I confirm I experienced the same behaviour in the Synchron Player. Can't remember for sure what instruments I was playing with, but I had to do the same workaround of yours to make it work!

I think to check results with a couple of different headphones is a good behaviour, but I think you should rely more on a particular headphone of yours. For my experience, the k701 is more balanced (no surprise, it's open-back).
Anyway yes, keep experimenting to create your own presets. Don't forgdt to make EQ on mics. And if you have the full version don't underestimate the surrounds mics; also don't forget to enable the time-delays of every mic

Thank you! :)

What Piano library do you use? Of course Synchron Pianos are not meant to be mixed in MIR, but it happend to me to use MIR to pan other piano libraries.
I'd say MIR would be the perfect chance to start adding more instruments and experiment a bit, without the pain of mixing them to create a realistic room image with pannings, sends to reverb etc. :)

Thank you for listening and for your enthusiasm about the performance, that makes me very happy :)

Few hours before the introductory offer for the Synchron Steinway expires, so I thought to share here these videos as well!
I recorded this italian piece of chamber music for piano and voice. Of course I used the Steinway D, and of course the voice is a real recording. 
So that was the perfect chance to test out how this Piano (and the whole Synchron Series) blends with other audio sources, for example this "pretty-dry" soprano voice, thanks to the Synchron Stage room package for MIR Pro.

I also tested out myself doing my first ever walkthrough. So here's both videos, I hope you may find them interesting!

Synchron Steinway D 274 & MIR Pro - L'Alba Separa Dalla Luce L'Ombra

Synchron Steinway D & MIR Pro Synchron Stage Roompack Walkthrough

I'm quite stuck at the moment. With the latest version of VEP6 and Synchron Player I have the same issue of yours during the loading of my template, or crashes when using a Synchron Player instruments during a mixdown. If I work with previous versions I can work but I have Cubase crashing when Synchron Player drums start during the mixdown.
I'm on Cubase 6.5.5, I start to blame this version getting too old..

Sounds like the perfect description of a real Steinway piano :D

Congrats for your performances once again!

I don't have Dim Brass II unfortunately, but I also think the idea to simply add a button and let the sampler change bewteen muted and unmuted articolations is fantastic. 
The sampler should load only the regular samples when a certain cell is enabled, while pressing the mute button should load the muted sample as well. 

Damn. I'm trying without success to open my templace since this morning. I did the update for both VEP 6 and Synchron Player. I went back to the previous version of VEP and it seems it solved, but now I'm still having problem, so I'll avoid the update for Synchron Player as well and hope for the best.

Probably my info (that is correct I think) may not me most likely the problem :D
What do you mean with unload? Purge all samples? Delete the instruments? I think you mean that when you load instruments outside VEP, the ram used by your system is exactly the one the instrument used?

Just an example. I have istances in VEP let's say with 12 kontakt libraries. I purge them all, so 0 mb are loaded into cubase. When I delete the VEP istances, my ram gets 1000 mbs of space (that was the scripting and the GUI of those kontakt instruments.

About RAM usage: Kontakt reports the ram used, but Kontakt istances use an unexplected high amount of ram for the graphic & scripting part. Some company is worst than others.

Looks like a great product!
It would be definitely interersting for my live gigs, I'll think about it :)

Hi Dietz, for some of us (I do for sure) it's a pleasure and a privilege to have the chance to talk and question aswered directly by you occasionally.

To definitely end this debate (for every person with a minimum of common sense) could you tell us if the "customized impulse responses" that we find in the Synchronized products are generated with the "MIR technology" ?
Many thanks!

Did you ever notice you can move the mics as well in MIR, not only the instruments ? :)

It's pretty clear (no offense) you don't have the background to understand how MIR works. You should start reading something about Ambisonics. 
From the "Think MIR" PDF that you may have already read:
"Ambisonics relies on a meta-audio-format which is not meant to be listened to directly. It allows for decoding of an almost limitless number of actual audio formats, be it broad or narrow stereo, different surround formats, or any other multi-channel format. By defining "virtual" microphones, a dedicated sonic behaviour can be assigned to each channel: The polar patterns as well as the angles of those microphones with regard to the input signal can be controlled after the actual recording.

To achieve this, an Ambisonics signal has to be based on four channels (W, X, Y, Z)4. The W channel is the signal’s non-directional mono component, corresponding to the output of an omni-directional microphone. The X, Y and Z channels are the directional components in three dimensions. If you have an audio-engineering background, you might think of it as "three-dimensional M/S", or even better a “three-dimensional Blumlein” microphone array.

