Well... I came around the same problem about a year ago (with older Cubase versions, too) -  and I also had problems to solve this.

So I decided simply to convert the modwheel to CC2 (breath) - perhaps this is also an option for you?

To reach that, put the "Transformer" plugin into the midi insert effects.
In the upper section add two filters: "type equal controller" and "value1 equal 1".
In the lower section add the transform destination: "value1 set to fix value CC2 (Breath)"

I saved this as a preset and assign it to VSL MIDI tracks.
When I now use the modwheel cubase transforms it to CC2. It saves cc2 data in midi and sends cc2 data to the VSTi.

Regards
  Chris

Hello,

first of all: Music is my hobby and I do not produce things for CD or anything else (perhaps the pros have different or better ways to do this).

But I also had the same challenge and here is the way I used and use reverb in my cubase projects:

Some time ago I also used a convolution reverb for this (Cubase REVerence).

I simulated the early reflections with different Pre-Delay settings.
You can fade-out the long reflection tail by editing the volume curve in the reverb settings of the early reflection.

For the reflection tail I truncated the initial attack part of the
reverb (change start-parameter) and let the tail start after the early reflections (e.g. pre-delay of 40).

I think this could be a practicable solution for a convolution reverb.

Now I personally prefer using the newer Hybrid-Reverb (included in latest Vienna Suite update) for that suppose and making different send FX (e.g. 3 for early reflections and one for the reflection tail).

Of course you can also do this with the convolution reverb - the advantage of the Hybrid Reverb in my opinion is that it already differs between early and tail reflections - so I only need to mute the tail reflection in the sends of the early-FX and otherwise.

What I do in detail in cubase is to create send effects for every reverb type (only wet signal) and then create groups with those effects. After that I route my single instruments to these groups.

Example:

4 Reverb-FX with Reverb (wet signal only) in inserts (early-near, early-mid, early-far, reflection-tail)

One group "GrpRevTail" for reflection tail that has the FX of the reflection tail in sends.

Several instrument groups (e.g. "Strings, Woodwinds, Brass") that have one of the early-reflection FX in sends (near or mid or far) and are routet to the group "GrpRevTail".

An instrument (e.g. Violin 1) that is routet to one instrument group (e.g. Strings).

Of course there are many ways to do this and everyone has his own preferences.

Here a two short pictures of my own setup:

VSL Route FX Example

VSL FX Reverb Example

Best regards

Chris

I don't know what you downloaded!

If you got ISO files, yes you downloaded the CD images.
Of course you could burn them directly on CD and have a hardcopy if your data get lost.
There are also some CD Simulators on the market where you could load the ISO file directly to a virtual CD drive on your computer.

What file extensions do your downloaded files have?

If those are not ISO files it may be that you only need to "install" the libraries within the vienna download manager.

I personally alwas like to have that stuff on CD, too.

Regards

  Chris

hum... that way you can differ the instances in cubase itself...

but the title (caption in taskbar) still is only "Vienna Ensemble [version-nr] X64".

If you save or load a VE-Project the VE instance shows the filename (*.viframe64) in its title.

But it does not remember it if you close the project and reload it in the sequencer.

I thought it would be great if one could set the title manuel and VE would store this in its own data and display in window / application title.

But thanks for the suggestion.

Chris

Hi,

in short:
Vienna Ensemble is a way to put several Instruments (a lot of) in viennas own mixing console.

Do you need it? Depends on the way you work!

For larger projects I use e.g. one VE for Violins, one for Viola, one for Cellos, one for double basses, one for woodwinds,... and so on.

In vienna ensemble I can then route for example 20 violin patches to channel "violin 1" which is panned left, another 20 violin patches to channel "violin 2" which is panned center/left, and so on.

So I mix the orchestral sections in vienna ensemble and the sections itself in the host sequencer (I use Cubase).

Of course - when you solo the virtual instrument which is an vienna ensemble, all instruments in this VE-Instance will play.

