Hello spookyjaz,

did you read the list of articulations? Concerning the AS the content only consits of staccato- and sustain-samples. The SE is a great product, but the AS-content imo is just a teaser for the big AS-collection.

@inwinterhesleeps: But the title of this thread was constructive and not insulting? 

Someone complains that he as a good customer isn´t treated better than a new customer, concerning to an entirely new product. But compared with a new customer he has the benefit of products that have the best quality, of software which is sophisticated more than other and which has the longest half-life period... This is the real commitment of VSL, which no new customer has.

Of course it woulf be fine for customers to profit not only in case of upgrades, but also if entirely new products are developed with significant effort and costs. But I can´t understand that someone takes this for granted. This mentality is not my mentality.

Dear Herb, dear VSL-Team,

I like to read that Dimension Brass offers also the blaring sustain articulation. The response to the announcement of Dimension Brass in several internet forums is like that: very good idea, the automatic voice split, the human touch control etc. are great, but why are mutes and stops missing? i think there is some upset about the question if dimension brass becomes a "big" library like the DVD collections.

I also hope that it becomes a success, I also hope that more VSL Ensemble Libs like this will be produced. It´s a big step forward! But it would be a pity if several customers don´t buy it because of the missed articulations while you say the production of the missed articulations depends on the success of Dimension Brass...

best Rainer

Thank you, DG, for this information!

Best, Rainer

Dear VSL-Team,

I read the manual and understand that MIR has no input channels for audio tracks. Nethertheless I think about the possibility to combine the orchestral world of Vienna Instruments and MIR with the audio track e.g. of a Vocalist or some real instruments.

So it seems to be possible to load a 3d party sampler as VSTi and let it play the vocal track within MIR / MIR SE. Right?

But Is there maybe another solution possible or planned to integrate audio tracks within MIR?

Best, Rainer

What a surprise!   I know several people who compose orchestral music but aren´t very experienced in / don´t like to learn all about acustic / mixing etc., therefore I think it´s a great product for all composers who have a smaller budget / only one "normal" computer. Great! 

Thanks VSL!

Best, Rainer

Bad to hear that´s no solution for a customer but buying new licenses when the key is stolen.

These dongles for us are the same as the jewelry for women. But on the other hand - we indeed had a burglary and the burglars took some things which could be worth to sell.... but not the USB-keys.  puuuuuh.... a blessing in disguise. How much worth is a license stored on a stolen computer?

In these days i set up the new computer. UAD and VSL is no problem.  On another computer i also make a new setup. But beginning with the not working function for license transferring to adobe and so on it takes so much time and work - I would be glad if all software licenses would only be stored on a dongle!

But maybe Syncrosoft can think about a system in which the dongles can be disabled. Like credit cards.  For the benefit of the legal customers I would agree to a solution like this: All dongles are registered. The registered dongle hast to be checked online each - for instance - 3 months. If it is anounced (registered) as lost or stolen, the licenses stored on the registered dongle can be used no longer. If the online check is not made, after 3 months the key can´t be used longer, too.

Therefor each user whose key is stolen or lost can report this to syncrosoft and then download the existing licenses on a new key. Without paying twice.

To prevent misusage there can be a further limit that maximal 3 times a key can be reported as lost.

Any reasons against this suggestion?

Hi Paul,

thank you for your advice!  In legato phrases I  always make the notes overlap a bit to each other. That works very well, and I guess that with gaps between the notes the transition samples would not be triggered. The problem with more than one MIDI input device is new to me. I use only one keyboard and import the MIDI Files usually from Finale. But I try to switch of the input device and choose "nothing".

@composer: Sorry for thread capturing, I thought the problem would fit to yours.

Best,

Rainer

I don´t use the download instruments but the SE. Using the Solo clarinet in Bb I also noticed that the transitions in a few intervals are not  smooth. Since I played clarinet when I was young I wondered why it´s so noticable. For a special phrase I took the Clarinet in Eb instead.

Another thing that I noticed is the transition in legato strings. The Vienna Player sometimes seems to play the release samples and the transition samples at once, so that I have to set the Release fader to 0. Then only the transition samples are hearable and it´s a wonderful legato.  But because no one mentioned this in the forum, I think the reason for this is not the VI but me.

I also agree to what Albert S and michelp wrote.   I´m still a finale user but if there´s another crossgrade promotion I will think about a change to Sibelius knowing that there´s more support for the customer´s needs.

Thank you very much for the confirmation, aural!

Now I am a step further and know how to go on.

 Hi aural,

thank you for your remarks. I appreciate each help in learning a bit more about instrumentation.

