Vienna Mir Pro: 7.0.1056

Sibelius 7.5.1

IMac

macOS Catalina, 10.15.7

It was working two days ago without a problem.  Now, when I select Venue, there is a small set of numbers at the bottom of the VEP screen, but the Venue does not show the usual diagram of the hall in question. The screen is dark grey.  VEP mixer indicates signals are going into the VEP from the Sibelius.  This has never happened to me before. Any thoughts?

I tried reinstalling VEP 7 with same result.

I tried reinstalling the MIR Pro app as well.  Same problem.  I get sound now, but no MIR reverb and since there is no diagram of the venue as there is supposed to be, and can’t place the instruments in different locations on the stage  I am composing a piece for two pianos; right now they are on top of one another!

 The mixer shows input when Sibelius is played, and I am getting no picture of the venue after the load procedure.  Attached screen shot shows what I am seeing.

Steve

The profile data at the bottom of the screen lists the incorrect MacOS version.  The correct one is at the top of my post

With deference, Bill, it is inattention.  I've been reading Mr. Spreadbury's blog and trying to keep up on the issue in other ways, but my definite impression, FWIW, is that he has focused with laser-like intensity on the beauty of his printed output.  Good.  For those who wish to compose with the structural benefit of a printed score accompanied by a broad pallet of sounds, it seems, again from afar, to be a case of sound output taking a very definite back seat, with little real integration of the Spreadbury team with sound wizards at Cubase.  "Oh talk to them about that," he seems to be saying.

I hope I am wrong about this.  If I am not, it will mean a total defeat of Spreadbury's cherished goal of a program that is an instrument of composition rather than an impediment; reference here his many comparisons to the way "Program A" impedes the compositional process.  I can easily see users of his new program wrestling with an audio output, "left to another committee."  It's an understandable result, if true, given the circumstances.  Again, I hope I prove to be wrong about this.

Steve

Danke!

Thanks for the reminder, Andi.

I assume that for excluding something on playback that's needed visually, you go into the Inspector and indicate that the particular notation in question is not to be played?

Steve

Eric -

Some very thoughtful comments, and it looks as though you have really tried to develop a workaround.

Here is mine:

My suggestion is not limited to your specific problem.  For example, I have discovered that for certain mallets, in pitched percussion, VSL has reduced the range of playable notes on the instrument -- you can write the notes on the staff in Sibelius, but they won't play, because the samples aren't there.  It's as though VSL took a saw to a piano keyboard.  So, to get the notes I want, I have to choose a mallet I don't want.  That problem, too, can be corrected as I suggest here. 

As I am working up a composition in Sibelius 7.5.1, I do my best to make it sound as I want it to.  I still get the benefit of analyzing compositional structure from looking at a score, but I don't worry about how it looks too much.  When I stop working and make an audio or video for submission, I use that somewhat bizzare looking audio copy, after making adjustments for mixture and loudness -- using speakers, not headphones.  This copy will also contain text notes, such as identifying a motive, I have written on the score to help me see the structure I have created.  I then save this as a separate audio, or "play" copy.  This copy makes the audio for video for submission.

I then save another "print" copy.  This is supposed to be the professionally correct, playable version of the score.  In this I clean up the appearance of the score, changing dotted notes to tied ones so that players can see the beats, for example, checking multiple stops on strings, changing clefs for certain instruments if necessary, general work up of appearance or crowding of notes and staves, adding cues for parts, and other things I can't think of right now.  However, it could be at this stage that you would renotate the areas where you want ties to be in your print score.  As you point out, your score speaks to players, while Sibelius speaks to a machine.  You just cheat on Sibelius a little bit, not playing the "print" version to create your audio demo.

I should add that in the final clean up and polishing, I sometimes (actually, ALWAYS!) find musical problems that need correction, so I have to return to the "audio" version to adjust that as well.  And then you have to have a good memory so both scores, as you make adjustments, are the same.  So wait as long as possible before undertaking this dual-score approach.

Not perfect, but it seems to work pretty well.

Steve

Thanks, Andi

Steve

yes, a soundset would certainly help, and probably some changes to the document "Optimizing Sibelius Playback" ver. 2.9.  With Dimension Brass all I did was add "mute" and my regular set of articulations that worked in un-muted Dimension Brass would work in the muted samples.  Also, I assume for con sordino Dimension strings you would have to load the samples on the same port (for the soundset) and channel (which is the same staff in Sibeliuis) as the un-muted Dimension Violin.  We also need some guidance on which Preset for the new Con Sordino samples to load.

