It sounds like you compose hybrid synth with organic orchestra music where maybe traditional seating arrangements with room reverbs and the like may not apply. In that case, maybe constantly reinventing the wheel will work better but it may become quite laborious loading the same patches over and over again to achieve the same string sound you had the last project.

Speaking of strings, it has been the consensus that layering ensemble strings with solo strings will achieve a more realistic string sound. When you layer your strings you'll certainly want to create a template where every section is seated in a specific place and the room reverbs, panning, FX, are already set.

I know it's tedious but I would suggest creating templates in VE because you'll find that you'll become monogamous with a specific sound that you like and having to recreate it over and over will become tiresome. So create a standard string ensemble with say the American seating, for example, and all strings layered. Save it as a template. Maybe the next project you'd rather have the German seating arrangement. Well load up the American one, rearrange it to a German seating then save that as a template. Maybe you want a more Chamber sound in the next project, so load up either the German or American template and just delete the channels for the Orchestral strings or AP strings (assuming you layer your strings) then save that as a template. Then maybe you want a Pop strings setup with just Violins and Celli so load up that chamber one created then remove the Violas and Bassi save that as a template. Maybe next time you want a very lush strings sound so you load the American template then change the room reverbs to a large cathedral or cave or something. Then save that as a template. And so on.

The same applies to brass winds and especially percussion or even solo instruments. I probably have ten or more templates for my overdrive and Classical Guitar instruments. In fact I think I have about 70 different templates saved for my libraries.

Whatever you create save it as a template then if you want something similar the next time load up what you created before then add, subtract, and adjust. Then save it as a template.

I guess the moral of the story here is save it as a template because Even if the next project is different it might be similar so load, readjusting and save as a template.

Actually, I think my studio looks more like Williams' than HZ's.  Instead of the drawing board however I have a computer and instead of the Piano I have a keyboard.

But Zimmer looks like he's sitting on the bridge of the Starship Enterprise for God's sake.  A lot of those banks look like old analog equipment.  His studio is reminiscent of the so-called synth pioneers' studios back in the day.  Musicians like Wendy Carlos, Kraftwerk, Tangerine Dream and Suzanne Ciani with these huge wall units and a spaghetti of wires running everywhere. Remember, back in the early 70's, a sequencer was about the size of one of those wall units Zimmer has and before the Mini Moog a regular Moog synthesizer had a switchboard of patchworks which cost about as much as a small house. Ironically, many of the aforementioned pioneers are, or have already, switched to softsynth libraries of legacy analog synths while the younger kids are trying to get their hands on those cumbersome analog banks of hardware gear.

But you know I bet Williams' piano probably cost more than Zimmer's banks but well worth it I'm sure. Just saying.     

So I'm actually NOT related to a Nigerian Prince who died and left me a million dollars?

Well isn't that just a kick in the face. And here I was thinking I got my Christmas goose a week early this year. DAMN!

I have been crying and begging for a Boys' Choir on this forum for ten years now.  But I'm wondering how difficult it would it be to get the infamous Vienna Boys' Choir in the studio(s) to record a library?  Of course it doesn't have to be THE Vienna Boys' Choir. I'm sure there are other children's choirs throughout Austria or Europe that are just as beautiful to listen to that would suffice. 

Notice I said "studio(s)" as it would be just dandy to get a Silent Stage version as well. Please! Please! Please! Santa Herb

Short answer: Yes

The software won't work without the key plugged into a USB port. Although I've never tried it you could try using an external USB hub.

Very well done! I listened to it in my car and I found it an impressive virtual rendition of a classic.

Having said that, I'm going to have to disagree with Macker about the dynamics. To me, remember I'm listening in my car, it seemed to lack dynamics. It seemed to me there were only three Velocity layers at play in the piece.

Then again, I'm not familiar with the score so perhaps you simply performed what was written.

Nonetheless, it's a beautiful piece and you should be proud of your interpretation.

Thank you for posting.

I don't have the SE edition but you can't use Velocity Cross fade? Are there not enough Velocity layers in the Forte Fortissimo range to make a crescendo?

The EXP fader is for smoothing out abrupt volume fluctuations when using Vel XFAd.

Things may be different now that Sonar is "Cakewalk by Bandlab" but Sonar was one of the only DAWs that correctly denoted middle C at C4 where it is supposed to be instead of C5 like other DAWs.  Also, with Sonar, you could change where middle C was.  For example, you could make C7 middle C if you wanted which is very useful when working with different libraries that have different middle C's.

I don't work with Synchron but if it's the same as the VI series just MIDI learn it?

Right click the parameter you want to manipulate then move an appropriate nob or fader on your controller.

What do you mean by "dramatic release?" Fortissimo?  

Actually Sam, I don't use MiR so my suggestion about stereo widening was meant using power panning and reverb panning.


