Hi all,

I'm afraid I'm rather out of the loop on this - I finished a long recording project in 2018 and haven't done much sample library work since. As a result, I'm used to and happy with using VI libraries with MIR, and have not had call to use any Synchron products yet.

Then the exotic winds caught my eye, and I'm thinking of picking them up. But I like the sound of the VI instruments in the Teldex MIR environment, that's what I'm used to and I think it works well for my music. So my question is how well Synchron instruments mesh with that. Would I be better off using the exotic wind Synchron instrument as it is, with its natural ambience, and having the rest of the orchestra in the Teldex? Or would I be better using only the closest mic position on the Synchron instrument and running it through MIR, so it's sitting in the Teldex alongside the others?

Thanks!

:-O So you can! I was hoping there'd be a way to do this, thank you for pointing it out, especially with the Cubase screenshot.

Hi VSL,

Is there any way that the Vienna Suite compressor, limiter or multiband can accept sidechain inputs? I know their inputs can be filtered for an internal sidechain, but I don't think they can be set to take a sidechain input from another channel?

Many thanks.

"I am not entirely sure but I think the Vienna Organ Player already features a way of achieving that.

Please watch the attached video for more info"

I am so glad you included this!

I'm all for historical realism, but I am sure many organists and composers would have loved organs to be velocity-sensitive, so the ability to now add that with a computer interface is wonderful. I made a matrix to do the same with the VSL harpsichord :-)

Oh my goodness. I don't think I've ever been moved to tears by a product launch video before. The Interstellar soundtrack was a great choice, and of course Toccata and Fugue to end on.

I bought the Konzerthaus Organ a couple of years ago and to be honest I've never used it that much. Always wanted to, but understanding how was just so impenetrable with all the different options in VI Pro. I read the manual and added the stops and still didn't have much idea what I was doing. This new interface is exactly what I wanted!

I'm really glad to see the Teldex studio included in the list of venues mentioned, that's the venue I use 90% of the time. Will the Steinhofkirche have presets too? Either way, I will be buying this this evening.

Hi all,

I'm a long-time user of VEP 5, I like it a lot. I'm using it for the first time as a VST3, since my newer computer setup will run that. But I'm finding that when I open the Preferences menu, the menu doesn't actually get shown. When I click anything on the interface afterwards, it makes the usual 'can't do that' notification sound. This suggests to me that maybe the Preferences window is open, I just can't see it, like it's stuck behind the main window or something. And that until the Preferences window is closed as normal, the rest of VEP isn't accessible.

The only way I can get out of the situation is to end VEP using the Task Manager, but there's no suggestion there that VEP isn't running correctly. Again, this makes me think the window is open but somewhere I can't see it.

I am running VEP as a VST3 in Cubase 10.5, if that makes a difference in this scenario. Any thoughts on what's going on and how I can fix it please?

Thanks!

Sorry, I'm sure I've done this before, but I cannot remember how.

I'm adding lots of tracks in Cubase for a big orchestral project. I assign tracks 1-16 to VEP, get them set up no problem. I'm sure there's a way to then send more tracks to the same VEP instance? I know there's a drop down menu in VEP that does this (to the left of where the MIDI channel is set for each track), but I don't know how to do it on the Cubase end. I can add more instances of VEP, but then the instruments aren't all in the same space.

Can anyone else remember how to do this please? I've recently gone up to a newer version of Cubase, and everything's different!

Hi!

I like the sound of church organs. I know roughly how they work. I know they're played by several manuals and a whole lot of pedals. And I know pulling out different stops connects the manuals to different banks of pipes.

...And that's about it.

How many stops is it customary to use simultaneously? How often does one actually pull out all the stops, and does it sound that good? If I want a massive sound, would I be best just using the loudest pipes, or the whole lot together?

I love all the depth and flexibility of this beautiful-sounding instrument. I just don't have a clue how to use it!

Any help would be much appreciated!

