I was not talking about you primarily. And it shouldn't sound in any way impolite or anything like this. I asked several people and got different answers which always sounded like a consolation for a postponement which will never happen. Thanks for clarifying that there is "no devilish plan" involved. :)

But to be honest: It's only very odd that these technical issues are already several years back (I can't remeber the exact year). In the meantime the SYNCHRON-ized Special Editions have been released. I'm wondering how can this be? Aren't these the MIRx settings? Probably I don't know much about these things...

I'm very looking forward to the release.

Originally Posted by: Dietz

Originally Posted by: Pixelpoet1985

[...] I don't think there will be a Synchron MIRx release [...]

Quite contrary - I work on it as we speak. Just don't expect an release too soon, please; there's still an awful lot to be done.

Okay, sounds very (!) good, but I've heard this before several times from different people. I don't know what to believe. We've been talking about this for years. :(

I don't want a release date, but if this is actually an official statement saying that there will be a Synchron MIRx... this is awesome. I only wished this statement were made by VSL earlier, instead of neglecting all the other threads here in the forum don't saying anything about it.

But is there a coarse shedule? I mean can we expect a release this year? Because then I don't have to make all the effort on my own.

Thanks, Dietz!

Thanks for your answers! :)

So this means that e.g. the cellos with 30% dry/wet in the Synchron Player are actually only 24% for example? This is the same behaviour with MIRx in VI Pro, isn't it? The standard value of 63 ("new zero") represents an individual value in the background.

Oh my ... I though it would be much easier to mimic the Synchron settings. I thought all instruments are set to 30% dry/wet ratio, and I'm fine with it.

As I don't think there will be a Synchron MIRx release, it's really frustrating to make all these settings on my own. Can the Teldex MIRx settings be a good starting point, because it's also a scoring stage? Or are the dry/wet ratios really that different with each room (more or less)?

I'm trying to make my own MIRx version with the "templates" Dietz provided here in this thread. Thanks again for giving us these! It's a good starting point and I stumbled upon some more questions. Maybe Dietz can chime in...

I'm talking about the SYNCHRON-ized Special Editions here.

1. In the Synchron Player nearly all instruments (with only some exceptions) have the same dry/wet setting, e.g. 30% with the classic preset. I'm wondering why, because if I take the Teldex MIRx settings I can see very different settings between the instruments (e.g. violins at 42% and cellos at 28%). Is this dependent on the room itself? Or do the instruments indeed have individual settings "in the background"?
2. In the "template" the reverb length is 1.38. Do all instruments have this value? I'm asking, because in the Synchron Player the instruments have individual values when you open the IR module (e.g. the solo violin has 1.1 and the clarinet has 0.9). 
3. Do all instruments share the same microphone settings? Maybe some have the secondary one deactivated?

Many thanks in advance.

I still need the sul tastos, but more articulations are welcomed.

+1

And also a FX collection (Glissandi etc.).

Thanks, Dietz. That's it.

What about the instruments in the SYNCHRON-ized libraries? They all are volume balanced. Are these approximately the same settings? Or are these "closer to the real thing"? 

I'm asking, because I only use the Synchron Stage venue recently. 

Thanks, Dietz. But I'm still unsure. ;)

Of course, I want both features switched on. 

• Do you mean that the Natural Volume settings are "correct" in the "pop mix mode" and I always have to manually adjust the levels when switching the features on?
• Or are the settings "correct" when both features are switched on? If the settings are referenced to a real orchestra, then I think these values should take distance and air absorption into consideration, shouldn't they?

[ EDIT: Maybe the question was not clear. ;) ]

Natural Volume is one of my favourite features. But I'm wondering how it interacts with Distance Dependent Scaling.

If Distance Dependent Scaling is turned on, more distant instruments sound (a bit) quieter. Is this taken into consideration when using Natural Volume?

I'll give it another try. 

As I said: This can be tedious with the dimension series. I'm doing the following to the transposed players, with good results:

1. Use another preset (slow or fast). Or use a preset with more delay (md). Or, if you have the time, change tuning curves on your own.
2. Use an increased tuning and delay value (humanization).*

* As I don't know how you handle humanization, I list my values:

• Humanization: always 127
• Tuning: up to 40 for the normal players, up to 80 for the transposed ones
• Delay: up to 20 for the normal players, up to 60 for the tranposed ones

Hope this helps!

So, we're talking about the same thing. With second violins I mean the tranposed ones.

I can only repeat my previous suggestions. Or you have to make presets on your own.

Why do you want to do this? 

For each (dimension) player there are different humanization settings, they never start with the same tuning. 

Or are you talking about the transposed players (2nd violins)? 

This can be tedious with the dimension series, I know it. The suggestion from jasensmith is good, but it's only possible to turn them off with repetitions, not with the humanization pattern, isn't it? If it's possible, I would turn off the first, third, etc. cells. You don't need 12 variations.

I would recommend to use either another preset (slow, fast) or just different values for the humanization/tuning/delay slider. 

I watched the VI Pro video again: Maybe the threshold value could accomplish this?

So, I looked it up... 

For me it works with the MIDI FX Plugin, the pitchwheel is constantly up or down without automation.

1) In VI (Pro) assign pitch to the pitchwheel with the standard curve.

2) In Logic use the Modifier plugin and set velocity as input event (mode is set to thru, of course).

3) Re-assign to either pitchbend up or down.

4) I set scale to 100 % and the add-value all the way up to 126.

