I have a question regarding the current sales.

On the product page - when logged in to my account - I get three different prices: the List price, the promotional price and "Your Price" which takes into account the products I already own.

Question: Is "Your Price" already a combination of my individual savings and the 30% discount, or would the total price be 30%off of "Your Price" ?

Title states it all. Download Manager ist the latest version, dragging the zip file onto the manager does not do anything. I'm on Mojave.

And by the way, I cannot find the changelog for that library update.

I might be wrong but as I recall in the past I was able to open a Logic project which contained VI instances without having the eLicenser plugged in, I would get a message about the missing eLicencer but could continue anyway. The Vienna VIs of course stayed silent, but I used this with a template that had duplicate tracks with different VIs to continue sketching when away from home.

Now I get an error saying:

eLicenser Control - Fehler

Applikation ‘Vienna Instruments PRO‘ hat den folgenden Fehler verursacht: Es sind zu viele Anwendungen gestartet.

(Too many applications running)

I can click ok, but this alert keeps returning.

Is running a host with disabled VIs not possible anymore, ore is that an unrelated error?

You do NOT have to update to High Sierra. Sierra will do fine. For me at first Vienna Imperial was not recognised, but after updating the player to the latest buid its up and running again.

I had my own VSL templates using keyswitch vel for the y-axis for long, so setting up an articulation set that uses them was very simple.

I do not care too much about score symbols within logic, but being able to choose the articulation directly within logic by choosing the articulation name from a drop down menu is quite an improvement over having to insert keyswitches manually, let alone remembering them all.

HOWEVER:

Logic seems to send the articulation information (ie: keyswitch) along with every midi note. There seems to be no intelligent algorithm that checks if the ID is different from the one that was played before.

I wonder if this is somehow affecting the midi performance, as each noteOn event now consists effectively of two midi messages.

It's much simpler:

In Germany the GEMA quite recently closed a deal with YouTube that allows YouTube and its users to use all GEMA material in videos uploaded to their platform. YouTube is paying an undisclosed annual lump sum to GEMA. Also, GEMA represents not only the rights of their german members, but those of the members of most foreign copyright societies, aka: worldwide, too.

Furthermore, german Urheberrecht says if a musical work has been performed in public, the copyright holder has no right to prohibit any further performance of the same work in its original form, as long as he gets paid the royalties for the performance.

So, given that Ligeti was a member of the austrian AKM, in Germany I would simply upload the rendition to YouTube, as YouTube is paying for the right to use his works.

As the GEMA was the last copyright society in the world to finish a deal with YouTube, I would strongly assume that the societies in Austria, the USA or Italy have similar deals.

Even if they were - which would be a copyright infringement - the downsampling and bit-reduction make them sound so bad, that it is rather irrelevant from which library they might possibly originate.

It's even more odd, since - as far as I can notice - most of the perf_leg_fast patches actually do only have the legato transition as individually sampled part, they then x-fade into the sustained part of the regular perf_leg patch, which in some cases is clearly noticeable and quite unpleasant.

In other words: the same could have been done with the leg_fast patches.

As you can see in the VI Pro Window (for example at 8:40) he does not use keyswitches to switch between matrices. Instead he uses CC1 for X-Axis and CC3 for Y-Axis.

As an alternative you can create a duplicate version of the legato patch and apply a little time-stretching if you own VI Pro.

click on the little triangle next to these additional Instruments on the sample contents page you just linked

I am pretty sure that you loaded the matrix from the "All Violins" folder - which will of course have 8 (not 7) times the same note - one for each of the 8 players. I do not know, though, how it is handled internally that each note reaches it's correct target.

My guess: all 8 notes of one pitch start with a slight delay, and hence the "voice" tab distributes them to the 8 slots, as the interval mode is set to mono. BUT: when I load an 8 violins run the voice tab only uses four players, and the polyphony is set to global.

However, if you load one of the single violins matrices, there is only one entry per scale note, so it seems very likely that the group size is the reason.

As far as I know the violin 2 patches are not really different from the violin 1 patches (e.g. not played by a different player on a different violin). They are the same samples one halfstep below and pitched back - as you describe in your post. The VSL team did this four our convenience with some of the patches that will be most likely used in unison. If you have to write unisons with patches which do not have a v2 version, doing the transposition-trick manually will result in the same sound you would get if there were.

I would think that if you set the midi channel of the controller that switches your matrix to the corresponding value that should also be forwarded to VE, so when you insert a controller on channel 4 this should only affect your 4th instance of VI inside VE.

