+1. 
It's really also one of the things I love the most about Vienna Instruments Pro!

Hallo. I have a small issue. 

I programming a lot of automation with the program SoundFlow, in order to bring my DAW (Cubase) and VEP closer together. This makes me find tracks easier, add tracks automatically, do automatic routing, renaming on both DAW and VEP and much more. 
But unfortunately when loading a server instance all visibility accessibility disappears. This doesn't happen when loading separate instances. 
 
How to reproduce. 
1. Create a new instance
2. Create a couple of tracks. 3. Check that accessibility is available with a tool like UIElement Inspector.
4. Save as a server project. 
5. Load that server project. 
6. Check that the accessibility is gone.
 
You can also check back that accessibility returns if loading as a separate instance by:
1. save the instance from before (not as a server) as an instance
2. load the instance (if you just overwriting the same instance window, it doesn't work. So you need to create a new instance and then load the saved one from step 1). 
3. Check with the UI Inspector that accessibility is back again.
  Here's a video of me going through the steps.
 
I hope this is something you will consider looking in to when you have time, as I think it can be a huge timesaver. 

 
Best wishes and as always, thanks for some awesome software. Jesper

Today I experiences my instances not showing up in VEP7, both on slaves and my main computer. 
I had other instances connected automatically at startup but there's no list for the VEP servers available. Fortunately I were able to connect by putting the Instance name and IP address of the computer. 

Anybody else experienced this?

Only real change has been the Nuendo update. But I don't have time to roll back right now.

So I'm in Nuendo 10.1 (might be that) and the latest version of VEP7. Best

+1. 
Owning almost all VSL libraries EO2 is basically redundant!
I'm though curious and excited to hear what might be new in VEP7.  

MIDI CC is expression and breath control. 

MIDI CC11 is often refered to as Expression

MIDI CC2 is often refered to as Breath. 

There's a few other very common.: 

CC7 = Volume

CC1 = Modulations

CC10 = (Pan) Balance. 

CC64 =. Sustain pedal. 

Just attach a MIDI controller and you'll be flying. 

You could spit a bunch of CC's through the channel, and use the raise focus function. Not very smooth though. And if you have Cubase playing, it will jump around depending on which track is having midi playing. 

I'm though working with some cool scripts for the audio "middleware" application called Soundflow, that will do some of the things you are requestion through advanced automation.
I'm pretty excited about it, as it could smoothen out the workflow a lot. 

When I've made some videos/teasers of it (in 1-2 weeks), I'll try to remember posting here, but I'll for sure throw them up on the Soundflow facebook page: https://www.facebook.com/groups/321302182044281/

Best

Thanks for chiming in Ben.

You might be right about that, since VSL is on the for front with great ideas. But I know it's also that missing link keeping some other people from using VEP. 
But it might be the whole latency thing that gets in the way since VSL didn't make it. Also if such a VST plugin would suddenly take 50mb pr instance, the point of VEP would kinda be gone, as we want to offload as much from the Master rig.

I've indeed some automation workflow things, that makes it less of an issue/annoyance with the separation of MIDI and Audio, and navigating between the two. 

Here's an idea:

So I love VEP and how it can offload your session. But it's always a bit of a problem with the separation of MIDI and Audio, that you get, and sometimes it can really break the workflow. 

An idea to solve this would be VEP would have the option to send back audio to a VST Instrument track, that would contain a specific Vienna plugin, for ease, let's call it: Vienna Ensemble Pro Event Channel, that would be light weight and function as VST Instrument in terms of Channel Strip, EQ etc.

We almost have this with the Vienna Ensemble Pro Event Input that on a VST track will send MIDI to VEP, so all we would need would be able to select the Instrument/Channel in VEP that is receiving the MIDI and then route its audio output back to the VST track with the Vienna Ensemble Pro Event Input plugin.