To summarize:

1.  Guidance on Technique commands to invoke con sordino

2.  Revised soundset to enable communication between Sibelius commands and the VI Pro player

3.  Guidance on which VI Pro Presets to use

4.  Setup guidance for the Instrument selection on the Manual Soundset page of Sibelius, choice of proper Staff (I assume you would use the Dimension Violin staff for the muted samples)

usw.

So, quite a few details to clean up; perhaps I have neglected to mention some.  I think Andi usually is in charge this work.

Stefan

I have discovered something that I thought I would pass along.

The Problem:  To work the faders of VE Pro from Sibelius (my version is 7.51), you send a message, attached to something on a staff in the form "~CXX,XX" - no space between the characters, where "CXX" is the controller number (notice you use C not CC), and "XX" is the value.  Example:  ~C7,90.  That value will place the fader at 0.0 db, since the CC values are a fraction of that value over 127 times the total distance of the fader.  You can experiment with values to figure out what db value you want.  Since each staff sends on a different MIDI channel to VE Pro, you must match your automation port and channel information when you set up automation in VE Pro, to the port and channel in Sibelius.  (Each group of instruments should have its own port, e.g., woodwinds, so that the translation of staff graphics converts to an appropriate command for borth VI Pro and VE Pro.)

So far, so good.  However, mysteriously, some of my commands, although apparently on the proper staff, were not sending commands to the appropriate fader.  I discovered two solutions to the the problem.  First, for empty staffs at bar 1, choose a rest within it, NOT the TIME SIGNATURE.  Choosing the time signature seems to send the message to the first channel no matter which staff you choose.  Second, in Sibelius turn on View-Invisibles-Handles.  What was happening to me, for some reason, Sibelius was MOVING the attached CC command to a different staff.  If you look closely, having turned on "Handels", you will see a very thin line connecting the CC command to a staff.  In my case, Sibelius was moving the command to a different staff, so the command did not go through to the desired channel.  Just make sure that your commands are all connected to the staff you want.  Adequate staff spacing seemed to fix the problem.

This post took more text to write than the actual fix, but the basic idea is to CHECK that the command is CONNECTED, by the thin line, to the correct staff.  Then you are in business.

Steve

Juan

 Good luck on your new adventure with VSL instruments.

 One point worth emphasizing is the really outstanding customer service that I have experienced over the years with this company.  Often you will find an answer to your question by searching the forum, or like here, you can post your question or problem in the forum, and members will usually respond with some help.  Staff at VSL also monitors the forum, and do not be surprised when Paul chimes in with a suggestion.  If you are really stuck, you can send your problem directly to customer support, and in short order a reply will be forthcoming. I try to find a solution here, first, however, rather than over-burden VSL staff with a question that is answered with a little research or (God forbid!) in the instruction manuals that come with the software and instrument libraries.

 I use Sibelius for composition and find that it integrates well with VSL libraries and the VSL software VI Pro and VE Pro.

Steve

Greger

I agree.

I have solved my issue, under which only the first few instruments (nine in my case) would produce sound, although VE Pro and Event Input were showing signals going through from the Sibelius staff.  Since I was working on a new composition, I had not bothered to set up MIR in VE Pro -- I hadn't chosen a venue or placed the instruments on the stage, figuring I would get to that later.  Once I opened a venue and did the placement, all the instruments sounded correctly!  I double checked with each staff on the Sibelius score and on the individual VI Pro keyboards for each instrument.  All is well.

So I guess the morale is:  once you use MIR, be sure to select your venue and complete the instrument placement, because if you don't not all of your instruments deliver audio for you.

This is the first time I have run across this issue, and VSL tech support did offer to look into my problem with their usual promptness.

Steve

Originally Posted by: andi

Hello Steve!

If the instruments you trigger via the VE Pro Event Input create audio signals, but you don't hear them, I would check the further signal flow in the VEP mixer. Do the instruments get routed to the Master Bus? Does the Master Bus get routed to Out1/Out2?

Hi Andi!

Yes to both questions; routed correctly.

