Originally Posted by: PaoloT

Alas, no Release control data in my score. So, it's not that.

I thought you use Dorico, isn't it? In tab Play you can trigger cc23. I got this result (cc23 value about 90), 2 flutes and one clarinet

Definitely more legato! 

I hope this will work for you!

And a combination of Wave Start Offset, Start Offset Attack, in the Perform tab the Legato mode "poly", and then a little overlap from note to note, does that work for you?

By the way: the examples you posted are rather acceptable in my ears, but I found out, that people can judge very different about these things. So who knows, the last suggestion works for you...

Hi Paolo,

You could try in the "Edit" tab the Wave Start Offset option. You probably will have to adapt the Start Offset Attack also. It is possible to make one or more slots with the samples adjusted with Wave Start Offset.
Then you can make a choice.
In ViPro it is possible to adapt the Wave Start Offset with automation. Unfortunately that isn't (yet?...) the case in the Synchron Player. 

Sometimes you can get reasonable results with the attack automation. That automation can diminish the loud transition sounds. I hope this helps...

I sent you a private message.

Same issue here.
I use Chrome on 2 Windows 10 64 bits computers, Chrome accept all coockies.
I already tried to delete all VSL coockies, but still the same issue.
The password is saved, but I have to login every time.
When I check "remember me",  after closing Chrome and opening it again I have to check it anew.
It seemed not to work.

On my Android phone all things are going well in Chrome.

Originally Posted by: beatpete

Paul:

I'd just like to re-iterate how useful it would be to have a third option to have iLok locally on each computer therefore not requiring a dongle OR an internet connection.

Looks like a good option, three iLock dongles in my case is a lot of money, and there will be situations that somebody doesn't want to be dependant on a good working internet connection to work with the VSL products.

Thanks, Macker, for taking time to listen to "Patchwork" and thanks for the nice words.

To be honest, the way of composing this piece was 90 % intuitive. It starts to sing in me, I write it down, and the next notes and ideas come up. Of course I recognize some styles and even pieces. It is very much "playing" with notes, ideas, sounds. And after composing I realized: this is a kind of patchwork. And so the title came about. Of course I try to do harmonics always as careful as possible, a lot of rules work amazingly well, I have to say.
Several of your associations with other music and composers were new for me. But always nice to hear what other people hear in my compositions.  

Thanks, Jos, for your comment. I sent a PM to you.

Originally Posted by: pacman

...(is Dorico using a different system?)...

The expression maps that Dorico uses, are different from the Cubase expression maps. It is possible to import Cubase expression maps in Dorico, and they can work to a certain extent, but almost always you have to adapt things.
Often it works faster to create a new expression map than to use and adapt a Cubase expression map.

I just finished the performance of a piece for strings (most con sordino, I use the Synchron-ized Appasionato sordino + 2 players of the Synchron-ized Dimension Strings II), woodwinds (Synchron-ized Woodwinds) and 3 trumpets and 1 trombone (all Synchron Brass).
I hope you enjoy it.

Patchwork

Thanks, Beat, for sharing this performance. It shows how good the Elite Strings Library is. Phenomenal! The combination with the Synchron-ized Solostrings works also very well, as well as the Piccolo Trumpet.

removed

Great news: a lot of dynamics of the VI libraries implemented now in the 12 Essential Synchron-ized Woodwinds. I'm just working on a piece with among others a lot of woodwinds, the dynamics (cresc., dim. pfp) are indispensable. Until now I used for the dynamics the VI version of the instruments. That's not necessary anymore.
And you activated Timbre Adjust for the woodwinds, this works also great in many occasions. A very useful tool among the others to sculpt the sound. Thanks, VSL, you made my day  .

Hi Jos,

that's a nice piece of music. The performance makes my toes move, thanks for sharing. I enjoyed it!

