Hi,

It's a Cubase 7.5.3 thing, no remedy yet. You will have to roll back to 7.5.2 to make it pick up the right articulations again,

With my wacom A5 tablet, I use the Cubase 7.5 expression maps for simple selection and entering articulation and dynamic symbols (with the key switches that go with them) in the score (I also thought a year ago that technology was much more advanced: it is, but it is not available to me)

regards,

Gerard

Using a wacom tablet (A5) for notation in Cubase 7.5 score here. It works well, but is not ideal, with a suitable zoom level, on a 24" monitor for the score.

Earlier I had a set up with a novation remote: Using the many push buttons to select note type and step size (position) and a foot controller to enter or backspace or erase; did require painstaking midi assignment in theCubase  remote controller (and don't forget to export the remote control settings for later use).

regards,

Gerard

NB also check where your vsy's are stored. I had this announcement also and it appeared that my project did refer to a vst directory that was not in the Cubase vst path's.

regards,

gerard

Similar behaviour here with the french oboe. A couple of years ago the outcome of a discussion on this forum (or with vsl, I don't remember) was to try to avoid the notes where this happened too prominently,

regards

Gerard

Hello,

Playing a wind instrument works well with the AKAI EWI, but I find it not handy as controller in combination with i.e. keyboard sinxe it requires 2 hands to use.

Gerard

The existing maps, vsl's and my own, worked here without problem. Have not tried making new maps yet.

(Cubase 7, Chamber strings, Download winds, Epic orchestra, Winows 7 64 bit, 8Gb)

Gerard

You are a very good composer, thanks for posting the pieces,

also very good of VSL to make such "production" possible

No problems encountered here with vsl,  incorporating Kontakt  and Pianoteq, but my vsl set up is limited

(Chamber strings, download woodwinds, some download brass and the upright bass and jazz drums).

gerard

Indeed, core bussiness issues dominate. But could a closer cooperation with "nearby", say, Steinberg not result in a, say, CubaseScore ?

(a version stripped of most of the recording things, equipped with Sibelius responding to expression maps)

Gerard

This is a response to your question with further questions.

Since you apparently have no experience with midi orchestration there is quite something to arrange for. It would help if you could inform us on:

- what vsl products do you own and have you already available on your PC/Apple ?

- do you have previous experience with writing arranging midi in Cubase with other easier to use synthetic instruments or synthesizers ?

Gerard

Alan,

It is a balanced piece, beautiful

(although I am not fond of harps, the "harp effect" is not overdone here)

regards,

Gerard

Hello,

Not playing an instrument, I have assumed that VSL has given the recorded sample velocites the appropriate dynamics indication for each instruments, that is, as the instrumentalist would play it if given the dynamics symbol in a score. And, that VSL has used these indication accordingly in the manuals in the velocity - dynamics tables. With these tables I have made for each instrument, a dynamics mapping in Cubase dynamics. Writing for the instruments, I use these "original" dynamics for each instrument as I find suitable in the music. But the "original" dynamics varies considerably, in my opinion, between instruments, as you find also.

Gerard

The matter is resolved, see

http://www.steinberg.net/forum/viewtopic.php?f=19&t=22254

A Cubase 6.5.1 bug with a bypass,

Gerard

Hello,

It appears that the dynamics mapping settings in the score for Cubase are no longer saved in a Cubase trackpresets. This results in having to edit the velocity settings table manually every time a track for an instrument is added to a project (can be done but is not something you think you have time for).

The dynamics mapping feature in Cubase used to be very handy, but now it is far less handy.

Am I the only one with this problem (!) in VSL ?

regards,

Gerard

Thanks for the pieces, you speak XVIIIth century german very well, and me I like the Spanish Italian accents. Compliments to your partner,

regards,

Gerard

Thanks Andrew,

The piece has many, for me, interesting sounds,

amazing how VSL can make this happen even without a string quartet,

regards,

Gerard

In my case (which Paul just referred to) I used the directory manager in the VI Pro (also reinstalled) folder.

Gerard

Yes, but I did that already as I wrote. Paul has replied on my support email, which initially did not help, but now after the somaniest attempt, the library is being installed. No idea why it does so now and not 30 min ago, 1.5 hours ago, yesterday evening and last night.

(oh, and by the way, during all the attempts, the elincer software found all of a sudden no more licenses at all which fortunately was remedied after a restart of my pc; made me quite nervous with all the fuzz in the forum on the licenses)

Gerard

Same problem here with chambre orchestra. But the problem is not fixed with me, don't know what to do now, all is recently downloaded and checked. What was the solution ?

regards,

Gerard

Thanks for the link, impressive !

Gerard

Again, beautiful pieces.

with occassionally one instrument as an "the orchestra"

(VSL could use your pieces to illustrate how samples can used in this part of the music spectrum, and what they allow for)

Gerard

Do you mean something like this here ?

http://www.freesound.org/people/smokeyvw/sounds/42789/

(also check other sounds in the same category)

regsrds,

Gerard

Thanks for the impressive concert.

(I had a surprise performance the first time I played the second movement: In the first seconds of the second movement a real (not sampled) thunderstorm broke out here, a very special instrument, far more interesting than a cannon. I had to relisten to be sure it was not part of your piece; it could well be however)

Gerard

Not a musicologist, neither professional musician, am I, but

the Columbia recordings of Strawinsky directing his works in 1950s -60s (1958 ??) can be a case in this discussion, especially since Igor was mentioned in the posts. It struck me that the master made the individual phrases and instrument performances stand out more individually than later (other) recordings, some of which I appreciate more than Strawinsky's. The instrument "noise", also of the intro bassooon, is well audible on these old recordings (nb), as is the director, and his paperwork.

So it really may depend on the intention of recording and listening and on getting used to.

(The close micing characteristics of instruments are actually there when the instrument plays. Much depends on the frequency dependent attenuation, which requires eq-ing for which Instruments Pro gives a suitable approximation.)

Gerard