Ambisonics is a 360-degree, full-sphere sound recording, synthesis, and playback system. It is capable of accurately recording, processing, and playing back sounds from left/right, front/back, and up/down. Incorporating the vertical dimension makes Ambisonics a true periphonic, or surrounding, sound reproduction system instead of an artificial 2D representation spread out over multiple loudspeakers. Ambisonics creates the aural or sonic impression of a physical, three-dimensional space.5

To use the power of this format to its fullest extent, MIR Pro not only uses impulse responses recorded by means of dedicated four-capsule microphones: Any audio signal within MIR Pro is handled in Ambisonics! Every instrument’s signal is ENcoded to format B to guarantee the perfect match between an IR’s original position on a stage and the instrument assigned to it. Of course, the same is true for any audio input, too.

To top it all, when using Vienna MIR Pro we are not limited to those spots that were used for impulse recording in the first place. Ambisonics allows for the seamless interpolation of each and every point within the covered area of a stage. Only the so-called off-stage “HotSpots” are limited to a single position."

 

I'm stating the obvious :) : a well-done real recording will always be more natural than dry samples plus digital/convolution reverbs. 

That doesn't mean that difference is huge, and as we know wet samples comes with some downsides.

To try explaining myself better: I think you never have a simple convolution with the "real recorded responses" in MIR PRO, neither in MIRx or with the Syncronized Series. It's always new IRs calculated taking into account several factors; in the case of MIRx and Synchronized seris VSL already made that choices computing for you, so that your system is "simpling" doing a convolution with a pair of responses, where you can just set the ratio of the convolution.

But even if you do a 100% convolution with a simple IRs recorded in an hall, it's not the same result of a real recording (as for the syncron series and for the majority of libraries out there) ; I think every users here agreed that the 3D definition of the Syncron Series is a "step-forward. It is so obvious, but it comes with a price: the only way you have to change the stereo imaging perception is to change the balance of various mics positions.

First, thank you very much for answering politely :)

You got my points wrong because I express myself poorely, my fault!

When I said that you lose the freedom of VI series (when using the Synchronized series) it's because you're not able anymore to change room, position on the stage, and many other factor. And at the moment you don't have special VI Pro feature like humanize and stretching.

And about MIR, I'm pretty sure I'm right instead :) MIR makes ambisonics computing simulating the propagation of the sound of instruments and "virtual microphones" patterns that catch the sound. You don't see that, because you get a"stereo decoding" as result. I hope someone will correct me if I'm wrong.

I mean that it's an oxymoron to say "the best out-of-the-box library" about a complete dry library. It's not a critique against VI dry libraries, it's just a fact that you have to add MIR (or another reverb) and you have to shape your sound from scratch. That's amazing actually! But it's the opposite of "out-of-the-box".

And if you ask me, I'm not interested at all in the Synchronized series, because in my humble opinion it mixes together the worst of the two worlds: with the Synchronized series you miss the freedom of VI-libraries, so as the the naturalness of a "real-wet recorded" library (MIR it's great, but to simulate virtual mics it's not the same that recording the real thing, for many reasons).
Not to mention (and this one is a VSL choice, not a technical reason) the synchronized series miss many articulations of the original VI-counterpart (and this one looks like a sad trend in the Synchron Series). 

This is just me. There are plenty of new and old users  that may find this new series useful.

No wishes anyway :) I'm quite stuffed with samples, so it's more and more difficult to convince me to buy new stuff; at the same time it looks like all companies release more and more similar products. Two skew lines at the moment :)

Perhaps with less fanatic customers like you VSL would try harder to impress us and to present serious and competitive product, as it was in the past.

well, I definitely add my vote here. But I see Paul's point here.

Honestely, how many steps back should be expect with the new player? If the goal is following the interest of the majority of people, I'd say many. If the goal is to deliver a professional and handful product, other than of course following the interests of the majority of users and trends, I'd say not much.
I know the remote app was a pretty unkown feature, I also started using it after years it was released. But I really hope I will not have to program a lemur patch for VSL instruments as well.

Don't get me wrong, if VSL will decide not to implement it since many users just don't use it and users which use it already have a dedicated software for that porpuse (and they may prefer to control every VSTi they have within the same software), I perfectly understand.
But be sure every professional user has a touch screen with a sort of remote control to navigate its huge templates.

Exactly the same for me. I thought the installation process was stucked, instead it's simply so slow. I thought it was my hard drive fault. For next sessions I'll try to download directly on the SSD and see how the installation runs from there.

No, I remember Paul said that player was so powerful he couldn't think to a Pro version of it.
I think we'll have to wait some month before to see every feature impelemented in the new player.

+1 for the humanize :)

...really? :)

I'm also experiencing some crash on Cubase 6.5, apparetely when I open more istances of Synchron Player and adding automations (I could be completely wrong). But I don't know why Cubase is not creating crashdumps from that.. 

VSL, what have you done...?

This is an instant buy... :)