It might have to be a new type of output from VEP, to not collide with the way it's working now, as you could get multiple sources with the same sound from VEP.
Could also be that VEP simply wouldn't send out audio back to the VEP server plugin in the daw on those specific output channels that has been send back to our new type of plugin.
Could also be that in the VEP server plugin, you can route audio to the Vienna Ensemble Pro Event Channel. Wouldn't be as logical a way to set it up, and might also be more taxing on CPU. 

Hope you will consider the idea, for the futere.

Best, Jesper

Great to see new content being added to a nice library.

Just to be clear. The promotional price is on pupose not 30% off, like other woodwinds and brass libraries this month?

+1

+1 

+1

Considering the expenses of developing libraries/recording/editing, I wouldn't keep my hopes to high. At least that's where I am now...

Ha. Basically my review. Have the Super Package, so basically everything. Love most of VSL but always missed a bit more singing legato. Sad that SS1 didn't work out as promised, and actually fail the most with its legato. 

The flautandos sounds great and already sits in a film. But unfortunately that's kinda it. Found another string library that have filled the gap. Probably last time I'm pre-ordering a library.

2/10 :(

Glad to correct myself here. It's a clever release function that only get ignored on legato patches :)
So the crossfading concept and changing to other articulations still works. 
Wuhuu. Awesome programing VSL team. 

It's great to use the Filter fader for ending wind frases. Both woodwinds and brass. Instead of just fading with CC11 (Expression), cutting off a bit of top with the Filter can give a bit more natural feel to it. 

Always cool to see new innovations!! 
Is there a difference of the new Legato Blur instead of a bit of Release before VIP 2.4.16779? 

Personally I'm really sad to see the change of the Release fader, since I'm using it daily to crossfade articulations, with a mix of Release and Attack. I could make a legato patch end out with on a dynamic patch note by crossfading, but with the changed behaviour of the Release, this is not possible

Best wishes

ah dang, sorry that wasn't clear. I ment in the context of performance legato, so that there's no "performance legato non-vibrato". I'll just add that to remove that confusion.

Should say that there are with the latest two solo instruments Solo Violin 2 and Solo Cello 2.

EDIT: 
Don't know if it existed back when I originally posted, but it found what I needed in VI under option-> master settings -> Matrix CC
:) 

 

Hi.

I'm on Cubase and unfortunately the Program Changes for shifting Articulation Matrixes doesn't work with VEP (something with the VST2/VST3 format). So right now I'm stuck using Keyswitches when changing Matrixes.

I really love using CC values for all my MIDI programming, because they can be traced, and therefor always up-to-date. So I thought it could be a rather easy implimentation/add-on in a VI2 update, to;

Add the feature of being able to shift Articulation Matrix with a CC value going from 0 and raising one for every Matrix.

It wouldn't even have to be visible (now you have a small button under the Matrix Window that shifts the view between program changes and assigned Keyswitches, that aren't autoassign), but it could just be a settable CC value in the Advance View's Ctrl Map tab. 

Thanks for reading. Best, Jesper.  

Would probably be a cool feature. I guess the top of the line in this software area is Embertones solo strings. They based their library on this concept, recording everything without vibrato. They can be really expressive, no doubt, but there's sometimes the LFO based vibrato still annoys me, and feels a bit fake. Also controlling and programing it can take a little focus away from the performance for me, though they did a really good job, also with the TouchOSC app.

Now for most project I've actually ended setting up dimension strings with a crossfade between the non-vibrato and vibrato legato patches. I really think this creates an intimate sound. And it's nice being able to crossfade to a real played vibrato. And beside that still have all sorts of articulations available. I found this concept working best with DS which for what I know is the only full string library that has actual sampled non-vibrato legato transitions. Most libraries use their vibrato/regular legato transitions and then crossfade immediately to their recorded non-vibrato sustained sample. But this thing I hear very clearly and therefor it doesn't work for me. 

Unfortunately VSL didn't sample (edit: performance legato) non-vibrato for the other string libraries, so the concept can't be applied in the same way. Let me know if you want to know more about how I've set up DS. 

