Yeah, ha, no worries. Only thing, I never heard 'bodge' before. CF: kludge ;) Confounding Predator's filter for what you stated is on me, fortunately it doesn't matter to the question. 

I remember the first time I wondered about this. Only very vaguely, apparently, as I had to go and do it to be certain. I was about 99% it would just work without the, ah, bodge. Occasionally I do want to control an FX from the piano roll in a lane if it has to time very precisely.

(I learned something else that may not be in the manual making a mistake here: you can add an instrument plugin to a Bus via the top slot, changing its channel type to Instrument.)

Well, whatever is causing the problem, "Program 1" is not it. In fact, for an Instrument Track, it's automatic, defaults to Program 1. If you are not dealing with an instrument set to change programs, it would tend to be quite irrelevant.

I have never used Program 1 or the like in Cubase or Nuendo, nor have I ever used the Instrument Track (always Rack, ie., F11 instruments).
But I tested it, and here Synchron Player responds to automation in the automation lane as assigned, from an Instrument Track with SP instantiated.

link to screen movie: auto. in SyPlayer working

(Dim. A, CC20 is crossfading vibrato types and Mix 1 Volume is automated there)

"how can midi CC data be sent there?"

Assign the parameter's source to whatever Port/Channel you want; now simply use "Learn", hit the 'L' and click on the parameter. There's no need for that workaround. (I am speaking of the Server VEP 7 from a DAW, to be crystal clear.) 

And you may control it from any extant MIDI track or event, just watch out for conflicts/unwanted duplication at the assignment juncture. I guess "Predator" is an instrument, so you want to open up its filter (once assigned and learned) just open up a CC lane for that instrument's part/event/track.
 

Yes, use something else. That's rather dodgy practice to be a default. Clean My Mac is not very reputable.

OnyX for instance; I use it to clear out junk, log files which build up and so forth. It's free, too and easy to use on the basic level.

We all have to guess at the meaning of 'VSE', for starters. Probably explains the lack of response.

But there is no way for either of the sample player engines to use that.

The only possible interface of an external instrument [exception = as a MIDI controller possibly] with anything VSL is that you may route the resultant audio from the device if the DAW you're using can use the Audio Input plugin of VE Pro. VE Pro as a live kinda sorta insert to itself as an FX rack is doable on paper, although will tend to introduce more latency than using the DAW directly for an FX insert or send.

"every time I move the playhead cursor Cubase sends all of the MIDI..."

Originally Posted by: orhan_nazim

to be able to set the tempo manually in VEP Pro 7. That would mean that VI Pro can still be left in "host tempo" sync

To set the tempo manually in the [VI Pro] APP Sequencer requires that 'host tempo' is turned off, the two are mutually exclusive by definition. Tempo 'in VE Pro' isn't actually a thing.

Running decoupled and preserved allows you to reload any instance in your Server Project while connected, affecting no other instance nor your DAW project (unless there is something else wrong).
I would actually recommend not going back and forth, not seeing a real upside to running coupled with 30 instances

I have experienced that occasionally, not frequently, with VI Pro instruments (don't quite recall a Synchron Player patch doing it but not sure it hasn't); not exactly what you describe but most of the sample was cut off, just the initial portion would sound. It was a 'restart the computer' kind of a thing, though. Or even purge RAM use in cases of an older machine/OS than I'm using now ('sudo purge' in Terminal), where RAM was not being let go of properly.

nothing has changed to cause this. it worked, now it doesn't

this had an image of the result, nothing in the browser. Enough of that! I got it to work.

here's how: I removed Synchron.plist and Synchron Player.plist from my name/Library/Preferences. This made my presets appear, but none of the actual libraries were seen.
Now it's rebuilt some preferences. Not any good, but moving on.
So, I *put back* Synchron.plist - there is no rationale here, just being methodical - and checked it again, and now both show. I don't know what this means LOL (apparently the at.co.vsl.Vienna Synchron.plist contains the libraries locations while at.co.vsl.Vienna Synchron Player.plist contained the path to user presets. It no longer does but this is working. The latter was corrupt, the rebuilt property list looks quite different than the file in trash.)

running Uninstall Synchron Player did not get rid of [my user name/] preferences so it did nothing for my situation

this was a picture of the Database, reflecting exactly what's in the first picture

Mine just vanished. I actually know exactly what I'm doing; they are there like they always were, but they do not show in Synchron Player plugin or standalone. 

