Hi,

After a long session, and then shutting down Cubase, VEP maintains 'Very High' power usage. This was not the case with the eLicencer version. It would immediately go to 'Very Low'. Which would allow me to keep my template loaded. Windows 10

Hi,

Regarding the colours, I now realise that I need to save them as part of the Venue preset in MIR Pro 3D. Because MIR's colours seem to be overriding VEP's colours.

I have sent a project file to VSL support which is a) not remembering the wet signal routing and b) the wet signal routing is causing 400+dB (yes 400!) of distorted audio.

Here are some links to videos demonstrating the issues. The first is VEP not remembering wet signal routing. The second is the 400dB distortion.

https://youtu.be/0jkvwt5b8AQ

https://youtu.be/YaCB8HX1hlY

Cheers

Hi,

I understand the bright orange is the default colour for Dimension Strings. But on loading my template, MIR Pro 3D changes all my channel colours to MIR Pro 3d's colours. This didn't happen with MIR Pro legacy. 

And to reproduce another issue I was having:

Launch VEP

Add 1 channel

Insert MIR Pro 3D

Activate the wet signal routing

Save the project

Close the project 

Load the project

Result:

MIR Pro 3D's wet signal routing is not saved and is in 'Inline' mode. 

Hi,

For some reason VEP is not saving certain data with the project file. Namely, colour of channels and also MIR's 'Wet Signal' routing.

And also, when loading my template, MIR Pro 3D wreaks havoc on my channel colours. It turns all my Dimension Strings channels  in VEP to bright orange. Is there a way to stop this behaviour?.

VEP is up to date. 7.1.1387

Hi,

Could someone at VSL HQ maybe do a quick test with a simple project to confirm that the iLok version is in fact slower to save?. Without all the same plugins and VI's that I have, it may not help to send through my template.

Cheers,

Hi,

My VE Pro template is taking 50+ seconds to save since I moved to iLok. The eLicencer version took 4-5 seconds. It was one thing that I often noted with the old version, was how it could save so quickly, I really liked it.

Please fix this VSL. 

Hi,

I downloaded and installed Elite Strings but something went wrong with the installation.

I opened the VA and attempted to reinstall them but the VA began to re download them. Is there a way to reinstall them without redownloading the library?.

Thanks for any help. 

So I may have fixed this. I went into the preferences and reselected the default download and install locations as well as changing the 'Max parallel downloads' back to 2 from the default 3.

Hi,

I am trying to convert to iLok, but the Vienna Assistant has ben stuck on 'Verifying...' for hours now. Is there something I can do at my end?.

That will be awesome. Very much looking forward to the release. :)

Just one question, why 'Roles'?. Is this to do with the 'Role' an instrument plays in the orchestra?. It's not something that I would usually associate with music. Actors play roles. Musicians play parts.

Sounds good.

Will 'Roles' load/save settings for all instruments in an instance of VE Pro like MIRx does?. Or do we still need to load/save every instrument one by one?.

I understand that there is going to be new preset management in the upcoming MIR 3D.

I just wanted to post a friendly reminder of just how painstaking it is to change MIR venue in a VE Pro project.

If I have Dimension Strings in an instance of VE Pro, that is 32 channels. If I want to change the venue and have the instruments placed correctly on the stage, to avoid moving the icons manually every time I first need to save 32 mirchan files one by one with the instruments in the correct position in that venue. Then, I need to load those files one by one for each instrument. And that is just the strings!!!.

MIRx seems to be able to recognise each instrument and place it in the correct position. I hope the same file type can be created by the user in MIR 3D. It would be even better if this file type was available in MIR Pro.

As I said, if the user needs to use Expression Maps or the equivalent to select either 16th, 8th, quarter note or breve, this would be a small price to pay for the realism I believe this system would provide. 

Here's an idea for legato phrase realism.

When a cellist performs a breve (2 whole notes) that is all it was meant to be, a breve. It is played with a particular technique, a particular expression, a particular vibrato progression, a very specific sound. A cellist will read ahead of where he/she is and know the music before they play it. If you are into listening to classical music, then you will know just how much expression goes into a performance. The sort of expression that cannot be finessed out of a note that was only ever meant to be played as a breve.

Maybe VSL could develop a library with four different recorded note lengths to be used exclusively in a legato patch. Samples that the software intelligently selects and connects with a legato transition. This would only be for playback.

I understand that VSL has developed a legato transition recording technique where they get the players to play fast, in order to capture the realism of a transition being played at speed. Those transitions are then being crossfaded into a sustain that was performed in a different musical context. If there was a new system that could recognise an event as being  16th, 8th, 4th or semi breve, and then select the corresponding length sample. Then, not only are the legato transitions the right speed but the note it transitions into will be a 16th, 8th, 4th or semi breve performed by an expert player.

