Is everything updated? VEP? OS? Spitfire?

Soundcard have the latest drivers installed?

You get the same results when you adjust the buffer size?

You're using SSD drives right?

Unfortunately, from the information you've given, it could be any number of things causing your problems but I'd start with updates.

Or maybe Un-update?  Perhaps something you've installed recently is the culprit.  Did it work fine before?  Maybe revert your machines to an earlier time when everything was working?

If none of that works, then you'll have the painstaking task of trying to isolate the problem.

That's good to know.  Thank you Stephen.

Not too shabby. 

Are you maintaining a single tempo throughout the entire piece because it does sound a bit mechanical to my ears.  Even if a piece is written in one constant tempo players will speed up and slow down slightly here and there.  The key word here being "slightly" so not too much tempo variation to the point it draws attetniont to itself.  They'll especially slow down a little bit at the end of phrases.

Also are you using a high pass filter on this?  It sounds kind of thin to me for some reason like the upper mids are coming out too much but I was listening in my car while driving  so maybe it was my listening environment.

As with many other articulations I really have no use for legato sustains.  If you can achieve what you're trying to do without it, or without any other articulations for that matter, then don't bother with them.

What Stephen was saying about the start offset is good advice.  I've always felt that that one little feature in VI Pro is the best kept secret in the sample world because of all the variety you can create with just a few samples and variety is what makes MIDIstrations come alive.

However, one thing I haven't figured out is what's the difference between the start offset in Legato mode and legato blur?  

Originally Posted by: William

Though with the coming Global Warming Zombie Apocalypse I and my musical productions will probably be merely a part of a calcified strata layer several hundred feet below the earth's surface.

Or they will be sampled by some 14 year old Hip Hopper/rap "artist" wannabe and used in his or her EDM track which will dominate the Pop charts for a few fleeting seconds.

 Obscurity is looking better and better

Originally Posted by: Acclarion

Paul, it actually did start as a single movement.  I decided to add the second movement a few days later and create that whole "Pathos and Rapture" dichotomy.  Most people that commented on the piece here and elsewhere suggested they preferred the second movement, but of course, asking me to choose one over the other (or, remove a movement now that it's already written) would be like picking between children.  Our music is so personal and while I don't love all my pieces equally, I couldn't bring myself to toss part of a complete work.  The nice thing about multi-movement works is that they can be enjoyed complete, but as often happens with virtually all classical music, people have their favourite movements (to refer to your recent Dvorak, I like the 2nd movement, as with the Grieg Piano Concerto...whereas I've never gone past the opening movement of Haydn's Symphony 56).

Or you could add a third movement just to see what would happen although I don't recommend that kind of attitude when it comes to having children.

Actually Dave, I listened to both movements in their entirety while I was on a long drive and I favor the second movement as well (don't take this the wrong way Paul but I respectfully disagree).  The taking it in bit by bit has more to do with my "multiverse" comment.  In other words, the listener would need to listen several times to enjoy all of the layers the piece has to offer.  

Hello Dave,

This is yet another fine piece that you have posted here and I thank you for sharing.

Like many of your other works you've posted for our enjoyment, the music just grabs you by the hand and drags you into this multiverse of expressions themes and ideas.  In short, it's a musical journey rather just a listening experience.. Put on your seatbelt and enjoy the ride because you are about to take a tour through a diverse range of sonic dimensions.  Each one of these dimensions are aesthetically pleasing in their own unique way.

Of course one listen isn't enough to fully absorbe the emotion and soul being displayed here but, at thirteen minutes Dave, I'll just have to take it in bit by bit.

As for the Soundcloud graveyard try not to be discouraged Dave.  Who knows, years from now somebody might find this on an old harddrive somewhere and discover you and your music kind of like Bach was discovered posthumously.

Of course, by then, we'll be playing our music on a harp with Saint Pete being our only audience.. But at least somebody's listening.

(sigh)        

Originally Posted by: Martin

Of course you can create anything with the basic artulations, but the more articulations you have at your disposal, the more choice you have to create more realistic, varied and colorful music. It's totally up to you which of these articulations you'd like to use, there is no general advice what you can and what you can't program with more or less options.

