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1.Writing for 4 horns 12/4/2013 7:10:02 AM

Yes, as I mentioned, it only counts when dealing with living human beings actually reading music.  Not a problem for virtual horn sections!  They ALL manage to play the high Cs perfectly.  What's not to love?

Russell Wilson

Prof. of Music

Utah State University

2.Writing for 4 horns 12/3/2013 7:26:24 AM

Hello.  I am a bit off-subject, but as a theory teacher and horn player, it is worth noting one small historical quirk when you are writing for 4 horns. If you want to look like you know what you're doing, you might want to write the four parts from high to low in this order, which is traditional:

1324

Historically,  the horns 1 & 3 play the two highest pitches of chords, with 2 & 4 with the bottom notes.

There is no 21st Century logic here, but 1st & 3rd are still usually high-range players while 2 and 4 specialize in lower ranges.

it is no huge deal, but horn players will certainly pick up on the correct voicings, especially pros, and I always want them on my side when they are reading my music for the first time.  

Of course, a good orchestration teacher will point this out to you, but if you didn't know, now you do.

3.Problems with Download Manager 12/3/2013 7:03:27 AM

Hey Marnix!

It is now clear that the US server was down in some way.  I eventually spent three

hours retrying the download every fifteen minutes, and suddenly it connected.  On the 11th try DLM

came to life and showed rate, percentage, etc., just as it should.

The wholedownload only took four minutes.  Needless to say, I was much relieved.

I wasted way too much time watching the blank DLM say DOWNLOADING when it wasn't.

Not my best VSL experience, but I'm happy with the results.

Russ

4.Problems with Download Manager 12/1/2013 1:28:48 AM

Thanksgiving weekend and I am having the same problem a year later.

bought the Triple Horn single, got it activated, downloaded DLM and double clicked the download file.

24 hours later the DLManager interface shows ZERO PROGRESS, but does say DOWNLOADING FILES

My connection status on Windows shows 19 million bytes downloaded, and I am on a very fast download speed.

24 hours for a single instrument???  Zero progress, zero rate??

wow, this is like going back fifteen years!

5.CC7 versus CC11 2/3/2012 12:13:02 AM

I think Garritan is the only library that doesn't use CC7 like everyone else.  I honestly can't remember what they have it do... timbre changes, or something.  I only remember it was so ridiculous that I put away the library and never used it again.  I would have to change my entire workflow for every piece I worked on.

I also like to use CC7 as an overall static setting, with CC11 to do all my musical work. 

However I do have a really basic question about Vienna Instruments.  What exactly is the volume slider for --- in the lower corner of each patch's window??  It is such a simple question, but the answer certainly isn't obvious to me.  Does anybody know what the best setting for it is?  That is, at what level would I get "unity gain", the most efficient setting for S/N ratio, etc?  I can't tell if I should simply set it halfway for each patch, or all the way up.  Suggestions?

--- VSL user for ten years and I still don't get it all.

6.VSL Instrument cant locate libraries, No Patches or Matrix 2/2/2012 11:50:48 PM

I have had the exact same problem with Library Installer not recognizing the files I point it to.  Have you tried opening the Installer and dragging the folders you want it to see to the list?  Pops up my patches every time.

(Sorry about the blank post... tried to do it from my Ipad but the message wouldn't ever show up.  Anyway, good luck.

7.VSL Instrument cant locate libraries, No Patches or Matrix 2/2/2012 6:36:57 AM
8.VE2 - My audio refuses to come out and play. Anybody help? 6/7/2008 3:42:47 PM

Thanks Conquer. 

I feel your pain; that's why I bought a SECOND Slave PC. Resetting parameters everytime you want to switch sounds is nuts.

Unfortunately my preferences are set correctly, exactly as you mention above.  The Main Outs are also set to the M-Audio card.

I can't figure out why the same configuration works for Giga, but not for VE2.  That's why I am so frustrated. I don't know any other options, and I'm pretty good at this stuff -- I teach it!  I've got to get this running for classes in August so I can still be one step ahead of the students.

9.VE2 - My audio refuses to come out and play. Anybody help? 6/7/2008 3:34:42 PM
10.VE2 - My audio refuses to come out and play. Anybody help? 6/5/2008 11:14:55 PM

I am running Vienna Ensemble 2 as a standlone on a dedicated PC just for my Vienna Instruments. This PC also has Giga (which I have used for VSL) and Kontakt 3 still installed, though I am not using them.  Giga works great. Kontakt works great. Even the first Vienna Instruments (the clunky omni version) works, but my new install of VE2 won't send any audio to my outs.  MIDI signal is getting in and the blue "Hal" light responds with its digital smile, but I can't get anything out of it.  How do I set the VE2 audio out to my M-Audio soundcard?

None of the other three programs has a problem finding the card. What am I missing?

