The trouble with creating such pre - release excitment, is that when it does come, it can only be an anti climax !

as the expectation will grow more than what it could ever be.

The only thing it could do, is to include effects - maybe even MIR,  and that would be good for many, but as a Vienna Effects and MIR owner,  that isn't going to do much for me, which is why I didn''t pre-order.

Yes, I will complain straight away - you mentioned subscription.

any company that uses subscription based licensing, I will run as far away as possible,

If VSL goes subscription based, I will never buy ever again.

Am I right in assuming that the €45 for the additional liceneces is the normal price and is not on offer, so no need to pre-order to get that price ?

Originally Posted by: musicman691

Originally Posted by: andyjh

I notice from an email from VSL that the introductory offer expires on Feb 28th,  so if we don't get more info on what VEP7 is before then,  will this introductory offer be extended ?  or do we really just have to buy something and hope it does something we want ?

The emails I got from both VSL and ILIO on Feb 19 did not have an expiration date for the intro offer. Where did you see the date you mention?

This is the email I received from VSL:-

If you order Vienna Ensemble Pro 7 you qualify for a free download of our Japanese Giant Taiko Drum bonus library for Epic Orchestra 2.0. This special library portion is not available for purchase and is offered to you exclusively through February 28, 2019.

Doesn't it seem reasonable to be informed what VEP7 is before an introductory offer expires?

I notice from an email from VSL that the introductory offer expires on Feb 28th,  so if we don't get more info on what VEP7 is before then,  will this introductory offer be extended ?  or do we really just have to buy something and hope it does something we want ?

The Cembalo Tutti goes from F0 to E5.

Yes, that upgrade path works OK

I also splashed at $1 and bought this library as well, you can't argue it's not worth $1 !

The SoniVox plugins are only stereo out plug ins (not multi outptut), but as they are not multi timbral plug ins,  there is no need to have any more than a stereo output.

You can pick which output to send it to within VE Pro, just pick an output within VE Pro to route it separately from the Master channel.

The output routing is done within VE Pro and not the SoniVox plug in.

OK, after much experimenting,  I have found what is causing the problem.

If I use CC0 as a controller type, with expression maps to control VE Pro, it all goes wrong, if I change CC0 to CC4, then everything is OK,

so is perhaps VE Pro communicating transport info to Cubase with CC0 ?

so new rule to follow - never use CC0 as a controller type

When VE Pro is connected (Networked in my case) to Cubase, it stops the keyboard transport shortcut keys working in Cubase, it's as if VE Pro is over riding transport control.   If I don't have a VE Pro Server instance enabled in Cubase, everything is OK,  put it back on a single track,  and I cannot control Cubase with a shortcut key (SPACE bar to start/stop).

If I use the QWERTY keyboard on the slave PC (the one with VE Pro on), then that keyboard does control Cubase, but its stops the Master PC QWERTY keyboard wokring..

Is there anything in VE Pro that allows transport control to be turned off  - as Cubase does not like it.

Can anyone confirm the exact situation with the vouchers on purchasing Historic Winds at €395.

as being able to use 4 vouchers ( and losing €5) or not being able to use 4 vouchers has been mentioned,

so what can be used ?

Can I buy 4 vouchers (getting one free) and use those vouchers to buy historic winds, or do I have to spend €300 on vouchers and then have to spend a further €95  to get it, which means it costs €395 to buy something for €395 with no immediate saving.

Perhaps someone has actually just done this to know the reality of this

thanks

I would have assumed, and see stated that  Dimension Strings II will have fewer articulations than the normal Dimension Strings I library - that is expected,  but why is Dimension Strings II some 16% more expensive than Dimension Strings I (normal price - ignoring the introductory offer)?

I do own every library from VSL, so I do normally buy everything that comes out, but I am confused as to the pricing of this new library,  is there something in Dimension Strings II, to explain this higher price ?

I'm not sure about the VPC1,  but the Kawai MP11 defaults it's pedals to

Damper CC64
Sostenuto CC66
Soft  CC67


but as they can be changed,  you would need to check that they are still set to this

Why don't you just use the breath controller to send pitch bend data (or re-routed CC data to the pitch) with non-vibrato patches ? 

As long as the pitch range is scaled fine enough,  why wouldn't this work?

The "magic" happens in the software - that is,  the VI Pro player.

VI Pro is ready to play any of it's samples (instruments), it just needs to be told which note to play and when to stop playing that note, and that information comes from the MIDI data, either from the DAW or directly from a MIDI keyboard.

VI Pro turns this note on information into the audio you hear. (although technically,  it is the audio interface that actually turns it into audio, it is still a digital represenation of audio that comes out of VI Pro and your DAW).

Originally Posted by: DG

No, that is not correct, because it ignores the differing dynamic range of instruments. There is probably one dynamic at which this is true, but as I have no idea as to how the Natural Volumes were calculated, I have no idea which dynamic it would be.

DG

I have always assumed that it is based on the maximum level ot the loudest dynamic (maximum SPL of that instrument),  but the huge diversity of dynamic ranges per instrument makes things somewhat more complex, especially when a piece may not be utilising that dynamic range.

If I ever need to make large changes to what Natural Volume has set,  I can't help feeling that I must be doing something  a little unnatural.

