This is very interesting to hear about MIR 3D - Mir is already one of the best things for mixing/reverb ever.

Really interesting sound in this, and the harmony results in a unique quality.  I am exploring the Spanish 8 tone scale which I originally thought I invented.  I was wrong.   

OK, that makes sense - you previously seemed to be justifying that appalling MIDI generator but I see you were not.  Sorry if I went off - I think I transferred my shock at that huckster to you.  That guy actually reminds me a little of a carnival barker.  

edit - I shouldn't be so obnoxious but these statements set me off.

 "fake orchestras and AI clichè can be succesful vs. original mastercraft and innovation." - fatis 

"If the average and rewarding audience today asks for basic emotions made of timbral hype and rhythmic excitement, "the art" is finding moving and exciting combinations of colours and patterns, whatever the source, in the comfort zone of clichè common language everybody understand... and this is not trivial. It's an art itself." - fatis

-  In other words, auto-generated musical cliches are just as good as individual musical artistry if someone likes auto-generated cliches.    Like a producer or audience who demand the cliches.  So go ahead, line up and supply the cliches. Stop being a stuck-up "artiste" and just do what the audiences and the producers want.    

Thanks - certainly not a big problem as I've been able to write names normally in VE.    

thank you Dietz, I have been using the conductor's position slightly to dry, and MIRacle or my Lexicon hardware, so I am going to try that combination.  

Not absurdity, but a great project and so imaginative and wide-ranging. 

I have to note that not only are the clarinet and accordion so well played, but the VSL instruments beautifully incorporated and expertly programmed.   

I noticed another odd thing - this naming problem involves mainly the letter "C"  !  I was trying to name "Cello" and ended up with "Ello."  This happens on two separate computers running VI Pro standalone.     

Also - at first it didn't happen, with naming several presets completely normal And then after about 4 instrument presets, it started again. I was trying to name "Percussion" and got "perussion."  

It is not a huge deal as you can go in within VE Pro and rename the same instruments. But the naming function within VI is doing this erratically.  

Paul, thanks very much for the reply.  It is Windows 10 Pro 64,  and loading VI Pro standalone, then trying to save any preset.  The naming seems to be a problem.  

I was remembering that this did not happen in previous versions as I had saved a lot of newly named presets without any problem.  

What is odd is that there is no problem with saving within VE Pro.  That works as usual.  But within VI pro, this happens.  I wouldn't be trying to do that except I had to use VI Pro standalone in order to do the shortcut for replacement of Dimension instruments.  

Thanks Dave, also your insights about problems with composing now are so well expressed.   

Paolo, thanks very much it is good to hear from you!  

Here is an amazing piece done by the Acclarion duo with David Carovillano who posts a lot of really fine things here - I was greatly impressed by the variety of music in this, and it uses some expertly performed and combined VSL instruments blended beautifully with the live accordion and clarinet which are so well performed.

Circus of the Mind

I was trying to save a preset in Vienna Instruments Pro standalone and it would not allow me to write a "c" in the name! Also some odd ignoring of other letters, then suddenly putting them in as I typed.  I thought my computer (typing) keyboard must have a malfunction, so replaced it with another I had.   Same thing.  I then tried to save a new-named preset on another computer running VI Pro and the same thing happened.  This looks like a glitch in  naming new presets.  

The reason I was saving them in VI Pro STandalone was to use the replace instruments shortcut with Dimension strings, but this had nothing to do with the other computer which behaved the same.

Macker, I didn't see this previously - thank you - that is very kind of you to write.  

The dry sample format - you're right, that is what makes VI so valuable.  I've never used that auto divisi since I always wanted to control each player, but agree  it is a good feature - that is actually like a sample library that never made it, DVZ Strings.  It is interesting how Dimension Strings actually did what those guys were trying to do but went way beyond with the simultaneous performance/individual miking as well as hugely more samples about a decade later.      

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Originally Posted by: Jos Wylin

I agree with Wiliam. VI (Pro) was and still is a very valuable and flexible player. It offers everything a composer could need to perform his/her work virtually with the highest possible realism. In fact, nobody was waiting for another approach. 

Thanks to VSL, we could create our ensembles and orchestras with the best recorded and controllable samples ever. The instruments are not cheap, but worth their money. The only really tricky part is for most users the ambience and natural sound of the instruments in a room. For that purpose, MIR was developed, again a great bonus, although many other reverb and IR plugins can be used as well to the taste of the user. VE Pro provides the necessary environment to complete decent complex mixes... All very interesting and helpful products. I think everybody will agree on this. The acquisition of the Synchron studios is perhaps a giant step for VSL, but not necessarily for us. I understand that some people want to perform their music the easy way with prerecorded positions and acoustics, but not everybody shares that need or opinion. I won't speak badly about Synchron as I'm convinced that Vienna will offer the same quality like for the VI instruments and it is certainly worth trying, but again...it comes with a considerable price.

For that reason, I hope that the huge investments on our side in the VI instruments won't be wasted because of a new approach. VI has more than proven its value. Therefore I explicitly want to ask Vienna NOT to abandon the VI series, both in support and development (instruments and player).

Jos

That's so true and it seems like a commercial fact that is happening with VI - it is not as monetarily rewarding as something more instant.  This is a huge problem because it is also better than the instant things precisely BECAUSE it is not instant.  It can be used with other systems of audio in the most pristine way, because of the Silent Stage which is the most  significant development by far of VSL.  Though now it is being shunted into "legacy" which is wrong.