In Cubase I have to solo the "midi-track" - not the instrument - so that only the instrument plays that is listening to the configured track number.

The thing with "velocity X-Fade" was mentioned above... I map it to the breath controller and map my modulation wheel to cc2 (breath).

So I can controll and record velocity-x-fade with my modulation wheel (and also can record it later - if there is a need on an own midi-track)

Best regards

  Chris

Don't get me wrong... I know that it is possible to find the instance...

I only want to say it would be great and a big advantage in workflow when I could name the Vienna Ensemble Instances.

If I am editing MIDI data for example and know, these are drums, it is way faster to see the word "drums" in the caption of the Vienna Ensemble Instance

With that in mind I would only need one klick to get to the right instance and choose my instrument - this would be less time consuming.

http://www.symphonic-gate.de/images/sonstiges/VE_Instances001.jpg

http://www.symphonic-gate.de/images/sonstiges/VE_Instances002.jpg

Best regards

  Chris

erhm... I also have the same problem running 5 Vienna Ensemble instances in one project.

When you save the VE-Project you can see the saved name in the instance list... but it does not stay when I close the whole thing and reopen.

It would be great if you could name your VE-Instances and the software would remember them and show the name in the caption and the instance-list.

Why do I use more than one instance?

Perhaps it's a limitation that I have because I don't use the VE-Pro version... but... when I have all my strings (including Dimension Strings) in one instance and I use a lot of them I have dropouts. I think that could be a problem with CPU limitation.

When I split them into more instances the dropouts are gone.

The other thing is... it is much more comfortable to mix by instrument group... I have more than 40 Violin Instruments in my Vienna Ensemble... and I hate it to scroll all the way to the double basses - if you know, what I mean.

Best regards

  Chris

This score is going to become an endless story :)

https://soundcloud.com/symphonic-gate/fairy-tale

Opinions, tips and suggestions of course are always welcome!

Best Regards

  Chris

Of course I did... I own the old standard and extended SE library together with the dimension violins, soprano choir and guitars - but still would love to use e.g. solo strings or brass ;)

<< very expensive hobby

Music hast been an expensive hobby since my youth... and with 30 Years I learned to play the violin and wanted to use a bit more of that orchestral stuff... someone at music store told me to try VSL for realistic sound... damn... I would love to own that cube... but my wife would kill me before the installation is finished

Hi Beat,

thanks for the tip.

I use the Brass from the VSL Special Edition with velocityFX.

At the moment I have not in mind what articulations are inside... I will look at it and also test to raise expression with velocityFX faster.

Best regards

  Chris

Hey Beat,

you don't need to have a bad conscience

I am working since about 5 Month on that piece and I don't change a song because others don't like it...

I think about all the comments and suggestions I get here and from other people and ask myself if this could be a step forward.

I own the library a very long time now bit I am still very very new to orchestration.

So believe me... I do not want to make you happy... but the things you wrote animated me to try a littlebit again and... yeah - I think I can always make things better - so it's always worth a try

But a question again... I heared some people saying that the brass section does not sound very realistic.

I don't play a brass instrument... what do you think about the brass section in the song?

Is it really that far away from realism and... if yes... how can I fix that / make it better (in general)?

Thanks for your opinion and suggestions!

Best regards

  Chris

Hi alltogether,

I worked again on this piece and tried to get it more dynamic.

This is what I changed:
- reduced overall compression to get more dynamic
- reduced instruments in some parts to get more dynamic into the piece
- overworked solo strings bow-strikes (e.g. violin staccatos, slower viola and cello parts)
- changed expression range of brass sections (still unsure if this is better now)
- changed volumes of percussion hits a little bit

Thanks again for listening  8-)

Hello Beat,

no I am not disappointed about your feedback
And I also got feedback from friends in the meanwhile.

I think there is another reason for the loudness... I wrote some other pieces in other music styles and tried to get them all into the same output level... so I put a compressor in the master channel... perhaps this is also too much compression overall?

