Wow. VSL is relentless. Congratulations.

A question of size: my Synchron Standard Strings I is 291.15 GB (VSL lists it at 255.7 GB). Synchron Strings Pro is reported at 122.7 GB. What accounts for the difference? 

Also, am I correct that Synchron Strings I's Cantabile and Lyrical still stand apart from Synchron Strings Pro, or do they appear under a different heading in this new library?

I'll say it again: this is amazing.  

Could such a bus-powered Thunderbolt 3 device drive VEP for sequenced playback? 

https://eshop.macsales.com/shop/envoy-express/thunderbolt-3

Running Logic 10.4.8 running Catalina 10.15.5, I recently found in the Vienna Ensemble Server window the option "Reconnect All." I had not been aware of it, and I assumed that it would reconnect all VEP instances in one go -- the same way we can decouple everything with the red button "Decouple All Plugins."

But "Reconnect All" didn't seem to do anything. Please tell me what it should do, and if any issues have been reported about it. Thank you. 

Paul, why was this released as a Big Bang product? Isn't its design and execution more akin to the Synchron native libraries?  I intend to use it as an adjunct to Synchron-ized Woodwinds, and I'm sure that will work. But the naming convention made me curious. (I wondered the same thing about Kopernikus and Jupiter, though I understand that their epic tone fits with Big Bang.)

By the way, in the "Sample Content" tab of Orion, there is no mention of legatos. It's referenced only in the Product Info page. 

That’s a good answer. I did not know about re-rendering.

Instead of referring to a control surface, I should have said Logic’s Smart Controls, where, if it was assignable, the width could be adjusted right in the Main screen, side by side with other significant parameters like wet / dry. I certainly didn’t want to automate Width as the playhead was running. 

Adjusting such things in the MIR interface is only problematic when numerous channels and several instances are presented to the user in a final balancing pass. 

Thanks for considering it. Perhaps this and positioning could be made available by remote with a caution noted in the manual that it is not intended for real-time playback. 

I've been hoping to assign the MIR parameter "Width" to a control surface (eMagic Logic Control in this case). This would help to make it immediately accessible at any time for mixing. But the parameter is not assignable as far as I can see. It will not be learned in Automation Mapping. 

Is this intentional? Might we see it in a later version?  

I second that. In fact, VSL in general has offered the best support experience I've ever had. 

I think it was Andreas who alerted me to the fact that my Vienna Keys were over ten years old, hence the loading issues.  Okay... that may have been one of his easier diagnostics.  

. 

There may be an error in the preset:

Preset > SYNCHRON-ized Collections > 01 Solo Violin 1 > 03 and 04 Violin 1 full and full VelXF MOD:

Multi shorts > No bow chang. > Fast > Regular | Dynamic (Cresecendo / Diminuendo)

In the factory preset, these are assigned to portato fast repetitions. I think the VI-perf-rep_bow-fa / cre5_bow-fa and dim5 bow-fa are intended to be here. 

Rest assured on two levels. 

1. Many of us here have compendious libraries of both VSL approaches, and we mix and match all day long. 

2. Synchron-ized instruments have the Synchron stage reverb added after the fact. They can be heard dry when the Synchron IR and the convolution reverb are removed, which the user is free to do. 

The same reverb effect can be achieved with a dry Vienna Instruments library running MIR with the Synchron IR. 

The VI interface is utilitarian blue. The Synchron interface is a happy rainbow. You can dive more deeply and modify more precisely with VI, but Synchron can be customized -- perhaps more than people realize (or need to pursue).

Libraries designated "Synchron" without the "-ized" were actually recorded in the stage with multiple microphones. They cannot be rendered without room entirely, but as you mix the mics, they can be reasonably dry, extremely wet, whatever you want. 

For desert-like aridity, with water to follow, either Vienna Instruments or Synchon-ized libraries with user-removable reverb is what you seek. 

At times when I attempt to click a VESP file twice to rename the file on Mac OS, I mis-click and launch the file by accident. I've got some large templates, and they take a while to load.

Is there a way to stop a file from loading after it's already started, some kind of escape key?

VEP 7 is an overall server. It houses instances. Each Instance of VIenna Instruments has a thorough file browser and search function, which can search Preset, Patch and Matrix separately. 

In the Manuals Tab on this site, load "Vienna Instruments Pro," click on the Basic View in the sidebar, watch the video and cue it to 1:44. 

If a library of this scope did not have a Search function, we'd all be lost. :-)

I don't know Cubase or Windows, but within VEP7, I assume it's all the same:

At the bottom of the channel set column, mouse over the third icon from the left. It's the plug-in icon, and it'll say, "Inserts a new plugin channel after this channel." When you click on that, providing G-Player is properly registered, you'll see it in the menu to be selected. 

Then you can either bus the output of G-player to an aux with MIR, or you could assign it directly in the G-Player channel as an effect. 

What Dewdman said. That is a remarkably generous crossgrade. 

Open a fresh server. 

Create a VI Pro. 

With the Group option open, create Group 1 at the bottom of the Mixer channel.  

Copy the channel set. 

Create a new instance. 

Paste the channel set. 

Go to the Group slot of the pasted channel and set the Group to None. 

Here, it faithfully crashes the program. (I have sent the log and the file, though I subsequently see that even a fresh instance causes this behavior -- the file is irrelevant.)

Moral: be cautious when pasting a channel set assigned to a group to a new instance where there is no group. 

I threw another fifteen minutes at this. I reduced the offending matrix down to the one cell in question and saved the instance / project. It appears whenever that's reloaded, the bug continues. It's only when the matrix is separately copied and then pasted to a new instance that it's fixed.

I've also observed that the broken instance / project is still broken if you load it into Vienna Instruments Standalone.