The score of the above mentioned example is listed on imslp.org if someone wants to have a look at it. 

Best, Rainer 

 Ýesterday I read in a book about instrumentation that the double and triple stops are more powerfull but should be assisted from the woodwinds and brass because of the intonation problem.

The composer arranges divisi if he wants to achieve a more homogenous sound with accurate intonation.

So I think that the strings in the example above play triple stops, and for my work I will try to write double stops and triple stops which can be played without breaking the fingers...

Hi,

to learn something about instrumentation I study some scores of orchestral works which I know very well from listening.

My question concerns to Dvorak´s Symphony No.9 From The New World, 4. movement, and there the first main theme played from horns and trumpet, beginning with bar no. 10.

The Violins I  play the following notes/chords (sorry if the octave number is not correct): E5 (single note);  E4-C5;  E3-B3-G4;  D3-B3-B4;   E3-B3-G4;   G3-E4-B4;   Fis3-E4-C5;   B3-B4;   Dis4-Dis5;  then monophonic 16tel run and finally B3-B4.

The Violins II play:    E3-B3-G4;  E3-C4-E4;   G3-B3-E4;  B2-D3-B3;   G3-H3-E4 .....

The Violas play a similar part.  

Do the violins and violas play double and triple stops in this part?  The score does not contain such instructions.

My first results to compose such a "heroic" theme were not exactly what I imagined. Comparing now with this score one mistake was to let the instruments play too less voices.  So I come to the conclusion that for such orchestral passages (orchestra strikes) it is normal for violins and violas to play double and triple stops. Can you confirm this, or am I wrong?

Thank you for your answers,

Rainer

The number of e.g. violins which are  included in the voices of AS is 20. Of course this causes a very full, warm sound.

The number of violins in the Chamber Strings (nomen est omen!) is 6. Of course this causes a direct sound with a different character.

If the Chamber Strings would sound like the Appassionatas, I would be very disappointed!

So I think one should avoid to compare apples with oranges. Maybe one can get better results by using the orchestral strings for divisi. And indeed, it would be usefull to get the luxury of Appassionata divisi with 10 violins...

Best Rainer

hmmm.... I thought this is a VSL user forum, not a permanent advertisements page...

 Hello Fritz,

if I understand it right it avoids that in the notation mode of a sequenzer like Cubase or Logic also keyswitches are displayed as notes. Maybe it´s generally more ergonomic to work with this feature.

Since I compose with Finale and have the notation in a perfect way before transferring the MIDI-Files to Cubase I also wonder if it´s really a big advantage or sooner just a nice gimmick. But for all users who compose directly with the sequencer it´s a great feature.

Best, Rainer

 I like this kind of humor. Thank You for this, Guy!  

 thank you for your answer, I will contact them.

 Hi Mike,

I looked at the "Leseprobe" and think, the standard paper-size could also be DIN A6.

The impression after reading this is that the content is more suitable for the beginner than the semi-pro - right?

 Apart from that - where can the reader of your first book order the second version and what´s the price for upgrading?

Maybe there is a misunderstanding of the term "analogue reverb". 

Mike Novy wrote in his beta-version of book (sorry Mike but that was NOT a well-structured, finished, complete work at all) that Impulse Response Plugins would be studio standard today. This is not true. For there are many mixing engineers who don´t use impulse response reverbs but big hardware reverbs from Lexicon, TC or Eventide which are algorithmic reverbs.

Also I suppose that some people who write "analogue" just mean hardware with algorithmic reverb instead of plugins with impulse response reverb.

 Hi Dietz!

Indeed I didn´t ask for powerpan-presets. ;-) 

Normally (in case of recording natural instruments) I also would decline presets for any effect-plugin, but in this special situation of working with Vienna Instruments we have always the same instruments with the same sound, the same resonance frequencies and so on.... So the presets for EQ and compressor are superb for people without time (like me) or without acoustically optimized room (like me) or for people who are better in composing than audio engineering (like me). ;-)

all the best, Rainer

 I just want to give a response to Vienna Suite as a feedback for the VSL-Team.

just two aspects (about bugs and wishes there are other threads):

1. ergonomic handling and reasonable features make a very good impression to me.

2. the Presets of EQ and compressor for the VSL instruments are great! Especially the basic presets for Comp and the resonance presets for EQ are very usefull and save a lot of time. If it would not be necessary to make panorama and level settings one could mix without ears. Please give us complete presets for all instruments as soon as possible!

All the best, Rainer

 Hello Mike,

once more my question: Will there be an upgrade price for the German readers who buyed the first beta-version of your book?