Originally Posted by: Dietz

I hardly dare to say "yes" - unless you promise not to use these values as rules, but rather as starting points for your own settings. :-)

Kind regards,

Well, of course it is only a starting point, but this information is absolutely crucial. As a rule of thumb one can say that the volume is reduced by half ( which means -6db) when the distance is doubled. So, if you sit in the 1st row and have the strings sitting 4m in average away from you while the brass is 8m apart and the tamtam 10 there would be an offset of 6db for the brass and maybe another one, totaling 7db for the percussion.

Originally Posted by: Dietz

... pretty much what would happen on a stage with an orchestra when you stand near a Tamtam being hit at fff.    

So for clarification: The natural Volume adjusts the volume levels as they would occur when every instrument of a live performance would be close-miked? So when applying these values without MIR I would have to further decrease the volume values of the individual sections according to how far they sit from the listening position, is that correct?

Hello Dietz,

I have been using the 2014 version of the Natural Volume Table so far, and now took a look on the newer (2015) version. Obviously, some recently released instruments (solo voices for example) have been added, but there have been changes made also to some existing instruments, namely the Orchestral Strings, which alle have their db offset decreased by 3db (-9 instead of -12 for the violins), and the trombones.

But also some Instruments are completely missing in the new table. So, please shed some light on this:

- The Appassionata Strings (-6, -8, -7 and -7 in the 2014 Version) are missing

- Dimension Brass (only Tenor Trombones sordino are listed)

Finally, there are some patches called "Sections" (not ensembles). For example, what is meant by "11 Section Solo Strings"?

... to set the apropriate lvls for lets say expression or velo..etc ...

well, you figured out the purpose already, didn't you? When you want to use some of the more advanced midi functions of the VI player, like humanization, attack levels etc. you have to tell the VI-PlugIn someplace what value to be set to, so where else than before the actual piece should that be?

The Quality during playback is better with a designated interface, but the internal audio should be good enough to work with. When you finally bounce your project the mixdown is done by the CPU alone, so in the final result there should be no difference.

With internal audio you might need to set the buffer size to a higher amount (to take some strain off the CPU), which gives you a latency when playing live on your keyboard. When you record your midi tracks in realtime this can be distracting.

I use a 2nd performance in the Vienna Instrument which holds my 1st trumpet, and put the a3 trumpets with the same matrix as my solo trumpet, and I program a keyswitch to switch between the solo and the ensemble performance.

When a unison occurs I switch to that ensemble performance. The music is also written in the other two trumpets, but the notes are muted (a feature logic pro has, don`t know about other DAWs), so you can read the music in all three staves, but only the 1st with the ensemble patches is playing.

Use Vienna Ensemble and load four instances of Vienna Instruments PRO, one for each SATB Voice. Now you simply use a polyphonic organ staff in Locics Score editor. As you probably know, logics per-note Midi channel controls the polyphony in the score editor. When you set the track's midi output setting (in the property section of the arrange window) to "all" the per-note channel-information will be forwarded to Vienna Ensemble, so that notes on channel 4 will be played by your 4th instance of VI, which should be your pedal-manual.

1: When there is channel pressure information in the midi track this is an indication that the notes were played in real time by a human on a midi-keyboard instead of inserting note per note with a mouse or using step recording. You cannot avoid giving aftertouch when playing loud passages.

As VI per default does not use this information to control anything it is not neccecary to delete this data afterwards.

Nice chart, but whenever you write "orchestra" you seem to mean "strings" actually. If you'd change this it might take away some confusion.

What is the intention behind the min of one octave for the pitch dimension of the roli? The limit to 2 semitones within VI is well chosen, as a further simple pitch shifting will give unnatural results. The concept of VSL is that instruments that are capable of seamless portamentos have dedicated samples therefore, e.g. portamento for strings, glissando for trombones. The concept also involves that you know in advance what interval you will be gliding, so that the proper transition recording will be triggered.

The VSL instruments never were meant for live playing. It would require a total new concept for sample-treatment to be implemented. Samplemodelings The Trombone has this technique for +/-3 semitones with seamless phasing-free blending between all recorded semitones inbetween. So it's not just a matter of adjusting one simple parameter boundary.

To me it seems the roli is much more targeting electronic sounds where a free portamento can simply be done using the algorithms of the synths.

One more advice: You probabably won't need so much details for unison ensemble writing, so here the articulations of the special editions might be fully sufficient. I started out with the SE and soon added the full single instruments for Flute, Oboe, Clarinet and Bassoon2 - still quite happy and not missing the full ensemble Instruments.