I'm using 1.1.307.

When I run Vienna Assistant, it shows that 1 item is "Not Installed".

However, opening the Not Installed tab, I see nothing. It's blank.

What could be going on?

I'm also a bit disappointed not to be able to use Kontakt 7 with VE Pro.

I'm sure that when VSL incorporates VST3, however, that it will be an impeccable implementation. Looking forward to that.

Thank you!

Synchron-ized Dimension Strings includes the Players column where you can choose "all players", "Group 1", etc. The last item is "Player 1". 

Is there a way to add additional choices so that the other individual Players are accessible in this menu?

I know I can load the different patches with individual players, but the menu is much easier and simpler.

Thanks!

Thanks, Dietz. The question I saw was not at the end of the thread, it was at the end of the first page, and it was not unanswered!

MIR Pro 3D is a huge step forward. The only thing I would ask for is a simpler way to route the dry and wet signals separately to the DAW. I have been doing it in two steps, as you suggested (first rendering a track with Dry Solo and then another with Wet Solo). That works well, but it would be nice to be able to do it in one step.

Ha!

I found the answer.

The old .dll file (Vienna MIR Pro x64.dll) was still in my 64-bit VST folder.

I renamed it and opened one of the projects, and voila, everything's fine and MIR Pro 3D is running.

I hope this helps someone else.

I have a lot of projects containing multiple instances of MIR Pro (not 3D) as a VST plugin. I'm using Reaper under Windows 11.

When I load one of these projects, the tracks containing MIR Pro are silent., If I take MIR Pro offline, the sound returns.

There is no information about the settings in the old MIR Pro dialog except wet/dry and volume. The venue and placement are missing.

Is there some way to convert these old instances into instances of MIR Pro 3D?

This seems like an obvious question, but I didn't find anything about it on this forum, except for an unanswered question at the end of the announcement thread.

Any help would be much appreciated.

Thanks!

Originally Posted by: Dietz

This seems to be a bug in VE Pro, maybe only in connection with Reaper. Have you been in contact with VSL support team already? 

->

Thanks for reporting!

Thanks. I'll contact them.

I want to have VE Pro send the dry signal of an instrument to one pair of channels and the wet (MIR Pro 3D) signal to another channel. The purpose of this is to be able to adjust the dry/wet mix after the DAW channels have been rendered or frozen, instead of having to commit to whatever balance I have set within MIR Pro 3D.

I thought I had discovered how to do this, but there is a problem. I'll describe the setup I'm using (Reaper-VE Pro 7- MIR Pro 3D).

I have a MIDI track in Reaper sending a signal to a connected instance of VE Pro containing an instrument. 

A second track in Reaper receives the audio from VE Pro on the output pair assigned in the normal channel settings, say Output 1/2. That track outputs on the Reaper master channel.

In the VE Pro Mixer, right under Vienna MIR Pro, I change the output from Inline to the next available pair of channels, say Output 3/4. Then in Reaper I have a track that receives audio from the connected VE Pro instance on channels 3/4. That channel also outputs on the Reaper master channel.

At first this works fine. The signal on the first Reaper audio track is dry, and the second Reaper audio track has the wet signal.

But after a minute or two, I always get a loud noise and an overload on the Reaper track that has VE Pro instantiated. Obviously, this is some kind of feedback. But I don't understand it, because the track with VE Pro instantiated only receives MIDI and does not receive any audio from anywhere. 

Does anyone know a way to route the wet output from MIR Pro 3D to its own channel? Thanks!

Just wanted to add that I've seen this phenomenon also.

Today I was attempting to open a Reaper project containing the Vienna Synchron Pianos. After more than five minutes of Reaper indicating that it was loading VS Pianos, I gave up. Tried restarting, re-booting, etc., to no avail.

I saw this thread, then uninstalled and re-installed the iLok License Manager. Vienna Synchron Pianos (and the rest of the project) loaded promptly.

I'm very happy to see this is being worked on.

+1 on being able to download the full PDF manual for each instrument or software, not just the current small section. That would be nice.

I thought of one comment / question on this topic

VE Ensemble Pro can send audio information back to the DAW it's being used with on any channel. It's instantiated as a plug-in in the DAW, and neither the DAW nor VE Ensemble Pro have any difficulty with sending or receiving on any channel.

Why can't MIR Pro do that?

I appreciate that the answer might be very technical, but I'm curious as to why this should be hard to do.

Originally Posted by: Dietz

Actually that's not possible without major brain surgery. The problem is that the host would have to allow a plug-in to route audio to outputs other than those of the track in which it is instantiated. VE Pro allows for it, all others don't.

As you wrote yourself, a _possible_ workaround in some DAWs (like Reaper) would be to create tracks with twice the number of channels and use MIR 3D's routing matrix (in the output format editor) to assign the wet signal to the additional outputs. But there are _so_ many possible pitfalls that I won't even begin to go into detail.

The tried-and-tested way to handle dedicated dry / wet bounces from MIR is to use the Global Dry / Wet Solo buttons in the Output Panel and to perform two passes.

