FORUMS - Vienna Symphonic Library

1.VSL Instrument cant locate libraries, No Patches or Matrix 3/18/2012 12:28:20 AM

Okay, I downloaded and installed the latest version of Vienna Instruments here: http://vsl.co.at/de/68/428/514/210.htm and I can now see my patches.

However I cannot see my matrices (which I do not use much anyway). Good luck to all.

2.VSL Instrument cant locate libraries, No Patches or Matrix 3/17/2012 8:06:45 PM

I have the same problem and did all the elicenser tricks, directory manager tricks and so forth.

I hope someone from VSL or other user can diagnose and help quickly!

3.Cannot Get MIR working in Logic Pro 9 1/4/2012 3:26:02 AM

Hi Dietz and Marco,

Got it finally! Thanks for your help. I went back from scratch and re-built the entire structure again.

Feedback from an idiot...documentation needs to be MORE specific. Much much more detail needed for the non-techies in the world.

Great product once it's up and running, though...really sounds great and is wonderfully controllable.

4.Cannot Get MIR working in Logic Pro 9 1/3/2012 3:06:49 AM

Greetings,

I need some support getting MIR demo up and running. I am ALMOST there, I think...just need to probably tweak my MIDI settings a bit. (I am so-so on technical stuff.)

Thanks for looking at this!

PROBLEM:

Instruments set up in MIR in Logic do not play back correctly. One channel plays the other track's part

DETAIL:

Can hear violin playing, but it's playing the harp part
Cannot hear the cello playing, except when I switch to that track in VEP5 and play from MIDI keyboard, otherwise it does not play back MIDI data inside Logic's Region
Cannot hear Harp, except when I go into the Kontakt and play on the keyboard in its interface, otherwise it does not play MIDI region data (silence)

BACKGROUND:

Downloaded VEP5/MIR demo onto my MacBook Pro and got eLicencer to work (finally! Oh, the pain...the pain...)
Downloaded and installed Demo MIR Room
Read the manual through several times, watched the VEP5 tour where Paul sets up VEP in Logic.
Started VEP5 Server (32 Bit)
Launched Logic
Instantiated VEP5 on a multi timbral channel
Connected VEP5 to server instance
Created 3 multi timbral channels and renamed (Violin, Cello and Harp)
Instantiated Audio Event Input thing
Connnected Audio Event Input thing to server instance
Inserted I/O utility on one of the new mult timbral channels, set the output to 1-2 (MainOut)
Bypassed the I/O utlity
Put some MIDI regions on each of the new channels (Violin, Cello and Harp)
Got MIR to find and load the demo hall
Opened MIR and set up VI instance for Violin and another one for Cello
Set up Kontakt for Harp inside MIR
Arranged the audio icons on the stage the way they would be in performance
Went to VEP5 mixer and set Violin to "ALL" (Omni) and to go out on MIDI channel 1
Set Cello to "ALL" and go out on MIDI channel 2
Set Harp to MIDI Channel 3
Hit PLAY on transport
Set instruments to all different MIDI channels and stuff trying to get something else to happen

5.Boring Double Bass Parts 6/10/2010 6:03:08 PM

Assumptions are being made. But it's my fault for putting the question out there like I did. Next time I'll know better.

6.First Few Notes Don't Sound 6/3/2010 2:48:44 AM

Never mind! Got it... I deleted a measure and added a beat to the previous measure. The MIDI note events were moved but the expression data did not start at the new location. Embarrassed

7.First Few Notes Don't Sound 6/2/2010 5:38:03 PM

I am using VI in Logic 9. When a new region comes along for a new entrance, the first three or four notes do not sound. Any ideas as to what's going on? Seems like the regions are not clipping off any MIDI data...

Thanks

8.Boring Double Bass Parts 5/30/2010 12:47:28 AM

Thanks so much for that, that was a wonderful example of democracy of instrumental parts. I am also pleased to see the first fiddle player who is from my small hometown in Idaho and now in one of Britain's premier quartets.

Here's to "thematische Arbeit"

9.Orchestra layout - London Philharmonic Orchestra 5/29/2010 2:16:36 AM

I've sat in pit orchestras that are similar config., except IIRC the celli were where you have the vlas. BTW, nice job on that diagram just using text!

10.Boring Double Bass Parts 5/28/2010 6:44:24 PM

rverne10 wrote:

On the subject of books taht teach the subject, I can't say it too many times-

Thanks for the referrals on the books. I am not familiar with the Harmony and Voiceleading book you love. I looked it up on Amazon and I'll have to save up a little to get it, but it seems to have a lot of devotees.