I have done some further experimenting, and it does seem that BEFORE STARTING to add instruments to the SIBELIUS Manual Soundsets Dialogue, you should FIRST set up the instruments in VE Pro with the correct Port and Channel settings.  This means that the FIRST thing one must do when entering Manual Set up is press "Show" to bring up the VE Pro Server and connect it, then RAISE the mixer, then ADD the instruments with correct port and channel.  AFTER THAT, THEN proceed to add instruments to the Manual Playback Devices dialogue, "Apply", and the "Test."  (I forgot to mention in the earlier post that one must at the VERY first, IMPORT the House Style for VSL!  Also, I am using MIR Pro, but I checked the output section for the silent instrument and there's nothing I can see which would prevent sound from coming through.)

I thought I had solved the problem, BUT . . .  First, I don't remember that the SEQUENCE of setups was that critical, as this workaround seems to suggest.  Worse, the procedure didn't work consistently.  For example, I first added a VE Pro instance and populated it with the instruments I wanted, then added them to Sibelius and it worked fine.  However, thereafter, I added an Event Input, and, again, signal sent to the port, but no sound.   In an earlier test, however, following the sequence suggested above, I set up VE Pro and two Event Input instances, putting just ONE instrument in each of the VE Pro and Event Input instances.  I assign the first Event Input instance to port 2, and the second to port 3.  This worked --- each instrument played.

So I can't figure what I am doing wrong.  Perhaps corrupted Sound Sets?

Good morning.

Steve

Greger

Thanks for your suggestions, and I agree with everything you said.

There is a very long chain that has to be set up for Sibelius and VE Pro to work together.  I'd like to go through it just to be sure we both agree on the procedure.  The first step involves the selection of the correct staff for each instrument in Sibelius.   Most times the choice is obvious, but not always -- this is discussed in the Optimizing Sibelius help document from VSL.  Each staff has one, and only one, MIDI channel and port, so, in effect, you use a staff to assign a channel. 

The second step involves the rather hard to find (at first) "Playback Devices" dialogue, which you get to in Sibelius through Play-Setup in the Sibelius Menu through the small drop down icon.  In Active Devices you find, in the left panel, Vienna Ensemble Pro - in my case, since I use OSX, I use the .AU version.  You activate that and choose, in the right hand panel, Sound Set by double clicking on the text.  If you have different instrument groups, such as strings and brass, for example, you must set up an ADDITIONAL Active Devices, since each will require its own Soundset designed for the instrument group.  Until just now (when I have the problem that led to my post) I have been able to use "Vienna Ensemble Pro Event Input" as a second (or third, etc., depending on the instrument groups) Active Device and choose a Sound Set for it.

At this point you click on the Manual Sound Sets tab in Playback Devices, choose a Device (from those you have just set up) and click Show.  If you are just setting up a score the VE Pro Server Interface, a square box, will appear indicating in red that it is not connected.  You connect it to one of the IP addresses shown in the window -- now Sibelius is communicating with the server, the interface will change on the Server, and now click the "Raise" button, and the VE Pro mixer will appear.  Continuing down the Playback Devices dialogue, confirm you have the correct soundset for the instruments you are about to add, click "Use manual sound set", select a number of channels for the instruments the number of instruments in the family to which the sound set belongs, and then at the right begin to add instruments.  The Optimizing Sibelius manual from VSL contains guidance on which instruments to select -- again, it is not always obvious which instrument to choose.  

If you try to test the instrument you have just added to the Dialogue you won't hear anything, because you must add the instrument to the VE Pro mixer.  The procedure for doing so is set out in the VE Pro Manual, it is fairly easy, and by using either Shift or Alt when you enter the Port and channel for each instance of VI Pro in the mixer, you can save youself alot of work in assigning these numbers.  In VE Pro you must then use the SIBELIUS Presets, at the right of the VI Pro player window, to load you instrument sample matrices.

If you now return to the Sibelius Playback Devices dialogues, when you press TEST for a given instrument, you should hear the instrument.  Going back to the VI Pro window within the VE Pro mixer, you should also be able to play the keyboard and hear sounds.  As I stated, in my case, I cannot hear any sounds when I Test instruments loaded into an Event Input device (but I can for a VE Pro activated instance), and the VI Pro keyboard window shows sounds being sent, but I cannot hear any.

The last step is to open the Mixer in Sibelius, expand the Mixer window to its full height to show all controls, and then press the ridiculously small green lettered windows at the top to find "(Auto)".  If the Gods are smiling on you, all your instruments at once will be assigned a proper channel and you are done!  You only have to press "(Auto)" once.