Best

I did understand what you stated originally, and maybe you could fool me :) no dis intended.

I also just realized that you said "there's almost no audiable". I just found your statement "it's a waste of time" rather bold, and didn't entirely agree. I guess it also depends on the library as you say, and maybe even more, how much reverb you smear on it. One thing to say about dynamic samples is that you hear the direction in the playing, which is what often lacks in sample library based music. For example a crescendo patch with strings you hear the vibrato grow much more naturally then if you would have done it with velocity crossfade.

And of course I agree that this is much more audible with solo instruments then with ensemble patches. But you could also argue that as soon as you have two instruments playing together, like unison flute and clarinet, they are already an ensemble(!?), but I would still argue that if you can make some magic with dynamic samples you'll get a much more human performance... But if it's worth the trouble, is up to the individual.

Doesn't agree with William that there's no audible difference from using crossfaded dim/cresc vs. dynamic samples. Dynamic samples just have more definition in timbra and less articfacts (caused by the crossfades). 

Anyway, just wanted to put your attention to the usage of "attack" and "release". If you put a really long release on your first articulation (FP) and a long attack on the second articulation, then you can simulate an audio crossfade, since the first one blends in to the second one. 

I'm using Cubase so I can do all the faders/articulations with NoteExpression, so the attack and release values get attached to the notes themself, which makes it easy to tweak this type of stuff. 

(let me know if you need more explanation  )

You can buy your samples with a "vienna harddrive" for an additional €95.

The Vienna Hard Drive is an external 1 TB USB drive that contains the library installation files (*.cab files) for all of the existing Vienna Instruments Collections. Instead of downloading the sample database of the products you’re purchasing you may opt for additional physical delivery. Still, all of the products you’ve purchased will always remain available for download at MyDOWNLOADS. The Vienna Hard Drive does not include any Serial Numbers.

Same goes for software but on a USB stick for €20.

The Vienna Software USB Stick is a 32 GB flash drive that contains all existing Vienna Software installers (including Vienna MIR RoomPacks). Instead of downloading the installers of the products you’re purchasing you may opt for additional physical delivery. It does not include any Serial Numbers.

And trust me, you wouldn't want to buy it on CD's :P

Thanks for your answer Herb. I'm honered receiving that from you. While I have you here; also thanks for all the great work you've done for us composers!!

Cool, with thatj AB vibrato/nonvibrato feature, hadn't noticed that small comment in the patch list section (and hadn't seen it anywhere on the site). I love that you put that detail in your samplings and give us the option to force an open string. The string choice is actually one of my favorite thing about Dimension strings, which is also why it's one of the libraries I use the most, because of it's supreme flexability in size, technic and a fair amount of articulation (compared to any library ever created!). 

When that said, I hate to sound a bit conservative, but I would much rather have prefered to have it as two seperate patches, regular and open string. Then I could created two different Matrix, like DS. Cause now it's much harder combining it with DS or any other VSL libraries, cause I have to change how that particular instrument is programmed.

 

 

-- Another small detail I notice; The Dynamic Range fader doesn't seem to work well for either Cello 2 or Violin 2 (little better with violin 2)..?! I actually thought it was done by the VI Pro, but apparently it depends how you export your articulation patches..?

Cause it's a feature I really use a lot. So I'll flatten the dynamics between the different dynamic layers and then play my dynamics with CC11. This way I can have access to all dynamic layers at any dynamic, so in principle I can crossfade from a mild legoto played at Pianisimo to the heavy vibrato played at Forte Fortissimo without it sounding louder :) 

Thx

In the New Solo Violin 2 and Solo Cello 2; How come the Dynamic articulations crescendo and diminiendo has been sepearted instead of being one 'patch' using the AB switch like all other VSL libraries?

It makes it a bit harder to combine it with other libraries..! Maybe there's a thought behind it? I just found the "old" way more practical :) 

Thanks, Jesper