Yeah, with those patches use crossfade, they won't exhibit any change from note-on velocity.

and of course the image is exactly this with the Goniometer's MONO button pressed.

Now, the shot of the channel at width = 33.3%

Originally Posted by: Pixelpoet1985

• The close mic is a mono signal, but why it is narrowed in the mixer? In my opinion [...] again, it "destroys" the sound and makes it dead.

First, if it is indeed a mono signal, whatever you do in the power panner is going to leave it mono.

I never thought to question this, my assumption is, yes, it would likely be mono

I tested it to see if, indeed certain of these channels which look mono are mono. My results so far have been yes. So treating a mono signal for what it is and reflecting it by a visual in a power panner does absolutely nothing to the sound. It sure appears to be a mono signal. 

The way to prove mono signal here is a tool known as a Goniometer. Here's a screenshot of it on  [Synchron Strings Pro] Vlas/close channel solo outputted to an input channel. one image is the channel in the Synchron mixer at 0%; then I open it up to 33.3%. There is no difference.

Originally Posted by: Firefrost

. It could be Reaper but it's the first time it's appeared. I add a new track; call up Vienna Ensemble as a plug-in; try to add a new instrument Ctrl+Shift+N and it comes up with an error message on the DAW: "Note: 1 item could not be normalized because they lack peak information" Most peculiar because there's nothing to normalise. Alternatively it does nothing, no response at all.

are you actuall focused on Reaper when you do that key command? IE., is it a key command for a normalize function in Reaper. 

The only times I instantiate an instrument in Cubendo is 1) to establish and/or continue automation of parameters via live interaction with its interface, or it's something that rather than take MIDI note-ons to make it sound generates its own sounds, so a performance of it has to be captured by a record operation; or 2) this is the first in well over a decade, an instrument whose performance in VE Pro is atrocious and it happens to perform quite well in Nuendo currently. This thing is not supported for my hardware or OS, and for whatever combo of reasons does not work well with the iLok VEP, it brings my system to its knees at once. But performs very well in Nuendo 11.

I mix using VE Pro's automation mapping. I do some further work with rendered audio in certain cases but the orchestration and that mix is all from host automation lanes. And at this time I'm only outputting one stereo out per instance. And two instances that are pretty different from each other, mainly to not have one unwieldy auto map in the single instantiation, another reason is to see what is using CPU more (this being some very different approaches, where the smaller instance is using more CPU (cymbals, tails...).

Well, that's not true here.

I recommend reinstalling. This isn't true here, for instance

1. Maybe it shouldn't, but it does, it always has. Cubase/Nuendo does the same but not absolute consistency.
Auto save may be turned off in Preferences.

2. it should quit. Turn that part off and no such problem. The best quit scenario at the moment here is File/Delete All Instances (even if there's but one), then quit. Much of the time the first part of that takes a fraction of a second, it may take 2 or 3 seconds. Then quit is clean and as quick as it's going to do it. In older systems quit here frequently would hang and I became accustomed to force-quitting. Force quit won't hurt anything, but I have to be really pressed for time to need the 1 or 2 seconds.

it looks like this [01. is the instance name, there are 16 ports enbabled in my VEP preferences]:

I don't know those hosts at all. Cubase or Nuendo's Inspector - for a rack instrument - connects to VE Pro VST3 port first, the channel below that. If not VST3, there is AU3, still in beta, and Event Input plugin. IE: VST3 supports multiple ports; whether the host is implementing it, I only know from those two, and on paper the Event Input workaround.

There'll be numerous factors and considerations here. Bus to send several things to vs as an insert or in the pan slot, solo vs ensemble... are you using the convolution or just the late reflections... etc

I'm influenced by the way the original Hybrid Reverb used diffusion, 0% is as tight as possible, 100% is as diffuse as possible; and I automated that. So an instrument with little spread, from the power panning is reflecting a certain way, more locally.

And there are compositional approaches, eg., the last sustained thing is more diffuse than it was during the buildup, similar to more wet level. I use it individually with individual settings quite a lot of the time; or if it's in a bus getting sends I'm using only the late reflections sweetening the tail. Or like mixing Teldex semi-baked into that Berlin product with Synchron, the Teldex-colored channels get some Synchron tails, while the enveloping mixer channels are output separately and dealt with judiciously. That's gone, Synchron enhance, & I cannot fathom a point to getting rid of it

and, yeah, you might want to make some things appear more prominent with a compressor before MIR. The Vienna Suite contains a fair amount of presets for VSL instruments and ensembles, and then there's the MIR profiles.

Your primary problem is using natural volume, which is IME rather _comparatively_ low gain, while the other libraries are doing no such thing as that. I do use other things (which have other room sounds which is something else to content with; eg., if you're using Orchestral Tools most of it is in the Teldex hall, so for MIR if you have the Teldex venue you're golden. However I find that Synchron Stage blends very well with those things; Teldex is not wide but deep and Synchron Wide is not deep, so one may have some Berlin in the back), and I never use natural volume. It appears to me that natural volume is made for pure VSL work and a classical kind of orchestral sound.

"So if I am reading this right the option gives you the full versions of special editions in the change to Ilok?"

Yes, if you have even one part of a volume as VI SE you now have the whole volume as Synchron-ized SE Vol. n.
Only one I ever licensed was SE Percussion, which at least now is in Vol 1. Now I can install all of Volume 1.

regardless of what's in your projects, you have a license for VI Pro.

Originally Posted by: Lucy

Please download and install both versions of VI Pro in the Vienna Assistant. The "Compatibility Version" is essential for a smooth conversion of older eLicenser projects that were using the "classic" Vienna Instruments.

Does "classic" just mean the non-pro version of VI? So if all my e-licenser projects were running VI Pro, I don't actually need to download both versions?

Hi. i'm not Paul. but yes that is what that means. Non-pro anything is discontinued. VI not-Pro turns magically into Pro; so you don't need that upgrade.

Originally Posted by: Sound-Board

[...] activating it on my iLok Cloud (to work with VEP) and Elicenser (plugin). When i try and load the software it crashes every time in standalone mode or as a plugin.

unfortunately we technically can't do both at the same time

sorry, except for VI and Synchron plugins, I'm going to run those in VEP, period. But VS being native is almost as important (mostly because I'm having to run BFD3 in Cubendo). But again, the performance is through the roof good here, with various niggles per the UX.

I'm connecting VE Pro to Nuendo 11.0.41. So, both are under the Rosetta translation. 
Performance is fantastic. VEP seems to load a project a wee bit slower, or than I'm expecting, Nuendo is loading a project really taking its time, and the slowness is loadiong audio channels with plugins, most of which are Vienna Suite.

For me, if I go to Cubase 12, I may "need" VEP to be native. However I don't feel the need for that at this juncture. So, not to be contrary, but the VEP plugin here is the same priority as the other plugins once I, if ever, get there.

Doing it not-in-any-hurry, no, it's fine here. 

I got it to crash by doing it several times in rapid succession. First couple of times, no.
This was in Synchron Player in a Synchron Library product btw.

I don't really understand that/this. I've seen it once or twice myself. However my install paths on my external drives are not identical to the 'original' on the system drive; the latter read Documents/VSL Data/Libraries, which I created years ago. The former read "VSL Libraries", the highest level directory on the drives. It may differ in windows vs mac. :shrug:

Using SINE was looking real dodgy here until they did that recent hotfix, with audio not happening unpredictably.