Originally Posted by: Nounours_1

So is my problem simply that I need a better sound card to get a more "alive" and realistic sound ? Because from what I read online, some people say that the sound card has no impact on the VST sound and others say the opposite. If so, do you have any particular card or hardware to suggest ? Thank you all in advance to help me with your good advice and tips, as I am pretty disappointed for now.

Hi, concerning the question if the sound card has impact on VST sound, there are in fact 2 answers. It all depends on what you mean by it. The recorded samples are always the same of course. And there is no difference, if I make a piece of music on a pc with a bad sound card or a good sound card. The result will be the same, as long as the samples and the editing are the same. Playing a sample at the other hand depends on the quality of the sound card, the amplifier, the sound boxes or the headphone, and even the acoustics of the room (in case you use sound boxes of course). In my little studio room with rather hard walls (and boxes very close to the walls) I had to make serious adjustments to improve the sound. A good sound card gives more detailed information. You will have more depth, a more natural sound, the several overtones of a tone stay more together as a whole, the tone sings much more. If you can hear this, depends on the quality of your headphone of course (or sound boxes). Don't underestimate the influence of the character of your headphone. A headphone that has an emphasis on low frequencies or high frequencies can have a huge impact on the sound.

Concerning the sound of the Vienna Imperial I can give a few tips. Most concert pianists will almost never use the loudest volume a piano can give. Fortissimo is absolutely lower than velocity value 127 (or it must be in a piano concerto with full orchestra complete with brass, timpani and so on). Of course it depends on your taste what in your experience is forte and fortissimo. Most instruments will sound best in a venue with a good acoustic. For example: when you hear a recorded very dry loud tone of an oboe it sounds (at least in my ears) dead. The moment you place that sound in a beautiful digital acoustic environment, the tone comes to live. For a piano this will also help. In the Vienna Imperial you have several possibilities to place the piano in an acoustic environment.Concerning a good sound card there are many, the most I don't know of course. Focusrite comes into my mind, but I'm sure there will be much more good sound cards. Doing some research on the internet can help. Important is, that in addition to the quality of the sound, you should also be able to achieve low latency.
I hope it is of some use for you.

I have read this thread with great interest. All  things that are mentioned about MIR 3D, are very promising!
I was wondering: are there plans to integrate MIR 3D in the Synchron Player with the Synchron-ized Libraries ? 

Hi,

I don't know if this is a good idea.
The problem you get is, that if all the notes have a sample, the keyswitches (notes out of the range of an instrument that are used to change e.g. a staccato or legato sample) have a note with a tone on it , and you hear them constantly. That's not what you want!
To experience this, you could for example give to the doublebass a violin expression map.
The moment you trigger the play button, you hear several keyswitches.

Best.

Hi Dominic,

I had the time to listen to your piece and I enjoyed it. The melody but also the lively rhythm, the cooperation between the piano and the cello, it kept my attention until the end, with musical pleasure.
And the cello and the piano sound also very good. I think, that you had a lot of work to achieve this result.

Congratulations on this piece and performance!

For me a new chapter in the tremulant story.

My problem was, that I couldn’t set the tremulant on or off easily during playing.

My digital organ uses “normal” midi signals with the keys (MIDI signals note on and note off), the manuals and the couplers (MIDI channels), the swell pedal uses cc 7.

But the Vienna Organ Player didn’t recognise the stop buttons and the combination buttons.

A few days ago I discovered by using another organ app, that the stop buttons and the combination buttons of my digital organ use so called sysex signals (I didn’t know anything about them).

I found a program “Bome’s MIDI Translator Classic” for Windows, free for personal use, that can translate the sysex signals in cc signals. I had to learn of course how the program works, but I can say now that my problem with the tremulant has been solved. I can use a tremulant switch of my organ to set the tremulant on and off. Also I can use now the combination buttons of the organ!
It is very good possible, that there are other programs that can do the same thing.

When somebody is interested in the procedure how to fix this, please send me a PM, then I can send you some information.