Your post (and other posters here) have got me thinking more about the basic problem I am trying to address. I agree that counterpoint and voiceleading is a key component to writing good bass parts. I have studied counterpoint (piston) in college and went throught the Fux Gradus extraction (The Study of Counterpoint by Alfred Mann) on my own. I think that there are times when one can create a nice polyphony with a stimulating bass part when:

The compositional nature of the music demands a more polyphonic texture, and;
The harmonic rhythm is relatively swift

The sections in my own composition where I was concerned about the basses rolling their eyes were areas that had a very very slow harmonic rhythm and the texture was quite monophonic. I'll describe the style as being somewhat "cellular" like Part, Gorecki or Adams, etc.

Here, the texture does NOT lend itself to much (or any?) real polyphony a la Bach chorales. I've found rhythmic figures for the inner parts to perform and they make musical sense (I heard them in my imagination, or at least their shadows). But what I heard in my basses in my imagination was long, sustaining harmonic anchors.

Problem is..it's snoozeville for the bass section. I dated a bass player in college and she complained about playing "goose eggs" and that a real orchestrator or composer would not do that. She also hated playing Carmina Burana because of the boring bass parts. I said, "yeah, but when you put it all together with the choir and sit in the audience, it's pretty powerful." She would just look at me and show me her part with all that repetition.

A nice solution was to pretend I was one of the players in the section in my own composition. This focussed my imagination and attention to the bass parts and I think the changes I made helped the overall music too. It's just such a difficult thing...to get all the instruments to make solid contributions to the whole AND make each part interesting and able to stand alone.

I really like the idea of doing MIDI mockups of real scores to get into the music and do some directed study. I am thinking of doing Ravel's Mother Goose suite, or possibly La Tombeau. This might help my harp writing too, which is just awful and embarrasing right now.

Thanks again for everyone's helpful suggestions!

11.Boring Double Bass Parts 5/23/2010 3:19:55 AM

Ah! I understand now. Thanks, Guy. Smile

12.Boring Double Bass Parts 5/23/2010 1:48:28 AM

William, I sort of went off on what you posted about and looked at just my bass part. As the computer played through it, I imagined myself playing in a section. Suddenly, some very interesting bass parts came into view and clarified the compositional intent a bit. I spent today revising accordingly. I will give it a try with the rest of the parts!

Here are a couple of more questions this process is raising...

1) Is it "dangerous" to go into the orchestration phase too early? Given Mr. Bacos' feedback, I sense that some composers get to a more defined state of affairs before deciding what instruments are going to play what.

2) Or can it be valid to orchestrate as one completes the composing? (I noticed that the orchestration and the compositional process all come out "as one" in my imagination.)

3) I need to do a LOT more score study than I have done. Does copying scores help understand orchestration? Playing the parts individually on the piano? Other methods?

Thank you to all who have replied. I am in the midst of some great talent and I sincerely appreciate you guys taking the time to provide helpful feedback.

Eric

13.Boring Double Bass Parts 5/22/2010 1:41:13 AM

When writing for orchestra, I want to keep my musicians challenged and "entertained" but my scores often have double bass parts which are long series of whole notes to keep the harmony anchored. Sometimes when I try to give them something more interesting to do, that needed anchorage is lost.

Perhaps this is because some of my ideas are conceived at the piano where the left hand sustains a harmony while my right hand is doing something.

Any ideas on how I can keep my basses from falling asleep with boredom? I've tried alternating octaves with intevening fifths, etc.

Any good orchestration guides/books that deal with this topic?

Thank you for your helpful answers.

14.Mod Wheel Issue 5/2/2010 4:28:24 PM

Greetings Paul,

I am using VI ver. 4.0 build 5132 which I believe is the latest and greatest. I force-resolved the issue by instantiating another copy of VI in Cubase, loading fresh patches, and voila...the mod wheel was affecting the cell x-fade! Not sure why certain instances of the plug-in do not recognize it, but a workaround is to simply try again with a fresh instance.

They say that "the definition of insanity is trying the same thing over and over again and expecting different results." But with computers, sometimes you DO get different results. Does this mean that computers are insane?

Thanks for replying. Smile

Eric

15.Mod Wheel Issue 4/30/2010 5:54:54 PM

I just got some of the SE instruments. On the strings I can open the VI plugin and assign pitch wheel to X-Fade Velocity. I assign the articulation switching between cells using the CC#1 (mod wheel).

I can assign CC#64 (pedal) or even CC#7(volume) to change the articulations and it works. But mod wheel has no effect. I can see Cubase receiving my mod wheel data.

Please advise. Many thanks! es

16.Trouble with Logic9+VE2 4/25/2010 2:09:16 PM

Hey Kim,

Try that 'repair permissions' thing in your "disk utility" application under "UTILITIES" folder.

Select your main hard drive, go to the "first aid" tab and hit the "repair permissions" button. It will rattle for a while and eventually might throw up some messages. But when it completes, restart your system and try Logic with VSL again.

Perhaps this issue with the permissions was addressed in Snow Leopard, but it really dogs me everytime I install something or especially if I am working with VSL stuff. The permissions fix have fixed numerous issues I've had with VSL in NOTION or Logic.

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