This is great Paul!  Thank you for posting this little chart.

It will be very helpful so the old noggin can remember what each celestial body represents and where it sits on the orchestral astronomy seating.

It would be nice if we could save this as a pdf or an image though.  When I save as an image, I only get the seating chart, but not the handy descriptions.  I created my own composite in PS but others might want to download this for reference too. 

A really masterful and delicately emotional piece.  It really shows well the expressive capabilities of this magnificent library.

Terrific work Guy!

Really fantastic work!  Very creative and clever use of motion graphics tools and amazing stop motion.  Great technical aspects in terms of color, lighting, and blending in the music in a very supportive way.  That's also a huge amount of work to do all by yourself too. Thank you for sharing. 

Interesting test and comments Paolo, particularly on how they sound like a cohesive group playing together.  Its interesting to hear how these sound with a traditional writing sketch.

Just curious though how you handle the octave doubling in BBO though?  Maybe this actually "blurs the lines" creating the impression of more realism?

Paul would be pleased to see all positive comments and recognition from his friends and fellow composers.  The encouragement and positive attitude Paul shared with everyone seems to have rubbed off on so many of his friends.  One couldn't wish for a better legacy.

Yes, I agree these are really terrific demonstrations and extremely informative.  The Octopus video in particular is quite amazing and my favorite.  Guy shows enough details of controllers and various parameters that you get a really good sense of how he creates his magic.

William, its great to hear another one of your pieces.  Very refreshing to hear the use of dynamics, contrast and drama in music again.  So much more exciting than just Epic.  Thanks for posting.

Using DP9 and MAS and VEPro 7, I have occassional crashes (when left idle overnight) when using Kontakt 5.8 instruments.  This is annoying as it requires a re-boot and reloading of the template. 

However, if I remove the Kontakt instruments (and just use VSL instruments), I have not had a single crash in weeks.

As a alternate solution, I can open and use VEPro 7 Kontakt instances, and then close them before leaving the rest of the template idle overnight and this has not resulted in any crashes.  Of course, its a bit extra work and time so it would be ideal if my templates with Kontakt instruments never crashed.

When I quit VE Pro 7, its not letting go of the licenses.  After I quit, if I run eLicenser, nothing shows up. 

Even if I unplug and re-plug the VSL dongle, still nothing shows up.  I have to re-start the computer to get eLiceners to show up.

How can I quit VE Pro 7 and get it to release the licenses withough having to go through a computer restart?

Running a Mac Hacintosh i7 4-core, OSX 10.12.2, 64G RAM

Dietz, thank you very much for your thought-provoking answers.  Lots of good things to consider when mixing with MIR and it all makes great sense.

If you have time, I urge you to give this talk by Greisinger a careful listen, I think you might enjoy it.  Its fascinating in theory (the importance of low freq stereo in hall sounds) though I still have to be convinced with actual listening examples.  Fortunately, its something we can probably play around and test with samples.

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

Cheers,

Greg

Dietz, thank you for your comments on this.  I have three questions for you.

1) When you say you "tried to deliver MIR with settings as meaningful as possible", did you do these on an individual basis or did you have a reference mix in which you used for adjustments and comparison?  And if the later, is it possible for us to hear this reference mix?

2) What are your thoughts regarding the pitch fluctuations that Miracle adds to a MIR mix?  How do you approach this process in your mixing (sprinkling on some spice?).  Clearly, in a real acoustic space, pitch fluctuations due to the air will affect everything, yet in a musical mix, it would serve particular instruments better than others (choir & strings vs piano for example).

3) Where it possible (I know this is hypothetical), if the pitch effects of Miracle could be applied to the early reflections in MIR as well, do you think it would have a meaningful audible impact?  Or are these ER spatial cues just too short to have any musical impact were they to include pitch fluctuations (you're probably too young to remember the Lexicon Prime Time? If not, rememb twidling that mod knob?).  Clearly, the pitch fluctuation effects on the later reverb tail have a huge impact, but what about the earlier ER cues?  Do you know if anyone (possibly Griesinger?) studied this or has it been determined more empirically?

Somewhat related but possibly of interest. Particularly the recording hall ex. at 14min.

https://www.youtube.com/watch?v=84epTR2fyTY&t=14m

Thanks for your contributions and time,

Greg

Beautiful performanc by both you and Chiara. 

I assume you recorded both the voice and piano at the same time?

Thanks for sharing.

I use the Control curves quite a bit and I wish I could double-click on the curve to see a larger version. 

And more importantly, I wish there were numerics (as with VI-Pro) so that I can easily duplicate settings for different patches.

Originally Posted by: herb

Take care that you select always the last entrie to the right side in a Patch tree, otherwise the parameters are not visible.

Wow, pure gold. That last sentence alone, is worthy of an entire video tutorial!  I don't think I'm the only one that might've missed this if Herb had not clued us in.

