Thanks

Hi all,

I am actually using the synchonized solo strings for a project.

On the mixer tab, when I choose a mix preset, I can see there is a reverb added (with different settings depending on the preset).

Is this reverb the the synchron stage positioning and verb or is it added reverb ?

For example, if I want only the synchron natural reverb and the correct positioning, what should I choose (I guess Mir unprocessed but not sure as the double bass is centered for example).

Thanks a lot

Yes,

it's enabled and I guess Dim Strings have 4 vel layers and solo string 2, so it would explain the difference.

Same for the release.

So having 600 voices simultanously seems correct when all strings are playing legato (with velocity crossdaded enable).

And I have not yet added winds.

Do you have any idea in order to avoid thoses cracks ?

 

Thanks

Hi Paul,

Yes I have changes the audio engine setup.

But yes 600 voices seems quite a lot and I was a bit surprised.

 

Do you think this is normal when all Dim strings are playing legato, or am I doing something wrong ?

I made a test.

I have loaded the VSL solo violin legato patch and played fast  a simple line (G to C and back to G). VIP counts 4 to 8 voices.

Second, I have loaded the 1rst Dim violin legato patch (regular) and played the same line. VIP counts 20 to 32 voices.

That's really strange.

I am not changing the velocity and MirX is enabled.

Thanks for your help

Hi all,

 

I have recently bought VEP5. I have created a template for all my Strings.

My DAW is Pro Tools.

However during a passage, all my Dimension strings are playing legato, which means there are 32 tracks playing legato.

On VIP, I can see than there is nearly 600 voices playing together and cracks and pops are appearing during the passage.

Is there any way to get rid of them. 

I got an Imac with 32gig of ram and a Thunderbolt external hard drive.

Thanks a lot

Hi all,

I have bought MirX Teldex and it has never been updated for Dimension strings bassi.
I have done all the updates (VIP and MirX)
I was wondering if there will be some update in order to position them ?

Thanks

EDIT: sorry, it was updated. Don't know why, I have the General purpose setup as default... My bad ;)

Sorry, I don't really understand.

Let's take a concrete example. What are the steps if I want to put 30 VSL instruments (for example all Dimension strings + Appasionata and solo strings) in one VEP instance ?

Thanks a lot

Hi all,

 

I have juste bought VEP 5 and I would like to use it to host all my VSL instruments.

My daw is Pro Tools.

So I start to understand how it works. I create a template in VEP with my instruments (up to 16 because there are only 16 midi channels available).

Then I create an instrument track in PT and load VEP in it.

Then I create up to 16 midi tracks to control the different channels in VEP.

But my question is :  s there a way to create only one instance of VEP in order to host all instruments ?

I mean for example for Dimension Strings. I have more than 16 instruments, (8 vi 1 & 2, 6 violas, 3 celli and 2 bassi). So it's up to 29 instruments.

Is there a way to have them all in one VEP template or do I need to create a new template every 16 instruments ?

In an utopic world, I would like to put all my VSL instruments (up to 50 or 60 maybe) in one template and use only this template.

Is there a way to do that ?

 

Thnaks a lot

Hi all,

I have just bought VEP5, so pretty new to it and little bit lost.

I had before a template inside protools with all my VSL instruments loaded within Pro Tools. And I would like now to go through VEP5 but don't know how to link my instrument tracks in VEP5 wih Instrument tracks in PT.

As an example, for example with Dimension Brass, I have created 4 instrument tracks in PT, one for each horn, so I can edit them separately. PT was taking care of VIP in an insert in each tracks.

Now I have created a template in VEP5 with all my VSL instruments. So for the example, let's say I have created four tracks in VEP for each horn in Dimension Brass.

However, now I want to link the 4 instrument tracks in PT with the 4 instrument tracks in VEP, so when I play the horn 1 in PT, it only activates the Horn 1 track in VEP.

Sorry for the noob question and thanks for your help.

I have seen my error...dumb error, must say!
I have installed the latest version, becasue VEP5 didn't recognize it, but by mistake, I have clicked on Vienna Instrument instead of Vienna Instrument Pro !

Let's try again !