I have been using this system for some time by now with pretty good success.  It is usually the Mixer in Sibelius that gets things wrong sometimes when I have used Event Input instances and I have to manually select the proper Activated Device (Port) and channel.  It usually takes some fiddling and more (Auto) presses to get it right.  BTW, you can see what Activated device is selected for a given instrument by putting your mouse over the green lettering at the top of the mixer and holding (but not clicking) it there briefly, and the assigned port (Activated Device) will appear.  As you mentioned, you must be sure that your port and channel assignments in the VE Pro mixer correspond to those in Sibelius Mixer.

I think just about all that I have written above is contained in the Sibelius Reference Manual, the VE Pro Manual, and the Optimizing Sibelius Manual, the latter two from VSL. 

The frustration that comes is when you do all this methodically, and it does take some time to set up, and you still can't hear anything -- at least from Event Input instruments.  I did have my Audio Engine Options set correctly, but you are right point out that the assignment in the "Augio Enging Options" dialogue must be correct.  I was able to hear the VE Pro instances because of this -- with the SAME setting Event Input was silent.  I've got a problem in a chain of data somewhere, or perhaps, the Sibelius-VE Pro linkage gets confused somehow once a VE Pro instance is set up and you attempt to add an Event Input, or even another instrument to an exiting VE Pro instance.

Steve

I tried Plan B:

I set up individual VE Pro instances, instead of using one VE Pro instance and additional Event Input instances. 

This appeared to work.  However . . .   when I tried to an an additional instrument to one of the individual VE Pro's, I had the same problem again, no sound.  I switched that same instrument's samples to another channel that was outputting sound and heard that instrument.  So it isn't the samples.

I tried increasing MIDI ports in VE Pro preferences (as I understand it, at present I am only using three, one for each of my VE Pro instances), and increasing Audio outputs. With no apparent effect.

Steve

I am having the exact same problem. 

My system is OSX 10.10.2, VE Pro 5.4.13682 (latest version), Sibelius 7.5.1.

What is DOUBLY frustrating is that OLDER Sibelius compositions, of a month or so ago, work fine with instruments assigned to Event Input Ports (I have three working successfully at the same time, plus the original VE Pro instance on Port 1).

What happens is that when I try to set up manual set up in Sibelius for an Event Input instances (after the first instance has been set up for another instrument group, for example, all winds in VE Pro), I hit "Assign" and then Test for the instrument assigned to Event Input-- no sound.  That particular instrument has already been loaded in VE Pro and assigned to the Port for the Event Input and the correct MIDI channel for that Port.  Looking at the VE Pro mixer, it shows a signal going to the desired VI Pro instrument ( a thin green line each time Test is struck), and looking at the VI Pro player interface (with the keyboard and the various controls) for the instrument in question, it shows a signal coming in, a key being pressed and a signal going out, but no sound. So at least the signal is getting to the right instrument and the VI Pro player is sending a signal back.

I have checked the Sibelius Mixer over and over again, and it shows that the silent instrument is properly assigned to correct VE Pro Event Input Instance and the proper channel.

I had though the problem might have something to do with the two most recent updates to VE Pro, but OLDER Sibelius/VE Pro combinations involving Event Input work.

I'm stumped.

Steve

One problem I have found difficult is determining the recorded loudness of the total mix, since computer speakers and earphones depend on my volume settings on the computer.  It's easy enough to guard against going in excess of 0.0 dB, but what about passages that are to be quiet or subdued?

I have found a plug-in, from a company called TC Electronics that will measure an average loudness, and the documentation says you can use the plug-in to obtain preferred broadcast levels of average loudness.  Using the plug-in you not only guard against peaking, but better preserve dynamic levels.  The interface provides a kind of "radar screen" that displays an average of output.  In this way you have an objective, presumably industry standard, way of measuring the output of your mix while preserving dynmics.  The plug-in is called LM2n Loudness Radar, and I place it as the last plug-in in the Master Bus of VE Pro, just before output.  I have no connection with this company, other than as a purchaser of their product.  There's a YouTube video about the product if you search.

I would be interested to hear what others think of the program.  I now use it all the time, toward the end of composition.

Steve

Well . . .

I took out my coded keyswitch commands and just used Technique Text entries for "Medium Mallet" and "Finger", which are, respectively, C0 and FO on the Timpani B L2 preset.