I've scoured the instance for a unique setting to affect its playback, and I can't find anything to differentiate it from any other instance. And dragging fresh, identical patches into the slots does nothing. 

I also copy and pasted a customized Flute channel of my own into the bad instance, and immediately it acted up -- there was the same interrupted or unperforming notes. 

I know "a corrupted file" can be a very unsatisfying answer. But I'm out of ideas. 

I only came across this off-thread comment today regarding monitors.

I also crash when dragging the VEPro server from one screen to the next, and I also have three monitors. I've sent two crash reports to VSL and a movie. So take heart -- you're not alone. The more people who see this behavior, the more likely VSL is aware of it and can track it down. 

I bought 2019 Christmas vouchers for the express purpose of Synchron Brass, in hopeful if uninformed anticipation. In fact, I await either or both Synchron Brass and Synchron-ized Brass I and II. 

Off-thread: on the subject of waiting, the biggest current need for Synchron-ized libraries is auto-divisi. All Synchron-Ized Dimension libraries sound so good in Synchron, it's frustrating not to have this remarkable VI feature. 

Hmm. Did you create a fresh instance, create a VI channel in the fresh instance, and then paste the copied matrix into the new channel? Here the difference was night and day. 

All mics have reverb baked in. The closer the mic, the more direct the signal. But to my ears, the room can always be heard even with the closest mike. It's the core difference between native Synchron and Vienna Instruments samples. 

Thanks for the screen shot. Nearly all legato notes -- only one repetition. 

Hey Dewdman, an interesting behavior here: copy the matrix that we're working on ( unnamed, D6 ), create a new instance, paste that matrix into the new instance. It works.

I hope you witness the same. It argues for either A. a corrupted preset or B. some kind of instance setting that a new, default instance does not have.  To be honest, that whole original preset seems finicky to me. 

But when it works in the new instance, wow -- twelve horns sound pretty good.

Berlioz' Requiem. 

"I would have thought that would cause jay’s preset to show a red cell if any underlying patches or samples were missing."

If they play, you own them. You bought them in the Brass II bundle (or you bought them separately). I don't use the Epic Orchestra either. (Yes, "Epic" in this sense is confusing.)

Keyswitch-specific sequences. I understand. That's why my suggestion was a diagnostic, not a solution. As such, it still may be helpful for you to load 65 Horns - a8 > 01 HO-8 Preset VIPRO and compare behaviors.

But when I looked, I could find no setting that caused one to behave and the other to mis-fire. To my ears, the "bad" cell sounded like it was running out of voices -- but how can that be when it's using so few voices?

Does Jay's sequence use the cell in question for repetition?

I can observe what you describe with the preset you uploaded. 

As a diagnostic, load the VSL's packaged preset: 65 Horns - a8 > 01 HO-8 Preset VIPRO. When I repeatedly hit the pLeg cell ( in this case, assigned to D#1 on the X-axis and CC1 on the Y axis ), I hear it behaving without note cut-offs. Admittedly, it doesn't sound very good because perf-leg patches are not built for rapid repetition. But the last two repetitions do alternate ( a classic machine gun ), and there is no voice drop-out. 

In the preset you uploaded, the pLeg cell has in slots 1a and b the Epic Horns and the Orchestral Horns (01 HO-8_perf-legato and 01 HO-4_perf-legato_fa respectively) playing at the same time. I'm not sure why it's set that way. Twelve horns? "It goes to eleven." I don't know if Jay's sequence uses it for fast-rep work ( I looked at the preset but did not upload the song ).

There may be a preset-specific issue here. If you load the standard issue preset, hopefully you'll hear the performance different that I observed. 

AB : some VI patches have alternate sounds dependent on A "play it this way" or B "play it that way." 

Try this: load a patch with a scale run. A: run goes up. B: run goes down.

Load a dyn-li, dyn-me or dyn-str patch. A: crescendo. B: diminuendo.

Want one or the other all the time for a particular slot?  Advanced View > Edit (with correct slot selected and enabled ) Advanced Tab > AB Mode : Global ( works according to controller ) /  Force A ( A plays no matter where the controller is set ) / B ( B plays no matter where the controller is set ). 

On occasion, I find sustain patches that have a built-in crescendo, but it is very subtle -- nowhere near the designated crescendo patches. 

I've just auditioned the sample in question. At certain velocities, there may be a slight build up, but 1 dB at the very most -- like a subtle leaning on of the bow among certain players in an ensemble. It is most apparent at a mid-velocity sample, but it's near-negligable. I wanted to mention it -- but I don't think that's what you're hearing.

Before proceeding, just to be safe, dis-engage all velocity Xfade so when you play, you're just hearing one stereo sample.  

Two diagnostics: 1. Open Advanced view, select the VI-14_sus_Vib slot, select Edit, and make sure the Atk is all the way down to 0.  This is **not** the Attack slider in the controller mapping. It's a setting in Advanced > Edit associated to the patch. Edit is the tab between "Voice" and "Stretch." Be certain the correct slot is selected, as this editor is slot-specific. 

If "Atk" is anything but zero, you may have found the problem.

2. If it's already 0, then replace 10 VI-14_sus_Vib with 13 VI-14_sus_noVib in the same slot. Can you hear the same crescendo?  Now try 11 VI-14_sus_Vib_fA (fast Attack). Is that any better? 

In other words, we're trying to figure out if the behavior is patch-specific when all slot edit settings are the same. 

From the manual:

5. Sync Matrix:

• ON: Enables synchronization of cell position when switching between Matrices of the same size (they need to contain the same material as well)
• ON + Ctl: Enables additional synchronization of all matrix controls between matrices.

I know what ON does. Could someone explain what ON + Ctl does? What's meant by "all matrix controls between matrices." To what specific matrix controls does this refer?