I was trying some things with the Synchron Piano Player.

Synchron Piano Player Stand alone version: the behaviour as described in this thread with Yamaha and Steinway. The default can't be loaded, all the other presets can. But no mics can be added at a preset.

Synchron Piano Player as a plug-in in the stand alone Vienna Ensemble Pro version: when I start first the Yamaha, there all things work fine with the microphones, as expected. When I load after the Yamaha the Steinway, all things work fine with the Steinway.
BUT : when I start with the Steinway no extra mics can be loaded in a preset.

The same behaviour of Synchron Piano Player in the Vienna Ensemble Pro plug-in.

I use Samplitude Pro X5 Suite as DAW.

I just ran into the same problem...

Hi William, I listened to both pieces. When the last tones of "A day together" were played, I had a spontaneous feeling of wanting to applaud. Beautiful music, beautiful orchestra, all instruments, but especially the strings. 
Nice to follow the score while listening. Thank you for sharing the music!

Just a thought (I understand your feelings about this). Could it be, that the overal attack of Guy is softer, or the keyboard of Guy is responding softer on a attack. You could try to diminish the midi sensitivity. Good luck!

Thanks, Dave, for giving us an insight in your workflow. Good explanation how you work. (By the way, I thought you were using Dorico, but here it is obvious Finale :) ). Nice to see also, that you and Becky are a good team also in this aspect. And composing so fast for me is amazing, I have to say. Indeed, a lot of time goes in a good rendition.
I'm also glad, that you did go on with composing, despite moments of some discouragement. (Of course I noticed that much earlier). A week ago I saw an interview with Pierre Boulez. He told, that if he wasn't able to conduct any longer, of course that shouldn't be nice, but, well, for him it should be possible to live with that (he assured that he really liked conducting). But when he was no longer allowed to compose, that should be impossible for him. I can imagine it is the same for you. Am I right? So, keep up the good work!!

Thanks, William! 

Thanks, Anand, for your reaction. The last days I spend some hours at an improvement of the rendition. There were some cliffs to sail between. I replaced the original files of the link several times by an improved one, just finished the last one. The problem is: every time I hear something new, that I should want to improve. But I think I stop it now to move on.
A next instrument I love to experiment with is the solo cello 1 and the first notes of a new composition sound promising concerning the sound of the instrument. I love very much the violin and cello.
My main instrument is the piano (in the past it was church organ) and I'm glad because of that, because it helps a lot in composing, harmonization and so on. But as a child I loved it when an uncle visit us. Often he brought his violin with him and then my father, who played the piano, and my uncle were playing together. And I was sitting on the stairs and listening and I loved it. Of course I had to do that secretly, because I actually had to sleep, it was late... Nice memories.

In the passed weeks I experimented with the new real-time time-stretching tool in the SYNCHRON-ized Chamber Strings and in the 2 solo violins of the SYNCHRON-ized Solo Strings, that became available a few weeks later.
It became a meeting between a chamber string orchestra and 2 solo violins. Meeting first each other with rather different melodies, but at the end they become more and more an organic whole.
I love the time-stretching feature. It makes both libraries much more flexible.

I hope you enjoy the music.

A meeting

Hi Anand, I enjoyed listening to your music. I heard it as just some musical thoughts, making some beautiful sounds (the solo violin sounds very well), just making some music, enjoy the beautiful strings, that play just what you write (who could at all think for ages that this should be possible!!). Thank you for posting this!

I just want to say how enthusiastic I am about the many improvements of SYNCHRON-ized solo violin Guy Bacos shows us in the screencast of "Delicate Memories". The expression in one long note is something I'm always looking for and Guy shows here the improved possibilities, very natural, very expressive. 
Congratulations on this great work, team of VSL!

And...there they are :)

Hi Buel,

Happy Easter! I was just doubting if I should post something I made a few days ago with the Konzerthaus Organ. When I read your thread, I thought: why not .
I made a small edit of the song: "A toi la gloire, ô Ressuscité", not for Eastern but for a funeral of a dear friend of mine. Her husband asked me for this song after the service, when the coffin was carried out the auditorium.
I used some presets (the "Large Principalplenum + reeds" for the manual and for the pedal the "Large Principalplenum" and the trombone 16' + Trumpet 8' + coupling Pedal to Manual: you can do that by adding the manual samples to the pedal channel).
At the end I added a few stops (Manual I: Principal 16', Manual II: Principal 8', Octave 4', Mixture, Krumhorn 8'  and Gross-Cornett of Manual IV). The difference in sound is not very much, but just a little more body I should say. At the last few tones I added the Bombarde 32' of the pedal.
Beside that I used MIR PRO to place the organ in a more cathedral venue (the kirche am Steinhoff, from Roompack 3) and for the pedal I used a little more reverb than for the manual, that worked well in the sound.
I hope this inform you a little more about the possibilities and the sound of the Konzerthaus Organ.

