Yes, I mean Synchronized (sorry that was unclear). I can understand how it would be difficult to migrate when you have everything set up for Vepro, Mir, etc. I did not do much in the way of customization with the ensemble player, and I never really got into Vepro. In fact, I went back to the Ensemble Player because for me it was easier. 

I find the Synchron player easier to deal with. but I too still will use the ensemble player at times, especially if I want to limit the number of instances. You can get a lot of Synchron players going if you're doing orchestral! fortunately, the Synchron player is not too power-hungry. I think it is a very well-designed piece of software.

Thanks for your considered and informative reply.

Now that we have had some time to compare, what do you think? Old vs. New?

Personally, I have Special Edition 1 on both the regular edition and the Synchron version. I have gravitated toward the Synchron. You can do more with the sounds. You can use the included impulses; or only the short/long convo  so you still get the Synchron panning; or choose the default settings, and do whatever you want with them in terms of reverb and panning.. I like having the Synchron pans available. I even use them for other libraries sometimes. I think it's a great tool. It also seems to load a little faster.

What do other folks think?

Thanks for that info Jason, good to know. So Cakewalk had it right all along. I figured since it disagreed with the majority of DAWS, it must be wrong. Just goes to show, no good jumping to conclusions!

I imagine it comes down to what you're used to, I learned the CC method, so keyswitching seemed a bit foreign to me. If I had learned keyswitching, and then tried the CC method, I probably would find that foreign. 

Another problem I had with keyswitching: in Cakewalk/Sonar, I have to transpose the keyswitches up an octave, because Cakewalk uses a slightly different scheme in numbering octaves., Their middle C is on the treble clef, leading users to believe that actually is middle C. Why they did this I'll never know.

Anyway, it all comes down to the CC method being better for me.

Thank you Ben. I did study the manual, but must have missed this. I'll give it a go!

Michael

Addendum: I did it! All in all, both the keyswitch method and CC method are rather cumbersome, but at least with CC events I don't have a bunch of extra tracks to put the keyswitches on. Now, it would really be nice if I could just say to my computer, "Switch to Legato, normal with strong vibrato." I guess that's a ways off yet...

I seem to recall seeing a post here on how to use CC events to change articulations. I hate key-switching. Is this in fact possible? Is anyone actually doing this?

Thank you Paul and David. sorry I got a bit touchy. I have had several threads where I get zero responses, this one just put me over the top. Chalk it up to the stress the whole world is under these days, I guess.

Okay, forget it. no one wants to answer my questions, fine. I'll go somewhere else.

I have Appasionata Strings, Epic Orchestra and Sp Ed1 in the Synchron versions. My DAW is Cakewalk by Bandlab (formerly Sonar). My usual way of dealing with volume was to use CC 7 and CC 11. I find that with the Sp Ed 1, I often need to increase the volume on the synth. So, I'm wondering if it makes sense to dispense with CC 7, and use the volume slider on the Synchron player. Also, should I disable the Cakewalk volume slider? Then use CC 11 for fine adjusting? does this make sense?

In other words, I would find the best setting for inital volume on the Synchron player for each inst., using that as my CC 7 so to speak. Disable the volume slider on Cakewalk (as well as the pan slider, so as not to alter the native panning of the Sp Ed 1 insts). Then use CC 11 the rest of the way. What have other folks found works best?

Thanks,

Michael

Does anyone ever use impulses other than the one that loads for a given instrument? I have been experimenting a bit. For example, I don't like the way the bassoon sounds in Sync version. I find it sounds better if I load the Oboe d'Amore impulse from Epic Orchestra. And the oboe sounds better with the EO Woodwinds impulse. Also, the bosendorfer will appear on the right side pan-wise if you load the EO Timpani impulse. I like the piano on the right side if I'm doing full orchestra. Of couerse, most of the impulses I've tried make the inst. sound worse, but I can usually find one that is an improvement. 

So you're saying that I can still have the pan, if I use the algo reverb? I'll have to test that out. By the way, that new piano is amazing, 10 X better than any other I have.

I just installed Synch. Sp Ed 1. It sounds like if you use the impulse responses (convo reverb), you get the instruments panned in their natural positions. However, if you turn that off, you lose the pan. Or are my ears deceiving me?

