That was the fix, looks like the player defaults to a matrix keyswitch on C0.  Thanks!

I guess nobody has seen this?  Could someone take a minute and try a KS that starts on C0 and confirm that it's working?  Thanks.

Updated to the new player and for the most part it seems to be working except that my keyswitches seem to be ignoring C0.  I have them all starting with C0 and all the KS notes above it register, just not the first one.  And when I switch the lowest note to B-1, it sees that note but the C0 is still ignored.  These all worked fine with the previous version of the player.  Standalone has the issue too, so I know it's not something messed up in Logic.

Anyone seen this before?  Any suggestions?  Thanks.

Thanks, glad to hear you guys are on it.

Thanks for the update. One comment, on OSX 10.8 it gives a warning when trying to install it. If you guys register as a developer and sign the releases you can avoid that.

Did I have a post deleted on this thread or did it just not get posted for whatever reason?  Weird.

Looks like they're dropping TDM and RTAS formats in favor of a new AAX plugin format (which includes native and DSP card).  Any word from VSL about if and when the various software may support it?  Does it look like an improvement over RTAS which seemed not particularly well suited for instrument plugins?

Not at all.  I completely agree that SOMETIMES you hear partials, and there are plenty of examples of it all over.  Where you are wrong is insisting that you ALWAYS hear partials on slurs.  And I posted an example demonstrating it - did you forget that or are you the one ignoring the examples?

Again, I never said it was.  I simply said that slurs can be done without hitting the partials between the notes, which is absolutely true as shown by the example I posted.  You're the one who compared it to a smooth glide or synth portamento, not me.

I have to say I'm baffled why you'd even bring up a thread from months ago on a completely unrelated topic.  I'm not interested in debating it all over again, the old topic is still there if anyone wants to go read it.  But if you're going to put words in my mouth I'm going to correct those falsehoods.

Not what I said at all.  You said that it's impossible for brass instruments to play slurs without hearing the partials in between.  I said that while you will sometimes hear partials (depending on the instrument, the range, and the player), it's certainly possible to play slurs without partials.  And I posted a recording that proved it.

Honestly, I have to say I'm really surprised that you'd want to bring up a discussion that ended up with egg on your face.  Let things like that go, you'll have a less angry life.

Hollywood is a location in california, it's where the library was recorded.

Vienna is the location where the VSL library was recorded.

I don't see why one is any more bothersome than the other.

HB comes with multiple mic positions.  The far ones are recorded with the musicians in place so they're pre panned, and the close mics are not pre panned.

If the name of the product is really that annoying, then ignore it.  It's just a sample library, judge it on how good it is, not whether you like the name or not.

Thanks for taking the time to do the comparisons.  Maybe I missed it, did you say what verb you used for LASS?  Is it the same as the VSL versions?

For those who think that HS is locked into a particular sound and not as flexible, it would be interesting to hear how it sounds with the close mics and whatever verb was used on the others.  Does it still have that "hollywood" sound (whether that's a good thing or not) or does it take on different character with different reverbs?

That's exactly what I suggested, so I guess you agree with me after all.  There's an argument to be made for both ways of doing it - since different users will want it either of the two ways, the best solution is to provide the option to have the patches behave either way.

I definitely agree with the request for matrixes where the levels of the various articulations are matched.  I see the reasoning behind doing it the other way but that's much less useful for me - if I'm playing a phrase that mixes different lengths of notes, I want to be able to just play the phrase in and have the dynamics reflect how I'm playing it in, not jump all over the place every time I switch articulations.  Seems like the best solution would be to improve the patches as opposed to adding more interface functionality for each user to try and fix it themself.

If there are users who like it the other way, then what about having some sort of switch in the interface?  Or providing two sets of matrixes?

The inconsistent transitions between dynamic layers are an important issue as well, thankfully I have only noticed problems a few times with the VSL libraries.

After the whining on this thread about one finger patterns and phrases, it was pretty amusing to get an email saying the next version of VI Pro will have exactly that.  Can't wait for the torches and pitchforks.

