Hi all,
I’m still learning.

I’m making my projects but there is no way that they sound the way i like it to be, definitely not polished.
So using VEpro7 loading Syncron libraries, through VEpro surround, then i have bunch of tracks, Strings, Brass, Wind and Percussions.
What to do next in terms of exporting all the tracks to surroud 5.1?

Here is what i did,
Using Cuba’s 9.x .. made my audio output surround (but that is by itself is confusing because i don’t have an option of 5.1, it is like 5.0 with 2 stereos - which i don’t know what that meas, and of course there are other options.
Do i change the input too?

Then i render in place, option in Cubase,
Then i get output channels that combines my tracks, so for 20 tracks i might have (and let say ) 4 audio channels

Those audio tracks have the options of 5.1 and 5.1 left - 5.1 right, 5.1 center .. etc (should i leave them on 5.1 or change them to the sub division of that setting .. ie 5.1 left and 5.1 right etc? I’m not sure .. and if i do what do i choose ? Brass to the right? And Violins to the left .. like that?

Then I export as “ Audio Mix “ .. then i have a wave file, but still i don’t like what i hear, still 80% of the sound comes from my front speaker.

So my question is, where do i learn how to do proper legitimate 5.1 sound out of my midi tracks?
Also i saw a video that shows that i might need to make 5 mono channels to create my 5.1 (do i need to go that route), i just think this was maybe 5-6 years ago when Synchron was not exist and old ver of Cubase did not handle it right.

I’m using
VSL Synchron
VEpro 7
Cubase 9.5

Thanks in advance
John

Hi all,

I just wonder if i'm building a new computer ( PC ), do i go with server CPU or workstation CPU?

as you all know the CPUs and the multi threads went beyond what sound libraries in general required.

-John

Thank you Paolo

I wasn't not sure if i can double or tripple but now you encouraged me.

and let me clarify this, it is using the same track and duplicate it to 2 or 3 or more using the same libarary, correct?

I'm suprised you don't like the Appassionata, it looks like that i like to use them more than Chamber.

-John

Classical and soundtrack for now.

Hi all,

I'm still learning, but anyone can help me how to choose among these? Strings -Chamber, Appassionata, Orchestra?

All i know is Chamber is less instrument than let's say Orchestra, someone might say (I'm wrong)

I'm not experienced but i can clearly hear the distrinction among them, also in know some would say it depends on my taste and there is no wrong or right about them but,

what i'm asking, is there a way to make a better choice when choosing one of these variations vs others when we try to play a song? also i'm asking about songs played already by someone, so i'm not composing from scratch.

-John

Hi all,

I have Sychron libraries and i was wondering using Cubase, do you load the syn players directly with the instrument rack one by one? or you use VEPro and load one instument rack and then "as you know" load channel/port from VEPro to load all instances of Syc players?

for some reason i can't figure how to use channel/ports by using syc Player only with Cubase, so i had to create an instrument rack for each syn player and use it that way.

Note: i'm using only syc libraries, so no other libraries, also using all the filters and EQs etc within each player, so i really don't need to use VEPro, but as far as i know, it loads faster and more efficient.

Any thought appreciated.

-John

Hi Paul,

I finally made up my mind, used up Christmas discounts and voucher and bought the whole Sychron package.

the synchron player is a piece of art, the articulations, slots, short long can't get better than this, i just love it, everything is concise clear and intuitive, i love the CPU monitor, i don't even know if the performace improved vs VI series or not as i hit max of 30% CPU with my "peaks" after playing lots of notes.

The sound library and all acoustics that came with it, mics etc .. it is just amazing.

I think the story with Sychron is beyond dry and wet sounds. the whole thing is different.

spent a lot of $$$ but totally worth it, one thing i noticed, i don't see Choir in the package? any idea?

now i started baking my first song in Sychron....

Just another note, if you are buying the package, you better buy at least 3TB SSD, not 2TB, the library goes over 2TB around 2.2TB

Great job VSL, I'm very impressed

-John

Hi Crusoe,

I looked at YouTube etc, read about the topic.

i have done something similar to tune up my 5.1 in my TV media room, but that was all done through Denon receiver and only adjusting the sub woofer levels.

I think i need a software analyzer and a mic, do you recommand any vendor?

also, it looks like the best thing to do with what I have is to buy "Foam Acoustic Panels" that i can return and try out myself how to improve the sound with the (software + mic).

again, do you know of any kit? or any place to invest in?

Don't forget, i'm not doing this to make money, it is just a hobby and its been a great fun, this whole thing gave me a lot of knowledge of digital orchestration, as i play the piano - classical.

-John

okay then what method do i use to meaure/evalute the sound in my room? what exactly i'm looking for to achieve? the sound doesn't redirects back and forth? is that all?

