Right, so the cloud is not very useful then... Especially on WiFi.

Very interesting, thank you Paul. I suppose the only remaining question is how often does iLok need to connect to the cloud once you've open a project? Assuming I'm away from Wi-Fi on my laptop, I can always use my phone to tether a quick connection, but will I require it continuously during the work session and if so, how will this affect latency and similar issues?

All the best!

So does that mean we're getting two licences for every product we own? i.e. keep my main PC on eLicenser and my laptop on iLok Cloud?

Apologies if this has been reported before, I couldn't find it.

Since I've had VE Pro 6 I've had a crash when copy/pasting from one channel to another, making this feature useless. Today I decided to experiment to see if it was any particular object that was crashing it and to my surprise it turned out to be copy and pasting either the volume or the balance. Effects, post effects, sends and output don't have a problem.

System: Windows 10 Pro, 64GB RAM, OS and VE PRO running on the same SSD drive.

This occurs whether I'm running a large project or a small one.

Hi Søren, I'm afraid I moved to Dorico over a year ago and I don't even has Sibelius any longer. I know you'll find it hartd to believe, but I don't even remember how any of this works... 

However, I downloaded the XML from here and had a quick look at it and there's definitely roto toms definition, for example:

<DrumSound Name="Roto Tom 1" SoundID="unpitched.drum.low.tom-tom.rototom" Pitch="48"/>
      <DrumSound Name="Roto Tom 1 left" 

So it should be there somewhere, but like I said, I don't have any of the required software to check this any longer. I don't remember how this is suppose to wortk at all...

My pleasure!

Hi Steve, apologies but the Soundset you downloaded had not been renamed inside the script, so Sibelius was reading both the original and this edited version which played havock with the configurations. Please make sure you download the updated version above and when you open it in Sibelius it should be the one that it's clearly marked (EDITED).

As for your question, if you're on a Windows machine then it should be in this path: C:\Users\YOURUSERNAME\AppData\Roaming\Avid\Sibelius\Sounds but it will depend on which version you have, so you could just go to C:\Users\YOURUSERNAME\AppData\Roaming\ and see if first you have a folder called Sibelius, if not go to the Avid one and look there. If you have more than one, do yourself a favour and put everything called "Sound" into the folder called Sibelius without a number since Sibelius tends to look in multiple locations and it can get quite messy.

If you're on a Mac, I'm sorry I can't help you, but the info should be easily available in the VSL Soundset manual.

Let me know if you need more help.

C.

Hello community, I painfully edited VSL's own percussion sound set and separated every instrument into its own mapping/sound ID. It seems to be the only way you can write a percussionist staff that can play all the different instruments and have them play back correctly. So if use this sound set all you need to do now is tell Sibelius what instrument is in what channel.

 

Summary: basically everything that was under the drum map "percussion" now has its own name and ID.

Exactly, that's where I got the idea from...:)

 

As the title says, I would love to be able to use Vienna Ensemble on my portable Surface Pro and unfortunately I already use the only port available for a printer.

In the past year I have become ever more dependant on this tablet for small projects and/or when I'm on the road/studios/sessions. I normally just use the mixer available in my Notation Software, but it's very cumbersome and not very user friendly. It's seems a shame to have three VE licenses that I never use because they're all locked on my main desktop's dongle.

And whilst we are at it, if this is something you can implement, why not do it for the Vienna Suite too!

Thank you for your time.

 

Claude

No harmonics, ponticello, sul tasto? For that price? I can understand that mutes require a whole other session, but basic articulations like these are a must in almost any contemporary composition...!

I think VSL really needs to update its business model, especially considering the huge competition they have these days. 10 years ago they were perhaps the only realistically playable instruments, but now they need to step up and, like in the past, offer features that nobody else is doing.

There's not even a loyalty reward for those of us who have spent thousands in their products. I'm always getting bundle offers for instruments I already own. How about giving me a good deal to finish my collection for the instruments I don't have? i.e. Bassoon 2, Wagner Tuba, etc.

