If I understood your problem correctly I think that it's supposed to work that way. You can change the slave in the FX Teleport window that opens on your DAW. Every computer in the network has a name which is shown before the latency setting. Click it and select the slave you want to use with that plugin instance.

You can either have one dongle for your sequencer / other plugins and one dongle for VI SE and use both dongles on the main computer when needed or you can transfer the licence which isn't very convenient option.

This is a related issue so I'll just jump into this thread.

Loading Vienna Instruments and other virtual instruments takes ages with FX Teleport farms as every computer has to fully load the samples before the next one can even start loading. The VI should have an option for the kind of loading behaviour Toontrack's EZ Drummer has. EZ Drummer first loads the plugin and then tells the host that it's ready. Only after that it starts to load samples. This way all the computers can load simultaneously.

Of course this leads to every plugin on the same computer loading at the same time which means that it should be optional. This way the user could optimize the loading of his template.

I agree with everything jc5 wrote. I have both Opus libraries and the VSE.

I'm not comparing SIPS with sampled legato. I'm comparing your sampled Horizon performance legato using K2 script instead of the performance tool. Both should use the same amount of samples. It seems that I can get 30-50% lower load per legato instrument in Kontakt 2 compared to the VI but this test is far from being comprehensive.


I disagree. I want to be able to mix the way I want and your Silent Stage approach offers just that. I also like the variety of available instruments and articulations.

Pro Cube without the Performance Set would be perfect for me if it had Appassionatas, Chamber strings, Saxophones, the rare wind instruments and such. My perfect set of articulations usually include sustains, staccatos and fx, I can do wonders with just those. In your case I have to pay for the performance stuff which I don't need which is the reason why I haven't gotten all the available Pro and Horizon products as I would have to pay thousands to get the tiny bit that I want.

Are you going to continue selling the Pro and Horizon products? Is there going to be a clearance sale if you are discontinuing everything but the VIs?

I'm not using anything extraordinary, SATA drives without RAID and NTFS with 64k cluster sizes. I have also split the libraries to different drives so that the busy instruments aren't all on the same drive. CPU load isn't a problem.

It seems that I can get 50% less preload with K2 when the load of the empty instances is taken into consideration, I can select samples and use scripts and I can split all my other libraries on the two computers and K2 instances. That leaves me with a guestimate of 70-100% more articulations loaded in K2 compared to the VI. Maybe that doesn't sound like a lot to you but it means that I would need a third computer to actually get something useful loaded with the VI. That might be good option anyway but it's not what I had in mind when ordering the VSE.

I'm not against the VI but I'm certainly against leaving out other options. I can understand that you have a business to run and you have to consider which options are going to make money instead of just spending it. I still have hard time in believing that happy GigaStudio/Kontakt users are nowadays such a rare species that you couldn't get your money's worth from releasing new Horizon libraries. Can I already preorder my Appassionatas for Kontakt 2?

I'm not at my studio right now but I'm using two computers with 2 gigs of memory both having 6 K2 instances if I remember correctly. I'm using 12 megs of voice memory which gives 128 voice polyphony per instance. That's enough because I have distributed the instruments to the twelve instances so that not all the busy instruments are in the same instance. I'm using 18k preload buffer to be safe. 12k works but I have to play bigger arrangements through once to avoid popping. That gives me 26 megs per empty instance and usual preload amout per instrument in range of few kilos to few megs. I have a lot of instruments from four different orchestral libraries loaded, ethnic instruments, 5 part choir with wordbuilder and more. I'm sorry I have offended you but the VI doesn't offer anything comparable.

That's my bad then. I tried some legatos and they didn't sound the same every time I press the same key. Maybe that's a feature. I use SIPS and regular sustains instead of sampled legatos in my template and don't have exact figures but the VSL script legatos for K2 don't use anywhere near the 60 megs most of the Special Edition seem to require. I have to look into this.

I want to apologise for my harsh approach on this matter but I know that you have lost some friends because of the VI and having now tried it myself I can understand why. It's not just your products. You have started something which propably would have started anyway but developers developing their own players is the worst case scenario for many users, myself included. One technically efficient and easy to use player for everything is far better than a different player for every library. I don't know if it's the copy protection, licence fees or what that made you build your own player but for me the reason doesn't seem to be technical superiority.