I keep hearing about treating the room, all I'm doing right now is raising the speakers higher up to my ears level directed to me.

the reason that i never bothered about room treatment is because the room is rectangular (14x11 - 9' ceiling)

and on one of the long sides, i have a bookshelf end to end and a desk also end to end, also half of that side is a window which discouraged me from thinking of any room treament, AND there is no other room.

-John

Hi,

I have a general question about refrence speakers,

To create a good sound for editing, mixing, playing, do i need only 2 ref speakers? the reason i'm asking because when i talk to music shops they always pitch for some speakers that will do good with low and high frequencies, and in the same time they said it is hard to achieve both (low and high freq) when you use 2 speakers (again that depends on the speakers but i'm talking in general)

so is it better to buy 2 good quality ref speakers? or create 3.1 or 5.1 surround with my musical workstation/room?

the 3.1, and 5.1 really seperate the low and the high frequencies.

-John

Finally i got BigBang working, finally i saw Sychron player .. it is a piece of beauty .. i was reading different threads and i can't believe some criticized it so bad (I don't want to repeat what he said).. i can't even believe i read that.

It is very well formatted, very intuitive and easy to navigate (at least works better with big monitors and resolution) far better then VI player (in my opinion), just the latter happened to be developed long time ago.

Also, everyting works the same with VEpro, i loaded up Sych player and took off the ambience and used up some venues from MIRpro ..man this thing still works... the sound was not dry in the first place but for what i have tried, the additional of MIRpro pluging added a huge trailing reverb which was just awesome by itself even if there is no direct use of it, my point is MIRpro still works with Sychron, i thought it would be just disabled (as a software when you are in Sychron environement)

I think there are still tone of tweaks that can do with Sychron sounds but really smart and intuitive and won't make you use up all the time to build the sound.

I think i'm going to invest in Sychron series, grab that ready AWEsome brass swell that I need to spend some time to build and just focus on my songs and music sheet. All the dry sound fan, don't feel bad .. you started 10 years ago and you are ahead of me 10 years.

-John

Thanks A LOT Dewdman

Now i understand what is going on (it is funny that i'm studying reverb and room reflections while i'm asking what are the use of these muliple mics) :-)

So by using muliple mics and panning, i can create the same effects with Synchron as in MirPro.

So in MirPro, you can adjust the distance of the object AND then still you can adjust the wet/dry ratio, from my understanding now, with Synchron, you can adjust panning and distance,  and close mics and far mics for the wet/dry ratio (if Synchron lets you do that)

LAJ, i downloaded it but have not worked on it yet, somethign didn't work right and i did not have time for it, i will work on it for sure.

-John

Hi Dewdman42,

Thanks for your explination, i'm still not sure what is muli mics and close mics are, i don't have any synchron products, but definitly i'm buying some.

How do we do positioning and distances in Synchron series as we do using MirPro?

Like in MirPro i have one mic- right? and all these objects that each represents a channel with an instrument(s) that is in each venue.

Where are the other mics in synchron?

-John

LAJ

Can i reiterate what you said, 

We have Synchron Str 1, Sychron FX Str1, Synchron Percussion 1, Synchron Power Drums, Synchron Piano budle, all of these won't apply to what you said,

the rest like Synchron-ized versions apply to what you said

is that correct?

and again the difference between the 2 set of Synchron is the Sychron-ized versions are the same VI version but edite and mapped to work with Synchron player, versus the other ones are newly recorded, correct?

-John

Dewdman42 (( Just to clarify.  With Synchron instruments you can still always run them through MirPro to get the other venues.  Just use the close mics and/or turn off both convolution and algorithmic reverb in Synchron...then process through MirPro as you have with VI libraries. ))

That is interesting, 

so Dewdman, are you saying you can dry out Sychron sounds and start treating them like the VI series sounds, then you can use MIR like before?

Paul what say you?

On the same topic, is the SYNCHRON-ized series are the same exsiting sounds (from VI series) but re-edited to work with Synchron stage and Synchron player? or are they new recoreded sounds? 

-John

Hi Paul,

Okay this is getting really really interesting, i played a song to some friends and they are so impressed, not sure how man of them are going to jump into the world of VSL, i can't have enough of the sound of Trombone, and the piccolo throught MIR

I really need to get new reference speakers as i think they are going to matter how to put all instruments together and how they are going to sound before i compile the sound and send it to let's say Dolby Atmos system.

When i played the same thing in my 5.1 surround, it sounded much better.

any advice on reference speakers? does it matter to buy expensive ones? i have basic ones 16 years old, KRK 6

I also use Sennheiser HD 700 Headphone but i learned about sound reflections that i can't get using headphones (not sure this is still true)

I'm going to take a closer look at Synchron as you suggested, I'm not sure what it is yet, but i have a feeling that i'm going to miss MIR Venues if i go with Synchron, MIR venues are outstanding, however .. i still think why Hans Zimmer (whom i'm a fan of) jumped on Synchron??