Thank you Paul, that's great news. I'll check it out.

Can you upgrade the Special Edition 1 to the synchron version? If not, I think it would be a nice thing to offer, especially during these trying times.

What is the best way to use the built-in EQ in Vepro with Special Edition 1 instruments? Should I EQ each instrument, or just put one EQ on the master bus?

Thank you,

Mike

Thanks for the quick reply, Ben. This will help me in my continuing quest to achieve the best sound I can get from my various libraries.

Are the instruments in Special Edition One recorded in the actual players' positions (that is, pre-panned)? Or do you need to pan them? I ask because I combine different libraries. I have the Synchron Appasionata Strings, for example, and they seemed to be pre-panned. I also use some non-vienna libraries, and they are also pre-panned. I've been power-panning my SE instruments to match the pans in my other libraries.

If I do nothing, that is, leave a SE instrument exactly as it is, no panning of any sort, is that OK? Or does it result in it being directly in the middle? 

Michael

Thank you Paul. I think I have it now. My confusion resulted from sometimes doing it one way, sometimes another way (that is, opening the server only vs. the server plus the standalone vs. just the standalone).

Your videos are very clear, so is the mnaual. The confusion is all on me. Hey, I'm almost 70....I'm lucky I can do this stuff at all.

When opening a project, do I need both the Vepro server and also the regular Vepro? Seems to work either way. Every time I open a new project, or reopen one from a shutdown computer (as opposed to merely sleeping), I have a very confusing time. I study the manual but it's so complex I can't quite get it right. Eventually I get it after a bunch of tries. One thing that mystifies me is how to connect an instance.  How about a clear, concise plan for how to do this?

I'm using Vepro 7 64 bit on an i7 computer with Windows 7.

Thanks,

Michael

Here is what the passage looks like:

https://app.box.com/s/xwc28k3cxlcsfzzz3ewc2mh334b59v7g

Here is what the passage sounds like:

https://app.box.com/s/cxvzemo6a04h4csw16ibiqca59zby9oc

Sorry I can't post the notation, but I spent an hour trying to do it and couldn't figure out how to get the PDF from Notion, without posting the entire score.

Hopefully the actual sound will help clarify the notation needed.

Thanks for all the help,

Michael

Interesting, thanks William. On further reflection, I have realized what I am after is a double-dot note value. Like, a quarter note, double dotted, with a sixteenth rest after it. Gives the line a nice crisp feel. I first work in a DAW, and there I do use a lot of double dots, but when doing the score that can become cumbersome visually. 

What about just not using any slurs or marks of any kind, but writing in "non-legato?" Would that convey the idea?

Something that has puzzled me a long time: How to notate a wind passage say, for horns, when you want to show the grouping and phrasing with slurs, but want the notes separate from each other. Mezzo Staccato, shown with a dot and a dash, supposedly means hold the note about 3/4 of its written value. that is what I typically do. But maybe detache is actually more correct? I want the notes to have just the slightest space between them, as if you were taking a quick breath before each note. But do you then use a slur also? You could also just not use any signs at all, no slurs, dots, etc., just the notes, and write in "detache." 

Incidentally, mezzo-staccato is apparently the same as portato. But I think it may indicate more of a pause than I want. Another option is dots inside of slurs, but I think that would definitely be too short.

Thanks, I think you're right about that, LW. The problem is that, if I move everything a bar ahead, all my tempo and meter changes are screwed up, and sorting that out is rather a pain, as I do long symphonic style works, with frequent tempo/meter changes. My current piece is an old one I'm revising from an old version of Sonar, so all that stuff is already in place.

I have found that if I set the tme in Cakewalk's event list to 1:00:001, the note will play. I only have to do this for a few instruments, so it's really not a problem. but I'll keep in your mind your suggestion, in case I need more of a lead than that.

I have thought of doing that Paul, but it messes with my lists of tempo and meter, which I make to facilitate transfer from one medium to another, like from a DAW to notation software. Of course, I can solve that by just adding 1 or 2 etc to all the values. We all have our little quirks...

But I may have to do this in some cases. If only DAWS let you re-order the numbering, that wopuld be a great help. I'll ask the Cakewalk devs about it. Then I could do as you say, and my piece would still start with ms. 1.