Greetings,

I've made a new articulation manager that's simpler to use (it auto-fills most fields) and exports hundreds of maps at once for Cubase, Studio One, I'm adding Reaper, and possibly other DAWs. As some VSL users might benefit from such an articulation editor, I'm cross-posting it here from VI-Control. I check VI-Control more often, so if questions arise that's where most answers would likely be found. Let me know if it helps you! =)

-Sean

Greetings,

I didn't buy VEP7. I've always trusted VSL software dev to really innovate. This doesn't seem to offer anything new. What gives?

Feature's I'd have paid for:

• Adv MIDI edit: Edit vel/cc curve between 10-117 values, apply to Infinite/Spitfire/VSL channels only.
• Key Split. 6 horns: If H1 is solo, play ch 1 & 2. If divisi, split. Violin I A & B = different VSTs/libraries.
• EQ match x ch to y with a click. I might tweak, but a fast ballpark match on new libraries would save time. 
• Template building... speed up gain staging across instrument sections, sample libraries, etc.
• Dorico added all my humanize requests, but DAWs sound flat now. Smart vst perform in VEP... an epic idea.
• Dongle free. Not complaining. Just saying I don't buy iLok stuff at all. Dorico/VSL = my only exceptions.

VEP7 features that don't seem version # / pay worthy:

• Improved network discovery
• Improved plugin searching
• Improved color selection
• Vertical Instance display
• Named automation parameters.
• Faster file saving
• VSL-only articulation display

Most are maintenance of existing features. The plugins almost tempted me, but I've opted to buy other plugins instead which don't require a dongle. Several leading companies, including SoundToys, are dropping iLok. VEP is my only hold out. While I could buy into a new VEP if it was adding something I could find value in, I won't buy into a new VEP if it's only improving existing features without offering anything new.

This isn't hostile. I like VSL's values, the community, etc. It's just honest input about why I opted to buy other plugins instead of this update or the suite (this post has been edited for that reason). I hope VEP8 is amazing.

Best of luck!

-Sean

Sust + Trem = great for xfade

Legato + Spic = marcato attack

This is all I ever do. Anyone have any other useful suggestions?

-Sean

Dear VSL crowd,

I'm desparate here. I either need a new feature or a crazy hack. Any ideas?

See this Screenshot

Let's say I wanted to send the "mute" keyswitch BEFORE sending a program change to switch matrices. Even if you hold down the note (which not all programs support), upon a new program change, the cells don't switch.

What I really need, is something where once the keyswitch is pressed... it gets stored and resent upon any program changes, until a new keyswitch is used. Once you say "mute", all other articulations should just stay muted. That's the effect here. I KNOW there are ways to do this various software features like Expression Maps. But if I can do this on the instrument level, there's a few benefits I'm after I can't get any other way.

The only thing I can think of is using Blue Cat's PLug'n Script. But it's far above my coding abilities. Any other ideas would be greatly appreciated!

-Sean

OMG I'm having the same issue and JUST finished building a new rewire template with more nasty routing, MIDI transforming, and other weird crap than anyone should ever have to do in their life. I have to start over. Either that or jump off a skyscraper and pray it will feel better than what I'm about to do.

DANG IT!!!!!! DANG IT DANG IT DANG IT!!!!!

If I ever get cancer, it will be due to stress caused by music software. Though... never by VSL's of course... the only bloody freaking stupid lousy amazing company to ever code anything right.

Thanks Paul! lol

-Sean

P.S. I want my tombstone to read "Cubase killed him". Here goes a new template. DANG IT!!!!!

Beat,

My mistake!! Thanks for clarifying. I also agree that patience is in order. :)

-Sean

Wow. Thank you so much. These are incredibly helpful to hear.

I don't own Synchron yet. So I also respect that my input is less informed and I may seem like someone who rants but doesn't buy. I do own several VSL libraries and I typically have what you call 'sample-buying-addiction'. But I've become a conservative buyer who waits until everyone competes, to avoid re-buying. So all I have are the demos and my ears and my poor ability to put what I hear to words. In short... my opinion is worth half of what Beat's is probably worth here.

