In order to survive in the market place companies must continue to evolve and innovate over time which ensures top quality products giving the custormer more choice.  The company that offers more choice to the customer will flurish while those that offer the same ol' same ol' will stagnate.  I think Synchron is just an example of that evolutionary and innovative process for VSL.

So with Synchron we, the customer, now have more choice in order to meet our needs.  Synchron has its advantages, while VI has its advantages, and you'll just have to decide which works best for you.  Of course, as Stephen points out, maybe what's best for you is to have both products because they compliment each other.

Going forward, my guess is more time and resources will be poured into the Synchron side of the house because it's new and fresh.  Once Synchron is up to speed with VI then VSL will finally release "Boys Choir Syncron" with "Boys Choir Silent Stage."  Take your pick.

Just a shot in the dark guess.   

Funny? I don't really notice those sounds all that much but have you tried EQ 'ing the sounds out?

Are you using the VI pro player?

You could try adjusting the Start Offset which might reduce some of those noises.  I know it works really well to reduce that initial pick noise on the Overdrive guitar but you could try it for the key noises too.

 

As for your second question VI refers to the Vienna Player which plays the dry samples from the Silent Stage sample libraries while the Synchron samples were recorded in the Synchron concert hall so, yes, Synchron has the reverb baked into the samples.  At least that's how I understand it I just have VI products no Synchron.

Like I said, it could be a bunch of things but it's usually an update that got missed or memory.

As for the clipping it usually sounds like bits of static while the sound file is playing.  If your meters are pegged to the red then maybe adjust the expression fader down in the Vienna player and see if it's still in the red.

Well Paul glad to see you completed your symphony.  9 or 10 months of work?  And here we thought computers and technology were going to make things go faster yeah right.

Anyway, it's a beautiful piece full of dynamics and deep emotions to savior from start to finish.  As I was telling William about his Romantic Symphony it's pieces like his and, your Summer Symphony, that have put virtual orchestras on the map of serious music composition.  Let's hope the major players in this game can keep an open mind with regard to how folks like us express our musical ideas.

There was one thing in your piece that did bother me a little but it might have been my listening environment (my car) The timpanis seemed blury to my ears.  Like I could hear a rumble but no punch.  Unless that was intentional?

Virtual Orchestral percussion can be tricky and one trick I do is parallel compression or processing.  Basically, you copy the timpani track and mix it in dry with the wet one.  That will bring out more detail. Of course the timpanis will be louder so you'll have to link the two volumes together and reduce the gain considerably.

Thanks for posting.

William, I'm at a loss of words.

If there was ever a glaring example of the prowess capability and potential of the "Virtual Orchestra"  your Romantic Symphony is that example.  And not just any virtual orchestra but The Vienna Symphonic Library. If Herb or any of the VSL team listen to this piece then I think they have every right to feel just as proud of it as you must feel because 99.999% of it is completely indiscernible from a live orchestra. Of course it wouldn't be possible without a competent and skilled virtual orchestrator such as yourself waving the baton. This piece surely makes the case that the virtual orchestra is a medium for composition that needs to be taken seriously in professional music circles once and for all.

I'm sorry to say that I wasn't able to listen to the entire piece but from the 20 minutes I heard I was just blown away by the expressiveness and naturalism demonstrated in the performances.  The composition itself was lyrical and filled with emotion conveyed by a beautiful arrangement but not to the point of pretentiousness which is characteristic of some bombastic Romantic symphonies.

So thank you for posting, not just this piece, but all of the wonderful work you have done over the years.

It could be a bunch of different things.

First thing: are you sure the signal isn't clipping?

Second: What soundcard are you using and are the drivers up to date?  Are they at the proper setting for your DAW?

Well I think the most popular method of creating a 2nd violin section is the so-called transposition trick.  Basically, you duplicate the 1st violins then you use the tune fader to transpose the duplicate section up or down a half step or whole step.  That way, the duplicate section is using different samples thus becoming a 2nd section.  Make sense?

Also, I like to layer my violins differently.  For example the 1st VIs I'll use Orchestral VI layered with Chamber VI then the 2nd VI's Chamber with Solo VI or Orchestral with Solo VI.

I went to school in Tallahassee (FSU) which most Floridians consider to be Southern Georgia and, as a poor college student, I couldn't afford air conditioning so I know what you mean by listining to the cicadas and crickets through open windows on Summer nights.

I miss the South.  Not the climate so much but the people.  Southern hospitality isn't just a catch phrase it really means something.  Yeah, I miss the people, the food, and the pretty college girls with those cute southern accents.

Compositionally it sounds good. However the performances sound rather wooden to me especially the piano. Are you playing the piano or programing it? It's not the piano from the SE collections is it? That piano only has like 3 velocity layers.

Well I must say this is probably one of the most ambitious pieces I think has ever been posted on the forum. Unfortunately I didn't have the time to listen to the entire work but from what I did hear it has many layers of passion and such attention to detail.

