Tried yet again, and it worked this time.

:-)

During download it hangs at  'Update Download: Synchron Elite Strings - Stereo Mics'.

When there's no progress at all for 30 minutes, I figure it's hung. I've downloaded many other libraries to this new machine without difficulty.

The UI still responds. Clicking Pause/Start doesn't do anything. At this point Elite Strings does not show up in 'Installed' or 'Not Installed. If I click 'All' it's there highlighted in red. At this point I've tried Uninstall, then restart the process -- no luck. Still hangs at  'Update Download: Synchron Elite Strings - Stereo Mics'.

I'm on Windows 10 with all the latest updates.

Suggestions? 

Thanks!

Is it possible to move libraries installed with Vienna Assistant to a new drive/location? Without having to delete/re-download/reinstall them all?

Thanks!

Never mind. Restarting everything fixed it.

I just installed my Synchron Solo Strings. Some of the samples have red x's (see image). No error messages during the download/install.

How do I fix this?

Duh, THANKS!

I'm sure I've done this: list multiple instances in VE down the left side instead of across the top. But I just can't remember/figure it out!

Thanx!

In Cubase if I create an instrument track, I can add a Play instrument. But in VE (Pro Server 64 bit v.7.1.1406), Play is not listed.

I've 'reset and rescan'. I moved the Play.vst out of the folder, rescan, move it back into the folder, rescan -- without success.

(I'm on Win 10, all the latest patches)

Thots?

I understand how harp pedals work. On a real harp, G# and Ab (and all the other enharmonically 'equivalent' pairs) are two different strings, with slightly different timbres. The Orchestral Tools harp sample supports this -- they separately sampled G# and Ab. Does the VSL harp sample likewise have separate samples for G# and Ab? The article you reference doesn't say.

On a real harp, you can (for example) sharp the G to G# and flat the A to Ab. On a keyboard those are (coerced to be) the same note. On a harp, however, those are two different strings, with slightly different timbres. The Berlin/Orchestral Tools Harp library has a 7-note mode where G# is a separate sample from Ab -- like a real harp. Does the Synchron Harp work like that (in 7-note mode)?

I have a dual CPU server (48 g ram, 1 tb SSD) I'm dedicating to a Vienna Ensemble server. I'm aware that the System Requirements in general are Windows 10/11. But I'm wondering if VE would work better on Windows Server (2019)? Or is that a terrible idea? Just asking!

For the Vln and Vla in the Chamber Strings library, "Short | Staccato" is definitely shorter than "Short | Detache", as expected. (And "Short | Spiccato" is shorter still.)

But on the Violincello, "Short | Staccato" and "Short | Detache" to me sound exactly the same length. (Sad face.) So my range of lengths effectively jumps from Staccato to Long Detache.

Do my ears deceive me?

:-)

Originally Posted by: Angelus

Here you go, it turned out to be fairly logical in the end. I had to change the file extension to .txt, so rename it to .csv and then you can open it in a spreadsheet and sort the columns how you want.

Ha, got it working! Yippee!

Originally Posted by: Angelus

[EDIT] Just for clarification, the numbers in the left column are the ones in the VST parameter name, which is "Enable Stop n". To get the actual raw VST parameter number, add 911.

I didn't need to add 911. I just chose CC xx and mapped that to 'Enable Stop 1' and lo and behold the Hauptwerk Principal 8' toggled on and off. The problem I was having was that the stop number you see when you display the stop info is not the same as the stop number in 'Enable Stop X'. Your chart takes care of that mapping.

Thanks again!

Originally Posted by: Angelus

Here you go, it turned out to be fairly logical in the end.

Thank you kindly! I've got some real work to do first, I'll play with this soon.

Originally Posted by: Angelus

The long way! I was planning on writing it out anyway so if you like I'll post it here in text/csv format so you can do what you want with it.

I for one would be grateful!

Originally Posted by: Angelus

the stop numbers as presented by the player to the host are sequential from 1 to 120, and they don't map one-to-one onto the stop numbers shown in the player. For example, say I enable "stop 80" from my DAW - that actually maps onto stop 116, Soloflute 4' in the player. 

So how does one figure out this mapping?

BTW, I also have Hauptwerk, which is marvelous: for the benefit of other posters it occupies an entirely different use case space, being a standalone program for those who want to emulate a pipe organ on a dedicated console and do nothing else. Churches who don't have millions of dollars for a pipe organ, and organists who want a convincing instrument at home are their main audience. Organ consoles that generate nothing but MIDI for Hauptwerk are available -- monster MIDI controllers! A supreme virtue of Hauptwerk is that sample sets from all manner of amazing instruments can be loaded into the program. They've provided a VST for connecting a DAW to it. With Hauptwerk you also have to program your own automation to manipulate stops (and pistons, etc.)

Regarding latch mode:

It looks like you need to set up automation for each stop individually. Ugh! Hopefully I'm wrong about that!