Hi all,

I am trying VEP5 for the first time and what a surprise to see that VIP instances created into VEP are missing lot of cool stuff (strech, polyphonic and so on) as if the GUI was a limited version of the normal one.
For example going into the advance tab, I can see I can only superpose four samples in one cell and just below this feature, normally I can choose Mixer, Voice edit, Stretch or advanced, but that part of the GUI is no more available. Instead I got control for Reverb. That's quite weird.I am pretty sure I am doing something wrong. But what?

Thanks a lot

Hi all,

I can't test the demo version of VE5/MIR24 because I got a popup telling me It remains only 25 times for trial. I can choose "Ignore" or "Ok".
But every time I click on one or other button, the popup reappears and VEP can't launch.
So is there a way to fix the bug because I can't test MIR24 at all.

Thanks a lot for your help

Joffrey

Hi team,

VIP2 is a killer sampler and library updates are quite amazing.
By clicking in my chamber strings library, I can ee now a perf leg slur patch which was not available before.
Could you explain how it has been done? Did you cut the beginning of the perf leg samples?

Thanks

btw: I can't find the Violins 2 patches. Are they only available in matrices and presets?

Hi all,

I could'nt agree more about volume issues.
I still think VSL have the best samples ever, but a lot of people are moving to other company products due to the compexity of VSL.
I like this complexity when it permits me to use tons of articulations (as VSL "only" permits). But I like less the fact that I need to fine tune my volume when going from an articulation to another one.

But my main concern is the phase on velocity crossfading! It has been created while ago and since it seems that time haas changed and a lot of improvement have been found. Would it be possible to change the velocity crossfading to try to avoid the most the phase and the "multi" instrument effect (ie when using solo violin and riding the xfading and hearing two violins because samples are layering).

Regards

Erik, you're the man!

This latest version is the one I prefer.
Mostly because this is the one which sounds the more like real strings (HS sounds also very real, but very compressed and filtered). Orchestral strings reminds me the pit of an orchestra. The attacks are very good and also dynamics.

The only lack is still very fast passages in highest range of the violin. Could you tell us what kind of articulations you have used?
It is also a little bit too much quantized, but that's not a big issue as it is due to the mock up already done.

The great advantage from VSL is even spiccato have been recorded as perf interval (with interval between two notes recorded) so spiccati passages (especially with celli are quite incredible).

So I would say HS and VSL orchestral ex aequo. HS sounds really good and can handle fast passages, VSL orchestral (HS beats on the example appasionnata as sound is similar but HS sounds more real). has the best sound to my ear but some issue on highest range (the 1.45 min passage). It sounds too much clean, too much "piano man".
But I am pretty sure runs from orchestral can handle this!

Thanks for comparing.

LASS can do far better than what is shown! But however this library doesn't have enough articulations to handle this kind of piece. It shines on legato and spiccato. SO as says previously I would exclude LASS.

Important thing is to see how close HS and VSL are sounding quite the same the first bars of the music.
I can hear well the attacks on HS and even if some are sounding weird, it is far impressive.

VSL is very good at the beginning. However all the runs are far better with HS.
I must say that HS shine on this, but VSL is not so far behind. The only issues are very fast passages. This is why I would like to hear orchestal strings as I would liek to purchase this library and as I am pretty convince by WW runs from VSL, I am sure Orchestral strings can handle those runs (with time streching).

Hi VSL guys,

I love the run and arpeggios from the flute full. Tempo seems to be around 150bpm for them, but could you tell me at which tempo they were reocrded so it will be easier to strech them.
Thanks a lot

Strange,

on my previous message the word "S P I C" as been changed by "***".
Is it a german insult?

So even spiccato perf intervals are recorded with transition between notes!
That's great.

btw, a noob question, why VSL is using a figure up than standards. That's true that a C3 is named C4 within VSL convention.

Regarding, I know regarding legato perf interval, that starting my phrase with G4 will not use the same sample than the G4 used in the middle of it (starting sample vs leg transition one).
However what I wanted to say is taht my transition from G4 to C5 is far more realistic with "leg transition" G4 than "Starting note" G4.

Thanks DG for your answers. I am very happy with Chamber strings (at 85% to be true. I would have loved more than 2 vel layers for perf and the little issues on some legato notes).
I am planning to buy Appassionata or Orchestral to get a more lusher sound simulating a big orchestra.

Hi DG,

I can tell you that a detache played alon doesn't end like this. It must has been edited. Strange.
However, as you said, stacked to keep only the attack makes pretty good results.

