Hi Dave,

there I am again. What a nice, lively, rich, beautiful piece is this. Congratulations! And again, what a beauty are the Dimension Strings. Realy unbelievable, that we can make such lively performance these days with a computer. I think the way VSL has gone through the last years is one, where obstacles had to be removed, legato needed to be improved, but the results are so amazing. 

@ David: Nice music, beautiful use of the library, interesting video. I enjoyed it very much!

@ VSL: this library IS a beauty!!

... listening to the demo "All Aboard on the SE Express" of Guy Bacos...

Demos SYNCHRON-ized Special Editions Volume 5

I ask myself, if it make sense, to make one output for each company in VEP, and for every instrument a seperate input in Cubase. I think the outputs and inputs are coupled to each other and need to be in accordance with each other. But perhaps I don't understand you right...

Hi,

when I read your self-criticism, I think: wow, this man has very high standards! 
I was amazed to hear your music and how the performance is, knowing that it is your first attempt at an orchestral sketch!!
You wanted some debth in it: I hear a beautiful debth in it!
You wanted to make it sound louder: well, I hear a majestic brass that sounds loud in a very musical way.
Concerning the strings: of course, there are libraries that sound better, but it is expressive, also the very last seconds with long notes and crescendo and decrescendo.
And last but not least, the music captivates me until the end.
Congratulations!

I'm curious about one thing: is this the SYNCHRON-ized Special Edition or the VI version?

Just checking if I do understand you right. Did you click on A1 and choose there the channel you want to use? For example: if you click on 2, you will see A2 and the instrument will respond to channel 2 midi signals.

Hey William, impressive, really. Very impressive!

Hi Paul, 

Thank you so much for your friendly words. I enjoyed working on this music. Working with the combination of Synchron Strings 1 and SYNCHRON-ized Dimension strings is great, because the Dimension Strings add just that little, that makes it more lively. And the Cantabile articulations of Synchron Strings 1 give so much more possibilities in sound. I'm realy fond of it. But also the woodwinds are very expressive and can play realy subtle.
All in all, a thankful user of VSL.

I made a "music minus one" piece for a piano student of mine. It is unisono for the right and left hand.
All instruments are VSL in Synchron hall (woodwinds with MIR PRO, strings are Synchron Strings plus some players of SYNCHRON-ized Dimension Strings, piano is the Concert D-274)

Concertino for piano and orchestra

Hi Pyre,

Although I liked the Vienna Imperial very much, the Yamaha and the Steinway are a huge step forward. In sound, but also the easiness of placing them in a venue (they both also can sound very dry by using the closest mics).

I looked to your hardware, and I think that is another point to look at.
A ssd is very recommended for the Yamaha and the Steinway.
8 GB RAM is the minimum you need, 16 GB recommended, but if you want to use more instruments at the same time, I think you will need more RAM, especially when you use MIR Pro for the other instruments.
When I started to use the Synchron Strings 1, I noticed that 32 GB for a symphony orchestra is hardly enough.
Ok, the Yamaha or Steinway are of course less RAM consuming then the Synchron Strings 1, but for a smooth performance of this both instruments it is good to realize, that an investment in the hardware could be necessary probably.
Good luck in making a choice, that gives you a lot of musical pleasure!

The things that work for me: keep as a starting point a not too high velocity for all the patches, and use of the filter (cc24) for the non-cantabile patches.
Beside this I use the combination of Synchron Strings with the SYNCHRON-ized Strings (I use 4 players at the violins for example for this purpose), what also bring the total sound to each other. This makes the total sound also more living.
I hope this will help for you a little.

Another thing I do is, that with the Synchron Strings I only use the mics that are the most distant and almost not the near mics.

I came to this decision after a concert that I visited of the Rotterdam Philharmonic Orchestra in the concert hall "De Doelen" in Rotterdam, the Netherlands. I noticed, that in the concert hall the string section sounds so totally different from the studio recordings. It was almost a shock for me (with the emphasis on "almost" of course). So much darker, less harsh, warmer. I was sitting in the middle of the hall. I remember William brought this point in more than once. And I agree totally with him.
This brought me to the point to just use the mics that are the most remote. 

