That's a remarkable story and nice to read. Thanks for sharing!

Yesterday I used the sequencer mode of VIPro for the first time.
With trial and error I discovered how the things I needed work.
When I had finished the job, I realized that in the last update the help button  (the "?" sign) had become a link to the online manual.
I clicked on it. What I found was beautiful. The manual very clear, with links to all the subjects, and the movies with very good explanation of all the functions.
I just want to say, that I enjoyed this a lot. (And next time it should be a good plan to enter the help button first, when I have to discover new things ;)  ). 
The products of VSL become better and better all the time, also in these little details.
Thanks!

Hi Markus, I just took the time to listen to your piece. And the first thing I discovered was how real it sounds. Beautiful oboe, very natural, and also the piano. An interesting piece, it kept my attention until the end. And the last tone brought a smile on my face. Nice work. Congratulations.

The thought that comes to my mind, is to load a preset, and then delete all the patches you don't need in that instance. Then save that as a preset. It is some work, but then you get what you want, I suppose. 

Making a template for a symphony orchestra in Dorico I encountered a big difference in sound between the muted solo trumpet and the muted dimension trumpet. The same kind of difference I discovered between the muted solo trombone and the muted dimension trombone. In the Product Infoof the instruments I read, that they has been recorded "with straight mutes" or the expression "straight muted" is used. Obviously different mutes has been usedwith dimension brassfrom solo brass. I discovered on the internet, that there are many "straight" mutes in the market, that sound very different.
My question is: are there special names for that different sounds, so that a composer can tell the player what kind of sound he/she wants for certain passages?

Hi Jos, Good to hear something from you! To begin with I wish you all you need in the caring tasks and support for your mother and I wish for your mother all she needs. And concerning your performance I had just one word (in Dutch): wonderschoon!, that is in English (for the readers that don't speak dutch) wonderful, but in my feeling stronger than that, in fact a combination of wonderful and beautiful. The care for every note, in timing, in sound, in everything, wow!Thank you for sharing, Jos, and God bless.

Hi Norman, may I ask you which model Steinway you have at home?

I enjoyed very much listening to it. Beautiful sound, beautiful performance. Thanks for sharing!

I totally agree with Anand. This is craftmanship of the highest level. I love this music. Also the very sophistcated performance.

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!