-John

so i just recorded a simple song out of music sheet using piano sound, then i used up 7 different instruments.

then i added MIR to each one of them but i selected the right venue, man oh man it sounded so good.

then i added MIRacle at the end on the master channel .. oh my .. it is super awesome.

I bet i can do even x10 times better if i just chose the right ariticulations and make some tweaks,

but it is so amzing enough without an efffort.

now my question is, do i have to move the instruments in the venue? so i'm thinking like a real orchestra players positions, so choir all the way to the back, timpany far and to the side, because MIR places them automattically and they sound good as they are but of course in arbitrary strange spots and orientation.

-John

Dear Ben

I'm a big fan or VSL, that is not going to change, you don't have to feel bad about a post, understand the context of what i'm asking from previous posts, you don't need to sell VSL, they are an awesome libraries, sounds, and great work achieving that.

I was trying to see if i can get the wet sound as in other libraries/vendors by using the VSL dry sound using MIRpro.

If all i need is to load an instrument with MIR and adjust wet/dry .. then why wouldn't i just go with the synchron? I'm not doing that much with MIR, am i? and still i'm sure just by doing that, i won't achieve the "out of the box" synchron sound.

-John

let me make it even harder

Which is the best .. for example Brass

CineBrass, Spitfire, VSL with MIR?

cool William, all good now

For the rest, as i understood from you and trying myself, the right colume (wet/dry) doesn't go for each set of instrument, also i tried it myself, so basically ..the instruemtns sets per venue, adjust: the size, mic, orientation/direction, position.. what else?

Also how do i get a clear sound, it always sounds muffled, like i'm running the sounds in a bathroom, i know that is the reverb, but no matter what i try it is not clear/crisp/vivid .. your thoughts?

I have created my first song :-)

Thanks a lot William.

-John

Hi William

Thanks for your reply,

can you elaborate a little more, if i'm using Vienna Ensemble pro, and load a MIR as an input, how do i get that auto?

i think you meant, upload an instrument with MIR pro on in the Vienna instrument player?

i can only see the rooms in Vienna Ensembles

-John

Dear Paul,

so i'm back to the: is it the chicken or the egg thing. wet or dry sound?

I'm new to VSL but not new to sound libraries, I'm not used to work on dry sounds, not sure who else provides dry sounds, i don't want to undermine lots of professionals that they can do maigic with dry sound, so i was told to go with SE and through VI, so then i had to spend money to buy Vienna suite pro (sound processing) and vienna MIRpro .. then i found out that i really need to learn more .. so i started 7 months training on VI, i pushed myself to learn about the following, which i'm not custom to:

dry sound, shaping, then accousitc (reverb) then EQ and sound processing panning etc, then MIR room, you know the rest 

that is the only traiing i found.

i don't think i got 40% out of it, the training was not for the pro versions and all the software i had is for PRO,  lots of things out of date, that is okay, i muscled my way through it.

After all fo that, why on earth would i think, i will end up making wet sound better than (you guys, eat drink sleep making sounds) as in Synchron?

give you an example, so use EQ to remove some frequencies which you had it naturally in your sound libraries which at the end makes the sound unatrual, i'm giving you a credit .. your recording sounds in a marvelous way, that i would rather not touch, i'm sure some expert with long experience would after all agree with me.

I'm a piano player and i found myself i spent so much time shaping and EQuing and not getting the results i want than composing and palying songs also there are not enough information of how to utilize MIR pro.

now i see you are inviing me to buy Synchron .. what do i do? i'm not sure ..so all VI instrument player setting and configuration that i learned which is old and hard to navigate was waste of time.

if i go with Synchron direction, do i need Vienna Suite pro anymre? do i need MiRpro anymore?

last thing why do i buy SE synchronized and not go straight to Synchronized series?

if i would have a chance to do it again, i will just buy the synchron seiries and focus on one thing

i'm sorry but i'm so overwelmed with the options and instead of focusing building music .. just buying and keep learing how to use the software, so sure please give me your opinion. 

-John

Hi,

I have VI SE (1,2,3, and 4), where do i go from here if i want to buy more libraries,

I also have MIR pro with all the rooms, and Vienna Suite pro 

I want to be careful how to spend my money, any guideness will be helpful.

I'm sure VI libraries are outstanding but to be fair i need to listen to others, that is why i wonder how to spend my money as everything beyond VI SE  is quite expensive.

Thanks

-John

Just wondering, I use mir pro in each channel that represents one instrument or set of intruments and by that i can decide where my 2 Mic position to, so why do we need to have MIR Pro support multiple mic positioning if i can use it the way i described it above? so if i decide i would have 32 channels for my song, then i can have at least 32 mic positions

What am i missing?

-John

Okay thanks.

Now the following question is going to be, is there a way to import PDF music notes directly to Cubase?

-John