Even with the close mics?  Most of the newer libraries aren't that wet even with the "surround" mics, and I can't imagine how anyone would describe the close mics as "awash" with anything.  Have you actually used any of these other libraries or heard examples of the close mics without reverb added?

I'm not disagreeing with your choice of sample libraries, I agree with you that different people have different priorities and taste.  I'm just a bit puzzled by the impression some seem to have that VSL is the only library that includes closer/drier mics and that all the other ones are swamped in big wet giant halls.

Don't forget that many of the libraries that have studio/hall ambience have multiple mic positions, generally including a close one.  For me that's the best of both worlds, you can have the sound of a great hall or you can take the drier samples and create your own seating/panning/verb the same way you would with Vienna (whether that's with MIR or any other way).  Or you can load up multiple mic positions and mix them to get the combination of flexible hall amount and real hall sound.  I don't buy that the omission of a good room sound makes a library more flexible - multiple mics that include a fairly dry close option doesn't seem like a "closed system" at all.

I definitely agree with you that EWQL is very wet and not very flexible at all.  But that's an old library at this point and newer ones generally tend to be drier overall (even in the farthest mics) and the close mics are often pretty close to the dryness of VSL.

It's pretty simple for me.  I just haven't been impressed enough with the sound quality I've heard from material done with vienna.  No question the range of articulations is phenomenal.  MIR seems to get it the closest but that requires a ton of power and is expensive to get sound quality closer to how other libraries can sound with minimal tweaking.

Those sorts of things are a tiny fraction of what they offer (and the one part I don't use), the vast majority of their libraries are individual samples for composing original melodies just like VSL (and I'd say they'd be just fine for all those composers you listed, in a some cases probably better than anything VSL offers).  And VSL offers things like canned runs and trills, right?

I just think it's tacky to use a site like this for wholesale bashing of other companies, and I'm disappointed that VSL often seems to tolerate it.

You seem to single out CS quite a bit, but you really give the impression that you have no idea what is actually in their libraries.

Working composers need to decide what libraries to buy.  If they are writing "epic" music and that is what's paying the bills, it's good to have that comparison.  If vienna isn't good at a particular style, it's good to have examples that illustrate that.

I hope so too, hopefully it will be out in a month or so.

Besides that, my point is that I think people are assuming that other libraries are only good for one style based on product names.

I don't have that assumption at all, it's just what they chose to call their products.  The demos I've heard of CineBrass sound better than any brass library I've heard period, whether the goal is "classical" or "film score".

Actually HS does have a vivaldi demo up.  I just don't agree that VSL sounds more like a real orchestra than the other libraries available, at least not the strings I've heard.  But that's always going to be a matter of opinion.

I'd say that's true of EWQLSO, but have you heard the close mics of HS?  Between those two libraries, the amount of ambience definitely has changed - even the farthest mics of HS are vastly drier than the old orchestral library.

I definitely like the sound of HS, and I don't think I've heard a demo of VSL strings that sounded anywhere close to that sound to me (feel free to link some).  But the PLAY plugin isn't nearly as good as either the Vienna player or Kontakt, and HS seems to have many programming issues even after being released for a year.  Not to mention that the user features and customizability don't come anywhere close to the other two plugins.  If the programming quality was as good as the recordings, it would be hard for any other string library to compete, but I know of a number of people who own the library but use it very little if at all.

LASS is limited on articulations but it has what I need most and I've been extremely happy with the sound and realism I've been able to get out of it.  It's also very light on resources (even when using all the divisi) and I find it extremely quick and easy to use.  I just play it and get results I'm happy with without much fussing between a million different articulations and variations.  And they totally nailed the legatos.

But at this point I'd say the 300 pound gorilla isn't HS but the upcoming CineBrass.  The sound so far seems to be phenomenal and the programming is as advanced and user friendly as anything I've seen.  It's nice to see vienna trying new things like Dimension Brass but so far the reaction outside of the Vienna diehards has been fairly lukewarm, particularly to the sound quality.

Wow, someone has a pretty profound ignorance of the entire genre of jazz.  And if jazz is so easy, then when classical players attempt it, why are the results so horrible the vast majority of the time?

I do agree with you about the irrelevance of bringing up sound design in regards to Williams.