Hi Paul,

I found the issue. There was a midi fx plugin called "Modifier" on the channel where VE Pro was loaded that was causing this error. I used it to translate modwheel to breath. When I completely removed the plugin (not only bypassed it) the issue disappeared. Apparently that midi plugin doesn't work (with VE Pro only?) after the Logic update. Don't know if it's only VE Pro or other multi thimbral instances too. It does work as expected on regular instrument tracks.

Hello? Is it just me?

This problem seems to be very... local? Correct me if I'm wrong

I thought this was related to Vienna Ensemble Pro 5, but then I got the demo for version 6 and the issue remains. I also uploaded a screen capture where I played the multi timbral tracks and copy the working midi regions to some of the "malfunctioning" tracks.

Hi,

has anyone else experienced lots of hanging notes in Vienna Ensemble Pro after the Logic update to 10.3.2? 

I had no issues before the update and after the update lots of notes hang most of the time on many tracks. About half of the tracks and always the same ones.

This happens on all VE Pro 5 and 6 instances, local or slave. No other plugins act this way.

//Felix

Originally Posted by: Cyril

MIR needs to be installed on the Slave 

On the Master you put Logic 

You use the best computer as a slave as Logic does not need many resources to run

Thanks for the answer Cyril. That makes sense in that case.

Let's compare these setups:

Setup 1 (my current setup): Master i the best computer and has Logic for composition and mixing, MIR (the reverb plugin loaded on each track in Logic), lots of non-VSL stuff, no multiport; 1 VEP-plugin for each 16 channels. Slave 1 has Dimension strings on 2 VEP instances (2x 16 instruments) and slave 2 has woodwinds and dimension brass on 2 VEP instances. So there are a total of 4 multitimbral VEP-plugins loaded in Logic. VSL Percussion and other instruments are loaded on master computer.

Setup 2: Master is the second best computer. Logic for composition and summing, multiportsetup for 2 slaves (2 VEP-plugins loaded in Logic). Best computer is slave 1 and has all VSL, non-VSL (like kontakt) and MIR loaded. Slave 2 for instruments that do not require MIR, like synths, else mostly a useless slave.

So I'm trying to understand why setup 2 would be better. Is the performance in VEP better than in Logic Pro X? Are there other reasons? The only one I can see for certain is that I would get the dry/wet audio from MIR on separate audio returns. 

Hi, just saw this and I got curious. But I'm not sure how/when/why to use it…

Let's say I want a huge dimension strings ensemble with dimension strings x10, each instrument in MIR. I have dimension strings on a slave computer and MIR on the master computer.

How do I get the audio from 240 instruments (15 ports x 16 channels) from the slave into MIR? Isn't there still a 16 stereo track limitation in Logic?

What's the benefit of the multiport setup instead of just launching another multitimbral VEP-plugin for each 16 channels and connect to the slave and also being able to get audio return on each instrument/channel/track?

Hm, I have been thinking about this fade curve in MIR… To me it sound linear. Would it be possible to add a fade curve option for the reverb in MIR? Just like the fade curve options in Logic and Cubase.

That would be great and everyone could select their favorite curve.

Hi, I just made a new hybrid cinematic score if you guys are interested! 

Lots of orchestral effects and string runs with dimension strings.

Sorry for the soundcloud quality…

https://soundcloud.com/felix-martinz/the-reapers

Hi again,

I have updated the songs now.

https://soundcloud.com/felix-martinz/supremacy

https://soundcloud.com/felix-martinz/odyssey

//Felix

Originally Posted by: JimmyHellfire

Hi Martinz,

there's definitely a lot of drama and energy in those tracks. Some interesting ideas in there, and while the music definitely has that typical hybrid cinematic feel, the compositions are still "edgy" and daring enough to not sound overly stereotypical and "playing it safe".

In the first 40 seconds of "Supremacy", I think personally I would have incorporated a firm bass groove (either a celli/doublebass figure or a fat synth), to drive the music a little more and make the extremely heavy percussion gel with the recurring sustained stabs (those could perhaps also use a little more crescendo) better. Maybe it's there, but perhaps gets lost in the mix a little bit?

From 1:20 on, I think the brass could use a little more reverb. There's a lot of electronic and glitchy stings, rattling noises, reversed percussion and similar effects, which I would try panning more extreme to the sides, to let them "flank" the main musical events from left and right. Perhaps even try automating the panning so that it moves and switches sides. I think those effects could generate more tension if they wouldn't sit that much in the centre along with all the other stuff that's happening there. It would also help guide the listener's ear a little - the whole passage could be a little overwhelming to some; lots of stuff happening, extreme energy and a lot of it appears pretty centered in the mix.

While it obviously makes sense that the big percussion sounds are heavily distorted, perhaps it might be even a little too much. This could of course be totally by design, but one could mistake the constant blistering distortion for unwanted clipping across the board. With a little less saturation/distortion, the big hits could even slam through the piece a little more and with a little more sub bass.

But these are just minor things and mere personal suggestions - overall, I think there's nothing really to fault there, the piece works fine and obviously sounds gargantuan.

"Enchanted Forest" seems like a somewhat misleading title - one might expect something very enigmatic and gentle, but the piece actually has a great driving, tension-filled feel. Visually, I feel it's more "Avatar" than it is "Lord of the Rings" - meaning, I'd expect a pursuit scene, involving not just fantastic arboreous imagery, but also a certain presence of Biomech technology and warfare machinery Again interesting musical ideas and a pleasant amount of identity for a "hybrid" type of track. Really like the atmosphere.

Personally, I feel the woodwinds are taking a bit of a backseat while there certainly is room for some more texture and more detailed phrases here and there - but again, just a personal taste thing; the piece works fine as it is.