Thanks

Russ

Apple G5 dual 4G master,   2 Slave PCs each with 2G of ram- one for Kontakt & GIGA and one for VE2.

College of Eastern Utah Music Dept.

11.Appassionata Strings - They did it again :( 1/26/2007 5:36:27 AM
I virtually never post, but I have to agree with Plurye. William, you are out of control here. I admit that I don't quite understand Jerome's concern, since I don't really need extensive articulations for comping, but I find myself feeling embarassed over your defensive overreaction. I have come to appreciate Jerome's insight and help.

What really scares me about this thread is the indication from several comments that A.S. appears to be flawed: not a complete section, maybe it will be improved, useful for rounding out existing libraries, etc... I'm putting my credit card back in my pocket. The fact is that I will not purchase another expensive string section that doesn't really knock everyone out. My fear is compounded by the fact that I can't find any "naked" AS demos on the site, even as it is being shipped. What's up with that?? If anybody can refer me to some, PLEEZ let me know.

Fact is, my VSL strings have been a huge disappointment. Of the last hundred projects I have done for clients, NOT ONE of them has chosen the version with the VSL strings. I have taken them off of my hard drive. The winds and percussion are fabulous, but the strings...

RW
12.This Sound Sucks! 8/19/2003 4:14:53 PM
Not exactly, but... yes. This was just an experiment on my part find a rich vibrant sound without the sucking. The ff sound doesn't respond terribly well to velocity changes, at least on my system. I found that any specific loud notes didn't seem to get softer until I moved velocities from 90 down to about 50! I am a little confused on what the layer setup is on the ff esp sounds. (The mapping page doesn't list layers.) I can't hear four levels, but I think I hear three: above 107, above 55 and below, but it's hard to tell.

Your question is a good one, because I have never approached a sequence by having very high velocities and very low volumes. That's why I thought it was worth sharing, because the effect was something I've never created.

Have fun.
Russ
13.Giga popping 8/19/2003 2:22:56 AM
I have the same problem with Giga. I can't really do any audio out recording yet because the pops ruin everything. I have tried a couple of cards, using many of the settings listed above, but to no avail. I am currently using my original card, which is a M Audio 2486 (??).

What I want to ask some computer guru is this: 95% of my popping problems disappear when I leave the MIDI MIXER page! If I go to SETTINGS, for example, the pops almost disappear... almost.

Does that mean something to one of you computermeisters???

Prof Wilson
14.VSL vs GOS 8/19/2003 1:46:19 AM
GOS was a waste of money. Go with VSL. No doubt about it.
15.This Sound Sucks! 8/19/2003 12:33:00 AM
Been working on the legato sucking string problem. Found an interesting possibility today, using the espressivo ff strings. I'll make it simple for the less experienced out there -- apologies to you sequencing geniuses out there!

1. Find a full legato string section in a sequence. Load an espressivo ff combination with sus + 0sus for two violin tracks and the viola track. (Low strings don't have espressivo. Just use sus or legato for them for the moment.) Also for now, set all velocities to 90 or so for a full sound.

2. In your sequencer tracks, insert a Controller (attack on*) just before any notes which begin a phrase and also during any repeated notes. Then insert another Controller (attack off) DURING the note with the attack, so the following note will NOT have the attack. All notes after that controller message will be missing attacks: they will be legato.

3. Open the tracks and lengthen every note EXCEPT the note just before any attack notes so it slightly overlaps the following note. (In Performer I add 20-40 ppqs - or perhaps 40-80 milliseconds. In my graphic editor, I just drag them a bit till it looks about right) If your attack notes are preceded by pitches instead of rests, make sure they go right up TO the attack, but do NOT overlap. The idea is to get them as close as possible without accidentally removing the attack. About 10ppqs seems to do it.

4. Add a touch of reverb. Now play the sequence at the following Volume levels in your sequencer (setting the 5 string tracks as a group, you can play with the sliders in your mixer screen): 50=p 55=mp 60=mf 70=f and 80=ff (that's all approximate, of course, but I have a unity-calibrated system) The effect is quite powerful and most of the sucking sound disappears, because the dreaded level drop doesn't happen between most pitches. There are exceptions when repeated notes don't seem to need an attack... depends on the pitch and velocity involved.

This is a BIG, RICH sound, very different from the perf leg strings. I don't particularly like velocities above 108 because then you go to maximum overdrive on the vibrato, but up till that point, it's pretty persuasive.

Please remember, this is just for fun. I realize there is a lot more to do to make a sequence truly expressive (I adjust velocity of every note!) But my snooty violin-professor colleague has turned his nose up at every string sequence I've played for him till today. Today his jaw dropped. His comment was, "This is just... sick and wrong!" [Wink] Music to my ears!!