I have four different string libraries (one of yours) in K2 blended into one so that the best samples are prominent at different velocities and instrument ranges. I use several scripts where needed. I have compensated for the normalization in the instruments so that a low clarinet register doesn't sound as loud as the most prominent range and so on. The VI is really a leap backwards for me in both usability and technical efficiency. I know this isn't something you want to hear but it's my sincere truth and I think it's better for both sides that I tell you about it.

So why can't it be saved for each matrix cell and switched automatically when the keyswitch is hit? I never want to use note on velocity for sustains and I never want to use modwheel for staccatos. The way you are doing it is like having to put the refridgerator light on manually.

I get stable performance from my template using several instances of Kontakt 2 with minimal buffer sizes. The VI is clearly wasting memory even on my setup which is far from being the fastest setup on the market.

I know I can load only patches, there just aren't light enough patches. I'm forced to load two repetitions for every sample which is fine for staccatos but that doubles the load of already heavy legato and portamento patches.

I know I can use memory save but I don't want to. I want to use a template and have everything available all the time.

Ah, right. That's obvious now that I think of it. I'm accustomed to the Kontakt way of handling things.

I'm not asking for more controllers, I'm asking for bypass which I click on or off and leave it that way. The button is already there. I think it should be more than obvious that people want to use keyboard note on velocity for short notes and modwheel velocity for sustained notes. I don't want to use two instances for that. That's only programming an extra memory array which remembers which patches have the "Velocity X-fade" button on and which don't. Those that have it on use the controllers just like they do now. Those that don't will play samples at the keyboard note on velocity.

I'm not asking for a feature in the VI, I'm asking you to release downloadable patches with different alternatives.

I haven't been able to figure out how using a closed player instead of readily available programmable samplers helps anything else but your copy protection. Maybe you could help me understand it? It seems to me that everything the VI is capable of is implemented in GigaStudio and especially in Kontakt 2. The VI prevents me from doing even the most obvious edits to the patches. I would have no difficulty in selecting the samples I want to load in my template if the samples were in K2 format. I would love to have the Appassionatas in K2 to use scripts with them. There are uneven samples and programming which I could edit myself if the VI didn't prevent me from doing that.

I can also load several times more samples in K2 than in VI. That's both because I don't have to load samples I don't need and because K2 allows me to edit the buffers. One empty VI seems to take 16 megs of memory. One empty K2 instance takes 26 megs. I can load 64 patches controlled by 16 MIDI channels with K2 and the whole K2 instance uses the same buffers and polyphony over which I have total control. I need two K2 instances to load more than I can have with 24 VI instances. That's 52 megs instead of 384 which the 24 VIs need. That's a lot on a laptop with 2 gigs of RAM. And on top of that I have to load bunch of unnecessary samples because you haven't provided us more options. I don't want two alternative samples in a legato patch. Even one takes more memory than I would like it to have. I bet the release samples need memory too.

I bet you are going to say that most people like VI the way it is but that's impossible for me to believe. The VI might be nice for those who can buy a separate computer for each part of the Cube and don't want to use anything else but using VI on a laptop or integrating it into a more complex setup having dozens of other software instruments is far from being ideal. You are even forcing me to use K2 in addition to the VI as the Special Edition doesn't have all the essential stuff found in Opus 1 & 2. I would pay for a K2 format product even if I would have to program it from scratch myself as long as I had the ability to program it the way I want.

I really, really, really can't understand why you are doing this. I would like to see the light but I'm not sure if there is any.

I'm trying to figure out the VI interface and the Special Edition and I'm having trouble understanding some weird and unnecessary limitations. Please correct me if I'm wrong and there is a way around these.

1. Two matrix slots can't be played simultaneously. I'd like to have one instance of VI where I would have Appassionatas and Chamber strings so that a KS would select Appassionatas, a second KS would select Chamber strings and a third KS would play both at the same time. I don't want to crossfade between them.

2. Velocity X-fade is global for the whole instance. I'd like to have sustains with modwheel velocity and staccatos with note on velocity. If I click the "Velocity X-fade" button on or off it affects the whole matrix. Why can't it affect just the cell I have selected?

