I cannot recall a VE function that side-steps CC 11 in any scenario. To my knowledge, it can only be turned off by the user. 

What you're hearing is not additional crossfade beyond your CC2 control. It's only an increase in amplitude. That's what Expression does -- it just makes it louder or softer. It's a volume control *within* the volume set by other controllers and the natural gain of the sample itself. 

To demonstrate this, you could turn cross fade off, set Dynamic Range to nil (so key velocity does nothing), pick a sharp attack sound like a pizz, and play with CC11. It'll still get softer and louder, but it's the same as twirling the volume knob. 

I anticipate this feature will be included soon. I post this in the small chance that it's gone unnoticed. 

When customizing presets, it's common to re-title slots. Presently, standard text commands don't work. Double-clicking on a slot opens the whole text field, but double-clicking beyond that does not choose a word within the slot. And a more common frustration is trying to cursor to letters left and right with the arrow keys -- this only adjusts the view of the overall window. 

Also, it'd be nice if, once the text field is highlighted, a right-click opened a copy/paste option (though command C, V and X do work).

These text commonalities are found everywhere else in VSL products. I'm sure it's on the "things to do" list with Synchron slots. Thanks.

On page 54 of the Synchron Manual PDF v 1.71, instructions are given for swapping the instruments of a custom preset. For example, a user can apply a template customized for Dimension First Violins to Dimension Violas.

In my own season of custom templating, this has been an extremely helpful time saver. 

But there is a catch not mentioned in the manual. Instrument ranges differ. A simple example would be violins starting on G3 and violas at C3. When the manual’s instructions are followed, ranges do not carry over. The new violas begin at G3. 

The user has two alternatives: A ) dragging each sample manually in the Synchron edit tab, or B ) an additional search/replace in the text field:

Violins: "rangeFrom" : 55,

Violas: "rangeFrom" : 48, 

( And usually “rangeTo” : also needs to be updated. )

To streamline this process, I ask for a new command to be available from a parent slot: “set default range of all child slots.” This command would examine the patches in each patch slot and re-set the ranges according to their default. 

A curiousity: with Patch chosen, type SVI-6A in the Search field. Obviously all the Synchron-ized chamber first violins appear. 

BUT... pizz snap is missing. Now type a space and then 52. Pizz Snap appears. 

The same thing happens with all the Synchron-ized Chamber Strings. 

If you use Logic, this can be the best of both worlds:

Alternating Live MIDI and Score Notation in One Track

What I hear is a distiinction without a difference, two performances that are not identical -- but I can't put into words what's really different about them. 

If pressed for an answer, I prefer B. It might have more depth, and the pan seems a little wider and looser, which I consider to be a good thing, or at least, a common phenomena: when eight seperate players are in unison, sooner or later someone will play a little louder than someone else. Even with the uniformity of the Dimension String library, I hear this at times, a very subtle moment of imperfect perfection. I suspect the second method's division of players one by one could highlight this. 

Or, as you note, I *think* I hear it, as ears must pass through the brain before sound is heard, and all brains have filters, assumptions, expectations. 

In any case, if they are not easily distinguished in this exposed context, without accompaniment, the matter would be even more obscure with more instruments.

As such, this may be a workflow decision more than a matter of sound. 

I printed out the manual last month and spent two minutes looking for "#10" on page 7. :-) That and Waldo could not be found. 

And "screenhot" is a typo at the lower right of the page.

"...you can only see this option with short notes selected."

To clarify, any patch slot will show this option, no matter the length or nature of the sample. You may have clicked on a parent slot (like "Short notes" in the string presets). Parent slots will not show wave-related options (velocity crossfades, start offsets and discrete output settings). 

Check 11 VI-P2 [ through P8 ]_perf-rep_cre5_leg. Here the last of the five notes is mis-mapped starting at F4. 

Player 1 plays correctly. 

Yes, it is needed. VSL might consider bringing the IR Editor up to the mixer itself ( to avoid the click-to-open ) as a knob or slider and adding a grouping function on the Mix page. All Dimension Strings' (as an example) could be grouped, and one adjustment on one channel would change the IR levels of all assigned channels. 

[ Even an additional category above EQ / Delay / Reverb called "IR" would be helpful. ]

I am currently templating Synchron-ized Dimension and Synchron-ized Chamber Strings with Synchron Strings, and fine-tuning the IR's requires a lot of clicking. 

1. I'm getting conflicting quotes on the price of a Roompack side license ( in this case, the new Synchron Stage Roompack ). In the video "MIR Pro Product Information," at 2:14, Paul says side licenses are available at a 70% discount. I've found a VSL forum post confirming this. 

But one vendor told me that side licenses are 50% off.

Might VSL confirm which discount is correct? 

2. Roompacks are on sale this month ( November 2019 ). Is the discount off the standard price or this month's sale price? 

Thanks. 

You did it. You solved an issue that I have faced for over a year. i even posted here regarding it. I'm on Mojave.

Note: Vienna Ensemble Pro had already been checked. What solved the problem was checking my DAW (Logic Pro) as well. 

Many thanks, gt123. 

I look forward to watching this too. 

Be advised that the presentation on youtube doesn't start until 5:45 into the video. Before that, it's just the intro "Starting Soon" slide.

Cheers. 

I seem to have lost this feature, dating back even to VEP 6.

Presently, with a Logic window highlighted, pressing the Space bar will start and stop the playhead. And the VEP 7 server window's play icon (the triangle facing right) highlights and un-highlights accordingly. 