As for clicks in woodwinds, I really don't hear them too much but if you have VI PRO try experimenting with the start offset feature. There is a video showing you how to do that. I know it works great for reducing the pick noise in the overdrive guitar.

You may want to look into Vienna Suite and/or Vienna Suite Pro which is another VSL product.

https://www.vsl.co.at/en/Vienna_Software_Package/Vienna_Suite_PRO

There are two reverb options with VS, you have the Convolution Reverb which has a nice set of presets and you have the Hybrid Reverb which combines impulse verbs with algorithmic.  What I like about VS reverbs is you have so much control over every aspect of the reverb like EQ, color, panning etc.

In addition you get a bunch of other goodies like EQ, Power Panning, Compressor, Limiter, Imager (Pro Version)Just about everything has presets which are nice starting points.

I absolutely adore the Vienna Suite/pro

I just remixed and mastered everything I've ever recorded with the suite and had an absolute blast doing it.

And if that wasn't enough you can try Vienna Suite /Pro for free Just request a 30 day demo license.

Just to add to what Stephen said, determine the point of view before deciding on all the above. Where is the listener sitting in relation to the orchestra. Is he sitting way in the back on the balcony? Is he sitting in the middle of 7th row from the stage is he sitting in the 1st row behind the conductor? Is he sitting on the conductor's shoulders? Maybe in the pianist's lap? What's the point of view.

Also what seating arrangement for the orchestra. I guess the purists out there would prefer the standard American seating arrangement but I prefer a modified German arrangement where the 2nd Violins sit opposite the 1st. The seating arrangement will affect the sonic aesthetics of the piece.

Stephen talked about cheating and I cheat a lot because I'm not that concerned with a pure orchestral approach to balance and levels and all that. For example, my solo instruments tend to sound louder than their corresponding ensembles because I'm trying to accentuate a theme or motif and that's what I hear in professional recordings of professional orchestras.

Also, I use some tricks I've learned in the Pop world like exaggerating the panning a bit and then using a stereo imager for sound separation. When you do that you don't have to automate volumes so much because every instrument(s) have a definite space in the stereo spectrum that reduces crowding. And compression is your friend not your enemy. That is if you use it correctly. EQ your instruments (and reverbs). As a general rule, instruments that play in the higher registers, like flutes, should have their deep bass frequencies EQed out (hi pass) to reduce muddiness in the final mix.

As Stephen suggested using the filter is a good idea but I like using a multiband because I can automate the attack and release functions. Also if you have a de-esser use it to reduce the sibilance you hear in high pitched screeching Violins, Piatis, symbols etc.

Err. Ah... what was your question again, I'm just geeking out here.

It's poignant and sweet at the same time. I really like it and I think you did an impressive job with the MIDI; it all sounds very natural to my ears.

It wouldn't hurt to bring the tempo up maybe 5 BPM but the current tempo doesn't really bother me that much.

Maybe it should be retitled, "Gabriel's Oboe That Sounds an Awful lot Liked a Flute."

Sorry, just having a little fun.

Thanks for posting. Well done!

And his music for that genre came to an apex with Once Upon a Time in the West.  Who would have thought that a simple harmonica could be so haunting.  Did you know that Leone wanted Charles Bronson to play in the Fistful... series but the studio insisted on Clint Eastwood.

When it comes to innovation in film scoring people think no further than Herrmann but, as Errik pointed out, Morricone could also conjure some magic with shoestring budgets.

I really enjoyed his score for The Untouchables which I think it has to be one of my favorites.

RIP  

It's a good idea to have a spare key in case of malfunctions or accidental damage, loss, theft, etc. especially if your Steinberg key is getting old. So I would just keep it.

As for the tutorials, because people use vastly different setups and systems (OS, DAWs, Notation software, slave machines, etc.) it's just impractical to produce videos that cater to everybody's specific needs so they are more of a general guide than a step 1, step 2 workflow.  Also, the videos assume you have a certain knowledge base about the subject matter.

The software instructional videos I think are pretty good but you may have to watch them a few times to understand them.  The "Get you up and running" videos, on the other hand, weren't very useful for me either so I do understand your frustrations.

Be sure to ask questions here on the forum. Tell us what error messages are popping up, and post screen shots, with your system set up etc.    

Actually I renew quite often. I figure someday they'll get sick of my constant emails and file transfers.


My smaller chamber pieces have on occasion tickled their ears enough to get an email response but then come the inevitable probing questions like, "Could you please give us the names of the performers?" As is customary the station not only announces the name of the composer but also the names of arrangers and performers. My only adequate response is:

On 1st violin: Jasen

On 2nd violin: Me

1st Cello: Myself

2nd Cello: And I

And their response is "No, seriously we need the names of the performers."