All in all, great, professional sounding tracks!

 

Hi Jimmy,

thank you so much for all your feedback and kind words! Great feedback, accually! In Supremacy I had some struggle making the first part enough driving. I think your suggestions will fix that. And overall there is probably a little too much distortion. Soundcloud also degrades music to insanity, but I hear it in the bounced aiff as well.

I agree that the Enchanted Forest title is somewhat misleading, I couldn't come up with another name when I uploaded… Maybe something like "Odyssey" will suit better.  The woodwinds could get more space, yes! 

I will post new versions and get back here.

Thanks again

//Felix

Originally Posted by: Stephane Collin

Hi !

Great work, great sound.

I had a question : did you mix "Enchanted Forest" in LCR ?  It does sound nicely spatious.

Best regards.

 

Stephane.

Hi Stephane,

thank you! I didn't mix in LCR, but I used Stereo X-Y-Wide Hyper Cardioids at conductor position in MIR together with a second mic far away. Here's a screenshot of the orchestral layout: 

The strings have automated reverbs, both additional reverbs and dry/wet in MIR.

//Felix

I'm bumping this. 

Hi there Vienna users,

I just want to share my 2 new pieces of music made with VSL. The libraries included are Dim Strings, Dim Brass, Orchestral Strings, Brass 1+2, Woodwinds 1+2, Harps, Percussion, MIR Sage Hall 1. This along with a lot of 8dio hybrid tools, Native Instruments Damage, Spitfire scary strings, Omnisphere, Arturia synths and so on. The work required 1 master & 2 slave computers. I think I had 81 inputs in MIR in the second song, but it worked great on my 2008 Mac Pro master.

The first one is a kind of a orchestral dubstep. A mix of orchestra and dubstep to get that high energy sound. The second one is more like a story telling film music, I don't know. Let me know what you think!

https://soundcloud.com/felix-martinz/supremacy

https://soundcloud.com/felix-martinz/odyssey

Added:

https://soundcloud.com/felix-martinz/the-reapers

Cheers

Yep, I would say that a limit of something that could be teoretically infinite should be a guide, not a cap to avoid unwanted use. Increasing the freedom for users to do what they want… I see no reason why not.

Hi Paul,

may I ask why?

Dispite the quality aspect here, can you add the feature to pitch up to 1200 cents, just in case an artificial sound is wanted? The pitch range numbers could maybe turn red to warn that it wont sound realistic but I don't see why it shouldn't be possible at all. Sometimes I have used audio pitch shifters to get what I want, but they use more cpu than VI would do.

I love the dimension products and I'm hoping for muted dimenstion strings and some more articultions for the main dim strings like ponticello/tasto (perf interval/rep detache staccato etc), glissando and glissando with tremolo.

Hi,

I was experimenting with the velocity curves which resulted in a question:

Are the sampled recordings compressed (with a compressor) and/or normalized? Because if I set the velocity curve to 0 dB 0-127 the volume is quite equal on all velocities (like expected). The odd thing is though that the different velocities accually should have a natural velocity curve.

Is it correct that the natural velocity curve from the recordings where removed by normalization/compression and then added again in Vienna Instruments? Is the default velocity curve taken from the original recordings?

My ambition with this is to get the most realistic velocity curve for my setup.

Very interesting! Gonna try it!

Accually the midi chase problem can be solved in Logic. Just go to Project Settings -> MIDI -> Chase and click the unchecked "Notes" box.

The bit depth is the vertical resolution and the sample rate is the horizontal resolution in a digital sound wave. Isn't it possible that having a higher horizontal resolution will make the wave become "rounder" and more accurate, even below 20 KHz? 

Something tells me that with a higher resolution there is more accuracy, especially when manipulating the sound. I have no idea, it's just a thought.

thanks guys! 

Is there a way to set interval mode as mono on default when a new instance of Vienna Instruments Pro is loaded?

There is something wrong with the delay compensation in the latest update of VE Pro. Audio works well, but all audio related graphics in plugin windows (3:rd part plugins and Vienna Instruments/VI Pro) are no longer delay compensated. This means that analyzers in eq's, volume meters and so are displaying before the audio. This becomes annoying when having a buffer set to 32768 in VE Pro.

Graphics in the VE Pro mixer is delay compensated, no problem there.

I hope this gets fixed asap.

//Felix

Ah, didn't know about those. But I know for sure that it cannot be made with the same player. I have tried myself to record a string passage with just one violin player dubbed 10 times… it sounds wrong.

If you combine the power of MIR and dimension strings with unique players (with their personal way of playing and instrument sound), I can't see how it wouldn't be the best virtual strings ever.

I think that's the most important update for VSL right now. The strings samples are great, but I think they sometimes lack the depth that live recordings have. It's sometimes sounds too perfect. With dimension strings you could change just with a slider how amateurish the string players are playing together by using the humanize functions in VI PRO for each individual player. And there would be no need for chamber strings or solo strings - just add as many players you need. I'd pay a lot for a library like that. 

And if VSL will find a method to handle velocity xfade for each player without "xfading" (so that there are not 2 samples played simultaneously) there would be hard for other string libraries to compete for long. I have no idea how it could be made, but the limitation is disturbing every time I want any kind of crescendo/diminuendo with legato patches.

It would be a huge amount of samples… If it's the size of 1 solo strings instrument per player and there are a maximum of 16 violin I, 14 violin II, 12 violas, 10 celli, 8 double basses, it would require like 900 gb on your HD. How much ram is that?

I use both velocity xfade and expression to smoothen note ends. When velocity xfade (cc2 breath) is at minimum and that is not enough, I continue the diminuendo using expression (cc11).