But if the VEP 7 window is selected, clicking the play icon does not affect Logic. It only turns the icon on and off. And with the VEP 7 window selected, hitting Space does nothing at all. 

If I double-click on some VEP text and hit Space, it will enter a space, so I know the command is getting through. Also, COMMAND R will toggle the Audio Engine. But Space does nothing. 

I'm on an ancient Mac -- early 2008 -- running Mojave with patch software. 

Firstly, congratulations. I’m guessing 1% of VSL users grasp the engineering beneath the hood of this nitro-burning funny car. I am in the other 99%. For all the complexities you have solved on our behalf, I thank you.

Listen up. I have gone to great lengths to create a Logic environment that tells me via text boxes what articulation is playing at any given moment. I refer to it constantly. So the introduction of the Articulation Display is manna from heaven, or at least, Vienna.

When a Synchron instrument is loaded, we get two displays — what I assume are the last two slots in the tree structure. Wonderful.

The display for a VI instrument is apparently taken from the current cell name, and there is only one line.

My request; allow us two displays also — the top being the matrix name and the bottom being the cell.

Yes, the names of the matrices may get scrunched, but we can rename them. The names in the mixer channel strips are scrunched too, but they’re still intelligible.

Frankly, if I was to get greedy, I’d ask for a separate Articulation Panel that reads out all currently chosen articulations for all instances and their channels. But hey, one step at a time.


Again, great work.

I hear a more gradual initiating of the bow, drawing into the note, well-suited to a singing melody of slow or moderate tempo -- a most welcome addition to the palette and proof that VSL development never stops. 

In the Control Tab, there are over 300 (or 400 or more) entries for mixer controls -- all assigned to None. 

So the list starts with some familiar entries for the novice, and it ends with familiar entries -- for example velXF and Legato Blur. 

And in between, there is a Grand Canyon of controls beyond my present understanding, interest or patience. They are deep-in-the-weeds mixer controls that I may embrace one day -- but not now. 

Could anyone here or at VSL tell me how to get rid of this endless list? If I understand correctly, I can only reverse polarity of a controller in the Control tab,  and scrolling through a list of unassigned and (presently) unimportant entries on a slow computer is not welcome.  

Thanks. 

From our friends at VSL tech support:

"I must confirm that pitches B4 and C5 in the soft velocity layer of the patches 06 Tb-P2_sus-medium_p, 06 Tb-P3_sus-medium_p and 06 Tb-P4_sus-medium_p are off-key by a halftone. We will correct that with a library update."

Does anyone hear a mis-mapping on B4? Set the patch to crossfade velocity and ride the controller. The softer sample seems to be Bb4 against B4. Crossfade to the higher velocity, and the semitone disappears.

Greetings Dietz. 

I'm on an older Mac Pro running Sierra. While working with some third party presets, I found the save locations a bit curious. 

In the Browse window of Hybrid Reverb,  there is a location for "User Presets" (next to "Factory Presets").

To get the third party presets to show up there, the files had to be dragged to the following folder: 

Uses > Library > Application Support > Vienna Suite Presets > VSL Hybrid Reverb > [files]

And the name of the presets have no extension. 

BUT, when I save a preset using the drop-down menu at the top of the VSL Hybrid Window (next to the bypass button), the new file is put here:

Users > Library> Presets > Vienna Symphonic Library > VSL Hybrid Reverb > [files]

And the newly saved file ends with .aupreset. 

The files that appear in the Browse window under "User Presets" do not appear in the drop-down, and the drop-down files don't appear in the Browse window. 

But both are called "User Presets." 

I'm not having any operational issues. I just wondered what, if any, distinction or advantage there is between the different locations and .aupreset / no aupreset extensions.  

Always good to read your posts. 

I think this is right. 

 

Sample     individual sound file.     (cannot be saved)

 

Patch.      a collection of samples  (cannot be saved)

 

Slot.         a collection of patches   (cannot be saved)

 

Cell          a collection of slots.       (cannot be saved)

 

Matrix               a collection of cells               .vimatrix

 

Channel Set     a collection of matrices         .vecs

 

Instance           a collection of channel sets   .vep64

 

Server Project  a collection of instances        .vesp64

Greetings friends, 

I have it in my memory that somewhere there exists a specific breakdown of the elements of a Vienna Ensemble Project. 

You know, "the shin-bone is connected to the knee-bone," or in this case, samples are in a patch, pataches are assigned to cells, cells form a matrix (saved with the extension [xxx]...."

Does such a chart exist? I've scanned my manuals and the forum, but I can't find anything, though I feel as if I've seen it.  

No need to outline one on my behalf. I can do it myself as a refresher. I just wondered if it's already been done. 

"So probably no release in April either?"

"Unfortunately it rather looks like May."

Woohoo. It's May! It's May!

One other difference: Clarinet 2 does not have recorded trills. It only has performance trills. Clarinet 1 (like other basic VSL wind instruments) has both performance trills and pre-recorded minor 2nd to major 3rd trills. 

(The orchestral clarinets (a3) have performance trills and pre-recorded minor and major 2nd trills.)

I admire the inventiveness and flexibility of performance trills. But sometimes, you just want to hold down a key, get the trill, and move on.  Ars longa, vita brevis. ("Art is long. Life is short.")

Pre-recorded trills are particularly helpful when generating printed music from a DAW like Logic, where all the performance trill notes require a work-around in Score layouts, but a pre-recorded trill is just one note with a "tr" on top. 

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