I know what you mean and... of course a live playing orchestra works different... I am changing some things in detail at the moment (Staccatos, etc.) and I will have a look for the things you mentioned, too.

Perhaps I can get a bit more dynamic into this piece reducing compression and also using more velocity-FX on the Instruments that spread wider (string ensembles for example).

Thanks for your feedback, beat!

Best regards
  Chris

Hi alltogether,

in december 2012 I wrote a piece called "Fairy Tale" and posted it here.

I got some suggestions in how to let it sound more realistic (e.g. use velocity FX).

Till then I started overworking the piece and now I would like to let you listen to it again.
Hopefully it is a bit better and more realistic than last time

Tips and suggestions are always welcome.

Best Regards
  Christian

I agree with the mighty Konrad

I also started with a special edition (standard + extended) and found it very useful to build a basement for an orchestra.
Of course they are dry and without reverb and all that stuff they don't sound great - but hey... they really do, when finished up.
Next to that I invested into a VI Pro Player and in my oppinion it definitely was a good choice to do that.

Last year I extended my libraries with the dimension violins... gread product and so much detail in sound.
I still use the SE (especially appassionata and solo strings) but I'm able to add more detail and realism with dimension violins and I'm getting fucking hot thinking bout the upcoming instruments in the dimension strings.

Best regards
  Chris

Thank you for the answere.

I played guitar in my youth so I am not used to change tempo in a song.

But of course you are right - in most life performances it is like this. I will see if I can write something more realistic next time.

Thanks again for the suggestions.

Best Regards
  Chris

Thanks for your oppinion and suggestions.

I've already used much of velocity XF but I guess it doesn't vary enough.

With the articulations you are right... I have to work much more with that... in the background Strings I did (Staccato, Short Detaché, Long Detaché and Legato) but I think I've not enough experience in Flutes or Brass instruments - will have to watch more videos of that stuff ;)

What exactly do you mean with tempo changes?
Tempo of the whole song (change song bpm) or in samples or just in notelength?

Best Regards
  Chris

Hi all,

this is my last test with the VSL orchestra library this year ;)

Overall I used the VSL Special Edition, Dimension Violins and Soprano Choir.

https://www.youtube.com/watch?v=4Yz99y13wj0

Regards
  Chris

Hello,

after many tries with instruments and the vienna pro player I programmed my own version of Lux Aeterna closely followed the version of Clint Mansell.

I used Vienna Ensemble (Instruments Player Pro) with the Vienna Special Edition, Sopran Choir and the Vienna Suite.

All virtual Instruments and effects in this peace are from VSL.Hope, you like it
http://www.youtube.com/watch?v=AyAlzhRsrMs

Used Instruments (Real and VSTi):
- 1 Piano (Boesendorfer)
- 3 Solo Violins
- 1 Solo Cello
- 2 Solo Double Basses
- 1 Oboe
- 1 Flute
- 1 Basson
- 1 Cembalo
- 14 Player Violin Ensemble
- 10 Player Viola Ensemble
- 8 Player Cello Ensemble
- 6 Player Double Bass Ensemble
- 2 Picolo Trumpets
- 8 Trumpets
- 6 Trombones
- 16 Horns
- 2 Tuba
- Sopran Choir
- Percussion

Regards
   Chris

Hi,

not too bad for the first try.
I like this one... but there's much you can do to let it sound more realistic.

Work with controllers, etc. - Attack, release, expression and so.

VSL has much to configure.. I'm still finding out myself ;)

Regards
  Chris

Hi all,

first of all - Music is my hobby and I'm not a pro ;)
I bought the Vienna Instruments Pro player some days ago and yesterday I found some time to play a littlebit with it and the special edition.

I would like to hear your oppinion about the sound - of course you can post tips that could enhance my skills in using this library.

http://www.youtube.com/watch?v=T8rKj5jh9QE

Did it in Cubase -> all used Instruments and Plugins are from VSL.

Thanks to the VSL team - great tools to spend some freetime with.
I would love to own the DVD Collections... but this is way too expensive for a hobby musician like me ;)