Thank you everyone - I realized what I did wrong.  I was loading the VST 2 and not the VST 3 version of the Synchron player.  Totally a mistake on my part.  Everything is fine now.  

Wow - what an amazing feature sound variations are!!

Thanks again for the input.

Mike

Hello again,,

I just checked - I do not have an apple silicon Mac - it is an intel.  I bought it well before they started the silicon Macs.

Any other ideas?

Mike

Hello Kai,

Yes, I am using an iMac.  Sorry I forgot to post that.

Thank you very much - that is disappointing, as it would be an awesome feature to be able to use, but I do appreciate knowing what the problem is.  I'll have to find a workaround for this.

Thank you again - you have been very helpful!

Mike

Hello,

I just updated to Studio One 5 and I have the latest version of the Synchron player installed.  I've watched a few videos on how the sound variations work, but I cannot get them to respond in my project.  I load an instance of synchron player, add an instrument and I can see the sound variations lane in the edit panel.  I input a few notes to test, and an able to click on them and select - long, short, whatever, but there is no change in the articulations when I play back.   I can see the changes in the edit lane and I do see the folders, and have activation sequence selected.  

I do see there is an option for UACC and UACC - KS.  I have UACC selected.  

 Any advice would be appreciated, as I am stuck on how to get this to work.

Thank you.

Mike

Hello,

I have a second generation iLok key - I see they are up to third generation on the website.  Will I be able to use my second generation key for the Vienna transition, providing I keep all the iLok software up to date?

Thanks.

Mike

I just gave it a try - there was no difference.  I do have a support ticket in.  VSL is working with me on this issue.

Thank you!

Yes - I will check this out when I get home tonight and report back.  Thank you for the suggestion.

Hello,

I have the basic version of the Synchron Pianos (I think it is the version that came bundled with another library).

When playing the piano, my cpu meter will hang around 15% consistently - no problem - everything sounds fine, but then suddenly it goes red and I get pops, clicks and drop outs.  It will literally jump from 15% to "overload"  I have several VSL instruments - VI, Synchron and Synchron-ized, and I never have this problem with any other VSL products.

My Synchron Piano player is up to date and I am running macOS Catalina v. 10.15.7 on a 2017 iMac with a 3.4 GHz Quad-Core Intel Core i5 and 24 GB memory.  The samples are stored on a separate SSD hard drive.  I've toyed around with latency and preload but don't really know what I am doing there, and even with increasing both, have not remedied the problem.

Any suggestions would be very much appreciated.

Thank you.

Thank you, Ben!

Mike

Hello,

I am working with the VI PRO player and the trumpet library.  I noticed some samples, such as the various portamentos, have a quick sound that is triggered - perhaps a release sample, after the sample has played for its full duration and the key is lifted.  This is not a problem, or not noticeable if you release the key during the sample, but if you let the sample run its full duration, and then lift the key, it is audible.  Is there a workaround for this?  There are times when I do want to sample played at its full duration, and would like to lift the key to move on to the next note without the trigger of what I believe is a release sample.

Thank you for any help you may be able to offer.

Mike

Hello,

I've enjoyed listening to the various compositions realized with VSL on this forum and I wanted to share a new composition I wrote - Fanfare for Brass and Percussion.  I used VSL samples exclusively for this recording.

Please feel free to offer any suggestions regarding any aspect of the piece - sequencing/mixing/mastering/EQ/Reverb etc.

Thank you!

Mike

https://soundcloud.com/michael-500448906/fanfare-for-brass-and-percussion

Thank you to both Lucy and Dewdman42.  This was exactly what I was trying to find out.  Much appreciated!

Mike

Hello,

Just installed a demo of MIR Pro 24.   I'm pretty new to the mixing end of things and have one question to start with.  I have several synchron-ized libraries, which I know come with the instruments pre-placed out of the box and with adjustable reverb options.  If I decide to use MIR, should I disable all of the preset reverb settings that the synchronized products come with?  Do I go for the dryest signal I can get before going into MIR?  It seems like if I just put the out of the box sounds into MIR, it will be overboard.   Is MIR intended more for VI instruments?  I know they begin dry upon loading.