E-Partita:

This is possibly the best demo I've heard of any string library. Paul's complete preset walkthrough and your demo both confirm my suspicions: I love the short articulations, the dynamic range of them, the balance of detail between gritty and lush... it's the right clay to work with. I mean, it's literally THE right clay. It's difinitive. There's nothing out there that can make that mock-up as convincing to me. That's true especially for the period of piece it is but likely in general. I'm amazed.

AIR on a G-String

The legato is very off for me. That said, I offer this quote. "Remember: when people tell you something's wrong or doesn't work for them, they are almost always right. When they tell you exactly what they think is wrong and how to fix it, they are almost always wrong." - Neil Gaiman

Why I don't care about legato problems:

I won't (and possibly can't) truly say why. But I will point out that I once started quite a heated thread on VI-Control complaining about Spitfire's legato. They have a history of legato problems and their "fixes" are generally cheap hacks that sound like crap. So I'm what you call "a typical legato complainer". BUT, I also recognize that all these companies have decent and capable minds doing extraordinary work. I'm absolutely grateful for the tools I have and the people that develop them. I'm just never happy with legato. In the end I've found that the only way to have a perfect library is to own multiple libraries. The only way to get an amazing legato is to work with a live orchestra. Weird, I know.

Still, E-Partita proves that this is the library to beat right now. It's an incredible and one-of-a-kind mock-up.

-Sean

Edit: I have found a different solution.

The original issue: In Studio One, VEP's event input would only send around half the note-on or note-off events. If MIDI is assigned to the audio instance, it works. But you need event input for program changes (which I'm using).

-Sean

Jediego,

If you use VSL's presets the learning curve goes down dramatically. If you intend on designing your own instrument behaviors and overall template architecture, then I strongly advise opening VI Pro in standalone mode and using the CTRL+ALT+W feature. It's a life saving feature. I'm fairly sure without it I'd have died.

Layout patches in matrices how you want, set patch behavior how you want, etc. Then this hidden gem of a feature will let you do a "find and replace" to change everything from Horn to Trumpet. It does have a hiccup of not loading the new instrument's playable range. So you have to adjust that manually after the fact. But that's the only tedious clean up, which is far preferable to what I'm having to do with some Kontakt instruments I've been working on lately... for the past week...... 

Good luck!

-Sean

Dear VSL Wizards,

I have Notion sending MIDI to the DAW. Due to Notion's limited Rule options, I'm sending articulation changes via CC32. The DAW will reroute MIDI to VEP channels. This solution is 99% genius, except that VI-Pro doesn't switch Matrices via CC. Kontakt comes with a script that will convert CC to program changes. So it's just VSL that's not working for me yet.

1) Feature Request

Option #1 - Add a scripting utility to VEP. It's been requested before. Please please please do this.

Option #2 - The automation mapping feature is ALMOST brilliant. But it's limited to just the mixer elements. If I could have CC1 on Midi channel 1 edit multiple parameters within Vi-Pro or even just use CC1 to control multiple CC's for an instrument (or even multiple instruments) then booya. If I could use this mapper to convert CC32 values to program changes, booya again.

2) Does anyone know of a way to convert CC32's VALUES to program changes via Cubase's MIDI transformer?

Edit: Someone helped me find the right Transformer settings. If it helps...

• Type is | Equal | Controller
• Value 1 | Equal | 32
• Value 2 | Bigger or Equal | 0

• Type | Set fo fixed value | Program Change
• Value 1 | Use Value 2

My favorite option would still be VEP. Cause then all my samples could actually behave the same way and using any DAW. I prefer Studio One but have to use Cubase for now to do this just for VI-Pro.

-Sean

Bernd,

I'll assume you're very new to Studio One, just to be detailed in my instructions. Hopefully this helps.

In Studio One, add an instance of the Vienna Instruments plugin. Then right-click on the Mixer and click "Add FX Channel". There is an arrow in the middle of each channel strip to expand each channel. In the expanded view, you can use the "send" option to send the audio signal from VSL's plugin to the FX channel. I believe the only difference between FX and Bus is that FX stops the signal chain. Buses can be sent on to other buses (something I typically avoid myself). Honestly, the only way to get a feel for what will work for you is to try it. Like everything in life, it takes practice (aka: trial and error). So I hope these instructions are helpful, but you may have to get your hands pretty dirty to figure out what you like in the end.

Unfortunately music software has a much more confusing learning curve than the real world of the orchestra (IMHO). I'm working on taming that though. 

