Sorry I didn't see your post sooner. I had the same problem in November with VEP 7.1.1427.

Like you, I am running OS 10.14.6 and Logic 10.5.1. One difference is that I am running Logic and VEP on the same machine, a Mac Pro 6,1. I just sent details to support as a follow up to my original report, which was Case 482711. 

Thankfully VEP 7.1.1406 still works for me. Glad to help test this for VSL when they have a fix. 

 Carlos

Originally Posted by: Paul

You need the iLok protected Synchron Player software to use the Fujara Flute. 

Which in turn means that you need to upgrade your existing eLicenser sample content to the iLok protected content (if you have not done that yet). 

Here are a few thoughts about transition strategies. 

Thanks Paul! The transition strategy video was just what I needed to get the ball rolling. I've started my transition. 

Cheers,

 Carlos  

Hi Ben, 

I have Synchron player 1.1.2063. That seems to be the current version. Is there a 1.2 already? 

I understand that I should see a "HELLO FREE INSTRUMENTS" group under Factory but it is not there. (others have reported this too)

This is my first VSL iLok library. I have not started converting my VSL libraries to iLok yet. I need to order a new drive so I can have both eLicenser and iLok libs available for as long as it takes me to open and save several hundred Logic projects. 

Are you saying that I won't be able to use the Free Fujara Flute until after I have converted all my eL libs to iLok?  

Thanks! 

Hi Paul, 

The Vienna Assistant shows that Fujara is installed and iLok manager shows the license is active on my iLok. But I don't see the Fujara instrument in my Synchron player (v2063). Will it have its own heading under Factory? I don't see it under any of the collections either. I thought I had followed all of the steps. Did I miss something? 

Does anyone know if there are any known issues running VEP5 under Sierra, 10.12.6?

I'm diagnosing a random problem with the Mac OS freezing up (at worst) or sometimes it hangs and logs me out but I don't have to reboot in that case. I usually have the freeze up when running Logic and VEP5 with another Mac running the same VEP5 version on the network. But I've also had the freeze when I'm only running the VEP server with about 26GB of samples loaded and Logic is not running. The libraries in VEP are all VSL.

I suspect it may be a hardware problem but wanted to rule out any possible incompatibility here before I take the machine in to Apple. I don't have any problems with the functionality of VEP5. If the Mac freezes up when I'm playing back in cycle mode, Logic usually just keeps playing the MIDI but I have no control of anyting on the screen and have to power off the machine to get control.

I'm running Logix 10.3.2 on Mac Pro (late 2013) with 64GB RAM. VEP server is 5.4.16181 (64-bit).

Thanks, 

 Carlos

Does anyone know which Vienna Instruments and articulations Andrew Blaney used for the opening string parts in the demo on this site?  It is marked staccato but is it fast enough that it would be played spicato?  It is 2-part divisi for first violins and 2-parts for second violins. It is marked forte but this music always sounds very light and flowing to me.  I'd love to capture that quality. 

I'm working up my own realization of this piece.  Any suggestions on setting up the first and second violin divisi sections?  I'm thinking about dimension violins along with chamber violins for the first violins in 2 part divisi.  I think the full orchestral violins would be too heavy, so maybe it's best to just use another instance of dimension and chamber violins for the second violins divisi sections? (With different EQ, reverb and panning)  I think I just answered my own question. 

suggestions welcome.

Originally Posted by: wgturner

Just thought I'd pass on a little info I found out about last night at Paul's clinic in town here - there is a new midi breath controller available from these guys:  http://www.tecontrol.se/index_files/USBMIDIBreathController.htm   

Hey Greg, I was also at the clinic at Wetlake Audio in LA.  Do you remember what the other breath controller was that Paul demoed?  He said it was around 900 Euro.  It's not the MRT, which is closer to the TEC in terms of price.  

By the way, I just ordered the TEC with bite control. I have been using a BC-3 on my Yamaha Motif keyboard but it is showing signs of getting old.  I use it for dynamic swells on woodwinds and brass. I can't imagine doing realistic long notes without it.  I've also used it with some success on strings,

- Carlos

Thanks for your analysis and support!  A director friend of mine also suggested making the music sound more diegetic in the kitchen. In other words making it sound like it's coming out of small speakers on a counter in a kitchen.  I like your idea of bringing it up to full quality when she goes for her bath. That would make for a more dramatic effect when the music ends and we see the shots of the empty house before the guy arrives.

BTW, I'm not the official sound mixer for this project just trying a few things to see what works best.

All three are excellent in terms of the music and the arrangement.  Nice work Lasse.  I would love to spend some time studying with Desplat. What a treat that must have been!

I've scored a bunch of 48 Hour Film Projects, usually writing all the music for a short film in a day and a half.  The Beethoven piece (100% VSL) was something I had started before the competition weekend but hadn't polished yet.  I refined it a little for this version of the film but I know it needs a lot more work. I would be interested in feedback as to what needs improvement most -- dynamics?  mix?  I need to tweak some of the articulations to fit the parts better.  Also I used legato cello where it probably should be a section (?).

The rest of the score was written and recorded during the competition weekend. Click on "show more" on YouTube for details.

https://www.youtube.com/watch?v=bLvxHlhxgPw

Wow, nicely done!