I did get swtching, but not always to what I had indicated, and sometimes when not requested.  For "Mediium Mallet" I got "Medium-Hard Mallet" articulations (C#0), but also "Medium Mallet" (C0).  I also got some uncommanded changes, to "Hard Mallet" and "Finger".  Perhaps all this has to do with the "Performance" section of "Play" in Sibelius 7.5.1.  I have "Expresssivo" set to "Expressivo", "Rubato" set to "Mechanical" and "Rhythmic Feel" set to "Straight."

It sounds good, so I'll leave it there for a while.

Thanks again for you help.

S.

Hi Andi!

Just to be sure I understand:

The A/B switch changes between live performance and notation performance (the latter the one being used by me).  For us notation users, we select "B" which is the default when you load the samples.  When "B" is loaded, a repeated note is struck first by one hand, and then by the other.  I assume the "L" and "R" technique text commands refered to in the Soundset Manual allows you to SPECIFY WHICH hand strikes the note, rather than alternating.  The "A" is for those using a keyboard to play live.  When selected, BOTH sets of illuminated graphical keys send out sounds, each keyboard covering a strike by a different hand (limited to 2!).

As for switching mallets, which you can do only with Timpani B preset loaded, this unfortunately is limited to keyswitches.  You can't, for example, add Technique Text "Felt Mallet" and have VI Pro switch to samples for that mallet.  Instead of actually entering keyswitch notes, you can enter hidden text in the format:  "~NX,Y OX,Y".  X and Y are numbers between 0 and 127 representing, respectively, the note number and velocity (volume) of a key strike.  For C0, the note number is 14.  Y can be any value, as it will not sound anyway. "N" is for note ON, and "O" is for note OFF.  The "~" is to hide the Technique Text, as we do with Control Codes for faders on VI Pro.  So for example, "~N17,64 O17,63" triggers the "Finger" Mallet for Timpanum B.  Note that there is a SPACE between "64 and O", important for the format.  Also, when counting up from 12 (C0) to get to F0, remember that from E to F is only s half step, hence E0 is 16 and F0 is 17.

It would be nice if there were tecnique text for mallet changes in the soundset, instead of these MIDI codes, which are difficult to remember.

Thanks, Andi, for your help.

Steve

I have two related questions ( I think).

I have recently purchased the Percussion Bundle, which includes Timpani samples.

1.  I have a second group of keys, beginning at B4, that are highlighted, as though pressing them on the graphical keyboard interface would produce sounds.  They don't and remain silent.  The lower group of keys, beginning at B1, work.  This is on the "Timpani B Medium Mallet" matrix.  I have loaded the preset Sibelius-Percussion 1.4-Timpani-Extended-Timpani BL2.  What am I doing wrong?  This silent set of keys is supposed to be the for right hand and has a Technique Command is Sibelius, "R", which is supposed to call it into use.  I've tried using that Technique Command without success, and have loaded the VSL House Style into Sibelius 7.5.1.

2.  When using the Sibelius Soundset, what are the commands for switching mallets (as mentioend in the Manual "Optimizing Sibelius Playback" version 2.7)?

I hate to leave all those keys and articulations unused!

Thanks

Steve

Andi

I couldn't either!  Go figure.  Today, I went back and it seemed to be working again.  I will check the optimized, learn situation the next time this happens.  This was a first for me.  Very odd.

On a different, but related topic:  would it be possible, the next time the VSL Suite comes out with the various plug-ins, such as Compressor, would it be possible to have the interface that pops up indicate WHICH plug in has been loaded?  At present, you load a plug-in and are never quite sure what is there.  Also, when you are looking at the mixer, you cannot tell whether you have made a mistake, which might happen, z. B.,  if you copy over a plug-in from one channel to the other, using Alt-Click -- a big time saver.

Thanks for looking at my issue.

Steve

I am unable to get notes above above C4 to play in Sibelius 7.5.1 for Dimension Brass Trombones.  The notation doe not indicate the notes are out of range.  And VI Pro itself, in the keyboard shows a range up to C5, and playing the graphical keyboard on VIpro with the mouse produces the sounds.

I have the "Sibelius-Woodwinds+Brass 2.1-Dimension Brass-Dimension Trombones-VI Pro Presets-Sib_DimBr_4_Trombones_PRO" preset loaded.

I have tried different Technique commands, and they seem to make no difference, e.g., "a4" "1." "div."