With no key switches assigned to anything,  I find that the notes C8 and D8 don't play. (ref Middle C= C3)

As an example,  load Concert Toms High, set EDIT - OCTAVE -2, so that C8 is within a playable range,  then it becomes apparent that C8 and D8 will not play,  C#8 and D#8 and above are OK.

This can be tested with any instrument when transposed to include these notes.

I know you wouldn't normally play instruments this high,  but I was trying to get High Tom and Low Tom to span across the MIDI range, so the High Tom needs to be pushed as high as it will go, which is how I discovered C8 and D8 don't play.

Is this a bug, or some devious reason why these two keys are reserved?

Note I have Middle C set to C3,  so if Middle C is set to C4 then the offending notes are C9 and D9

Playing the bass drum at a velocity of 100 is Forte, and you don't want forte in your example, 

try playing the Bass Drum at a velocity of 60, and leave everything at Natural Volume,

Perhaps you could approach this from a different angle,  leave Natural Volume as it comes, and adjust the dynamics of the instrument (velocity) to achieve the right balance, as that is how it would be in the real world. (assuming your have Vel XF controlled by velocity)

Originally Posted by: nektarios

///

 For example, in regards to natural volume, I was doing a piece with a timpanis, and strings, and I set everything to "Natural Volume", but the natural volume of the timpani sounded way too load to even be considered natural to my ears ///

A single Timpani player is quite capable of being heard over 40 string players, a forte Timpani is loud.

The solution is not to turn the Timpani down in volume,  but to play with softer dynamics,  

A forte struck Timpani at a reduced volume level is not going to sound right.

Just tell the Timpani player not to hit the Timps so hard !

The way I have always figured out that levels work, is that MIR needs an even level input to it, so that the Natutral Volume can then do it's thing.  The volume in VI Pro seems to be set, so that a maximum level of about -10 is always sent to MIR.

When I set up my own Presets,  I set the VI Pro volume so that the maximum output level is about -10 (with the mixer level at 0), then let MIR take over control of the level.  This is only a starting point, and further adjustments will need to be made, but I think this explains why various Presets have different volume levels.

Perhaps someone from VSL can confirm or deny this, as this is only what I have discovered, and the way that I start out with things.

Originally Posted by: BachRules

If person A turns on Natural Volume and loads Presets:

/A - Strings   PRESET - Files/01 Violin solo/VI VSL Preset Level 1 and

/B - Woodwind   PRESET - Files/32 Flute I/FL1 VSL Preset Level 1,

VI Pro will set Vol to 127 for the violin and 118 for the flute.

If person B turns on Natural Volume and loads Patches:

/A -  String patches/01 Violin solo/10 PERF INTERVAL/01 VI_perf-legato and

/B -  Woodwind patches/32 Flute I/10 PERF INTERVAL/01 FL1_perf-legato,

VI Pro will set Vol to 127 for the violin and 127 for the flute.

Did VSL design Natural Volume to work correctly for person A or for person B? No hint from VSL. VSL should rename "Natural Volume" to "Unnatural, Random Volume".

I'm not sure what you are referring to here,  because when VI Pro loads a PATCH (or MATRIX),  it doesn't set any volumes within VI Pro.  MIR Pro will change if it sees a new instrument,  but MIR Pro sets Violin Solo to -21 and Flute solo to -18.5, that doesn't change if it's a Preset or Patch.

Natural Volume is a function of MIR Pro,  and has nothing to do with settings in VI Pro, other than the instrument it detects.

The Flute PRESET, does set the VI Pro volume to 118,  but loading a Flute Patch does not change or set any volume.

It looks like maybe you are just confusing yourself here.

The VST3 version is always shown as "Vienna Ensemble Pro    ///", where as the VST2 version is shown as Vienna Ensemble Pro x64,  this is because VST3 names do not use the file name (.dll),  but uses a name embedded in the VST itself, and VST3's also sort by their own embedded category, although VEPro ends up outside of any category folders.

So you should see the following in Cubase

Vienna Ensemble Pro     ///
Vienna Ensemble Pro Event Input   ///
Vienna Ensemble Pro Event Input  x64
Vienna Ensemble Pro Surround  ///
Vienna Ensemble Pro Surround  x64
Vienna Ensemble Pro  x64

These are all 64-bit versions,  assuming you are running Cubsae 64 bit version,  any 32-bit plug ins will be bit-bridged and show with the symbol that looks likes three slashes with a line above and below,

sort of like this (but all lines touching)

----
///
---

If you don't see anyting like this synbol,  then everything you have is indeed 64-bit

Hope that all makes sense

I use the External MIDI in often,  and never had an issues what so ever with it,

though I will add that I do only use this when playing a keyboard into VE Pro,  and not a complex multichannel MIDI data stream.

There is a devious way to get VI Pro to pan with CC10, certainly not conventional panning, but it will work.

Make sure MIR is OFF - it will not work with MIR on

Put the same patch on slot A and slot B

unlink the panners, and pan 1a hard left and 1b hard right

reassign  SLOTX in the  Ctrl Map to CC10 (make sure the curve is linear)

and there you have panning via MIDI CC10


it's probably not worth the effort though, as orchestral players tend not to move around the stage when they are playing !

My problem with VE Pro is a Cubase Pro 8 problem, as every other version of Cubase is fine. (It may only be a PC thing as well)

It is just that the only hope to get it working again is if VSL update something to get it working, as the chances of Steinberg rectifying it, is near to zero this side of 2016.