This happens to me in the Standalone version.

Got it, thanks Paul.

I installed a SYzd Epic Orchestra 2.0 library update and I have a question about the installed volumes.

After installation should the volumes in the folder include both the original and the update, as shown in my attached screen shot? Or should the updated version replace the original?

I'm preparing to install multiple updates to other libraries, so I'd like to get an answer before proceeding.

Thanks for your help.

Here's the list of all the VSL plugin instruments that showed up after my folder additions.

Hi Cedric.

Recently made the same switch myself and had to find the correct folders to make Synchron Player and VI Pro show up. Here's a screen shot of what worked for me. Don't know if it will help you, but hope it does.

They had both shown up in Cubase automatically.

Originally Posted by: Paul

Hi superflo, 

...

The tree structure in the dimension tree offers new options and is also easier to navigate, as the descriptions of the cells are very clear. 

...

Best,
Paul

superflo,

As one who owns both products, Paul's words I quote here are worth noticing. The VI player is outstanding, but for me the inability of the matrices to display more than a few letters as a description of a cell's contents present a real difficulty. Synchron provides more length for each description, enough to adequately distinguish it's unique content without cryptic or inadequate shorthand codes.

Just thought I'd chime in. Hope you are happy with your choices. 

Any progress on an iPad remote app for the Synchron Player?

Ditto re: the free SYzd Woodwinds expansion.

Paul, this looks exciting. Happy to see that VSL is the first to utilize Studio One's new capability.

I have always used Cubase. One of the main reasons was Expression Maps. But seeing the Studio One is going the extra mile to make such functionality far easier for the user makes me sit up and take notice.

Kudos to VSL!

Thank you SO much for working with the Dorico team and integrating SSP into this template.

Originally Posted by: Paul

Yep, Ben was right:

"Yes, this is a re-upload of the Synchron Strings I video, my guess is that we forgot to turn off the notifications for this video... But please don't be disappointed; the next weeks will be exciting - at least for me."

Sorry about the inconvenience. 

Best, 
Paul

No inconvenience felt here, Paul. I was just wondering...

Ben's (of VSL) answer in the VI Control forum thread:

https://vi-control.net/community/threads/vsl-synchron-strings-i.106436/#post-4775671

Just saw a re-release of the old SY Strings I video in my YouTube feed. What's up? Nothing new in my email and nothing new on the Specials page.

SY Strings I original release video, just posted March 1st 2021

I'm just starting to dive into Articulate. Kai, the principal, is a VERY talented, good guy, and he has created an amazing tool for the supported VI instruments.

I suggest that anyone interested download the Articulate Manual and read it. You begin to understand the effort and careful thought that went into this. It must have been a massive amount of work. Then download and read the manual for Cubase, Logic or Dorico, depending on which you use. Read those. Then get the demo to be sure it's what you expect. 

To me it makes sense to take effort from making my own less-functional presets that require continuous improvement and tinkering, never finished, not fully as functional as I would like, and devote that time to learning a comprehensive and functional product like Articulate. It has an initial learning curve, and that's where I am right now. What's more, I use both Cubase and Dorico.

Once sufficiently grounded in Articulate, I expect I will be able to devote more time to writing music and less to developing the perfect "system."

I'll try to remember to give feedback after I've progressed some more.

Originally Posted by: hmt

Is there a better way as to turn the XF trigger on and off via a CC-command?

 

According to the Control Tab in the Synchron Player the default CC for turning on/off Velocity X-Fade is CC28.

Originally Posted by: Paul

Can you please check which CC is assigned to Reverb On/Off?

Best,
Paul

Thanks Paul.

I assigned a 127 value to CC15 and that solved the problem. I don't know why, but I had thought that only applied to the algorithmic reverb, not MIRx, and so needed to be switched off for MIRx to engage. My mistake.

Edited to add:

It now appears that the problem behind this was created by an imported MIDI track from Dorico. It turns out Noteperformer consistently uses CC15 in it's Dorico Expression Maps for it's own, different purposes. 

Having stopped using Cubase for a few years in favor of Dorico, I am starting back into using it. I'm immediately encountering a problem where I set a VI Pro instance to use MIRx, but on starting the transport it reverts to bypassing the reverb and playing a dry signal. Going back in and changing it back doesn't help, it just happens again. I'm puzzled as to why. I don't believe there's any sort of CC command or setting that does this.

This happens across all instances in the Cubase project, and all are instrument track that directly access VI Pro. There is no MIR Pro running.