3. All samples are loaded at the same time. I want the option to load only one velocity layer or one repetition of all velocity layers.

4. The polyphony is very low. If I load the Appassionata Strings sustain patch with all strings layered on the keyboard I can only play couple of fast chords and notes start to get cut off.

How does the VI use memory? I understood that all instances can see the same samples and no sample is loaded twice, is that correct? Do every instance have a separate play buffer? It seems that every instance takes quite a bit of memory and with the abovementioned limitations I'm going to end up with a lot of VI instances even in a relatively simple selection of articulations.

I understand that VSL wanted a secure form of copy protection and that the full VI libraries might benefit from the features of the VI but with Special Edition and the limited articulations the VI is just getting in the way of my workflow instead of making it faster.

Any news about the shipping?

That's comparing rotten apples with a screwdriver. The quality of the recording means a lot more than the bit depth of the samples. Then there is the sample engine and your equipment that have an effect on the sound quality. The difference between 16 bit and 24 bit end product is almost negligible if both are made from 24 bit source files and the possible editing has been done in 24 bits.

Either downloadable expansion packs (several small and affordable dedicated for one instrument or an instrument group) or Special Edition 2 would be appreciated. Trills especially for winds, col legnos, snap pizzicatos, some real dynamics. Appassionata strings with the same articulations as the rest of the strings. Fanfare trumpets with the basic brass articulations. Can't think of anything that would rock harder than that. []

I just ordered mine. Next time you should aim for instant shipping after announcement. There is absolutely no limit to the impatience involved with this kind of deals.

This already helped as I just wanted to make sure that I don't have all those samples yet. [] I'm off to bed waiting for the articulation list. Thanks!

Yes this works a lot better. Can I now know which strings were used?

Guy, I understand that you're hurt right now but could you tell me which strings you used on the demo? Take this question as a positive remark from a guy who is more interested in getting the VSE after than before hearing the demo.

The one I'm hearing is a bit too wet and dark but my overall impression is positive.

What happens if I click order after the VSE has been added to the cart? Will I be transferred to Best Service or is that the actual order button? I have a VAT ID so I want to order without VAT. And I want to see the articulation list before ordering so I'm asking so that I'm ready when the list comes.

Most likely most people interested in getting the full VSL VI extravaganza have already done so. Therefore a lighter and cheaper version would be a logical move. There are only so many people who can afford to put ten grand to a sample library.

I have Opus 1, Opus 2, French Oboe and Glass & Stones. What are my chances? []

I bet we are all dying to hear so demos please! Any ideas when and at what cost it will be available for the common mortals without the VI?

The point being that with GigaStudio and VSL you have to use the Performance Tool. The same goes for Kontakt 1 and other sample formats except the Kontakt 2. The whole Horizon series has Kontakt 2 scripts that do what the Performance Tool used to do. That way you don't have to set up virtual midi cables, midi tracks in and out of the sequencer to the Performance Tool and such. You just double-click the program and everything is set. It's really quite liberating and I highly recommend using VSL Horizon products in Kontakt 2. There are a lot of people who have issues with Native Instruments and I've had my share too. The Kontakt 2 scripting is just extremely powerful, there's no doubt about that.

I have Opus 1 and French Oboe and have ordered Opus 2 and Glass & Stones. Even if the Opus libraries are the entry level of VSL they are very complete and fully functional products. They have a lot of qualities that other more expensive libraries don't have. Personally I'm not worried about the future of these libraries as I'm satisfied with them and there should be an upgrade path if a VI version is released. I recommend using these libraries with Kontakt 2 as that way you don't need the performance tool. That's the next best thing after the automatic articulation switching the VI is supposed to do.

I have to agree with Gary. You can comprehend that it's supposed to be a violin section but there's no way you could think it's a real one. It's like having a zoo with cardboard animals. I too have the utmost respect for VSL's work but the sustained strings aren't their forte. I can't wait to hear the Epic Violins assuming that folks at VSL don't think that having a bigger section is going to make the strings shine.

The difficult part is knowing how much air different instruments need. There's a huge difference between an oboe and a tuba.