Thanks

Hi all,

I've just upgraded to Windows 10, so have had to do a fresh install on all my VSL software. The standalone version of VIP is working, but when I load VEP, I can add instances of VIP but not actually get to the window to see them. They show up on the mixer tab and the MIR tab, but there's no individual instrument tab. And they have no sounds loaded, and appear as the default cardioid microphones.

Vienna Imperial is working just fine within VEP and MIR, as is a non-VSL plugin like Absynth 5. The other thing I have noticed is that there is a delay of several seconds after clicking the Add New VIP Channel button before it appears, if that helps for diagnosing the problem.

Does anyone have any idea what this is?

Thanks!

Pyre

Hi, this looks fantastic!

Is the product being available for free time-sensitive at all? My computer is down at the moment, so I'm wondering if I need to download the product now or if I can wait for a few weeks to get everything sorted first.

Thanks!

Hi everyone,

My PC is finally giving up on me, so I'll be getting a new CPU/motherboard/RAM combination, and maybe a new GPU while I'm at it. It's lasted 11 years, I think that's good going.

I remember it used to be the case that VSL users were advised towards Intel CPUs rather than AMD ones, as Intel ones ran VSL products better. Is that still the case please? I was stuck with an AMD one before, but might switch to Intel this time around if VSL stuff will work better.

I'm currently looking at this Intel chip:

https://pcpartpicker.com/product/WtyV3C/intel-core-i7-9700k-36ghz-8-core-processor-bx80684i79700kOr this AMD one (which can hyperthread, where the Intel one can't, so would probably be better):

https://pcpartpicker.com/product/QKJtt6/amd-ryzen-7-3700x-36-ghz-8-core-processor-100-100000071box

Thanks!

Hi, thanks for the advice!

I've now tried all of those things, and there's no sign of the licences. The eLicenser is immediately recognised by the computer, appears to be functioning fine in every other way ('Recover' in the Control Center menu says there are no issues to solve). But there are no licences here.

Thanks, I'll email support.

Hi everyone,

I took my dongles out of my computer (a VSL eLicenser and an iLok dongle for Pro Tools) to move some things around in my studio. I've just put them back in, and there are no sign of any licences on the eLicenser.

None listed on soft-eLicenser it mentions as being my hard disk either, but I think that's fairly normal?

Any ideas what might have happened and if thee's an easy solution?

Thanks!

Hi all!

I'm just finalizing my purchase of the extended library of the Symphonic Cube to go with the standard library I bought a few years ago, as well as the Keyboards Complete collection.

Am I right in thinking all VSL products are now download-only or on the VSL hard drive? I just realised I hadn't seen an option for a physical product (prompted when it asked for shipping address, which I presume doesn't actually get anything shipped to).

I have the 10-case set of the Symphonic Cube for the standard library, am I right in remembering that that already contains the extended library too, but the extended licence is needed to access it?

Thanks!

Pyre

Hi all!

I'm between album cycles at the moment, so haven't been doing much VSL-ing of late. But I saw the email come through a few days ago about the May special offer, and am thinking it would be a good time for me to snap up some products (also I'm in the UK, and with the way we're going politically, our UK-EU exchange rate is likely to continue to get worse!).

I had been planning to pick up the Keyboards Complete package, which includes Vienna Imperial and Bosendorfer Imperial. But there are now two (soon three, I think?) Synchron pianos to consider instead. It has to be instead, rather than as well, for simple but unavoidable price reasons.

So I am trying to compare Vienna Imperial with the two Synchron pianos, judging things like velocity layers per key and so on. I know Imperial mentions up to 1,200 samples per key, but the Yamaha CFX says 4,200 - but I presume the second number is higher as the Synchron pianos were recorded from a lot more microphone positions, which aren't so relevant to my needs. Would you be happy to provide a comparable figure for the Yamaha to how Imperial boasts having up to 100 samples per key please? ...Does the Yamaha not have as many, or is sampling that many the normal way of doing things now, and so not specifically mentioned?