Originally Posted by: Dietz

Hi DaddyO,

Your question is a very important one: MIR is indeed meant to take over all panning tasks, as this is THE most fundamental aspect of positioning a signal in a virtual room. This means that you will leave your DAW's channel panning device untouched (... you could even switch it off, in case of Cubase/Nuendo). Under certain circumstances it might be advisable to use a panning device _before_ the signal enters MIR, either to re-center a pre-panned source, or to create a virtual ensemble (like Alan explains by means of the violin overdubs).

Only on very rare occasions you might want to "overrule" MIR panning-wise, which is what Alan Meyerson did when narrowing MIR's output to (almost) mono for that retro-mid-century vibe "Mank" is all about.

... does this answer your question?

(PS: Did you know that you share a quite unique talent with Mr. Meyerson? Dear Alan misspells my nickname in the very same way as you do - persistently, since many years. ;-D ... )

Perfectly answers the question, messaged received.  Not advisable to attempt what Alan does except in exceptional circumstances which probably do not apply to me.

Thanks Deetz, I mean Deitz, I mean Dietz. (Gotta remember that!)

I watched this VSL video chat with Alan Meyerson and Deitz about his use of MIR Pro for a recent film score. It was fascinating.

VSL Chat With Alan Meyerson

In it he talks about how he set up MIR Pro in what appears to be a single plugin instance, then places categories of instruments of the stage, then uses small panning adjustments in his DAW for the various instruments within each category so that he can move the categories around in one space, all the while retaining the complexities of the various instrument relationships within each category. He also mentions adjusting not only the width but the depth of each instrument family, which intrigued me. 

I have never really tried MIR Pro as a plugin in the Cubase mixer, so I want to experiment with this. But before I do I'd be interested, Deitz, in any comment or advice you may have on the process. His ability to move around individual icons of categories without having to re-place each instrument sounds fabulous. Is there any way to do this on one MIR Pro plugin instance without resorting to DAW panning adjustments, i.e., doing it all within MIR Pro?

I'm not sure I'm asking this correctly or even understanding the implications of what I'm asking about, so I'm kind of reaching here.

Originally Posted by: daviddln

Hi

I guess it could give you crossgrade price advantages to future Synchron-ized releases, but not Synchron. Those are two different product lines.

Best, David

Thanks, David. That makes sense.

Thanks, Paul. I still need to know whether completing the Cube gives me crossgrade price advantages to qualifying future Synchron releases. I already have most of the Symphonic Cube instruments.

I know you guys must be crazy busy with the Black Friday sale.

Posted a question early yesterday in the Synchron Forum about crossgrades from the Symphonic Cube to Synchron libraries. Since I'm seeing responses in the section and not in the Synchron forum, I'm linking to that here. I'm double-posting (sorry!) because the information I'm requesting will determine whether or not I purchase the Symphonic Cube. I'd like to get on with the decision. THANKS!!!

https://www.vsl.co.at/community/posts/t56971-Would-Symphonic-Cube-Confer-X-grade-Benefits-For-Synchron-Products#post300587

Post reads:

I have become a "convert" to the Synchron libraries, having purchased the Synchronized Special Edition (vols 1-4 plus), the Synchronized Woodwinds, and most recently Synchron Strings Pro. All these were purchased at introductory prices. I am hoping for a new Synchron brass product soon in order to cover the basic Winds-Brass-Strings triad.

While the BF sale price on the Symphonic Cube is great and the cost to me of completing it is not high, I hate to put money into more VI instruments unless they confer some benefit to introductory Synchron products. Would owning the Cube  bring such benefits? If so I will be making the purchase.

Originally Posted by: cristiangscheidel

Hi,
I am interesting to upgrade to solo string syn.... But a question,
I see from tutorials video that synchrone player use multiple key switch, so, cause I work in dorico, how can I do that?
I see that the dimension tree works in this way, so I have no idea how to switch from articulations using multiple key switch... Maybe I misanderstand something..

If I understand you correctly, this is really a Dorico question. Dorico Expression Maps allow you to enter multiple keyswitch assignments, so they are not a problem.

I suggest you bring this up on the Dorico forum:

https://www.steinberg.net/forums/viewforum.php?f=246

Also you can consult the manual and YouTube videos to gain a better understanding of Dorico playback. It is actually quite complex and usually requires some time and effort to understand and master.

I have become a "convert" to the Synchron libraries, having purchased the Synchronized Special Edition (vols 1-4 plus), the Synchronized Woodwinds, and most recently Synchron Strings Pro. All these were purchased at introductory prices. I am hoping for a new Synchron brass product soon in order to cover the basic Winds-Brass-Strings triad.

While the BF sale price on the Symphonic Cube is great and the cost to me of completing it is not high, I hate to put money into more VI instruments unless they confer some benefit to introductory Synchron products. Would owning the Cube  bring such benefits? If so I will be making the purchase.

Thanks so much, Ben. Will try it tomorrow.