Even if we need to add the CC data to the events in order for the Synchron player to recognise which length note to play. This would be a small price to pay for the realism I believe this system would provide.

:)

How do we delete posts on this forum?

If you could tell me which of the following you assigned to the orchestral violins profile I would appreciate it.

99a, 99b, 99c, 99d, 99e, 99f, 99g, 99x

P.S. I just added MIR as a plugin and that is what the icon looked like. There must be a bug. 

I just went through a few profiles and they all seem to be accurate except the violins and violas. Violins and violas face upwards not horizontally. So I hope this gets fixed in the future and in MIR 3D. 

If I turn a trumpet or trombone player -45° then yeah, there would be a lot of reflection off the right wall. Same could be said for a cellist. But a harpist or a violinist turned -45° would have very little influence on the amount of signal bouncing off the right wall.

There seems to be issues with the way some of these profiles have been weighted.

What we need is icons for specific instruments that don't point in any particular direction. Or a profile that offers a more balanced directivity. A tuba points straight up, as does a saxophone. If MIR 3D allows us to point instruments straight up or 45° down, put me down for a copy.

Yeah, those flute lines are all over the place. BTW I always have the correct profile selected.

I think if there was more information coming from the floor or the ceiling?. Especially when in the 'Conductor' position it would help. Then the 100% wet signal would provide more positional information.

I think this particular venue exaggerates the behaviour I am finding difficult to get my head around as it is very narrow. Also, when I point a violin (icon) that has upward facing sound holes at the right wall, I don't expect the reverb in the room to behave like I am pointing a megaphone at that wall. 

Thanks for all the help.

The pink noise source seems to remain 100% mono no matter where on the stage I place it and wet/dry ratio has zero effect on the left/right image. What is strange is that the MIR Pro pop up indicates that changing the wet/dry ratio is represented in its stereo output meter but Cubase's output meter stays mono. And the audio is completely mono. Not sure what is happening there.  See video.

Then I set up a violin staccato sample in VI Pro. Now the dry signal is very much on the left of the stereo field but the wet signal is again 100% mono if not more on the right. But if I point the source at 0.0° it  immediately sounds better. But at -45° the positioning is lost completely. See second video

Does this mean that I should really be pointing all my sources at 0.0°?. I always pointed my instruments at the conductor position as this is how players traditionally sit. But now I am questioning that approach as 0.0° or close to it seems to get far better results. 

I'm not sure about this behaviour. It does not seem to represent the way a sound source is processed in the real world.

If I stand on your left side facing you at a -45° angle  and speak to you , you are going to hear me more with your left ear. Your right ear will not be hearing the reverberated sound waves of walls as much if not more than my direct voice in your left ear. I understand that the right mic does not have a physical obstruction i.e. a cranium to contend with, but there should still be more signal reaching the left mic than the right. Distance also should play a role here.

For such an advanced piece of software, I just think that this behaviour is counter intuitive.

https://youtu.be/qg-CGNURnNQ

https://youtu.be/nytotuR6TXs

I made the second video public now.

I thought that it being a stereo mic array and the fact that the dry signal is VERY left, I would at least get more signal on the left than the right being that the mic array is stereo and the left mic is only 45 degrees of being pointed dead centre at the 1st violins which are 6 feet away. And this was also the case with the violas which you can see are positioned behind the violins and infront of the "in-phase"-axis of the mic array.

I thought that the secondary mics would just be simulating a wet hall sound as apposed to a wet stage sound. And I wouldn't have thought that because there is no dry signal that all perceived positioning would be inaudible as the mic array is stereo.

The same was happening with the violas. Is this not the whole idea of the mic capsules, to give a simulated stereo image of the source?. It sounds like what you are saying is that if there is no dry signal, we get a signal that in no way represents the actual position of the source.

Thanks for the help. :)

Hi,

In the first video you can see that I have the 1st Violins on the left with a close mic array in the centre. However,  on the master output meter it can be seen that there is as much if not more signal going to the right channel. In the second video it can be seen that If I wind back the wet signal, the dry signal is in the correct spot, on the left.

The output matrix can be seen in the picture.

https://youtu.be/b-KYqxu55gc

https://youtu.be/gdeZMgnLYJw

Hi Ron,

I would strongly recommend using more matrixes or matrices .

This way you can re-use e.g. C-1 multiple times. So the Expression Map output mapping would look like:

Legato - C-2 _ C-1

Legato Marcato - C-2 _ C#-1 

Staccato - C#-2 _ C-1

Staccato Bold - C#-2 _ C#-1

This way you don't run into the playable range of an instrument.

Regards 

Great!. Now I get it. Thanks!

Now I'm going to go and buy 2 iLoks. This all makes my eLicencer arrangement feel rather vulnerable now.

Quick VSL!!!