I'm rather ashamed to admit this but on rare occasions of alcohol induced stupers I've been tempted to use the names of the performers VSL hired to perform the samples but then my scrupulous conscience reminds me of the pretty serious ethical implications of such a move. Not to mention it's just a local radio station and they'll probably play my music in the wee hours of a random Tuesday morning when only two or three people are listening with one being me.

But I do submit and continue to submit. They never said they'll never play MIDI renditions they just tell me, "Not at this time." So perhaps one day when there is a change of administration at the Programming Department they might give me the coveted "wee hour in the morning on any random Tuesday" time slot.

BTW Thank you Erikkos for insight on this.

For this very reason I stopped contributing to "competitions" a long time ago.  They always tout the industry heavy weights they supposedly have on the judging panel as if it's like American Idol or something.  I'm sure those folks get a sizable cut of the total entry fees for the use of their name but the real judging is being done by the interns they picked up from Romper Room somewhere.  However, these Interns (Lackeys) seem more concerned with which entries are more "woke" than their originality or artistic value.

 

On a related note: For the past few years, I've been trying to get air play for some of my compositions on the local Classical radio station and I tell you they have no respect for composers of virtual orchestra.  They call us "MIDI Tinklers." and they say that they only have time for serious composers who "hone their craft" with live players.  I have nothing against skilled live players but what about the quality of the composition and arrangement itself? 

Errikos,

Good to hear from you and thank you for that beautiful fugue that would have sent tingles up even Bach's spine. 

I opened my curtains and used the music as a soundtrack to the Covid 19 Zombie Apocalypse going on outside. Or maybe it's just the random rioting that I'm watching. 

Oh look! There's a chipmunk outside my window gathering shell casings. How cute!  It's like a living Norman Rockwell painting.

Actually, maybe Maker has the better soundtrack for what we're witnessing here. I really like that power and dissonance. It's electrifying.  And narcoleptics do make the best organ players for this kind of soundtrack.

Thank you both for posting 

I sometimes have to remind myself that there was once a time when VI Pro didn't exist

Oh the humanity!

My God, how the hell did we get through those Dark Ages?

Simply put, VI Pro will save you a lot of time by greatly reducing the laborious tweaking to get your perfomrance to sound more natural.  Of course you could do many of the things VI Pro does without VI Pro within your DAW but VI Pro automates these operations and there are features that you can't duplicate like the legato blur or time offset.

So I recommend VI Pro and I highly recommend it if your buying standard libraries instead full.

Watch the tutorial videos and I believe you could download a free 30 day demo license to test drive it.

I don't know if it will fix your problem but I suggest getting a new key and transferring your licenses because the warranty is only good for two years. Or get the VSL protection plan.

Since it seems to work in other computers I suspect that the problem is not with the key but something with your new computer. Maybe uninstall then reinstall the eLicensor?

Do you have another computer you can plug the Vienna key into? Maybe the old computer you were using before? Just to make sure the key isn't malfunctioning.

Of course, whatever computer you plug the key into it will have to have the eLicenser software on it.

Incidentally, how old is the key?

StingRaymond,

That's absolutely brillaint

I am in awe of your refined eloquence demonstrated in your beautiful post. 

I wish I had said that.

 

Wait a minute.  I did say that!

What's going on here

My apologies to you Antonio for my bloated and verbose post. If you filter out all the pretentiousness the main point I was trying to make was that Synchron is perfect if you want to create something on the fly without all the panning, reverb and technical options which can be laborious. In fact VI Pro can be a "tyranny of choice" with all the possibilities. But it's a good tyranny 8>/

And I agree with Paul that it's great for newcomers because of its ease of use and practicality. Of course, eventually you might want to take the dive into the VI series because once the creative devil inside gets a taste of the VSL sugar it's going to want more and more.

"can I use my Synchron libraries with VI Pro and/or MIR Pro?"

I don't think so because I think they use different file types.

As for the differences:

Think of Synchron like a prefabricated home where the walls are already sized, constructed and painted.  All you have to do is assemble the parts to make a whole.

The VI series, on the other hand, is like a stack of lumber and cans of paint.  You decide how big the walls are going to be what color they are whether or not they have windows etc. Whether the roof will be made of tiles or clay or tin or whatever,.  Will there be a pool in the backyard?

So Synchron is a more expedient approach in which you can literally "plug and play" but you're limited in things like venue and sample manipulation. 

The VI series gives you much more freedom and flexibility and you have the ability to create your own sonic environments (reverb, atmosphere, venue,etc.)

The downside to VI is the steep learning curve.  It's like learning how to play an instrument.  Subsequently it takes much more skill and patience to use it.

I don't use MIR so I can't comment on all the particulars but basically if you wanted to record your Hollywood blockbuster score in the Perneg Monastary with all the players placed on stage in their respective spots but the monastary wasn't available (because the monks are too busy with their Gregorian chants) then the next best thing would be MIR. Not to mention all the other venues available.