I used to do a ton of work as a studio artist for hiphop/urban producers.  Any studio I went to, (unless it was one of the big famous ones) not a single one of them had legallly purchased plugins lol... All had the full Waves bundle and Omnisphere/Trillion... cracked.  It was absurd.

That said, I totally get why there are extra security steps in order to use the VSL products.  If they're not making money, then we're not really making and recording our own cutting-edge orchestral music. :)

Bug? Or feature?

For those interested, Johannes Vogel, who was the conductor/composer for the FX sessions, was kind enough to share the answer with me:

Simply write text above the note "light bow pressure with fast movement."  

There is no specific symbol for this technique.  Maybe I shall invent one???  

There is a patch in the Synchron FX Strings called "Breath Sustains," located in the Special Pads articulation tree.

How would this be notated on paper?  The description in the manual says the patch is comprised of "very fast bow tempos without pressure on the strings."

So, would this be notated as a tremolo with the text "very light bow pressure," or is there some specific name for this extended technique?

It really is a lovely sound... and I suspect that there may be some players who played relatively close to the bridge since some occasional harmonics peek through the texture.  I wonder if random motion from the finger board to the bridge was even indicated in the sample recording session...

Anyway, it's really neat sound.

Thanks!

Re RichHickey

Say a trumpet player has a C5 to D5 trill.  An open to first valve trill.

Is the same amount of air used on each of those notes?

Oh!  I'll add a Synchron Percussion Marimba too.  Total secret weapon for lovely pad/texture effects. 

Synchron Strings II with...

detache

harmonics

col legno

sul ponticello 

sul G for the violins

Google the “transposition trick”

 

Try this one...

Hmm... anyone else having this problem?  An update wouldn't have changed things, right?

Here are my Steinway settings: 

Pat, what notes are out of tune on the Yamaha?  Also, are you familiar with the per-note tuning on the Edit page?

How fast is the passage that is marked slurred? If you have a slur between two half notes at a quarter note equals 70, the sustain patch is probably better.

Have you experimented with Start Offset?

My system, details in my signature, handles all 32 VIpro 2 Dimension Strings in unison playing rapid scales with the Pref-trill_leg articulation LIVE, and at 256 buffer, in the MIR Pro Konzerthaus GosserSaal.

Slave CPU peaks at about 65% CPU in the task manager.  MacBookPro CPU needle doesn't even move.  I *might* get one or two minor pops when I'm doing impossible runs that real strings can't do.. but 99% of actual music I'd write wouldn't cause any pops.  Other articulations that aren't as polyphony-heavy, no pops at all.

When playing back at 512 buffer, not live, zero pops no matter what MIDI was recorded.

Hi Paul,

The manual install worked for me, like the others apparently.  But not when following the prompts via the Download Manager.  

I'm having the same problem.

Can someone walk me through the manual install?  Does that just mean you click the install button instead of having the auto-install box checked?  If that's the case, I'm still getting the same error message.

eLicenser, Vienna Download Manager, etc are all up to date.

See if you can do the iMac Pro with 10 cores. 

The most cores and the most RAM possible.  Where things get a little hairy is recording with multiple mic positions.  Also, even the Synchronized Dimension Strings can be pretty taxing.

I know that's sort of a simple answer, but you really need the max machine you can afford.

Customize with colors different areas of the keyboard on the bottom of the player.

That way, if people wanted to, they could color-designate various instrument ranges' timbral qualities as a helpful guide while orchestrating.  Think Arthur Lange's Spectratone Chart.

Could be pretty useful for folks who do VSL mockups they later have them played by a live orchestra.

Example:

You load up Synchronized Dimension Brass I, Trumpet I.  On the keyboard at the bottom of the player, notes E3-A3 have a greyish tint.  Notes Bb3-E4 have a brownish tint.  F4-Bb4, redish.  B5-F#5, orange.  G5-B5, yellow.  High C and up, white.

Though, I suppose that might conflict with the keyswitch color schemes... but maybe there's a way to implement?  Little colored dots?  Maybe?

Ahh yes. The velocity layers in Synchron strings are doubled (sometimes tripled) on most articulations.

What about the dynamic flexibilty of Synchron Strings I vs counterpart in VI?  That is another tonal/timbral advantage over the VI instruments.

And for clarity, my argument is that even a casual hobbyist should have both VI and Synchron products... all of them. 

I just finished a pop-ish sounding track for a commercial with the Synchron CFX (instead of the Steinway).

I used the close mics with the Universal Audio 1176, and then a touch of algo reverb.  The sound locked into the track perfectly -- super rich sound without being too big.  It is very flexible.  Often times with these types of pianos, when you start compressing and gaining things up, key noise or the noise floor can become a problem.  Not so with the Synchron Yamaha as you can EQ some of that around note C4 and higher (and even then, you may not need to depending on the track).

Well I can give a perfect example of timbral/tonal manipulation that can be done with Synchron that cannot be done with VI+MIRpro.

Different saturation+EQ+compression on different mic positions.

I had asked a while back if there were a way to split out the MIRpro capsules individually and there is not.

Spatially, 10 mic positions is preferable when doing an ATMOS mix.

One would think that Apple, sitting on a near quarter-billion dollars of repatriated cash, would take their pro audio software more seriously and fix/recode or do whatever it takes to be the best product on the market. ESPECIALLY if they’re trying to sling these $6,000 to $20,000 modular cheese graters to us lol....

That said, is it the case that a master comp on the latest iOS, with Logic 10.4.5, with latest VEPro7, that AU3 is broken on a NEW session made with it? Or just old sessions with the VSL multiport template beta that aren’t working?

I would make an argument that the Synchron Player is as customizable... mainly because of all the FX that come with the player. But aside from the Synchronized versions, the multiple mic positions have tonal and spatial capabilities that are beyond dry samples. Used in tandem with each other, it’s indistinguishable from real players if properly performed.