Thanks for the update Andi!

I'll keep an open mind and try creating my own glissandos as you've described. One issue for me is that my controller keyboard is Kawai fully-weighted piano action, and it is rough on the hands to perform glissandos on that keyboard. Of course, I could get an additional keyboard but if I am buying additional keyboards every time a plug in requires it I'm going to have to answer to my already very tolerant spouse for that!

Another concern, and perhaps others can weigh in - when a harpist plays a glissando isn't the way that the sound of each string is "sounded" by the harpist's finger (or finger nail?) uniquely different as it glides quickly across many strings than the sound of the string being "sounded" one at a time? So if you put together a glissando with "one at a time" note samples will it really sound the same as a real glissando?

I also hope VSL can provide a more comprehensive manual soon. I was not able to find all the details in the short, web page that Andi referenced. I am particularly struggling with the "ringing" and "damping" settings, both in terms of how they function when I play back MIDI tracks, and my attempt to control which of these settings applies at a given time. VSL support has been great helping me, so I'm sure they'll get me to where I need. But it might have been a little easier with a more detailed manual.

Best, Steve

Wow, I'm still ramping up on this product and had just assumed that pre-recorded glissandos would be part of it (like original VSL harp product). Fingers crossed that VSL will bring us a future version that includes these glissandos and the pres de la table sound that is so beautiful - then we'll have all the functionality we had in the original VSL harp product. Thanks! Steve

Thank you, Paul! That's a fair answer, which got me thinking of another question I hadn't considered. As a pianist, I've been using the chromatic mode because it is easier on the brain. If I use the pedal mode instead, will there be a noticeable difference in the musical aspects that I hear? It sounds like this might be the case if you've sampled each string in different pedal settings. Thanks, Steve

In regular play mode, are their "round robins" at each of the 8 velocities? If so, how many? Thanks! Steve

New Synchron Harp is amazing, both in sound and design - thank you!!! Only thing missing is pres de la table - any chance that might be added?

Congratulations on a great product!

Looks like no con sordino in this release. Is con sordino planned? ETA?

Thanks!

Steve

I looked in the mirror after reading this exchange, and I decided to install a mute button in my own attitude. If what I have to say is positive and might be helpful to the other readers, no mute and I will post. If it is negative and not helpful, my mute button will engage and I won't post. This has been an invaluable forum over the years with information that has been very helpful to me and I am very grateful for that. Thank you everyone.

Bravo - thank you!

Sorry, I strongly disagree. Con sordino is so important and the only way to get that sound is to sample the real thing. It's a "must have" and I will create whatever extra drive space is necessary. By the way, if I postpone my projects that involve con sordino, I'll have nothing to do.

Thank you fahl5, I appreciate your comments. As with most things in life, we all win if we can stay positive. As for con sordinos, hopefully Vienna will deliver additional packages. As for legato, are you willing to share what you're doing to get a good legato sound? (or if you've already done that, provide a link?)

Thanks!

I must say that my enthusiasm over the recent Synchron products is, well, muted... no con sordinos which is a "must have" for me. Between that and the disappointing legato intervals in Synchron strings I am much more cautious and concerned about buying more of these products.

... and if I have a broken key that is out of warranty, I send it in and what do i pay? Just the cost of a replacement key? Or more?

Thanks,

Steve

Syncron is the clear winner for me. I hear more detail, and the room is more convincing. Also I get a clearer visual image of the string sections; maybe that comes from using one library? Great writing - and thanks for sharing!

Steve

Thanks!

I see a new library update for Syncron Strings dated March 16, 2018. When I download I get a large zip file. When I unzip I get an unfamiliar file format on  my Mac of "viupdate." What is this, and what is the procedure to install it? Thank you!

Steve

I am a heavy user of con sordino strings in my projects. I am not an experienced arranger and I am not a string player, but to my ear the biggest difference in the con sordino sound is that the fundamental and lower harmonics are being damped. I'm not so sure that taking out the high frequencies is the way to go.

Having said that, I avoid simulated con sordino because it can't come close to the real thing. Most string libraries skimp on con sordino, which is a real mistake. Vienna has provided more con sordino than anyone else, but we could still use more. I would love to see more articulations and more real trills (I'm sorry, there is no substitute for a real trill). 

Good luck!

Steve

When playing a legato performance patch in legato (i.e. overlapping notes) with release samples turned "on", do release samples sound on any of the notes besides the last note? Or only the last note?

Thanks,

Steve

I am having trouble - not able to see new presets and matrices. I believe I have followed correct instructions. I downloaded library updates from user area, and dragged over Directory Manager, but no luck. Help!

I am having the same problem described in this thread from 2012 - my VI Pro 2 doesn't see the newest presets and matrices. I've followed the instructions to download library updates and drag over Directory Manager. I'm stumped. Help!

I'm experiencing significant latency problems using VEPro/MIR to host several instruments in Protools 10 sessions that also include audio tracks. What can I do to minimize or eliminate the latency? Thanks!

Steve

Forgive me if covered in a prior post.

What is the recommended approach to coordinate settings in Protools 10 and VEPro to minimize latency of sampled instruments relative to audio in Protools track?

Thanks!

Steve

Thank you Fred and Dietz. My experience confirms what you told me. The plug-in works like a dream, and with zero latency (after reading manual I set latency in MIR Pro preferences to zero).

Is it possible to use the plug-in to set up two difference rooms in the same session?

Thanks,

Steve

I recently bought a Kawai VPC1 and absolutely love it. Better than any other MIDI keyboard I've ever played. 

Is it better to run MIR in VEPRO or in direct plug-in in Protools for latency or other reasons? Will my standard MIR authorization allow me to leave all my MIR settings in VEPro and also open the MIR plug-in directly in Protools (all on one computer), that is, to run both?

Here is a more detailed description of my situation. I'm adding strings to a jazz track in Protools 10 (real performers other than strings). I've finished arranging strings in VEPRo and have MIR all set up in VEPro the way I want. I am about to turn track over to mixing engineer who has VEPro and MIR but is not as familiar with how they work. I want to give him the easiest file to work with, and want to minimize risk of latency issues. He doesn't own the string libraries. I've already printed audio for all the string parts with no MIR, EQ, or other plug-ins.

Plan A: Keep my MIR setup in VEPro and run audio through VePro and back to Protools with reverb added. Mixing engineer would make any adjustments to reverb in VEPro.

Plan B: Open MIR plug-in directly in Protools. I'd like to keep VEPro in the picture in case we need to re-print strings, but otherwise mixing engineer works right in the MIR plug-in in Protools. In this situation, will my standard MIR authorization allow me to leave all my MIR settings in VEPro and also open the MIR plug-in directly in Protools (that is, run both on one computer)?

Sorry this is so long. Thanks!

Steve

I'm not a string player, but this two note only legato concept is surprising and doesn't sound right to me. If it is true, how did they handle the original recording sessions when the samples were collected? Did they have to collect every other interval in order to get all the legato intervals? Don't string players take pride in making each interval sound precise regardless of whether they're rebowing? I'd love to hear from Vienna and from string players on this.