I know there is probably a lot more to this, but I am just trying to get started with the trial and see what I can do.

Thank you!

Mike

Thank you Dietz!

Hello,

I just got a 30 day demo license for MIR Pro and installed in on the hard drive of my Mac.  Seemed to be where the program wanted to go, so I went with it and let it install there - all is fine.

I now selected a room pack 30 day demo, as I know I need it to have MIR Pro work.  When I was about to download it, it seemed to want to go on my sample drive (separate SSD from the hard drive on my mac).  Is that the best place for the room pack to go?   Or should to be installed in the MIR folder on the hard drive, or somewhere else?

Mike

Just a guess - perhaps a matter of convenience - having it loaded up that way.  

Hi Paolo,

My guess would be that it is a more realistic musical representation of a crescendo through a series of repeated notes.  Similar to how they have crescendo and diminuendo patches on sustained pitches.  Yes, you could achieve this by riding the cc velocity crossfader up and down, but it comes off more realistic when the players actually record the crescendo and diminuendo.   To get the effect of the perf-rep-dyn patch, you could also ride your cc up or down while playing just the perf-rep patch, but again, I think pre-recording the succession of changing volumes is more convincing in the finished product.  That is the mark of an excellent library - the multitude of articulations recorded in a variety of ways.

Thanks Paolo - I do have VEPro 7 and had not thought of that.  That is a good idea - much appreciated.

Mike

Hello,

I am looking to add some more aggressive brass (Big Bang) to some pieces that also use Synchron-ized special edition woodwinds and percussion.  Do the Kopernikus, Jupiter, Hercules etc. libraries blend well in a setting like this?  I did download the trials a few months ago, but did not spend as much time with them as I should have, but am thinking of purchasing this month.

 I was wondering if anyone has any experience blending Big Bang expansion packs with other synchron-ized (non Big Bang) instruments.   It doesn't necessarily have to be the combination I listed above, but rather if the effect from mixing seems plausible.  

Thank you.

Mike

Yes - I was using the Synchron-ized version when I noticed it.

Thank you Paul!

Mike

Hello,

I was working with the Dimension Brass Horn 2 Synchron, and found in the sustain patch, the E above middle C, has a flam effect at the highest velocity layer on every other key strike.  At first, I thought I had changed something in the settings of my project, but I reopened a new instance in standalone and found the same thing.  Has anyone else noticed this? Is there something I might have changed in a setting?  I just happened to have a succession of that note at that velocity layer in my project and it stuck out.

Thank you.

Mike

Hello Thorny,

The vibrato in the VSL libraries is not user-controllable, in that you cannot send a midi message to a non-vibrato patch and have it result in vibrato.  The VSL libraries have patches that have the vibrato recorded right into the sample, in other words, it is baked in and always present.  This makes the vibrato sound much more realistic because it is really the player playing with vibrato!  If there are notes that you do want to use vibrato with, and notes that you do not, you will have to assign a different sample to the various notes.  Depending on how expanded your library is and the amount of articulations you have, you may or may not have this available for every instrument.  

Also is the fact that some instruments do not use vibrato as much.  The clarinet, for example, rarely even uses vibrato in a classical context, but does, use it in jazz and dixieland.

I hope this helps.

Mike

Thank you Andi!

Hello,

I have a question regarding the snare drum that comes with the synchron-ized special edition volume 2.  It is actually the sycnchron snare drum that is included in that package.

When I turn on velocity crossfade, all of the single hits, flams, drags etc. respond to the CC controller and get louder and softer accordingly with my CC controller, as you would expect.  The long drum roll, however, still only responds to velocity.  Is there a way to get the long roll to respond to the velocity crossfade controller as well so that you can crescendo and diminuendo throughout a drum roll?  It is the roll that is mapped to C# on the keyboard.

The synchron-ized snare drum that is part of special edition volume one does so, and it is very useful.  It would be great if the synchron snare could do the same.  

Any help or suggestions would be appreciated.

Thank you.

Mike

Thank you, Paul!