I am thinking Imperial would be better for my needs, as all the rest of my libraries are VI series rather than Synchron, and my work involves much more out-there mixing conditions than the traditional classical approach I think the Synchron libraries are designed for? So having the drier piano would probably be more useful to me. Also, I have wanted Imperial for at least seven years, so that's definitely the one I'm biased towards.

Two further questions, please! I have Vienna Suite, complete with its convolution reverb plugin, as well as the first five MIR venues - can I load any of those into the Vienna Imperial Player instead of the Konzerthaus reverb samples? I usually use the Teldex setup, and I'm just wondering if it's possible to do that directly in Imperial Player when using it for standalone low-latency piano performance.

Also, are there any recommended circumstances in which I might realistically be better using Bosendorfer Imperial than Vienna Imperial? If I go with Keyboards Complete (which would be great for both Imperial and the Konzerthaus Organ), then the Bosendorfer Imperial is included anyway. It seems a shame to have it and never use it, so I'm just wondering if there are any things you think it's better suited for than Vienna Imperial.

Thanks very much,

Pyre

Hi all,

My PC setup has several 1TB hard drives, and used to have a 128GB SSD for the OS. In time that became full, so I've just replaced it with a 256 GB SSD. Annoyingly that meant reinstalling Windows and all my programs with it, but it's mostly done at last.

I store my VSL samples on one of the hard drives, but I am wondering where is best to install the MIR room packs. Should they also be on the sample drive, or better on the SSD with the OS for fast loading, if they aren't too large? Ideally I'd have the samples themselves on SSD too, of course, but no way can I afford a RAID array for multiple small SSDs, or even a single large one.

Thanks!

Thanks, that sounds great. The modulation would only affect the wet sound, right?

Hi Dietz,

Just to quickly check, is the same true for wet/dry mute when using MIRacle?

So I could export the track once with the wet MIRacle slider muted, and again with the dry one muted, and when I play them back together it will be identical to one track with neither muted?

It's an awkward work around, but seems the best option if a mixing engineer may not have the MIRacle plugin.

Many thanks,

Pyre

Hi all,

Am I right in thinking that if I export one mix of a MIR project with the Dry Solo button pressed, and another with the Wet Solo button pressed instead, and then load the two audio files into a new project, the end result would sound identical to if I'd exported it with neither button pressed?

If so, that would be a neat way for me to hand both dry and wet to my engineer, so that he could adjust the balance in the mix if necessary.

Thanks!

Thanks very much, Dietz, got it now, that worked a treat!

Ah, brilliant, thank you. I've found the Default.vmi file, it says it was last modified in 2014 (same as every other file in the folder). I installed the latest VEP version earlier, so, if that didn't update the file, any idea who else I might do so please?

Sorry, I can't see Default.vmi anywhere, or ProgramData. I have C\Program Files\Vienna Mir Pro, but that only contains the Vienna MIR Pro and unins000 applications, and a file called unins000.dat

Weird, that's the version I'm using too. Yet the solo voices options are definitely not listed. Is this something I should send to ?

Hi Dietz,

My version of MIR doesn't have those presets, its Other menu has the five Vienna Choir options labelled 100, then 101 Soprano Choir, and then goes straight to 151 Upright Bass and Concert Guitar, and then 152 Electric Guitar.

What would I need to update to get the missing profiles?

Many thanks,

Pyre

Hi all,

I bought Vienna Solo Voices a couple of months ago, and I'm just getting around to using it properly for the first time. I've loaded it up in MIR as usual and added articulations, but it's not automatically selecting an instrument profile, and then I try to do so manually, I can't see any solo voice profiles on the available lists. I've tried installing the latest version of MIR (dated 6/2/16), but that hasn't made any difference.

Do the solo voices not have their own profiles and the Vienna Choir profiles should be used instead? Or am I going about updating things the wrong way?

Many thanks,

Pyre