-Sean

Originally Posted by: lucor

My only problem is, that I'm pretty intimidated by the scale of this whole library with my measly 32gb of RAM.

Well there's a way to fix that... 

-Sean

Originally Posted by: Guy Bacos

The Hatchling (with no percussion)

Thanks a ton! It's great to get a "closer" listen to the strings.

My initial thoughts after hearing both demos:

Oh.. oh my. This isn't like before. It's not like when you hear a sample library and go "that's impressive". Synchron's best qualities literally make me weak at the knees. I'm saying to myself "this... this is what we've been waiting for all these years."

I could marry the Pizzicatos accross the range. The tone and color of the library overall is stellar. But everything pales in comparison to the absolutely gorgeous low end and dynamic expressiveness of the whole library, especially the variety of staccato attacks going on. It's magical.

At first the higher notes caught me off guard. The upper violin staccatos in The Hatchling reveal the room slapping back at you. I'm just not used to it with VSL's traditionally dry stage. But as I think about the various recordings and spaces I've played in myself, I realize it's the character of the space. I'd EQ it a bit differently, but that's just personal taste.

Some of legato transitions sound brilliant. Some are harder to tell, but I realize I don't have a clue which articulations were used where. Heck, we all use samples differently. Only time will tell as we get more demos and see video walk-throughs.

Overall, I think layering Synchron with Chamber Strings is basically just a must. It just must happen. I'm still weak at the knees here. I've never heard samples by so expressive. It's velvety chocolate goodness from quiet to loud then it gets gritty and bold but still very warm. It melts in your mouth. I'm dying here. Breathe Sean Breathe...

If Synchron Brass is modular/divisi, I'm going to need to get a better 3rd slave machine. I may as well start planning for that now. Dang it... Dang it dang it!

I'm in love.

-Sean

P.S. With Synchron, every other string library out there is probably a waste of hard drive space... and money. I'm seriously impressed.

Guy,

I hate to sound this picky...

But would it be possible to hear a version of The Hatchling without percussion? I know we'll get more demos, but it highlights the staccatos all over the place, just with a lot of percussion mixed in. That isn't a complaint about the writing. I just think an alternate version would be really useful to hear is all.

Either way, thanks for making everyone salivate enough as it is. 

-Sean

Originally Posted by: fahl5

And Spitfire might have one or another more or less experimental sophisticated patchname invented, but when it come to the basic bread and butter articulation (which is obviously what is all about in Synchron Strings I) there are still enough problems discussed especially when it comes to the legato scripts.

Believe me, I'm aware. I called Spitfire out on years of unmet promises for legato fixes on vi-control. I'm sure they hated me for it, but making a promise on sale day and ignoring customers for a few years... it was bound to happen from me or someone else. I know VSL isn't keen on talking about other libraries here. But I feel that just has to be said given the complaints about the Synchron delay. No offense folks (everyone), but you don't know the meaning of delay compared to some of the experiences some of us have been through with other companies. 

That said, I wouldn't dismiss other companies at bread and butter basics. The attacks and various lengths of short articulations were half of what prompted my ever looking outside VSL several years ago. The other half was never getting consistent EQ & reverb results with VSL's brass and any low or loud instruments. Where I didn't care for VSL's presets (any of them) it took me years to find a sweet spot I really love. With one resolved, getting the basics right is what I'm most careful to listen for in Synchron.

Personally, I just hope that Synchron Brass will still be like the Dimension series and be fully modular. Berlin Brass is the company to beat right now. The real question of samples these days is who sounds better and has sampled more deeply. Given the details of Synchron Strings, I'm pretty sure Orchestral Tools is about to get blown out of the water. Not that this is a war... but I like the pirate ship visual. Either way, it's well worth waiting.

Dear VSL, I check the site every day for demos... multiple times a day. You guys have turned me into a broken record. Thanks a lot! 

-Sean

Originally Posted by: HSM1

"...only reason I ever used anyone else was too much better legato script, short note attacks and huge detail sampled short/long articulations, etc. You didn't just take user feedback seriously."

Short note attacks, more articulations, better sound... these things were what drove me to getting some of the libraries you mentioned. I've had enough experience working in software support, UI, product magement, UX, consulting, and even some development (all of which I didn't want to have to learn) that I now have an involuntary quiet chuckle when I hear "take user feedback seriously". This "not listening" thing is a disease. It spreads.