HTH,

Thanks.

I haven't found any way to configure MIR Pro 3D to output the wet signal on a different pair of outputs from the dry signal. I'm talking about using MIR Pro as a VST plug-in, not within VE Pro.

The purpose of this would be to render the wet signal to a track, and no longer need to load MIR Pro every time the project is open. Obviously, I could do that with the normal wet + dry signal, but I would like to have the flexibility to adjust the amount of wet signal after rendering.

In Reaper I have found a way to do this using the pin out configuration for the VST instance of MIR Pro, but it's tedious.

I know I could also use the VE Pro Audio Input plug-in, but I have had mixed results with that. I would prefer to just set the MIR Pro VST to output the wet signal on Chennels 3 & 4 (for instance).

Have I overlooked something? Is this possible?

Thanks.

Thanks, Paul. I'll look for the updates.

Zero replies?

Maybe I've asked such a stupid question that the answer should be obvious. If so, could someone please humor me by letting me know the answer?

Having all the player applications share the same database seems to significantly slow down loading. And it's hard to see any point to using a single database.

Thanks!

I have Synchron Player, Synchron Pianos, Synchron Organ Player, and Synchron Harp Player.

A few days ago, I noticed that Synchron Pianos was taking a very long time to load. So I looked at the Database and saw that there was all kinds of Synchron stuff in there. All the folders for all my Synchron and Synchron-ized libraries, Synchron Organ, Synchron Harp...

So, I deleted all but the library that has all my Synchron Pianos. It loaded much faster.

But later, when I was trying to use Synchron Player, none of the libraries showed up! So I looked at the Database, and saw that only the pianos were there.

Clearly, all four of the players look at the same database. This doesn't seem logical, and it has the practical disadvantage that each of them has to scan everything every time I load one of them.

Have I missed something here? Or is this just the way it is? And if it's just the way it is, is there any chance this could change?

Thanks.

I'm curious, which library was the source for the sounds?

How did you do the "mockup" to simulate solo strings?

I'm hoping that a Synchron Solo Strings library will come out. I have the Synchron-ized Solo Strings, but I'm thinking a purpose-developed Synchron library might be better. 

After installing the iLok version of Vienna Synchron Player, when I instantiate the player I see at the top of its window "64-bit bridged". (I'm using Reaper 64-bit under Windows 11 64-bit.)

Normally, "bridged" means to me that 32-bit software has been loaded into a 64-bit environment using some accessory software for compatibility. Obviously, that's not what I want.

Can anyone offer any insight into what's going on here? 

Thanks!

Thank you, Paul. 

I have ordered the Vienna All hard drive.

A few days ago, all my licenses were deposited in the iLok database. Today, I happily removed my eLicenser dongle and discovered that nothing works! So, I've read the documentation and watched the videos, but I still have some points about which I would like to check my understanding. To better understand my situation, you should know I have more than 3TB of VSL content.

1. I have all the installation files (package.info) on a drive. As I understand it, these are useless for iLok, and I need the complete set of installation files in a new format. True?

2. There is no way to re-install using the installer and/or libraries on my drives. True?

3. The MIR Pro VST plugin, which I use a lot, is still eLicenser based, so I will have to stay with the eLicenser dongle for a while longer. True?

4. The VSL All Hard Drive contains all the VSL libraries in the iLok format, so I could install all of them I have licenses for from the Vienna Drive. True?

Thanks in advance. I really, really don't want to dowload 3+ terabytes again, and my ISP will charge me a fee for anything over 1 TB in a months I looks like the Vienna Drive is the way to go, but I want to be sure.

Thanks!

Since discovering VSL, I've bought a lot of libraries. I've got my samples on a 4 TB RAID 0 array, and the performance is great. The problem is, I'm running out of space!

After buying and installing Synchron Brass, I was getting a red warning on the drive where I keep my VSL libraries. So, I had a look and found a few installation folders were still there, and moved those out. That left me still very close to the limit.

So I began to look at my VI Pro products and my Synchron-ized products to determine any overlap. Since the descriptions are the same, I assumed that the Synchron-ized Special Edition and the VI Special Edition instruments are practically the same, so I moved the VI folders to another drive (since I slightly prefer the Synchron player). That bought me some space, but not as much as I would like.

I also have Synchron-ized Woodwinds, Syz--Chamber Strings, Syz-Chamber Strings sordino, and Syz-Elements as well as VI Woodwinds I & II and Chamber Strings I. I had a look at the Woodwinds presets and patches on the VI Pro player and the Synchron player, and I see the VI Player includes an alto flute, but the Synchronized version apparently does not.

Am I right in thinking that the Synchron-ized versions and the original VI versions do NOT overlap perfectly? Am I right in thinking that I would actually lose access to samples and instruments by moving the VI versions of these libraries to an archive drive?

If so, are there any resouces that could tell me what I would lose out of the VI Chamber Strings I and Woodwinds I & II if I did move the folders?

Thanks!

Solved. 

I thought I had activated it, but I the process wasn't completed. Works fine now. And it's fantastic!