Bowing deeply with sincere gratitude,

Greg

Such a beautiful creation from mere samples of audio snippets. 

It really shows what is possible with the brush in the hands of a true artist.  Lovely work Guy!

Originally Posted by: Acclarion

Guy, your contributions are obvious to all who appreciate the highest standards.  Those that argue vociferously with you, do so because they are all too aware of their own shortcomings, and simply can't come to grips with this fact.  Continue to inspire musicians with your talent, and leave the mosquitos to draw blood elsewhere.  When they realize how they've alienated absolutely everyone on this forum, they will buzz away and start the process all over again on another forum (which they've done numerous times in the past decade).

Cheers!

Dave

Well said Dave! 

Guy, please don't let personal attacks deter you from the great job you're doing in sharing with us how you are making the most of the new VSL ibraries.  Lets keep the ship steady and on course and maybe even teach some skills to those who have the most to learn.

Originally Posted by: Paul

Hi, 

Please scroll down in the CONTROL View, I think that's what you need!

Best, 
Paul

Yes, thanks Paul.  I hadn't noticed that you can "scroll down". 

That's a lot of hidden control!

With many of the dimension CC controllers, I can add curve to adjust the response.  However, I can't seem to find a way to do this with the velocity xfade.  Is there a way?  It would seem being able to do this would really help to tailor the response of our presets as we could then choose to use more of the lower velocity response layers or the higher ones, for different effect.  While I can still do that in post with MIDI editing, I can't adjust the curve to respond as I desire to my real time playing as it appears there is no way to add a curve to the velocity xfade.

Unless I'm missing something (which is often the case), please consider adding a curve to velocity xfade.

Originally Posted by: JimmyHellfire

The slot crossfade is still there. It's called parallel mode and is indicated by that small button next to the dimension controller. When it's colored blue, it's activated. In the edit tab, there's the option "parallel mode" where you can switch between Xfade and mix, which is the same thing as the "X" symbol between slots in VI Pro.

Regarding humanize - yes, it absolutely needs to be implemented!

Thanks for pointing that out.  I overlooked the parallel mode, that's great.

And now if only I were overlooking the humanize functions...  I do hope these get added.

First, thank you VSL for this beautiful new synchron player and congratulations on its release!  It handles control over multiple mics in a most elegant way.  However, there are are several funtional performance controls missing that were musically very useful in the VI-Pro player.  Please consider adding these to Synchron Player as well.

1) Humanize was an extremely useful feature!  It could not only be used for performance variations but also to add vibrato, richness to ensembles, and much more.  Please bring this back!  (In a pleading but "nice tone") PLEASE!

2) Slot Crossfade was a terrific way to add expression to the existing selection of articulations.  While I understand the design of the new Synchron Player might not easily support this concept (as it could lead to large CPU demands), it was still an important enough function that is not easy replicated by simply stacking tracks.  The ability to crossfade between two different articulations with variable degrees was a hugely valuable expressive feature.

While there may be technical obstalces to incorporating the above features, please consider the expressive musical importance of these functions.  Many of the most beatiful VSL realizations would not have been possible without these parameters.

Will future FX ensembles (winds, brass) be co-ordinated to work simultaneously and in conjunction with the String FX?

Originally Posted by: William

This sounds fascinating and I am really interested in the incorporation of the whole-tone-half-tone scale.

This is the octotonic scale originally coined by Rimsky-Kosakov (called the Korsakovian scale but used earlier by others including even Scarlatti and Bach ) and later used by Stravinsky and Bartok. https://en.wikipedia.org/wiki/Octatonic_scale

 However, I wonder where the term "Alpha" chord came from?

If you look in the software manuals, there is also a changelog that lists the updates.

Changelog - Vienna Instruments Pro 2 (English, v. 2.4.16779)

Paul, thanks for enlightening me on optimizing VSL for SSDs and regular drives.  Nice tip!  And clever method of managing this with the Directory Manager.

Although, it makes me wonder how this can be done for Kontakt too?  Without a Directory Manager, it seems Kontakt would be either global for all drives or a per Kontakt instance.  In any case, this is a discussion for another forum.  I've posted the question here:

https://vi-control.net/community/threads/optimizing-kontakt-preload-settings-for-both-ssds-regular-drives.66823/

Not sure if this answers your issue as I'm using DP and not Cubase, but maybe it will help?

If you decouple from your DAW, then you need to save the Server Project in VE Pro (or the associated instances).  Once you open VE Pro, you also need to open the saved server project.  Once you reconnect in your DAW, it should see the VE Pro server.

Otherwise, where do you think it would be saved?

If you don't want to be bothered with this extra step, then stay coupled.  However, decoupling has other advantages in that you can load (and save) different instances as needed.  And you're DAW file should load much faster when it doesn't also save VE Pro data.