul.

Dietz, thank you for these detailed answers.  This excellent support adds a lot of value to the VSL products.  I'm looking at this point by point.

Thanks, Paul. So, for a score-based composition, Velocity is sufficient.  

(You should put this information at the top of the Synchron Player manual, I think.)

Sincerely,

cmb

Update: after analysis, I believe on the contrary that for writing on partition the XF is the best.

Thank you very much Dietz for taking the time to answer me.

I looked up what you gave me. I find out that you have to insert MIR only by panning, not by the usual method. I also see that it only works (here) by inserting a stereo instance of Synchon Player (if I insert the surround version there is incompatibility). Thirdly, I see that the Vienna Suite pro works on a 7.1 bus.

However, I have difficulty working in Cubase 12, for example (I also work in Pro Tools and Samplitude) and in the MIR window. As soon as I click on MIR, Cubase stops playing. So I can't do any placement in the room in real time. But maybe I'm forgetting something.

Anyway, thanks again. I hope the folks at Vienna will do a little more to communicate the surround techniques to know with their products. For example, for the video you gave me the link to, Vienna has blocked the automatic translation of the subtitles. It's hard for non-English speakers... but that's another story!

Translated with DeepL

I am set up in physical 7.1 (and soon 7.1.4) and am looking at what VSL offers in that direction. But I'm having a hard time understanding VSL's surround offering.

• The Synchon Player does 5.1, but, it seems, not 7.1. or 7.1.4 (the basis for Dolby Atmos), despite the fact that it claims to be "immersive". 
• Synchron instruments do surround, but not Synchron-ized instruments, which remain stereo (or else I don't understand)
• The Vienna Suite Pro does not go beyond 5.1. here, although it advertises 12.2. All examples in the manual or videos are also 5.1., not more. How to understand?
• MIR 3D talks about full 3D audio support for stereo and 5.1 configurations (so we understand that on a stereo or 5.1 basis we can go to 7.1 and more), but talks about specific manual presets.
• I'll have to look into this further, but: is it better to use for example the Synchon Player in 5.1 and end up with MIR 3D 7.1 or more? Are there any advantages? Or does a stereo instrumental source give the same result?

I wish VSL would open a surround support page to explain what they recommend as a surround workflow with their tools, and be much more specific about the functions of each. 

It's crazy, I'm trying to find the explanation of the difference between the presets: velocity, velXF, velXf sus for the synchon player, and I can't find it. Does anyone know where in the manuals it is?

I can't find the Vienna Synchon surround player in Pro Tools (but it is there in Cubase). Is this normal? Is it absolutely necessary to use VEP with Pro Tools ?

Hi Andi,

Another question on the Expressions maps point concerning Solo strings in Dorico (I'm still looking for my best possible configuration for my solo strings):

The Playback Model loads a basic version of the instruments. If I want to use the full version and so I load it, there is a mess in some articulations (the repeat samplings, for example, are called without being necessary). The user has to correct the expression map in this case, or am I wrong somewhere? Don't you have anything for the full versions of the instruments?

P.S. I just read elsewhere that this is not available. Too bad. Is it available for Cubase, though? No more. It is written :Expression maps for the full presets are not included. Such expression maps would have to be very extensive and would leave no space for notes in the Cubase Key Editor. 

Hello again Andi,

Things are going pretty well, but I notice that in the map expression of the second violin of the solo strings (and in the corresponding banks), there is no marcato attack. Disappointing. It is however there in the SE version for this same second solo violin.

I'll try to check it out myself and do a review of it all (on the basis that all the joints are present), as my preference is to just use VSL. I'll get back to you if I have any more difficulties.

You are a great help Andi, and I thank you. 

 p.s. And I just realized that I had volumes 1 and 2 +! All is well.

Hello again Andi. 

It's noted for VSL SYzd Voices - So, Al, Te, which you should name according to the next version, as well as the bass (+ baritone).  

For SYzd Solo Strings, I'll see what might be wrong here. No doubt you are right, you need the "artifical harmonics". Thank you.

For the clarinets, I need all the articulations. The "volume 1 +" adds: Portato, Performance repetitions legato, staccato, Fortepiano, Trills, half and whole tone, Fast repetitions, 150/170/190 BPM.

As for the incomplete Expression maps, it's a guess (and a question) based on what I saw (by mistake, then) of the Solo string and on what I had read on this forum (Dorico expression maps for VSL SYNCHRON-ized solo Strings full presets - Notation Programs & Vienna - FORUMS - Vienna Symphonic Library). Does the expression map SYzd SE include Volume 1 + joints, such as portato and Fp?

Thanks again Andi, your support is much appreciated!

(Don't forget that I write in French and that it is translated by Deepl)

Thank you Andi for your answer.

The problem is the following: I use a global model from another bank (I will explain why below in P.S.). When I go to choose manually an Expression map for my singers, there is only "SYzd Voices - So, Al, Te" and "SYzd Voices - bass".  In the global template option, there is the "SYzd Voices" template and everything is fine, but not in individual Expression map.

P.S. Why do I have to use another bank ? Because, despite my purchase of "SYzd solo string", the Expressions maps are not complete (while they are complete for the other bank, or at least more advanced - without the repeat patches though). This is very disappointing. Not even a programmed harmonics patch, according to my tests, which is not a very rare articulation! I prefer my VSL products, but I'm not sure I want to get into programming Expressions maps.

If I can get help with this, here is my nomenclature:

Mezzo-soprano (VSL SYzd)
Baritone (VSL SYzd )
Bass (VSL SYzd )

Clarinet siB (Other - I have the full VSL clarinet but VI, so no Expressions maps)
Bass clarinet (Other - this instrument is not offered individually in VI, and anyway no Expressions maps). Note: I have the SYzd SE Vol. 1, 2 and 4, but I would have to buy also the Vol 1 + at 265 Euro, which is getting expensive, especially if the Expressions maps are not complete). 

Piano (VSL SYzd)

Percussions (VSL SYzd SE) 

String quartet (Other)

Good evening,

I have to compose for 3 singers: mezzo-soprano, baritone and bass. I use, in Dorico 4, the VSL templates for the solo voices, but I can't find the mezzo-soprano and the baritone (but the bass, yes). What can I do? Should I make a new map myself from the existing ones?

Hello Bernd,

A huge thank you. I'll get started.

cmb

Thanks Paul, but can you give me the same thing for the Surround Synchron Piano? It doesn't match.

We have :

ROOM MIX
CONDENSER
RIBBON
TUBE
MID1
MID2
MAIN
MAIN-C
SURROUND
HIGH
HIGH-SUR

Hello Paul,

Thanks again for your answer. My question, more specifically, was: what is the purpose of several proximity microphones in the surround. The surround creates a room. If there were microphones in the room, I understand. If not, it's to place the listener in the piano... 

Again, it is by example that I could understand. If someone could explain to me in detail a 5.1 or 7.1 setup with a Synchron piano, that would help. Which mics for which channels. As I said, I know how to place the surround from a stereo instrument, but it's the logic of the Synchron piano surround version that I don't understand. That's why I'm asking you here. This is not a question about surround in general. For example, at another sample producer, the different microphones are positions in the room, side, balcony, back of the room, etc. I'm not saying it's better. I just want to understand the choice of VSL and the advantages you see in it.

P.S. I just used the new VSL celestial strings. They are simply amazing. It's a beautiful work. But they are not in surround sound, I think. Am I wrong?