You hit a nerve. lol

As for your articulation list, I couldn't agree more. Synchron has great value without them to be sure. And who knows, we may see them in SS2. But it goes without saying that most everyone would love one library to rule them all. Consistent ensemble samples, playing techniques, and template architecture would make life a lot easier. And if I could have my samples anywhere, I'd have them in VI-Pro by a long shot. I trust Synchron Player will likely live up to the same expectations. I just hope Martin developed it. Years ago I spoke with him and the guy just gets it... completely.

-Sean

Originally Posted by: fahl5

But I hope you know that this is obviously no privat problem of Eptesicus, but the same problem for all who purchased the early bird offer before VSL launched their current Voucher-offer...The easiest way to come along will presumably be, to spend all who buyed that early bird Synchron Strings already in November one 100€ Voucher and everybody will be satisfied. I hope this might help to find a solution for all..."

I've never got a refund or credit because FedEx for a late package or some packages coming later than others. Why, you ask? Because I never sought one. I guess I'm really weird for not wanting free stuff every time someone else makes a mistake. Personally, I don't want VSL giving every customer a whopping 25% of the standard library price. For one, I've never got 25% off a sofa that was delivered a day late. But far more importantly, I'd rather see your 100€ complaint go to developing more samples. Don't punish me because you're an impatient sno.... enthusiastic about samples. ;) You paid for something. You deserve to get it. That's fair. But it coming late doesn't entitle you to a free gift basket or a new car... especially if that comes at a cost that others will be affected by via inhibiting future development. I think 3% is a more reasonable compenation, if any has to be given.

I'll fully admit that I've been an impatient snob, sample enthusiast, jerk, friend, and everything else on here. I don't have any gripe with you personally. But if you get Synchron for 100€ less than I will, then you're the one taking something from me in my book.

For some reason I Feel like this just turned into a Marx debate. ;)

-Sean

DEMOS ARE UP!!!

I am of course messing with everyone. The tension is unfortunately still very high with impatience and boiling brains. Perhaps Synchron actually is a cure for cancer. I'd believe it. We can all choose to encourage instead of insult. Rudeness is a cycle only broken by choosing to be better to others even (and especially) if they choose to be worse in return. Otherwise, who among us "would not be the sufferer"? Please forgive the sermon. Maybe we can all act like adults and talk about Synchron instead.

Speaking of samples... What I'm most interested in so far.

• Long Notes - Lyrical. Yes, yes, and yes.
• Regular, slurred, and fast legato - More yesness.
• Releases damped & ringing - Wanted this for years in a string library. Very excited!
• 80 wonderful variations per key.
• Short notes? It's not Staccato & Spiccato now. Is it adaptive or something?

I hope the video demonstrates the short note versitility as I'm rarely content with short notes in any library out there. Kontakt's TS-Pro algorithm is the closest I've come to being satisfied and I'm not really that satisfied with it. So any examples would be appreciated.

-Sean

Vienna-J & LAJ,

Thanks to both! We're happy and sleep deprived! And I could probably name a son Dietz. I could train him to be a sleeper agent so he could someday infultrate VSL to get the source code for MIR. It'd be worth it.

I'd understand concerns about delay and the segmented release schedule. To be fair, I've seen the same thing before with every leading orchestral library out there. Most just keep a lid on it until release day. I actually prefer getting things in parts cause it forces me to get to know the instrument before I commit to a template. It usually helps a ton when come time to build a template. But I can absolutely relate to the sense of urgency in your post. I'm sure we all know it's best not to hang a job on a new product. But sometimes it's not avoidable either, especially when you don't have a lengthly list of orchestral samples to already work with. Been there done that.

The only thing I disagree with you on is "a little big exaggerated". Come on now, just admit it. You were a raging madman!  5-6 years ago I flamed in forums constantly (my excuse was a very broken childhood). All the craziness aside, I think every last one of us can at least agree on one thing ---> we either get demos soon, or we should threaten to flood the General board with seriously wonky VSL mp3 demos using our existing instruments! I'd be down with experimenting with VI-Pro's feature and an LFO on just about every CC-assignable feature to make some unnatural cello magic happen. It could get ugly.

