As to terms, Channel Input is a bus output from a multi-timbral (or in the case of VI Pro I'd say a quasi-multitimbral) instrument channel. When there is a source in a mixer paradigm it tends to be called 'Input'.

As to 32 stereo outputs... it seems like a fair number of people come into VE Pro land thinking 'If you got 'em, smoke 'em' with these outputs. The more prevalent paradigm for stereo outputs from a VE Pro, submixer paradigm, is Stems. How many 2-files (stereo audio files) do you need? 32 is quite a high number for that, and it's resource intensive in a way the software is not using fewer outs. But there is no necessary correlation, Kontakt exposing n outs to the host VE Pro vis VE Pro exposing n outs to a DAW host. 
IE: my preferences are to expose 4 stereo outs to Cubase and allow 4 stereo ins via Audio Input. I mix with its automation. Sometimes I want to render audio before a final mix, but 4 covers all my use cases (I compartmentalize).

 

I wonder if Kontakt exposes 63 to Channel Input in Surround mode. One of the default configurations is 5.1. ;)

It worked, thanks

Here's the master bus, a mono-looking 'blur': It does give me the sound I want but the assigned width is irrelevant and a nonsense in itself. So yeah, it must be the 'emanations'. 

It's a bus, fed from several stereo channels [as well as the non-treated initial channel: BFD3] so the MIR Pro is not 'the' image but a copy with a different characteristic. So one supposes that is the character profile, yes.

I'm not talking about the characteristics of the virtual mic, certainly.  Here is the goniometer on the bus itself 

The selling point for me was some articulations that aren't in the original, eg., Clarinet Bb 1 with that Rhapsody In Blue glissando and some more kind of extended techniques, some key slap and suchlike.

I was more suggesting some things in the room with the Omni, I wouldn't use it for either main mic because I generally want enveloping as much as possible. But recently I had an old problem with a mix which needed less distinction and put the thing, a cymbals stereo bus in there and went with one Omni capsule and a very wide image. Not really the spirit of MIR but it helped the overall effect (where taming them with EQ wasn't desirable). I generally don't put kit drums in the room with the rest, they have the sound of their own room and the blend (or the image) hasn't been good.

The 'connected' in 'connected detaché' means you're maintaining string contact with the bow until the phrase ends, and the performance articulation indicates that end.

VI Pro has the capacity for four pairs of slots in a sort of stack. Synchron Player is stacking nothing like that, it's just a type of crossfade like one of the mixer slots in VI Pro. Also, in VI Pro, let's say we're using CC20 for Slot Crossfade: at a value of 127 the B slot is given full volume as well as the A slot; in Synchron, when the next articulation in the dimension is past its threshold it simply means we have fully crossfaded to it. So two long sustaining patches in A and B is a bit dodgy for a realistic single performer emulation, but you have actual stacking up to 8 times.

I wouldn't call MIDI commands the mixing engineer's concern (exception = me mixing and 'writing' in Cubase). As expression I think of Expression (like CC7 Volume, secondarily) as the amount of energy 'behind' the instrument and VeloXF as dynamics which bring in timbral variation. EG: VXF stays high because of the timbre while you bring 'CC11' down at the end of a passage or gesture (and perhaps attending to Release for different 'natures'.).

Generally a third-party mixing person wants .wav or .aif and maybe OMF or AAF (the latter will convey volume automation while the former leaves it out).  But I consider MIDI as performance, CC7 et al as not audio mixing (NB., I'm used to MIDI volume and Instrument Channel volume as two things (not every DAW does that).

Click on the folder icon and your Synchron Player libraries appear; Preset, Patch is below that. Also Mixer Preset on the right.

Yeah, in my experience MIRacle is not hungry for resources. 

In a word, no. "And how do other composers use them?" I use ahs and oohs, occasionally an 'eh', even an 'uh'. ;)

noticed the vibraphone update a while back. The file doesn't open here (OS etc in sig). Hopefully is redundant.

Also, once you've ensured the assignments are set up in Kontakt, the Learn function in VE Pro works, rather than have to scroll through a drop-down menu. I'm guessing, but it seems like you're expecting some things to appear in Kontakt's automation list which just aren't/need doing manually.

There should be a Vienna Ensemble Pro folder in Applications, wherein there should be an Uninstall VE Pro dot app.

There is no problem per se. 

I can't tell what you mean by "When I click on one of those VSTs, it shows only the parameters of...". If you want something in Kontakt's parameters, either Host or MIDI automation, to be exposed to VE Pro you have to first ensure it's set in Kontakt.
If it's an nks-enabled instrument it will be, and the Host Automation as assigned will be fixed, unalterable. If it isn't, it may not be already set; some things are, some are not in any way. Nothing I've used brings MIDI CC preset assignments in to my recollection and I only set that up in Kontakt as needed (as not obvious).

This said, using VE Pro's automation mapping for MIDI control of Kontakt is redundant; if you send the data to the correct port and channel it will communicate it via VE Pro without having to do anything more than write it in your DAW host. If it's a child slot in a Kontakt .nkm, preset automation will unwind relative to the first instantiated .nki, in addition to requiring its own channel (in the case of MIDI) to avoid conflicts.