So for some reason, the notated pitches are not coming through -- Silence above C4!

Steve

mots:

Sounds like you solved your problem.  Good. 

Just remember there are several things to set up to get it all working:  Importing the VSL "house style" (which contains the dictionary for translating Sibelius notation commands to VIPro-speak, plus special INSTRUMENT STAVES that must be used for the commands to work which you must use when setting up the score, not any will do), the proper Preset under "Sibelius" to the right in the VI Pro player (which you have discovered), setting up the proper CHANNELS in the mixer of VEPro, using AUTO in the mixer in the Sibelius program itself to sync-up the channels that are assigned to each staff in Sibelius (and thence to the mixer channels in VEPro), chosing the proper INSTRUMENT in VEPro for each channel using the Manual setup of the Sibelius play options.  I think that's everything.  Once you get something that works, be sure to separately SAVE it in the play options (separate from saving the score itself under File-Save).  Any change to you play arrangement must be separately saved each time. 

Another feature of VI Pro I only recently discovered: one  of the faders in VI Pro is "Dyanmic Range Scaler"; this can be very powerful in separating whisper soft pianissimo from mezzo-forte, for example.  You can place commands for each staff on the score, with the format "~CXX,YY" (note, "C", not "CC", where XX in the CC number, 30 in the case of Dynamic scaler, and YY is the value of the controller), such that in passages where greater dynamic range is required, you can increase the CC30 value.  You will be surprised how the dynamic notation springs to life once you increase the CC30 value.  For quite a while I had mine set at 63, and wondered why my work lacked much dynamic range, notation to the contrary.  Similarly, for C7, which, along with C30, you can use like a conductor to change the relative loudness of players during playing.  One other point worth mentioning:  the mixer in Sibelius sets the default volume level to 100, not 127.  I set it to 127, along with the final output in the VEPro mixer, using VEPro limiters and individual volume levels for channels to set my mix.  It you don't notice the Sibelius mixer levels, you outputs will sound too quiet.

As I guess you've already found out, the VSL instruments along with Sibelius are quite amazing; I am especially liking the Dimension Strings, which allow you, on one staff, to have solo, divisi and all instruments together playing, creating great dynamic possibilities.  Rather surprisingly some important articulations found in Dimension Strings are Not found in Solo Strings, Sul G, as an example.

You also have a great resource in this forum, which is pretty free flowing in commentary, and a very responsive VSL technical support for special problems.  Check the forums first, since chances are your issue has already been addressed.

Steve

There's a VSL video on how you work with Sibelius and VSL -- it goes a little fast, so you will need to use the pause button while watching the video.  Basically you need a mechanism for translating notational expressions, such as "arco" or "detache", into commands to VI Pro.  This is done through a "soundset" which you download from the VSL website and install.  Once that is done, you then install the VSL command translation into a given score by means of importing a "house style" into Sibelius for a given score you are working on -- these are just the translation rules for the commands that should go to VI Pro.  There is a detailed discussion of this in VSL documentation that you can find on the VSL website.

I thought I would report recent results.  I contacted the VSL support team who gave my problem a full court press.  It seems the problem has to do with the Sibelius controller information lagging behind note change information and tempo.  In other words, the notes are sent to the VSL samples (via VE Pro and VI Pro instances) before the change in articulations has a chance to catch up.  The result is that an articulation somewhere IN BETWEEN where I was and where I want to go in the VI Pro matrix is sounded, although the note is correct.

The fix is to MANUALLY SHORTEN the duration of the note immediately preceding the offending "portamento".  This can be done through the Sibelius INSPECTOR FUNCTION, and playing the score in LIVE MODE (so that these custom durations are picked up during Play).   I've discovered that it doesn't take too much shortening of a note to fix the problem.  There is no change in the NOTATED score length (half-note, dotted-quarter, etc.), just in the INTERNAL duration, which is shortened manually using the Inspector.

Fortunately, this problem doesn't occur too frequently, so you don't have to go in to make changes that often.  In a score of about 9 minutes length involving a string quintet, it only happens about 3 times.  I say "about", because the effect is not consistent.

This problem occured using Dimension Strings, Sibelius 7.5.1, OSX 10.10.1, and the laatest versions of VE Pro and VI Pro.

So, in summary, the problem appears to be one of programming at the Sibelius level, and the fix is to manually shorten the length of the note preceding the unwanted effect.

Steve