One thing that's irking me about this release. The more I sit here and think "gee, I wonder how much I'm going to be flipping out over this soon..." my thoughts keep turning to extreme impatience. Not for demos. No. I'm getting impatient for Synchron Brass already. My SE+ tuba has served me well. But I so desparately want a new one.

-Sean

Originally Posted by: Mobius

“Rage”? Really? Something’s definitely not right with your perspective if a product delay causes rage. Annoyance perhaps, but rage? Sorry, but your post reads as either extreme over-reaction or sarcasm.

CLEARLY, we all love VSL's fine work so much that we get extremely passionate about it. That must be it.

Speaking of being extremely passionate about VSL...

We just had our first child 2 weeks ago, a girl we named Vienna. Someone just asked me "you seriously didn't name your daughter after a sample library did you?" Of course I didn't.......  but this does at least say that I do mention VSL enough to elicit that question being asked.

Sorry for getting a bit off topic. I just thought I'd lighten the mood a bit. 

-Sean

Dear VSL,

Take your time! It's what makes VSL the best. 

I can imagine a VSL rebranding and redesigned marketing campaign (including a release/demo schedule) that I think would probably launch VSL into space. But I'd rather buy from a company that focused more on their product than their logo.

For the record, 1) I'm using samples from VSL that were recorded nearly 2 decades ago. 2) Now I'm even rebuilding my entire template around some VSL instruments I normally never use (due to a recent discovery in how to use convolution more effectively). Both are only possible because of a ridiculously high quality standard. 

If I am to be a true Jedi (which of course, I am) then patience is in order!

-Sean

I've never been more excited about a library. Never.

For years I only ever used VSL. Now I do use others, but VSL is always my favorite. BUT... the only reason I ever used anyone else was softer staccato attacks, more RR's for some articulations, and brilliant rooms. You guys didn't just take user feedback seriously, you took it to a whole freaking new level. Am I surprized? No. Am I freaking out with giddishly awesome joy? Possibly. It's so... beautiful. 

Can't wait to hear the demos!

-Sean

ominiq,

Where have you been all my life?

AWESOME!!! I can't play with this for a couple days, but believe me when I say I'm counting down the minutes until I can. The more stuff like this out there, the better!

Cheers,

Sean

Matteo,

I would suggest watching the following videos on VI-Pro. You can expand the "info"button to the left of the video, in order to view a specific chapter. 

• Overview (how to use cells & matrices generally)
• Stacking Instruments (how to create your own organ registrations)
• Features & Gadgets, Chapter: Enable/Disable Cells (recalling your 'registrations' for a particular piece)

That should answer your question, within the approach it seems you are trying to utilize. Personally, I prefer creating a unique midi channel per stop/patch. I can then easily use a CC controller or keyswitch to disable the stop by switching to a cell I've left empty. Each instance has two cells, one with my stop and an empty one.

Either method words. One is live, more tedious to build, and not the easiest to manage in the DAW... but effective and not overly difficult IMHO. Creating presents is easier to do quickly and probably easier to work in, though less flexible. We've heard a hint of something coming to help here. It may take time, but it will certainly be worth it. :)

Hope that helps to get you started!

Sean

Hello VSL friends,

As one who has spent more time with samples than people, I'll never forget the first time I recorded a cellist playing my music. It was magical. I had forgotten something of the sound and tone the instrument is capable of, and I noticed a profound difference in the way the instrument behaves as a physical object. Albeit rather embarassing, it was rewarding and an eye-opening learning experience.

1 - This cello has a rich & bodied tone that takes me back to that session. It's absolutely gorgeous! I want to make love to it! The staccatos aren't unreasonably short, something I also love. The progressive vibrato is stellar. It's probably worth buying for these things alone.

2 - Although, can it bleed notes as you leave a string? (the body and string don't suddenly stop resonating in real life, the way they do when you switch from one audio sample to another).

Could anyone provide a few notes or so of an example that might show this, if possible? I haven't heard a single sampled cello get this right. One gets close, but it's nowhere near as versatile as VSL (most companies always seem to never measure up in that regard). Any insight here would be appreciated!

Thanks! :)

Sean

P.S. Congrats on the release of the updated VEP. That (amongst so many other things, unfortunately) are on my list of Christmas presents I'd like to buy myself this year. lol