But what's really impressive about the piece is that it was completed with the SE collections. I swear this sounds just as good as the full libraries. Nicely done!

Well done Paul!

Forgive me for saying this but the beginning sounded more Autumn than Summer to me as the bassoon line kind of reminded me of mischievous Halloween nights but of course the "Take Me Out To The Ball Game" theme brought the piece back to the lazy days of Summer. I could almost hear the cicadas singing along as they so often do in the South that time of year.

Congratulations

Try turning off or deactivating the other 5 channels then record the expression for each track individually. Bounce the track to audio. Deactivate that track then move on to next track and so on.

If you have VI PRO, you could try time stretching.

If not then you could try time stretching within your DAW but that can be quite laborious.

There's also the Dimension series.

Those "Starter editions" were created when the only way forward was the VI series but I'm not sure they're necesarily a prerequisite to the VI series.  I though they were designed to be a more affordable option to The Cube and the bundles.  Also, they're less CPU intensive and memory hogs so they could work on laptops and such.

Overall, VSL libaries are designed for Classical, Orchestral, and film score music but they also work for many Pop Rock Jazz and related genres.

VSL makes a great upright Bass (not Bass guitar)  Listen to the demos.

VSL also makes a lovely Classical guitar which might work better for old Spanish style rather than country but, again, listen to the demos and make up your own mind.

I absolutely adore the VSL Overdrive electric guitar but it might be better suited for rock, pop or even metal.  Not sure about country.  Maybe if you have some virtual amps characteristic of Country music.

You could take a look at the solo Violin 2 non vibrato patches for your "fiddle."

I can't answer your question directly but I do believe VSL never recorded a 2nd Violin section for Orch. Strings.  Not sure what "90 VIOLINS 2" refers to.

Same here but I just restarted my computer (Windows 10, Sonar Platinum) and everything is working fine now.

I don't use Logic but, if Logic is like any other DAW, when you have Logic open there should be some function to "Insert Synth," or words to that effect, then a list of all of your available synths should come up and you should see Vienna Ensemble or Vienna instruments in the list. 

Select Vienna Ensemble and that should open a blank instance of Vienna Ensemble.  Then you would need to route a MIDI track to that instance.  Again, I don't use Logic but each MIDI track should have an input/output option and you should see that VE instance you just inserted.  Select it for the output I'm guessing? 

I don't believe there is a way to adjust mic positions but if you want "spacious" did you try using the reverb?

Is the Vel X fade turned on and are you using it?

Likewise for Expression?

Standard version and Extended are counted as two seperate libraries although you can't buy the extended library by itself. 

When you purchase them together as opposed to buying just the standard library you're getting the "Full Version."

Basically it's a marketing technique; if you can't afford the full version you could just buy the standard library because it's usually half the full price.  But, in the end, you're going to wish you had purchased the full version.

And if none of that isn't confusing enough here's more, when buy and download the standard version you're actually downloading the full version on your hard drive but you can only access the standard version samples.

I'm not sure I completely understand your question but are you asking if you need VE Pro in order to host VI pro?

No.  You can use the free hosting software to host VI pro instances. 

VE Pro just has more advanced features like being able to host 3rd party players and automation.

Genrally speaking, the transition from VI to VI Pro is pretty seamless.  You're just going to have many more features to learn how to use but all of your presets won't be affected.

Wow! Nice job.

I can't agree more to what's been already said but, overall, a fun and lively recording that sounds so natural.

Hey Paul,

Nicely done. This must be for you a profound exploration of emotions intertwined with some sweet memories.

I think the older we get the more we yearn for "the good 'ol days." For me, these nooks and crannies of nostalgia are both soothing and therapeutic. There's nothing like letting your thoughts drift back to a simpler time when it seemed the world was a better place.

May I ask where you grew up?

Something tells me that you grew up somewhere best described as pastoral?

Anyway, I enjoyed your piece. The recording is profesional and both the composition and the arrangement took me to "happy places" I forgot were there so thank you for sharing.

Are you using VI Pro?  If so, what's the legato interval set to?  Make sure it's mono, not polyphony.

Is velocity Crossfade turned on or off?  Make sure it's turned off then see if you have the volume differences.

Pixelpoet1985,

I think I may have misunderstood your original post.  Sorry about that  You're right about being in the dark on many aspects of the VSL world.  But it didn't used to always be like that.

In fact, I remember watching the old video tutorials, with the original Vienna GUI, and they answered many of the questions you raised. I could have sworn there was a video about the various Performance samples, what they are, and when to use them, etc. but I think those videos are considered legacy now.

Perhaps VSL should consider "rebooting" some of their legacy tutorials videos re-explaining some of these things?

 

Sorry William,

I know this isn't what you wanted to discuss in this thread so I'll check out now.