P { margin-bottom: 0.21cm; }

Absolutely! I've been experimenting
(with great success) with the new dimensions strings and getting some
beautiful, original and realistic effects. Unfortunately it's quite
limited in the types of fx I can create.  Glissandos up or down,
not both or continuous. Col legno and pizzicatos are quite good
(especially mixed with snaps). But I'm definitely missing some
scratches, hits on the body, etc. Mind you, the harmonics glissandi
sound quite real controlled with the pitch wheel.

Certainly some aggressive glissandi
would be very welcome! But many of us are still even waiting on a
simple sustain vibrato patch for the clarinet.... And that's been years of request.

An amazing feature, and probably quite easy to achieve, would be the ability of being able to set controller curves (in the Ctrl Map window) higher than 0 or smaller than 127.

For example: say I want to control both velocity XF and Expression with C11. In the current state of the software levels of 5 or less produce no sound (i.e. because XF and Expression both go down to 5 or 0). If the controller curve could be adjusted higher than 0 for Expression, so that when C11 is set to 0 XF will go down to the minimum but Expression will only go down to say 15. This is really easy to do in Kontakt, which makes me think that VI Pro should be able to do such a simple task.

The opposite would also be useful for say the saxophones. Where I try to never, ever use the maximum Velocity XF because I don't like the sound. Consequently, if I could adjust the controller curve of the Velocity XF to never exceed 96 and Expression to never go down below 16. Then I could control the saxophone with just C11 instead of having to use two controllers.

This feature would be particularly useful for those of us who mainly work on notation software. Not to mention a really easy way to set different dynamic curves for Dimension instruments.

Many thanks!

I would love to hear about them!

Hi Fred, thank you for your reply! Yes, this is the way I use it too. But like I said before, when I open a project that's already been "optimized" it would be nice to have a way to just "enable all cells", since then it would just load used samples.

It's quite bizarre that they would put these two options in different parts of the system. I can see the advantage when starting from scratch, but not when you need to re-open the project many different times for mixing/mastering.

About a month ago I discovered this wonderful new feature which allows me to open up a full, extra large, orchestra without having to wait for an hour for it to load. When I'm composing it's great! Since then cells are automatically enabled on MIDI activity, thus keeping unused articulations off and saving RAM.

However, when I want to load the project again (say for mixing or tweaking), all cells are disabled again. Until now I have been doing a pass with the master muted and consequently allowing cells to be re-enabled on MIDI activity, but the computer goes a bit bonkers and often it requires more than one pass for it to actually enable EVERY cell.... For some reason sometimes it skips a few. This is very unreliable on large, complex works.

So my question for the community is: what is the best way of using this feature? The problem is the "load cells disable" is a setting in VE PRO, but the "enable cells" is a setting in VI Pro. So I'm stuck between two options 1.- Remember to turn off the feature in VE when loading a finished project, or 2.- go one by one in VI turning them on. If you've already "optimized" a project, it would be good to save a specific setting for that viframe.

O better yet, have one button on VE Pro that "enables all cells" as opposed to on VI Pro...Especially if it's already been "optimized".

Looking forward to your opinions!

C.

Hi Saxer, thank you for your suggestion. Unfortunately I tried several variations on DG's suggestion and couldn't make it work. I was on a tight deadline so I had to buy a devoted library for it. Not the one you mentioned...

But thank you everybody for your time and help!

C.

Nice thought, I'll give it a try.... It never ocurred to me to stretch the portamento and I'm usually stretching everything else... duh!

Thanks a lot!

Hi DG, thank you for your time. I attach an example of what I mean.

Example.mp3

Yes I had thought about that thank you! But pitch bends never sound very realistic to me... And there's also the sound of the release which I think it's essential.

I appreciate your response!

C.

Before I spend unnecessary money in a so-called FX library, I was wondering if Vienna orchestral strings or the new Dimensions strings (both of which I have) are able to do harsh glissandos such as the one you would find in the Phsyco suite? I'm working on a film and the director insists he wants that sound in a specific place. I found a dedicated sample library that might do the job, but I rather not keep crowding my hard drive.

Many thanks!

C.

No I wasn't, thank you for the heads up!

Same here on Windows 7. VI Pro won't show instrument range, humanize line, instrument slot, etc...

+1

It would be nice to hear from the people at VSL if this is something that's on their minds...