Dietz this solution on the 2nd mic position is incredibly helpful -- thank you! 

Originally Posted by: Dietz

Off-topic side note: There seems to be some strange pronounciation rule that makes US-Americans misspell my nick-name "Deitz" instead of "Dietz" regularily. ;-D .... I'll have to explore the reason why, one day.

To show I'm not the only American who has made this mistake, Alan Meyerson pronouncing it wrong here too.. ;)

https://www.youtube.com/watch?v=-qUgeyjJBME

See 53:50

I now prefer them to dimension strings, primarily because the multi mic features of the Synchron Player allows for a higher degree of control over the tone.

Currently, I cann't find a better combination than layering Synchron Strings I with Synchronized Dimension Strings.

You may hear of some complaints about the legato.  I found that the issue is largely due to many users, after using the VI series for years, were unable to quickly adjust to the the new dimension articulation switching effectively in the (at the time) new Synchron Player.

In combination with other multi-mic libraries, such as the Big Bang series, Synchron FX Strings, or Synchron Percussion, you get a palet of timbre not available in other libraries, which were typically recorded with only 2 or 3 mic positions.  There is much more "force" ....as if you hear the actual breath of the musicians, the hairs on the bows, in these multi-mic libraries compared to the VI series.

Compared to the Starter Editions, the difference is immense.

More velocity layers in the individual (standard) libraries.  So there's a LOT more detail in the sound.  (ex., 5 staccato dynamics in Flute 1 verse 3 staccato dynamics in special edition)

But if you go futher, the Flute 1 FULL library has the performance trills which are outstanding for runs, trills, scales, etc.  This is basically the case for all VI instruments.

I would try Synchron Strings I.  Great, easy control over the vibrato, and lots of vibrato options:

• no vib
• regular vib
• lyrical vib
• cantabile regular vib
• cantabile lyrical vib

Now count the velocity layers between each (which also gives slightly different vibratos depending on the dynamic):

• No vib & reg vib = 8 velocity layers
• lyrical vib = 5 velocity layers
• cantabile reg & lyrical = 2 velocity layers

That's dozens and dozens of possible combinations to crossfade between!

I did a film a couple years ago and put 20 instruments in the lobby of the Konzerthaus... sounded amazing and I had a very happy director.  I love that room!

Dewd- this is all with the beta AU3 template offered by VSL.  I tried your setup too had the same issue with 85+ tracks.

I also thought about if the reason is because of how many Synchron Players vs other tracks... maybe that has something to do with it?  I dunno.  All I know for certain is that when I delete the tracks down to that number in my session, poof... problem solved! 

[SOLVED]

After a month  of testing and troubleshooting, I found figured out the issue.

For some reason, if I have more than 84 tracks in my AU3 template linked to my slave machine, I get CPU spikes and craziness on my master machine.  84 or fewer, I'm all good, and can playback the session at a buffer size of 64.

That's a relief!  I just need to keep it fewer than 84 tracks, which is plenty for my purposes.

When you are on Finder in the Mac and you hit command+K, is the PC showing up there as an option?

Great, thanks.  Sent all the pertinent info to support.

Updates:

If I create a new multiport session from the AU3 beta template provided by VSL, then load in a saved channel strip in the slave VEPro (the "insert channel set from disk" menu option), then the CPU meter in Logic doesn't spike anymore.  

BUT, the high idling CPU in the slave VEPro meter is still very high, and playing back any tutti chords still renders the garbled sound and CPU in >90%.. (but without the spikes in Logic).

I reverted back to previous versions of Sy Player, VEPro, and VIpro... however, before yesterday I was on versions not available in the MyVSL Downloads Archive.  Same problem persists.

Also, at lower buffer sizes, when playing back the AU3 multiport session, I get these error messages: Sample Rate 39,831 recognized.  Check conflict between Logic Pro X and external device.

Edit: note, that there currently is no external device connected (not an audio interface... just the headphone jack, or the macbook speakers).

Is anyone else experiencing major CPU issues with the new updates for VIpro2, VEPro7, and the Synchron Player?

In the AU3 Multiport session I've been working in, when I have one of those multiport instruments selected, the CPU on my slave machine begins to idle at 60% (up from near zero).  Plus, the main thread in the Logic X CPU meter is in a constant state of spikes, regardless if playing back the session or not, regardless of plugins on or off.  When I click on a blank audio track, session plays back normal.

Higher buffer doesn't make problem go completely away.

Before these updates, I could play back the exact session at a 64 buffer with no pops/clicks.  Now the audio gets totally garbled/trashed, and many of the notes hang when I stop playback while one of those multiport tracks is selected.

Originally Posted by: Eloy

Does this update affect CPU usage?

Thank you,

Eloy

For my setup, it is affecting CPU in a major way on my Windows slave.  Passages in large sessions that had no issue at a <256 buffer now peak the CPU and cause hanging notes at a 1024 buffer.

That's why the low brass sounds so fat and nice -- 2 Bass Trombones are so much better than 3 tenors and a Bass Trombone. 

Also, just tested a piece written with my AU3 Multiport template.  I'm able to go from 1024 buffer in Logic X with the Universal Audio interface as my Input/Output device, all the way down to a 32 buffer with it off and get no pops/clicks during playback [edit: 32 buffer when I use the built-in headphone jack]

I sent a support ticket to UAudio... anyone else experience something similar?