I'm using the MIDI FX plugin in Logic with velocity controlling the pitchbend. You can select pitchbend up or down. Actually, since I'm not at my computer right now, I can't remember if velocity was the trigger... :) If I remember correctly, I also changed the controller curve in VI Pro to the highest setting.

I'm also desperately waiting for a Synchron MIRx version (for MIR Pro)... :(

But I came to another idea: VSL could make a VE Pro template (similar to the old one Herb did for Teldex) for the MIR Pro users, including the right pannings, EQ, busses etc. They did all these settings for the SYNCHRON-ized special editions, so I think that every instrument is covered. 

I love this idea and would even buy such a template!

Have you watched the videos for VI Pro? There are several on the APP sequencer, and exactly on your issue with phrases. I can't remember which video it was.... :)

I'm not sure about the power panner ... I thought that MIR Pro automatically reduces the width. But maybe there is a difference between stereo libraries and mono libraries (i.e. the Dimension series)? This is also a question I'm interested in: If MIR Pro reduces the width, what happens when I use a Power Panner first? Isn't the width reduced twice then?

Concering the reverb ... did you also disable the algorithmic reverb? I'm not sure about Dimension Brass, but the SYNCHRON-ized Special Editions also have algorithmic reverb. Check this in the AUX view.  

Originally Posted by: LAJ

Wow, children seem to be still a Topic. Let me add this ...

If the Viennese should not bring such a product until Black Friday I recommend Genesis from AudioBro --> total bestbuy and incredibly beautiful recorded (... duck and gone ...)

True, especially for the auto-divisi feature. But they don't have soloists... 

As I don't like the Synchron Player, no wishes for this. But there are a lot of great suggestions here, I repeat and chime in:

• Children Choir (Ensemble and Boy Solo)
• Dimension Woodwinds
• Dimension Strings IV Sul Ponticello
• Dimension Strings V FX
• Special Woodwinds like Pan Flute or Uillean Pipe etc.
• World Instruments

[EDIT]

• Orchestral Strings: Espressivo Vibrato
• Appassionata Strings: More Articulations (in order to make them more cohesive with Dimension Strings or Chamber Strings)

Originally Posted by: bbelius

Hi Pixelpoet,

I can't reproduce these issues with the latest version of the Synchron Player that was released yesterday.
Please update to this version and if it still crashes, send us the crash-dump. We will take a look at this.

Best, Ben

Hi Ben,

I can't see a new update, the latest version is from 10/08.

This is also one thing which annoys me with the Synchron Player. It crashes all the time, both in VE Pro and as a single instance in Logic Pro X. This is also true for the standalone version.

The crash happens only after some time using the Player and switching/loading instruments. I think this is the same behaviour @nicola74 describes. I always have the latest software updates.

For me, this is not a recent behaviour, these crashes have happened since the first versions of the Synchron Player.

Originally Posted by: PaoloT

The same samples, synchronized, are ready to use. Any beginner with a sense for the classical orchestra can start using and enjoying them. And they are compatible with the real Synchron libraries, in case they want to expand to them.

True, I agree. For new users this is outstanding.

The new woodwind library is great and is a less expensive alternative to OT Berlin series, comparing the articulations and the divisi conept with multiple instruments.

For me, the thing is that all the sample updates and benefits should also be avaiblable to the VI users. I don't want to be forced to use the Synchon Player.

Originally Posted by: LAJ

Why does no one see that they probably can’t bring the remastered Synchronized articulations back to VI?
From VSL´s point of view it is not possible. From Dietz‘ point of view, it would be a Desaster.

They did bring the updates of Dimension Strings to VI, for example. 

I think it can be done, because the re-editings are the same, raw samples. You can deactivate the reverb in the Synchron Player, then you have the same dry samples as in the VI player. 

I'm talking about things like non-vibrato legatos and the added velocity layers to the legatos. This can easily be transported to VI. For this you don't need the Synchron Player. But maybe I'm wrong... :)

I recently upgraded to the full cube, and I'm also sad, because I also want to see further development of VI Pro, there are so many features which can be added. Synchron Player is nearly the same approach with less features (e.g. time-streching). There are no real innovations.

They should invest in VI Pro, because this is the best sample player on the market. It only needs to be "transported into the future". Especially with innovative approaches, like e.g. a "performance legato" which can play any note length: legato, fast legato, short notes, repetitions etc, or a real auto-divisi instead of auto-voicing. I know that everyone has different expectations, but VSL has so many articulations in their VI libraries. They really are the only ones on the market who could actually achieve such an innovative, more playable, more real instrument. 

I already wrote a very long email to support about this some time ago, there is simply no manpower available. It's a pity, really... Especially when I read they worked one year (!) on the SYNCHRON-ized woodwinds. It's a good library, but the VI users are left behind. I would pay a small amount for these upgrades, but only to use them in VI Pro.

Originally Posted by: LAJ

Hi,
Where is a new Version? I see only 8th October ... ?

Yes, you're right, I mixed the date up (month <-> day). Sorry.

I have four questions:

1) How many velocity layers are there now?  What I'm missing in the new SYNCHRON-ized manuals (special editions, woodwinds) in general is the information on velocity layers, round robins etc.

2) [DELETED]

3) Is there a chance to have the re-edited samples for the VI libraries, too? In the future.

4) In the vi-control forum someone mentioned that the VI samples are normalized. Have you changed this? I think when playing e.g. the flute, it's louder in the higher registers.

Many thanks in advance!