// here was a picture of my Documents/VSL/Synchron Player/Presets directory 

uninstalled and re-installed several times. this is broken.

turns out it's very similar to the "MIGHTY" option

Not sure how 'great' this is but it sounds pretty big in the project
Bosendorfer Imperial preset (dropbox share)

the MIDI Sensitivity is 36.02. If you want 'loud' you may want to look there. The previous project used it at ~18.

A legato patch and a legato scale runs patch are two different things. A legato patch, you're going to have to play the run.
Here, scale runs in the browser of VI Pro, 'Patches':

The Hybrid Reverb in VS Pro has a late reflections of Synchron Stage preset, which I use for things I'm not putting in MIR (drums in mono which I don't want [added] early reflections coming from, for instance) to agree, to whatever degree with the placed-in-Synchron MIR instruments and the Synchron Player instruments in a mix. So for #2 more yes than no, I would think moreso with MIRx (which I'm not using) but just having the AR/tail of the synthesized room (convolution OFF) seems to offer a sort of glue to the snare/kick/hats/toms in the mix, to the extent I almost want to remix a lot of stuff. Confer MIRacle, same idea.

Not certain what you want from #1 there, but MIR Pro has made a huge difference for me very quickly which other people have noticed and remarked on. The mention of 'samples' is kind of corollary to an answer Dietz here gave me today, that the full effect of the extra samples (eg., surround which use Omnidirectional mics rather than coincident pairs for stereo) of a *Full* Synchron Player product is not easily captured otherwise.

Thanks, I can see that. And, regardless of theory, the 5.0 Rears is adding nothing that isn't apparent to me using the Lateral 8s. 

Any recording has to happen on the DAW side. VEP has no 'arm to record' or record button.

You may however send audio from the DAW to VEP via Audio Input, if your DAW supports the plugin; and I don't know why it wouldn't send the audio as it's being recorded but I can't be certain at the moment, there could be a hitch and your latency may make this a less-than-attractive m.o

Originally Posted by: 153775

running short on usb ports.  Do I have to have the dongle inserted in my mac the entire time I use the software?  Any insight is appreciated.  Thanks.

It can work if you, having instantiated it with the key in, make absolutely no change [or save] to your project or file. Once you do (or instantiate a library or plugin that requires it say in VE Pro) it will call the key and you'll have to stick it back in and "Retry"

Specifically, Synchron FX Strings, not that that matters a lot.
So, I have yet to purchase the Full with the back, high, surround etc. 
I'm wondering this, since I have MIR Pro can I get more or less the spatiality of a surround-to-stereo configuration just through MIR? Corollary to this, what technically takes place should I choose eg., one of the Rears 5.0 presets for the secondary mic but I am not set up in surround at all? Is this pretty meaningless? Besides 'if it sounds good it's good' I'd like to have some facts about what happens. I haven't found anything anywhere to address this.
I would guess the the 'surround to stereo' downmix is not something MIR is going to perform just putting a surround configuration in there but I don't want to throw money at trying to get more depth if there's a way in MIR.
It seems clear enough 'high' is not going to come from MIR in the same way.

Yeah, time to RTFM isn't it 

I just looked at that, actually. I see. Yeah, your Pernegg Monastery preset for example is dramatically different than what I'm doing. 

HNY to you too! thanks again

Well yeah, I just meant it seemed redundant at first glance, but as I read more in the thread I think it's just my understanding is poor. It appears you have 'character presets' for instruments in an update, so if they're unique vs the extant ones in MIR it isn't redundant.

I wasn't aware of MIRx _mode_ in MIR. But if it's there I'll just check it out. :)

Technically there is no difference other than what you see; freezing a track renders its MIDI to audio in the background - meaning there is an audio file playing rather than the MIDI-to-soft instrument thing - but it's not editable as an {exported} audio file is, it's invisible essentially.

Back when I used master-slave on two machines, the master was either a MacPro quad core 4,1 with 4 GB or a 5,1 MBP, with the slave a 4,1 MacPro 8-core with 24GB. Long time ago.

So I think there is a point where I personally was not going to get a super-sized orchestration up anyway with that hardware; with the fact of a 'master' like that not really making the difference. IE: it would have been about a second machine more on the order of the more robust machine - particulary its RAM, note well - for to make any real difference.

I would be pretty inclined to buy Synchron as a venue in MIR-x itself though.