Originally Posted by: bbelius

If you disable the IR and don't use MIR PRO you still have to use the transposition trick if you want to play the same note by the two violin sections.

Do SY_SE and VI_SE even share the same sampleset content, then?

Originally Posted by: bbelius

Hi Fabio!
Yes, the Solo Violin 2 and solo Cello 2 are lite versions of the Single Instruments Solo Violin 2 and Solo Cello 2
Best, Ben

Thank you for your reply, Ben.
I was typing from mobile phone, so not that comfortable for elaborating questions.
The "2" Solos are great additions, though I was referring to Orchestral Strings.
May SY-SE Orchestral Violins in conjunction with VI-SE double as Violin Sections I-II?
In this case I could get rid of the "pitch trick" and avoid keyswitch reassignements.
All that for a mere 47€...

Best

In this second installment of my "Bother people about how VSL works while locked at home", I will ask you how to achieve belieavle glissandi with Special Edition strings.
Tight chromatic portamentos doesn't seem to work; also tried some DYI sample stretching by freezing an interval in DAW using portamento patch, tricky but effective, at some extent.
I wish to use it on strings playing pp in the background, so belieavle is enough than realistic.
Any hint?
Keep safe.
Best

A lovely piece, Paul. And a good starting point to develop your love affair with composition.
I guess output is from pretty raw notation software, isnt'it?
Try fine tuning the mix, let nuances be revealed: listeners will be pleased.
Best

Thank you for your reply, Paul.

Synchronized-SE, VIPro etc. … Such a tempting scheme, indeed.
I was lloking into Synchronized-SE at the time of their launch, then I went involved in rock band live performing for the last two years — less Sibelius, more Stones.

When all this trouble will pass, hope to able to visit Vienna and VSL HQ.

Take care.

Back to Vienna while locke at home, I spend some time to learn more about it.
How to use "Repetition" patches — even the "Performance" ones — at their best?

Thank you.

Sorry to hear this. A great loss for the Community. My  condolences to Paul's family.

Had such a good time listening to the whole of your Romantic Symphony.
Well written and rendered — just that harp in the 1st Movement, sounds a bit loud in the mix from here.
Great effort. Bravo.

Well done, Maestro.
Found it full of Italian spirit, in the wake of our underrated instrumental tradition of the past Century — I was incidentally listening to some works by Pizzetti, before switching to the forum…
And then it's not epic nor cinematic. At last!

Hi, Steve.
A lovely sample of "film music", really.
May I suggest you to skip the piano from 1:40 to 1:54? it would be nice to leave strings and woodwinds alone to carry the theme reprise. This will add a bit of tonal variation.
Waiting for the final mix.
Best

Quite an interesting work indeed.

SE has lot of potential in the right hands.

A bit dryier sonic environment can help feeling things more closer.

I'm halfway of the opening Adagio. More on the go…

PS YouTube returns "not available".

Hppy New Year Everybody!

I just started this year's Christmas day with 0:47 of really fine music.

Sorry for misunderstanding.
Have a look to Korg NanoControl series —seen also in VSL videos.
Expressive E Touché is also an interesting tool.
Best

Both Grand and Studio versions of Studiologic SL88 are very good, though I prefer wheels instead of joysticks as controllers (these machines has three of them!).
Hope it helps.

Hi All.
Sometimes I come up with ideas I'm not able to deal with.
In this case, first two chords are the same Gm in a descending inversions sequence, then Bbmaj7 (see attachment), and so on.
If I score Violins in thirds, the middle Bb in VlnII becomes the higher note in VlnI… It works on a piano, but it seems wrong to me for a string ensemble.
Any hint?
Thanks a lot.

Nice composition, Stefan.
It seems that we both gravitate around the same expressive field (eg the role of solo bassoon melodies).
I thimk your rendition will benefit from a touch of more ambience, just a tiny bit on the "wet" position of the slider.
Regards

The most entertaining 2:33 of the week.

Thanks for reply, Paul.

I definiely have a better perception of it now. 

Hi all.

Just noticed a mysterious "Mic Delay" slider next to "Master Filter" controls in VI's Advanced view.

What is it intended for? (I moved it back and forth without noticeable effect on a E.Horn sustain patch)

Thank you.

Originally Posted by: Arsenal

Strangely it does indeed work with Reaper, but not S1/Notion

I tried both variants, "Send to Studio One" and simply midi importing, with Studio One (3.5.6.46910 OSX) and Notion (6.4.462 OSX)

Tech Support says "manually drag that MIDI file into Studio One". Same as I do in Reaper. Guess this why it works – I'm not a S1 user…

Hope it helps. Cheers.

Originally Posted by: Tensivity

Just got this response from Presonus, haven't yet tested.:

Hi Michael,

I just did some testing with this scenario and it seems that if you export your file to MIDI and then manually drag that MIDI file into Studio One, you will get the keyswitches.  If you just send note data from Notion to Studio One, it will drop the keyswitches.  Let me know if you are seeing the same thing.

Best Regards,

I can confirm it works this way in Reaper.
You'll notice a keyswitch value for every note in the score, due to be able to play the right articuation at any position you'll start playback.
Hope it helps.
Cheers

We live in times dominated by "performers": no more people sculpting or painting, just "performing". And what about "installers"? Why to exclude ourselves from such a league? After all, we spend so much time installing sounds on our machines!

Seriously, I agree with you Dave on the pros and cons of seeing us as performers. Maybe more from the conductor's point of view of the business, "teaching" musicians how to deal a part, crafting the overall sound to express the feeling the right way — at least the way we hear it in our head.

Interesting topic.

PS About percussionists, as William's post was published while I was writing mine: many years ago I attended Philippe Herrewege conducting one of his ensembles were a timpanist has my attention all the concert long for her touchful mastery.