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.

Ben,

What I'm trying to accomplish is this:

In the Synchronized Woodwinds, I'm finding the Long / Normal slot, which uses the sustain patch, takes too long for the attack to "kick in." The Attack slider only lengthens the attack so far as I can tell.

Rather than adjust the envelope attack in the Edit tab, I'm thinking it might be best to layer a short and fast attack note with the sustain. Which one is open to experiment. So I'd like to make the Type dimension "Normal" slot produce such a result. But by default the only subset is the Vibrato dimension.

Since I anticipate dealing with situations like this in the future, I'd like to think of this as setting a precedent for how to approach it. From your experience do you have any suggestions? Do I add another Dimesnsion Control for attack? I'm hesitant to mess with the primary slot. I'd rather create a new one in the appropriate way so that the factory slot remains intact and any custom I make stay in additional slots. 

Also, I'd prefer to stay away from segmenting my custom slots under the Custom articulation, because that would make the overall organization less coherent. I'm thinking I should perhaps add an asterisk before the name of any custom slots so I can be sure to identify them correctly.

Any help you can provide would be greatly appreciated.

Thanks, I'll try that.

I find plenty of information online about X-fading between slots in the Synchron Player, but I find nothing about how to layer or stack multiple patches in one slot. Is this possible? And if so how do I do it?

Originally Posted by: musos

NO NO NO NO NO NO !!!

Subscription models are a marketing ploy to get constant trickles of income from users. Adobe has been violently attacked for many years over their decision to go subscription.

Hopefully VSL will NEVER do this.

I agree, Adobe is the perfect example.

Initially you feel great that you now have access to all that "stuff" for what seems like a reasonable price. Most you won't use, but some you will. Then after two years of paying and little product development, and few truly innovative releases, you realize what you've done. Pay up, buddy, or you lose it all tomorrow.

No, no, a thousand times no, for several reasons:

1. It significantly reduces a company's incentive to innovate and release. 

2. It makes all customers, large and small, rich and not rich, equally support the entire product line. Some may be able to afford a large array of a company's products, but that is not me. Let me support them through the products I purchase.

3. The idea that over a period of years you would pay to use a product and then, if hard times hit, lose access to it, is anathema to me. Once you start a subscription, the company has you over a barrel. Keep paying whatever they ask or your investment simply disappears in a poof of vapor. If I own something, I've at least got something I can count on.

4. Did I say "It significantly reduces a company's incentive to innovate and release?" It significantly reduces a company's incentive to innovate and release. 

Huge kudos to the VSL team for working with the Dorico team to create and release this. It will be a huge help in implementing my VSL libraries in Dorico. I especially appreciate the way both teams are releasing everything in one easy install package and supporting videos.

Originally Posted by: plowman

You're no one's crazy uncle. Because you discussed this on the forum, and because VSL replied, I am better informed. I now realize that signing up for this coverage takes a little calendar vigilance on the buyer's part. So thanks for posting. 

Thanks, plowman.

Originally Posted by: michi

Hello John, Please rest assured that you won't loose a single day of the protection period. Let's hope that your ViennaKey works flawlessly forever, but in case of a problem, there will always be a human member of our support team that takes care of your specific situation, and we won't "torture" you with missing time from a period overlap. We're always looking for the best solution for our customers! I hope that helps! Best, Michael

Michael,

Thanks for your kind assurance.

My point has never been that VSL is trying to torture me. To me the question is legitimate, but It sounds like no one else has ever brought it up before, so it's never been considered. Perhaps no one else thinks it important enough to bother with.  What's a few weeks out of two years. If so, I guess I'm the crazy uncle. 

I do rest assured that I can always count on the good graces of VSL staff. That has always been my normal experience.

Given that some might consult this thread in the future, it appears for the record that the answer to my question is this: Don't worry about the official renewal date becoming earlier by a few weeks every two years, VSL will take care of me.  Either that or always make sure I renew within as few of days of expiration as possible.

Originally Posted by: a.machat

I’m really sorry that our VPP process isn’t more convenient and I truly can understand that an automated renewal would be a nice feature. Because of the given setting by Steinberg’s eLicenser you get a new license with every new Vienna Protection Plan for your eLicenser USB Key to decide again which key should be protected (in case you have more than one or a new key).

Thank you for your understanding!