Two days ago I remembered in a bright moment this thread with a possible solution, unfortunately just for the SYNCHRON-ized Dimension Strings, so the one for the Synchron Player. I remembered namely, that in the Synchron Player a Start Offset of 1 second is possible (in VIPro only 50 ms). There are also several possibilities on which tones this Start Offset is applied: all, first, rep, leg, rep + leg.

I took a little violin melody from a piece I'm working on this moment, and recorded that with eight first violins (2 times, the second time starting on a lower note). After that I played a few seperate tones.
I did the maximum start offset of 1 second and used the setting "first", so only the first note of a melody has the start offset. I had to use the global attack slider (c22) with the "first" tones.
The Start Offset Attack can set to a maximum of 100 ms. Without using c22 I think in this case you need that maximum of 100 ms.

Example Start Offset 1 sec for "first" notes

Hi Ben,

Thank you for your help. Now the link is good.

Best

Hi,

I posted in another thread 2 examples. 

Consolation (only close and mid mics) (now correct link)

Consolation (with close, mid and ambient mics)

In both cases I used the full library (and not the standard you were asking for).
For me to create the best sound I definitly need the full library.

I hope this will help.

Probably needless to say: there is of course the possibility of Xfade from a non vibrato patch to a vibrato patch, but I suppose you know this and you should prefer the cleaner way of adapt the length of the non vibrato part of a progressive vibrato patch.

I recognize the need. The patches could be more useful in faster tempi.

In Samplitude this works, when I hit shift + spacebar... perhaps this works also with Cubase? And I have to click on a empty spot below the channels...

Of course, but when it turns out, that time-stretching for reverberated material shouldn't be a good idea in connection with sound quality, an alternative would be to reserve this feature for SYNCHRON-ized libraries, that are recorded dry.But I'm glad VSL is thinking this through. And according the experience throughout the years we can expect: there is a very good chance, that something good will come out.
Good luck in this always on going adventure!

Hi,

this weekend I had the opportunity to work with a.o. SYNCHRON-ized Dimension Strings 1 and Synchron Strings 1 and to begin with: I love it. Beautiful libraries, working together it gives so much more opportunities, and then with the Cantabile patch in it, just a real feast.

At the same time I started to miss something, spoilt as I am with the possibilities of Vienna Instruments Pro...
namely a stretch function in the Synchron Player, among others to adjust for instance a little staccato notes and detacher short notes.
It should really be a very helpful tool, also for the dimension brass, especially to adjust the length of glissandos.
So, forgive me, VSL, for being such a spoilt user, but in fact: you made me so ...

I was doubting in which thread I could write about the Cantabile patches. Jimmy Hellfire wrote about it in the thread about the new version of the Synchron Player, and this thread is about the patch itself.
First I want to say I agree with Jimmy Hellfire very much about the Cantabile patch. What I appreciate very much in it, is the vibrato in the strong vibrato patch. It is very expressive, and the x-fade with the light vibrato makes that you can much more give it the right expression. Beautifully. Great.
And as Jimmy wrote: it would be great as the other sections should get also a cantabile patch.
I want to share also a little thing: when you use the filter (cc24) in an existing project, it is very good possible that you have to change the value of it, when the cantabile patch comes in. I had to do that in my case.

Nice to hear from you! Congratulations on your new Steinway! I hope you enjoy it as much as I do!

Hi 10bd01,

Here are three examples in one file. I don't win a concours with this performance, but you get an impression what the Steinway does. How I feel about it? Completely glad and happy with it.

Example of repetition notes and trills 

Nice to hear that your problem is solved now. Indeed I didn't know about instrument banks. I don't use Kontakt a lot, just for a few instruments. 

Good to hear!

Just a few thoughts on this subject, I hope it will help...

In my understanding has every instrument in a Kontakt instance his own midi channel. So by sending the midi data to the right channel all the instruments in one Kontakt instance should be playable in Vienna Ensemble Pro.

Set the midichannel number at the top of the channel in VEPro at "all" and look in the instruments inside the Kontakt instance which channel every instrument has (you can change that of course).

By sending the midi data in the wright channel from out of Cubase, you should reach the wright instrument. I don't know Cubase, so I don't know how it works in that program but I did a test in Samplitude and that works well.