A toi la gloire, ô Ressuscité

When you want a lower pitch (for instance -2 semitones), you can set octave on -1 and semitone on 10. 

Thanks, David, and sorry for bringing a little confusion. I wrote .cab files. Of course that has to be .dat files.

A little question: theDimension Strings I Cellos - Library Download v2, replaces this download the Dimension Strings 1 cellos totally and deletes this program also the old Dimension Strings 1 Cellos .cab files?

Thank you, Fabio and Jasen, for your replies. 

@ Jasen: thank you for sharing your feelings. I understand that you call the piece somber. The mood in which I composed it, was sitting down, seeing the things that are happening, having my own personal thoughts about all that things, perhaps searching for comfort in a way and then it starts to sing in me and I start writing.

All the best to both of you!

And congratulations, William! This annoying experience shows apart from the quality of VSL, also your quality as a very good performer of sampled music. 

I remember that you had the same kind of experience about 1 or 2 years ago. Then you published a performance of Beethoven 5, first movement, with the Synchron Strings 1. I tried to find that version on the internet, but I didn't find it. Did you delete it? I think it was on Youtube. When it should be possible, I should like to compare the 2 versions. 

In the meantime we are privileged people to be able to work with so great, beautiful and extensive library and all the tools with it to make music at such a high level. And we can share it with other lovers of this kind of stuff.
I'm grateful for that. Just a personal feeling.

Hi, a great thing about this piano are the many microphones. And yes, you have to experiment a little with the microphones to find your ideal sound. But you don't need to do all kind tricks to get a good, beautiful natural Steinway sound. I don't have the opportunity right now to figure out the sound of op. 10 no 4, but I'm sure you will get it just by mixing a little with the microphones. When you can afford it, I think, it would be a good choice to buy the full version. The added microphones of the full version have a great added value in sound.

Hi, I want to bring in something else.
The dimension strings are a beautiful library on it self, but this library can also be used very well as an addition to another library.
I experimented a lot with mixing string libraries. I discovered, that when you combine two string groups (chamber, appassionata, orchestra, synchron strings) together, you hear very often the two goups a little apart, not so natural in my ears. 
But when you mix a "group string library" with one, two, four, or when necessary eight players of the dimension strings, you can keep the special sound of that group but make the sound richer. And the danger of a synthy sound is practically gone (mixing solo strings can work the same, but then you have only one or two players you can add).
And with the humanization tool you make the strings even more natural in the transitions and also with short notes and pizzicato.

And of course: congratulations on your purchase of AS. Indeed a wonderful library!

Dear fellow forum members, in these days with so many difficulties and sad things: the loss of a dear member of this forum, Paul McGraw, all the troubles around the Corona virus, our Italian fellow members, locked up in their houses, and also fellow members in France and other countries, I got inspiration to write a little piece for saxophone quartet. The title came when the piece was finished. That also felt as inspiration. I think, many of us will feel the same.

So here it is: to all of you. I hope you enjoy it.

...But the greatest of these is love...

That's sad news, in the first place for his wife and other family. But also for the members of this forum. He contributed always in such a positive way. More than once he helped me with pieces I placed on this forum. 
Also his music on this forum brought always beautiful moments when listening to it.
Although I just knew him from the few times we were in contact through this forum, I will miss him.
Of course my condolences for his wife, family and friends.

Thanks, Philip, for this gesture to all of us, for the beautiful music and the beautiful performance.

I agree very much with Garylionelli. I'm experimenting with the time-stretch tool in the SYNCHRON-ized Chamber Strings. And I experience the same. I can get a smoother flow in a rather slow melody. And to my own surprise I don't feel a need to add some solo strings or dimensions strings players to the chamber strings to avoid a kind of "one instrument" feeling, where the instrument is built up with six violins. (Sorry for the perhaps little strange explanation, but I don't know how to explain this in another way... I hope you understand it.)For shorter staccato's and a more expressive trill it works fine.I'm glad that everytime your team improves the software! It's a pleasure to work with it and experiment.

Hi, you have to install the Vienna Synchron Pianos software. You find that on the website in MyVSL > MyDownloads > software installers

Great!!

And just for fun: do I hear an announcement in the first tone of the video of Paul about timestretching???
A... solo...violin...??