Best,
Alexander

Alexander, looking again at this last paragraph in your reply, I wonder if perhaps I am not also misunderstanding you. Are you saying the problem I identify, the abrupt loss of paid time if I renew right when I receive my first reminder, is an unfortunate necessity because of technical considerations having to do with USB keys and licenses?

Alexander, thanks for your kind reply. The system per se with reminders, etc., is fine. That is appreciated. 

But it seems the problem I'm bringing up has either not been understood or not addressed. I'll try again to explain. It does not have to do with any inconvenience in renewing, nor does it have to do with needing help remembering to do so.

It has to do with the (needless) loss I incur if I renew right when I receive a reminder, weeks before the expiration of my current license. On the day I purchase that renewal, VSL starts the clock on my new two-year plan. But since this is weeks before my current plan has expired, this causes me to lose the current plan's remaining weeks. As the customer, I literally take a loss when I renew unless I wait until the day my current plan expires.

What VSL should do is start the clock on my renewal the day my current plan expires and not before. It's only right that I should get the full two years of coverage on my current plan even if I renew right when I receive my reminder. Instead VSL abruptly stops my current plan before it expires and puts in place a new two-year plan on the day I purchase the renewal. I'm covered, to be sure. But I've taken a loss in covered time.

This makes no sense to me. I can't recall any company I've ever dealt with in any aspect of life that has ever set up renewals this way. It's not that I need automatic renewal, it's that I want all that I've paid for.

Let me reiterate, I'm a happy VSL customer overall. That's why I find this problem so unsettling. 

I received an email from VSL that my Protection Plan is up for renewal in a few weeks. I went to the appropriate page to purchase a renewal but some language I encountered there, that the renewal lasts two years from purchase made me wonder if by renewing a few weeks early I actually lost those weeks. Shouldn't the renewal be tacked on to the end of my current plan, I wondered?

So I contacted sales and got a prompt response (thank you!) that indeed the two-year renewal would start on the day I purchased it, not when my current plan expired. The concern I had turned out to be justified. If I renewed at any time before the end of my current plan I would simply lose the remaining time I had paid for two years ago. That surprised me, so I asked for clarification, and was told that this is how it works. The staff who helped me were helpful and prompt. All they could do was tell me the policy.

I am a longtime, happy VSL customer, but I find the policy surprising and unsatisfying. I am put in a position of either eating my remaining time or putting my renewal on a "to do" list and hoping that life doesn't get so crazy at that particular time that I am unable to get to it or, perhaps even forget it as it gets buried by other "to do's." 

I was told there would be a few days grace period, but it concerns me that the burden is put on me, the customer, and that an early renewal to "get it off my list" actually penalizes me. I find this puzzling.

I would be happy to hear further comment from VSL, and this is not an attempt to engender dissatisfaction in others. I'm just genuinely curious if I'm the only one who finds this particular policy unsatisfactory. I'm hoping VSL will review it and find a way for me to pay now, while I'm thinking about it, and have a full two years tacked on to the end of my current plan.

Originally Posted by: 145684

I'm running the latest versions of Logic Pro X and Synchron Player.
I'm not sure what I'm doing wrong, but I'm unable to map the Velocity XF function to my midi keyboard mod wheel.  I'm using a Nektar GX 61 keyboard. I haven't been able to find any tutorials on this, so just posting here.

Thank you in advance for your help.

On the exact screen you show in your picture, hover over the "CC2" above the Vel.XF fader. You will see a small down arrow to the immediate right. Click on it, and a dropdown menu appears. Select "Controller" then "0-15" then select number 1, which is the Mod Wheel. That assigns the proper controller.

If the little power button icon on the bottom left of the fader is blue, that means Vel X-Fade is turned on, you should be good to go. If it is ever not blue, then you need to activate Vel X-Fade by clicking on it until it turns blue. 

.

.

Wow, Sam, as soon as I selected the bottom item in the dropdown it restored all the items in the list.

Problem solv-ed. 

I am running dual identical 27-inch 4K displays scaled to 175% for 65-year-old eyes.

Hopefully this means the problem is display only and not that my Basic View fader assignments are going to require constant care and feeding. 

Thanks a bunch!

Edited to add: Using the Synchronize Control Map setting allowed me to quickly restore the Velocity Map fader to the Basic View of all my channels. At least I now know how to deal with it if the problem recurs. I reinstalled the recent VI Pro update just now, and everything looks normal with the fader assignments.