UAudio, I have a large orchestral Vienna Ensemble Pro AU3 template in Logic X and believe I have identified that my UAudio interface is locking up some real time processing during playback. Buffer size can be 512 or 1024, and I'll experience massive amounts of pops/clicks/distortion when playing back passages that contain lots of notes from my virtual instruments on my slave PC. CPU meters in Logic X are all low. CPU meters on PC slave are medium. CPU meters in the virtual instruments are medium. Disk speeds for these virtual instruments are all very good as well (624 MB/s... of course everything is on SSD drives). In Logic X Preferences, when I switch Output and Input devices to external headphones (instead of Universal Audio Thunderbolt), the problem goes away. Other settings include recording at 48kHz. My Universal Audio DSP reads 62%. Finally, I experienced some crashes when reconnecting my UAudio interface, which I have attached. A couple times, I received an odd error message during playback of one of these busy orchestral passages which required me to reboot, which I have also attached. Note, that I still have my UAD plugins active when I switch my Output/Input Devices to External Headphones and they do not seem to cause any problems.

My personal opinion is that if your string size is like the Dimension Strings setup, 8-8-6-6-4, then you shouldn't need woodwinds in groups of three (except for special solo passages for something like an alto flute...).

But if you are using a larger string ensemble, like 20-16-10-10-8, definitely make use of the a3 instruments.  For example, if you have a melody in the flutes and 1st Violins and it is forte or louder, then I'd for sure use the flutes a3 patch for balance purposes.  If it is a soft melody, use just 1 flute for strings that large.

For tutti sections, check out the final presto from Mahler's 5th Symphony (I attached a screenshot).  For the last 6 pages, the flutes play a4, oboes a3, clarinets a3, and bassoons unison a2 with the contra playing an octave lower.  Those groups double the string chords' top note.  Notice Mahler doesn't try to fill out the chord, but because the brass is playing the melody, all unison, very loud, those woodwind chord notes would be totally lost.  So, he just has all of the high winds play the top note of the dominate root--dominate root--tonic root.  Plus, so it's not too soft beforehand, that wholetone scale is also in a3 unison.

Instances like that I would say are the main function of a3 VSL patches.

Were the BBO Capricorn orchestra sessions recorded as individual sections or everyone playing tutti on all takes?

Perhaps there's potential for an expansion pack that totally isolates the strings and brass.   Could be very useful for even more unique arrangements.

Slave Windows machine Synchron all of my drives says:

Speed 64k, 624MS/s

Speed 4k, 39.1MB/s

-----------------------------

Primary Mac machine Synchron on all my drives says:

Speed 64k, 1106MB/s

Speed 4k, 97.1MB/s

Right now I've got a 83 track-AU3 Multiport session that has some tutti sections where there are some pops and cracks at a 512 buffer in Logic X.  Dissappears when I raise that to 1024 buffer in Logic UNLESS I'm using 7 mic positions in Synchron Strings doubled/blended together with the Synchronized Dimension Strings on a velocity cross-faded trill... in which case the system takes a dookie.

I put the Synchron Pianos on my main machine, and if I'm playing a piece with a flurry of notes and more than 3 mic positions, the system also takes a dookie at all buffer sizes.  There is also a huge difference if I put the Synchron pianos in a local instance of VEPro vs a normal plugin in Logic... VEPro is 10x better on the pops/clicks.

My suspicion is that I don't have my threads and preload sizes optimized.  Though, experimenting with it, when I increase the preload size, I don't seem to get that much improvement in those big orchestra tutti sections, or in piano parts where it sounds like it's a piece for 4 hands.

I also don't really have a clear concept of what a "thread" is... other than it's a CPU thingy that is usually double the number of cores of your processor.   I've randomly moved the streaming/loading thread numbers around and don't hear much of a difference.

Hi Dietz,

ATMOS renderer was just released for Logic X so I've downloaded it and have been working with it in Binaural mode.

The answer to my question about localization is that to maximize it, each individual VSL instrument in MIR that you are assigning to an ATMOS object should have zero width... exceptions might be something like an organ which in real life consumes the whole concert hall/church.

In addition, to get max localization, the ATMOS object size should also be zero for each VSL instrument.  If you put it above 50 in the ATMOS panner, it will activate all speakers and "smear" the sound.

-S

Fognozzle,

Logic X user here.  How are you orchestrating your arrangement?  Strings?  Winds?  Mixed?

If you need a lot of different instruments, I would go with Synchronized Special Edition 1 and 1+.

If you are just going with a string orchestra, you should get the Dimension Strings... Synchronized or Vienna Instruments versions.  Both are great.

Starting out, whatever you choose, it may seem overwhelming.  Really dig into the videos on this site and on their Youtube BEFORE you start trying to program/record.  And come to the forum if you have questions you can't figure out.

Originally Posted by: Seventh Sam

One more question for you, if I may.  You mention velocity crossfading.  I know there are differing opinions on this, but I'd like to hear yours: do you recommend tying Expression and Velocity X-Fade together on one controller, doing one OR the other, or just using Velocity X-Fade to modulate dynamics?  I know that the timbral shift that occurs in Brass and Winds during crescendos and what not is not simply "raising the volume", but there are noticable jumps in between velocity layers for certain instruments, especially the solo VI libs.  Any recommendations here?

I never tie any parameters together.  And usually, Expression is used only when I can't get the desired fade with velocity xfade alone.

I also wanna add another option for dealing with a technically difficult passage, and nailing the rhythm.

If it is 16th notes, just play the 8th notes, then manually fill in (eyeballing it) the 16th notes.  For example, you have C-D-E-F as rapid 16th notes, play just the C and E, then write in the D and F.  When playing, it might help to still count the 16th notes in your head, but only play on the 8ths.... side effect is that it will help develop your technique and overall rhythm by counting like this.