Nice job! It sounds great! Which products did you use? 

My main controlled is a Yamaha Motif ES8. I use the second switch pedal to switch velocity xfading on and off.  For strings I usually use the mod wheel as the velocity controller.  For brass I use a Yamaha breath controller.  I'm currently using only one continuous pedal and have it set for expression (controller 11 is just volume on the MIDI channel but technically not the same thing as MIDI volume, which is controller 7).  For long notes I try to perform with both the expression pedal and velocity cross fade as I record MIDI into Logic.  I almost always end up editing both of the continuous controllers in Logic.   

There are two demos on YouTube if you Google "vienna instruments velocity crossfade  video demo".

This video shows how to set up velocity xfade at around 3:50.

http://www.youtube.com/watch?v=w7joA9GKtKM

Beat Kaufmann has some excellent tutorials. There is some info here on velocity xfade.

http://www.beat-kaufmann.com/vitutorials/vi-tips--tricks-3/index.php#8580669e5d030ca0c

It takes practice but the result is worth the effort.  In your case, i would highly recommend a breath controller to shape the intensity of the sound (velocity layers) while using a foot controller for MIDI "expression" (i.e., loudness). So to summarize, I would get a keyboard with sustain pedal + extra foot switch input, one or two continuous controller pedals (one for expression), both pitch and mod wheels and input for a breath controller.   

Nice work Darrin.  It's an excellent demo of the portamento features.  I'm a fan of Tan Dun also but partial to the Crouching Tiger score. 

- Carlos

Congratulations on your award. I've score quite a few 48 Hour films including DC, Baltimore, Miami and the International shootout. 

How much time did they give you with the locked picture?  My team is usually editing until the last minute.

That's very nice. What products did you use?  Have your done other silent films?

Indeed, very rare in my experience. Twice in 4 months with several hundred hours of use. VE3 only, never with VE2.

Logic Pro 8 (current dot level)

master (G5 Quad), 8GB 

slave (Macbook Pro Intel), 4GB  

OS 10.5 on both

I've never had the noise problem with the VI plug-in by itself in Logic. I got the noise once with build 3238 when I was loading a Logic session file and Logic thought that VE3 was ready and I hit play on my Logic Control but VE was still loading instruments. Maybe Logic should have blocked the MIDI play command from the Logic Control?

I also heard the noise blast occasionally with earlier versions. When I looked at VE I noticed that the channel output was slammed for a channel that had an AU plug. When I removed the plug, the problem stopped. It was one of the Apple Au EQs. I don't usually use the Apple built-in AU plugs so I couldn't say if the problem was in the plug or in VE. But definitely not VI. 

 Carlos 

Trying to build a small Vienna Ensemble grid consisting of MacBook Pro (2.6GHz, 4GB), G5 Quad (8GB) and ye olde G4 Dual 1GHz (1.5GB).  If I upgrade the G4 from 10.3 to Leopard, will Ensemble 3 run? I don't expect to be able to load a huge set of VIs with only 1.5GB of RAM but I'd like to try just the same if there's any chance it will run.

Anyone running Ensemble 3 on a G4?

 Thanks, 

Care to share any more details?  Was it VSL?  Which sets?  Reverb, etc.  Sounds quite real.

Great arrangement and production Mike!  

Big thanks to Steve and all who replied. Sounds like 7200 RPM is the way to go for the internal drive and eSATA in the cardbus.

I've already got a mix of FW 800 and 400 Seagate drives, which I use with a G5 Quad and G4 Dual and I'm feeling like eSATA is in my future as well.

I posted the question because I was wondering what kind of performance I could get with the Mac Book Pro by itself (plus Vienna Key, of course).  The reason is that I spend a lot of time in airplanes and the external drive would just get in the way of my bleeping Merlot.    

I planning to purchase a Mac Book Pro and looking for advice on which internal hard drive to get. The internal SATA drive options are a 250GB at 5400 RPM and 200GB at 7200 RPM.

The idea is to install VI Special Edition, some of the Horizon libraries and a few other sample libraries on the internal drive for the portable composing rig. Occasionally I'll add an external FW 800 drive for larger VI libraries. I will also use the Mac Book in a network with a G5 Quad and possibly a G4 in a Vienna Ensemble cluster.

Thanks,

The folks at Other World Computing (OWC) really know Macs. I had a bad experience with another eTailer and OWC came through with (1) understanding my problem and (2) a much lower price. So that's a recommendation but as they say, your mileage may vary.

My questions are whether or not it's a realistic articulation change and whether or not it can be notated for orchestra.  The VI crossfade effect could be achieved in an orchestra by using two sections -- first and second violins, for example.  The first violins would do a sustained note with decrescendo while the second violins pick up the same note in a crescendo with tremolo.  Also, a similar effect could be achieved by having each player
in a single string section move from sustained bowing to full tremolo, but not all at once.

Can this effect be conducted and notated if it's a single section? Seems like the notation examples I've seen are either sustain or tremolo, not gradually moving from one to the other. Maybe that's because it's very hard (or impossible) for each player to do it individually.  duh

Any thoughts?  

Carlos