Thanks guys! 

Part 2 just dropped as well: https://youtu.be/r8fL6t71k-E

https://www.youtube.com/watch?v=W_Lf9leExEs

This is the first part of a series of using the Synchron libraries with Dolby ATMOS.  The renderer, which is hosted locally, isn't too expensive either, and works with all major DAWs.  Check it out!

It is the wideness of the bell curve boost... how far is spans over the frequency spectrum.

https://www.youtube.com/watch?v=ZCD4GHW6Wmw

For those looking at taking advantage of the Synchronized Special Edition promotion right now, I did a version of the score using volume 1.

There are times I would have liked to use the additional articulations offered in Synchronized Special Edition 1 Plus, but I think it turned out really well!  It's a testament to what can be done even with VSLs inexpensive libraries.

So let me ask you this...

Are the flute vibrato oscillations in pianissimo the same as fortissimo?

With the full Synchronized woodwinds, you get more velocity layers, which adds flexibility in manipulating the vibrato.

EDIT: Rereading your post, are you are seeking a drastic oscillation, like a synthetic LFO effect?

Pardon the disorganized thoughts here:

I'll tell ya what I did for my template and Synchron Stage MIRpro settings...

I imported a couple of modern classical recordings (not film scores, because they "cheat" the levels on things like the harps, celeste, string shorts, etc) and then did mockups of those excerpts.  I think one was Nimrod by Elgar, Beethoven 3rd opening, some tutti chords from Mahler 5, stuff like that...

I made sure that the velocity cross fade of the instruments were at their proper levels, not all jacked to 127 just so I could hear them.  But where the manuals said the layers were marked.

THEN I went to the faders in VEPro and matched them to the recordings.

One thing that will help is making sure you find the honky resonances in the MIRpro EQ at the bottom of the instrument profile on the right hand side.

Then there is balancing the instruments in MIR with the Synchronized or Synchron libraries.  I used those as a guide as well for balance, usually starting with the "Classic Surr to Stereo" preset and then matching the VI libraries to that (so long as it was also close to those modern orchestra recordings).

I can't remember where the FF chords landed on my stereo bus, but I'm sure it was in that -6 range.  I almost always end up automating the stereo bus fader on super soft stuff (like that Elgar variation).  And in my experience, the lower levels are even with the loud among the instruments.

Then there is the aspect of color and tone intensity.

Watching rehearsals of great conductors, they stop the string section all the time when they lose the intensity on soft passages.  For this, I lower the expression, but even if marked pp, I'm using a mf velocity crossfade level.  That shouldn't effect the levels except if you want to bring out a group, like the horns.  Instead of automating each expression fader (4, 6, 8?!) I just grab the horn bus and ride it a little bit to help with swells or whatever.

So yeah... faders are always in flux, and those natural volume levels are a great place to start, but I think they can be tailored to your personal programming tendencies.

OH! important thing... also be prepared for some CC24 filter automation.  Sometimes you need loud trumpet or horn, but not so brassy.. a nice "ohhh" tone. Use the filter.  Also, with high strings/woodwinds all up in the stratosphere, use the filter a bit on the strings and suddenly you'll get a better balance of woodwinds (not to mention not letting your strings get all icy).  So maybe as you are checking the mf balance of the orchestra in the upper range, before adjusting the fader, try the filter.

Adhere to orchestration principles.  If you have 3 flutes on middle C, playing as loud as they can, and a cello melody in tenor clef with some french horn chords gluing things together, those flutes should not stick out.  If they do, your flutes are probably too loud across the board.

Vibrato is controllable by cross-fading (with any CC you want) between non-vibrato and vibrato patches in the Synchron Player.  Some string libraries have expressivo patches that are performed transitions from vibrato to non, and you can control the timing of it with the time stretching feature on the Synchron Player edit page.

On the clarinet, VSL clarinet 1 is recorded more traditionally while clarinet 2 has vibrato options, falls, and little jazzy things.

Also there are some differences in the way the french oboe/E.horn are played vs the viennese oboe/E.horn... the viennese ones use significantly less vibrato, and in some contexts might be preferable to to the french versions.  I wouldn't cross-fade between the two instruments, but keeping both in your template ready to be called up gives you some flexibility.

Originally Posted by: Macker

Stephen, what a wonderful set of tutorial videos! They all contain superbly clear, precise and comprehensive expositions, with plenty of invitations for the viewer to share in your fine and well-seasoned subjective standpoints, reasonings, purposes and judgments. Really and truly splendid work! I believe these 4 videos will become classics - as they richly deserve.

Many thanks to you.

That is extremely kind of you -- thank you!  More to come soon. 

Check this for solid combination of Synchron and Dimension Brass. 

https://www.youtube.com/watch?v=ad0WUbkLJis

I'm using this blend right now in a few projects and it's sounding great!

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.