You might want to see what the Omni type mic does for you there. Also look at the hotspots. I like to point some things to hot spots off-axis, like have a group of similar, ie. a small group individually aiming to one same hotspot.

The thing described in the original post is not achievable in Synchron Player as it is in VI Pro, with parallel stacking in the Slots window (up to 4 pairs). The Parallel Mode is for transitions, pretty much as one pair of slots with Slot Crossfade assigned does. 

Ok, one overarching remark above all: looking at CPU percentages is pretty much a red herring.
The real goal is good realtime performance, which the most terrific CPU capacity on the planet may not give because of some other bottleneck in the system. As you report that yer OS Task Manager is showing 1 or 2% of the CPU in use, I have a hefty kind of a project in VEP up and it looks like that, until I start working. Still, if there's a problem it may well be complex, interactions and playing nice in the sandbox or not.

Your system is not very like mine. In any case I don't know what to do with your CPU metrics. I don't bother looking at it. If I'm having poor performance, on my systems looking at Activity Monitor CPU usage doesn't usually tell me anything I can use. However, since Kontakt is difficult on your system, we can start with the assumption it's using too much CPU. Get under the hood, its settings, and give it a higher preload number, using that RAM you're world-famous for instead of the CPU. 

All I can get out of the images is it's peculiar to me to see an nki for every single articulation of the piccolo flute.
I had to do that recently because a certain library (HyperFlute) is just cut that way, I have to either create a multi or load a dozen instances. I can't know what burden this is on your system; on mine the difference between 1 .nkm  of Kontakt with 12 children and 12 instances of Kontakt is negligible. However 12 stereo output vs 1 from VEP is a thing. I wouldn't use separate outs from Kontakt unless I had a compelling reason, something needing a different mix, and for me one piccolo flute is going to tend to be straightforward. After a while it adds up. Also, Spitfire may be your culprit (I would do process of elimination; from what info I have about your setup, well, I'm not using Spitfire libraries for that so I can't eliminate it as a problem, I just don't know.).

So is this ww project performing abysmally, or are you just thinking there's a lot of CPU in use?

PS: I don't know Logic for that kind of use case, but I have a lot of experience loading a lot of Kontakt inside a DAW and the difference between that and in VE Pro is two orders of magnitude difference here. I think something in your particular use case is underperforming majorly, but except for the settings offsetting CPU by using more RAM to stream it's not apparent to me why exactly from this information. I'm using things which are known to use significantly more muscle than your use case as described therein should, at low enough latency for notes to land with good timing accuracy/low enough (<9ms roundtrip) latency; with some caveats such as waiting for reverb tails to wane and not incessantly reiterating playback. NB: the diff for me was the audio interface, which may be a weak link in any system. It could be your network is the culprit.

I would try its VST version. : )

It may or not be Metal, I've seen AU be flakey before that existed, where the VST version displayed perfectly. Not many, and btw these were NI FX (of not terribly recent vintage).

If your use is heavy on Vienna Instruments/Synchron et al for a symphonic orchestra setup you better be doing mega bizness to buy all that the second time. ;) But say it's all Kontakt and Reaktor or something you'll need the extra license(s) for VE Pro which are not very dear.

Any save of anything on that license key needs the key plugged in, end of story. so for separate setups it's more licenses on keys for all of it. Also serial keys on the drives would tend to bug.

Hi, Arch

In and of itself, not necessarily. IE: it can go over 100% easily, because multicore. In theory, this may or may not be your problem.*

* If you mean 30 stereo outs coming back to Cubase, this is probably your problem and it does use CPU kind of to the exclusion of it being otherwise used well. If you mean 30 stereo, or some combo of stereo and mono coming out of Kontakt to VE Pro, this is not likely to be at all difficult with the muscle you're indicating and I suspect you mean the former.

If it is the former, I would seriously advise a different workflow. "30 stereo outs returned to Cubase" is fixed by stopping that. (Also, your threads per instance count is something you can experiment with.) 

You may believe at this writing this many outs is necessary, but it is only really necessary if you need 30 stems to mix from. You might need 3 or 4, really. There is a feature in VEP which for me amounted to being able to obviate mixing in Cubase like 99%, and then it's about audio I've committed to: the automation map. In v7, useful (actual) names of parameters are seen by Cubase in a single menu, per instance. So I mix via VE Pro doing that.

I do tend to commit to audio using one thing, which has long (>20s) tails and is a bit unwieldy, and I've learned to have the Master containing the room/verb in its own output, but 4 per instance, say 3 instances is max for me. In that, 4 total would be enough, I'm grandmothering in older templates.

As a point of simple fact, not to argue for it, ie., for doing it hypothetically & en masse, abusing this, you won't run into any problem with Native Instruments plugins doing a copy of your templates, as they do not monitor how many installations you have, abandoning that paradigm years ago to cut down on all the support problems. It used to be you could have three authorizations and when you changed configuration and hardware ID you'd manage it yourself by deleting an auth and re-upping. Now there is no such thing. The things on a USB key like VSL, you're simply going to have to buy the second license for the assistant, if you have to have them assisting you in another chair on another [cloned] setup. I would tend to think of someone in that position having the assistant sit in the composer's same chair on the same system on a different schedule rather than a whole system just for them. ;)

The Hybrid Reverb is very different from the original to Pro as well.