If you can't afford the bigger libraries than I would suggest purchasing the Vienna Pro player because then you could at least "manufacture" your own articulations to mimic some of the ones you don't have like using the humanization and time stretch functions.

Which articulation (patch) are you using?

For fast legato passgaes I usually use the performance trill.  Fast Stacc I'll use per rep spicc or per rep stac.

If I'm not mistaken the fast legato sometimes does what you describe.  Are you using the time offset feature?

Are talking a standard library or full?

One of the Special Editions?

I haven't used the speed matrices in years but I would do Performance Legato with Sustain.

Also, I would couple Performance Trill with Fast Legato. 

But this assumes that  you have the full libraries.

Originally Posted by: William

This is a statement about the relative value of Vienna Instruments and VSL in general.  

I wonder what other composers/performers here think? What I was recently thinking about was how much I like using the VI and VE system in my studio.  In trying to formulate the reasons, I was thinking:

1) Total backwards compatibility with previous instruments - that is huge because many of the older instruments are the best-ever sampled versions of those instruments.  

2) A user interface consisting of instrument/articulation sets which can be easily rebuilt from the ground up - including patch-level. All the presets I have ever used I made myself because that way I can use only what is needed, instead of a bunch of stuff that is worthless to me.   

3) Access to MIR the most musician-friendly reverb and mixing available. I can't say enough about how great MIR is - it is like being a conductor, and just telling musicians "go over there!" and they do!  Then play in a beautiful space.  

4) Consistency of articulations across instruments which allows radical changes of orchestration. I am now using this on a piece originally for orchestra changed to instrumention of symphonic band.  That is difficult, and yet the absolute consistency of sampling of articulations in VI allows one to make as radical a change as violins to clarinets!  Amazing... yet possible. 

I firmly believe the Vienna Instrument and Vienna Ensemble, combined with MIR, are the greatest things that have happened in music in recent years.  Perhaps mainly because - they correspond to what musical instrumentation and orchestration are really focused upon - those actual articulations and expressions that each individual player does in an orchestra. No overall fakery, no slick bullshit - just real musical expression.  That is why the first instruments of VSL - more than what? 17 years old? - are still among the best ever sampled.  That first Tenor Trombone or Vienna Horn - just audition those!  It is an amazing amount of beautiful, expressive detail.  VSL did not try to take advantage of sampling, but instead thought long and hard "how do we represent what this instrument really does?"   

After years of using VSL, it still amazes me what these talented people have done!  

Yeah, what he said

I don't use MIR so I can't vouch for it but I do use the Vienna Suite and I am just amazed by the array of useful plug ins you get for the price you pay.  My mixes can be compared to professional studio mixes with thousands of dollars worth of hardware gear.  The plugs are neutral and leave no fingerprints on the output unless of course you want some coloring to the sound in which case Vienna Suite can deliver.  It's the same philosophy they use when recording a sample library.  Pure, pristine and detailed.

Originally Posted by: Casiquire

VSL could simply reissue a new license to people, of course for a fair price to cover their own costs, and monitor trends or suspicious activity or patterns.

I think they charge you half the cost of the original license?.  Now I don't know if that price is "fair" and covers their own costs.  Maybe therein lies the issue?

Yeah the protection plan is just a one shot fix and after you use it you'd have to get another plan along with another Vienna key no doubt.

Originally Posted by: philro

Hi,

Scuse for bad english

I want to have the vienna imperial and steinway D on an other computer.

i have transfered all the files, but how can i say to the soft where are the samples ?

or have i to reinstall all library for the begining but its long time ...

thanks for your advice

phil

If you've already transfered the files then open the Directory Manager and either find them on the new drive or drag and drop them in.

There's a video that shows you how to do that here.

Originally Posted by: ActionManRich

Why can't vsl simply ask Steinberg to cancel activation codes and issue new ones.

Well they can, and I assume that's what they do, but then VSL has to pay Steinberg for those new licenses.  So why should VSL pay for licenses that you lost? 

At this point, the best thing to do is to purchase the Vienna Protection Plan then you don't have to worry about it.

Well, it's kind of a trial and error thing but did you record this as an ensemble or multitracked?

I can't speak for MIR but the Vienna Suite has a church converb in it that has a nice lush sound.  Not to mention a cathedral.