Good luck! Prof Wilson

*Controller #1 is, of course modulation. You can insert it as an event or simply record it into the track(overdub only!) by pushing all the way up for 127 and letting it go for 0 - works fine, but it's pretty messy from a midiot's standpoint, since all the values in between show up in your event lists. tsk tsk tsk
16.Release trigger key 5/31/2003 6:10:16 PM
As they say South of my border: Muchas Gracias, Herb!
17.up & down string bowings 5/31/2003 6:07:53 PM
Thanks to both of you for your replies. It's pretty simple. I got hung up on two errors in the manual that confused the issue. Herb, I don't know if you have an errata page to report errors, and you probably know about them, but let me just mention that page 13 is confusing, especially since it's the first page you would come to on the up-down issue:

The first entry under Short Notes (stac 1) lists 1st variation as up-bow, and the next entry (stac 2) lists "1ST variation" as down-bow. Obviously, the second should say "2ND variation" but then, the whole thing is incorrect anyway, as 1st var is actually down-bow (and 2nd is up-bow) throughout the library, but you can't find that out until you look closely at individual mappings later in the manual. I really do appreciate your help, guys.
russ
18.Best keyboard to use with VSL? 5/26/2003 4:27:27 AM
I teach music technology and have a thriving business sequencing for a long list of clients, and I would never use a weighted keyboard for sequencing anything except for maybe a piano concerto. I have tried dozens of keyboards (we have a lot at my college) and still use my old MI (Korg) for professional sequencing. It is completely un-weighted (what some used to call organ touch) I agree that what you need is "bounce" in the thread earlier, if by that you mean instant rebound. You just can't sequence realistic wind/string passages with sluggish keys. I would never want to play a piano concerto on such an instruments, but that is not SEQUENCING. Pianists who learn sequencing usually go nuts with such an unweighted keyboard, tho' so you still have to find what's right for you.
Russ
19.up & down string bowings 5/26/2003 3:49:32 AM
With regard to the VSL instruments that show the split keyboard for up-bows and down-bows, the decision as to which to use seems automatic. Just playing a phrase does shift back and forth, but it doesn't give me any sense of a pattern here. Could someone explain that? The Perf tool manual mentions up/down bowings with the alternation tool, but I don't see anything on how to make it happen. I guess the question is, can I control the up/down bowings with those instruments which have them in the samples? Russ
20.Release trigger key 5/26/2003 3:42:51 AM
Actually, this is a great question, even tho the thread appears to be closed. The manual specifically says that the release trigger key must be pressed while playing the last note of a phrase. That clearly implies that a specific key engages the release sample. The answer here doesn't agree. I too am very confused by this concept, though I have used release samples with Garritan strings, I don't get how to use it with VSL. I certainly don't seem to hear what I would call a release sample in the normal running of an RS sample. Hope somebody can clear this up for me.

Russ
21.Congratulations! & Perf tool question 5/26/2003 3:00:33 AM
Thanks; you are right about the midi port settings being changed in Giga. However, it was a Giga problem apparently. Nemesis suggested a re-install and now settings are saved instead of disappearing when I close the midi setting window. Big Smile Russ
22.Congratulations! & Perf tool question 5/22/2003 11:15:08 PM
I have had my VSL for about two weeks now, and I am very pleased with the quality of the samples. It's a whole new world to have this kind of sounds to work with. Congratulations to the crew! This is the first time I have ever been totally happy with a set of samples!

I just installed the Perf Tool and it worked great for two days. Today, however, it's giving me attitude and telling me the PORT is not available.

I've checked and rechecked all my midi settings. Weirdly enough, the PORT is working fine, as far as getting MIDI into Giga. (My sequencer is working OK.) The performance tool just won't seem to recognize it, so I can't play legato etc.

I am using a dedicated HP 900mhz with 1 gig of ram, with DIG PERFORMER on a Mac G4. My soundcard is an Audiophile 2486. I am experiencing some popping when keys are pressed and again when released, but it comes and goes. I am trying to work that out with Nemesys.

THX
23.Time to Move Beyond Giga, No? 12/27/2002 7:43:39 AM
I am a one-year giga-user, and a professor of Music Technology at a small college. I love Giga studio. It won't work with early XP (or home) editions, but when I finally got around to upgrading W98 to XP pro this month, I installed Giga and it booted and has worked perfectly with zero trouble.

My biggest disappointment has NOT been Giga, but the samples I have spent a fortune on which have not lived up to the hype. I am hoping the VSL will finally be worth the high price tag. The biggest problem with the industry is the "buy it... but if you hate it, you're stuck with it" attitude. I don't mind paying full price for a great product, but I am now stuck with $4,000+ of lame samples. I'm plain ticked off with the shameless hiding behind the "it's software, so you can't return it or try it before you buy it" scam.

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