I have also solved my issue regarding sustain patches following by legato patch. The issue is that a even on a legato patch, the transition from G3 to C4 is weird if the G3 is the starting note. If I play F3 G3 C4, I don't hear the strange legato transition.
It is happening on some notes, but very few. I guess when recording a library, some transitions were better than others. But there are very few with strange transitions and there is always a way to get rid of this.
For example, on this example, I wanted a strong attack on G3, so I started the G3 with marcato perf interval and C4 with leg perf interval. The transition was really smooth.

I have another question,
I am using a lot the spic perf interval. Are the transitions recorded to get the "air" between the notes?
I mean, this patch is sounding really great and would like to know if each patch called "perf" got transitions recorded?

Hum, I understand what you mean.
But I think release samples can be used within a script like for the legato patches for only a few ms.
When finishing a phrase, you stop playing and the release sample will load.
It would make strings so more convincing. But I understand that velocity should be the sample as of the last sample played, but it works for legato, isn't it.

Even with some full length samples it is happening. If you have chamber strings, detache long doesn't sound like full note. The end of the sample is quite strange acting like a flute.
I have never heard players played like this. I think the samples have been tweaked for some unknown reason.
That's strange.
But I must say I have the same issue with LASS (regarding release samples).

I will try to use velocity xfade to do that way. But are the release samples really "release samples" of players stopping, cause it sounds to me, especially on sustain for example that this is more like a sample which is cut. Instead of reducing release sample volume, I would like to increase it. But In VIP, when putting the faders higher, I only get the impression that release samples are some reverb artefact (on sustain I mean).

I will post something when I will see how I can record my screen (to show piano roll at the same time).

Hi all,

first of all thank you for all those kind libraries.

I am trying to solve an issue I have since a long time and not only with VSL but with all libraries I am using, but as VSL is my favorite...
As I am a violin player, I am very careful about those samples and the issue with ALL strings samples are the release.
With short notes, all the note length seems to have been recorded, so on Staccato, Spiccato, Pizz, harsh, detache short (I am speaking about chamber strings here), the sound is full and beautiful.
However, on long note, I can't hear the strings players stopping their bow on the string at the end of the note.
For example, on sustain, when I release the keyboard note, the note cut abruptely. Ok The release function is adding some trails, but it's more like reverb to get a smooth cut than a real sample of a player stopping his bowing.
And this is he main thing which makes me tell when listening to a music if it has been done by samples or orchestra. It happens everytime and everywhere.
The srangest thing is that it also happening on detache long, but it should be a full length sample? The note is finishing like a flute (a very quick decrescendo like someonoe stopping to blow), not a string instrument.
So my question is there a way to add real release of bow samples? MAybe I am using wrong the samples.
It is not only VSL but all libraries, but maybe it's a hint for next gen libraries!
Other question is regarding attacks. With legato perf, if two notes are not overlapped (depending on ms defined in VIP) a sample with attack is heard.
Great. But sometimes I prefer an attack from another sample. I mean, on a phrase C D E in 8th note. I want a slow attack to start and then all in one bow.
If I am using only legato perf, the attack on the first note is heard but little two quick in the passage I want (nothing wrong with samples, but matter of taste), but D and E are perfectly connected.
So I wanted to use a sustain sample for the C and legato for the rest. But even if the keyswitch is trigger during the C, the D note (even if overlapped with the C) is heard with the attack from the legato patch. The E is ok.
Is there a way to make the legato perf patch start by a slur note if it is overlapped even if the note is the first one of the patch.

Thanks a lot for your help.

Hi Mahlon,

thanks for the trick. I will try it for sure. I love LASS as well but finally I prefer to have plenty of articulations like with VSL.

I will not continue the mock up as it was only to understand how chamber strings library was working. But maybe I will enhance the violin part to get more definition on attack.

Hi all, here is an arrangement I made to learn chamber strings. I decided to mock up this excerpt from Romeo & Juliet.

Enjoy!

http://hicks.groupe.free...e%20des%20chevaliers.mp3

Hi all,

I am struggling with Chamber Strings to get a realistic sound. The issue I have is that I am a violin player and when listening to my mock up, I am hearing in my head the sound I would like and not the virtual sound coming from speakers. Strange but true!

Is there anyone who could mentoring me to listen to my demo and tell me how to do to improve the realism?

Thanks a lot for your help.