Or you could go with the Hybrid Reverb which is more powerful than the Convolusion Reverb and gives you more control over the tone and color of the reverb. 

For an ensemble performance I'd probably go with the Hybrid Reverb.  You could find something in any one of the the large room presets.   

I think most people use keyswitches for articulation changes on the X Axis because the more articulations (patches) you load the harder it is to move the fader to just the right articulation but, in the basic view, I think you load some patches then go to the upper right hand side of the GUI where it says"Matrix Control" there's a button next to where it says "X-Axis." click on it and some options should come up.  Then click on "wheel" or "controller" maybe. 

As for Expression, Attack and the others click on the big box underneath each fader and some options come up like Expression, etc.  Basically you assign a function to each fader then right click on the fader itself and move an appropriate fader on your MIDI controller to MIDI learn the function to that controller. 

Originally Posted by: Paul

Hi Steva Martin, 

I'd be VERY surprised if you found such a post. We did NOT differenciate between up-and downbow when recording the strings. 

Best, 
Paul

Maybe it was Beat Kaufmann but i do remember somebody posting a method to simulate bow changes.  I remember it because I was interested in doing the same thing but the method described seemed like too much work just to simulate a bow change so I disregarded it.

I thought VSL didn't record up and and down bow samples?

But I could be wrong.

BTW, a long time ago I remember somebody posting a method for faking bow changes.  You might want to do a forum search.  

Originally Posted by: jdk90026

 

Anyone have info on this? Is latest 5 update compatible up to OS 10.13?

 

In MyVSL it says VE 5.4 OS X 10.6.8 build 16488.

Also, if you check the "Software Manuals" There's one for VE 5 that might have what you're looking for.

Try going into your "MyVSL" check the "Download Archives" and you should find the last VE 5 build for OS. i use it on a Windows 8 machine and it works great.  I don't know about a Mac but dowload and try it.  If it doesn't work then unistall and reinstall VE6.

Regarding your "Bonus Question"

Although I don't think I have as hefty a template as you I run everything on one powerful machine.  I've never worked the daisy chain method and don't want to start.  I just use VSL instruments in VE.  I don't load Kontakts or other 3rd party stuff.  My suggestion is if you can put everything on one machine then do it because you just cut the number of things that could go wrong from a billion down to only a measly million.

Do i get the Bonus prize?

The nuns have already split while the poor monks are shaking in their robes.  Better say their prayers

This sounds fantastic William!  The themes, the orchestration, the arrangement. Just the whole ensemble is so powerful.  The horns sound glorious and awesome while those beautiful strings just soar above the orchestra.  Are those Synchron? or Appassionato? (layered I'm sure)

Now I want to pick up my battle axe and raid the neighbor's bird bath. Those damn tweeters wake me up at six in the morning

My new year's resolution is to listen to more music posted here by my peers and to post some more of my own for the enjoyment (or misery) of all who listen.

Happy New Year to all

I assume you're talking about VE 6? or VE Pro?

I'm not sure if there is a way to do what you want globally but if you go into VE and set the MIDI inputs to OMNI on every track (I think it comes up as "ALL") then all those tracks should respond to any MIDI commands you send from your MIDI source, controller or keyboard.

This technique is useful for creating tutti performances but can be taxing on your system unless you record each track individually (one at a time) by disabling the others then mix the audio tracks.

I hope I understood your question and have a Happy New Year 

I can't answer questions 2 and 3 but, like bbelius said in 1, it all depends on your workflow.

Personally, I like inserting certain Vienna Suite plugs like, Power Pan EQ and Converbs, into Vienna Ensemble for several reasons, one being, I already have my templates built with those plugs set although I might adjust them depending on my needs.  Also, I believe if you insert the plugs in the VE instance it will reduce the strain on your CPU then if you inserted them to individual tracks within the DAW.

However, other plugs like Compressor, and Limiter, I'll insert on the audio track after bouncing in the DAW.

Then you have the multiband limiter, master EQ, Hybrid Reverb, and Analyzer which should be inserted on a Bus like the master for mastering.

I think for once I actually agree with Mr. Zimmer on this one..

Have a Happy New Year