The following doesn't work, but seems like it should:

1) Figure out the stop number of the stop you want to control. You can find that by clicking 'E' for E)dit on the stop itself.
2) Pull up the automation panel in VE (under 'View')
3) Select 'Midi Parameters'. Here you can map automation from your DAW (e.g. a CC) to the desired VE parameter. Search for 'Enable Stop' in the list of available VE automation parameters and then scroll down to the stop number you determined in step 1.

No joy. :-(

VE 7.0.1056
Cubase 11.0.20
Windows 10 (latest)

I'm not getting anywhere with 'latch mode'. I'm struggling in Vienna Ensemble trying to figure out how automation applies. Is there a tutorial JUST on Vienna Ensemble automation -- something I have never used before? The available tutorials seem to gloss over it at best. I'm very comfortable using automation in Cubase, but I don't get how this relates to the automation feature in VE.

I'm not finding the Vienna Ensemble manual helpful either. In the chapter "Parameter Automation", for example, the first step is "Choose the corresponding parameter in your sequencer [OK, this must be one of the organ stops in the Rieger] and choose from the available automation modes (Read | Latch | Touch | Write)." Where? I'm not seeing how to select that option anywhere.

I would be grateful for pointers to where all this is explained.

Thanks!

William Zeitler

"I was listening to the Big Fugue in G Minor demo, and it made me sad that it sounds so static."

(I have not listened to the Fugue in G Minor demo, but speaking generally:)

It needn't. Another difference between piano and organ is decay: piano notes decay and organ notes sustain indefinitely. One of the consequences of this is that the release of a note on an organ is just as apparent to the listener as the attack. Organists can take advantage of this by controlling the duration of each note -- we're talking about millisecond variations here. So if you have four 1/16th notes, you can do, say legato between 1 and 2 and the rest are detached -- giving the illusion of accentuating the first note. Or even if they're all detached from each other, making note 1 a few milliseconds longer than 2,3,4 will also give the illusion of accentuating the first note. 

You can also make whole phrases 'airy-er' by increasing slightly the gaps/silences between notes. Or 'thicker' by decreasing the gaps. You can also make a phrase super-legato by slightly overlapping the notes (negative gap?) You can also apply this to whole passages. In the Great Fugue in Gm you could have smaller gaps at the strong beginning, make the gaps a little bigger in the more introspective passages in the middle to make them sound lighter, then make the gaps smaller again towards the end for a stronger sounding finish. You get the idea. Sure, it's not the same as velocity sensitivity, but there's also much more one can do to expressively phrase notes on the organ than one might think.

(An important factor is the size of the room and instrument -- the reverb of a large room will obscure these sort of subtleties. Although Bach played on large instruments all over what was more or less Germany at the time, the largest instrument on which he had a regular job was only TWO MANUALS -- in consequently less than gargantuan rooms. Now, huge organs are of course great fun, but smaller instruments do have a clarity and transparency that huge instruments may not. Tradeoffs yet again.)

And we haven't even gotten to manual or registration changes. I've heard some organists play a long piece like the Great Gm entirely on only one manual. WHY? Or don't even do a simple registration change like add a reed or mixture towards the end. WHY?

Some organists (and pianists and violinists...) play statically -- boring is not necessarily the fault of the instrument! 

 As an aside, one of Bach's "side jobs" was technically evaluating new organs (were they built well or not) -- he was quite expert in that technology. Think about it: a pipe organ in those days was easily the most complex machine humans were making at that time (certainly in the West). Arguably it remained the most complex machine humans were making until the latter 19th century.  In other words, Bach was fiercely interested in the most advanced music technology of his day. Towards the end of his life he also had the opportunity to try out the newly invented pianoforte -- liked it very much but had some concrete suggestions on how to improve it (which the builder took to heart). Or, check out the Lautenwerck (http://www.baroquemusic.org/barluthp.html)  -- Bach had one built to his specifications. In his own day Bach was a music technology freak!

Regarding velocity sensitive pipe organs:

I'm both a professional pianist and organist. I also put myself through music school as a piano technician, and I do the routine maintenance on the pipe organ at the church where I play. With that background, I have some thoughts for your consideration:

Let's think about the physics of the basic sound producing mechanisms of both the piano and organ. The pitch of the piano string is determined entirely by material (steel vs brass, etc.), length, diameter and tension. To be sure at high energy impulses into the string (high velocity) the pitch probably deviates from the norm for a few milliseconds, but for all musical purposes the strings speaks at the same pitch regardless of low or high energy/velocity impulse

Organ pipes are quite different. The technology by which the key is connected to the pipe doesn't matter (tracker, direct electric, whatever) -- even if you're using some newfangled flux-capacitor-quantum-microprocessor valve, it still boils down to how much air is going into the pipe (zero to whatever). Importantly, organ pipes vary in pitch depending on the wind pressure -- this is true for the flues (most of the pipes) and triply so for the reeds. Organ builders go to great lengths to regulate the air pressure, with mechanisms to manage sudden demand (big chord at full organ) so the pitch doesn't drop.

In short, the physics of a piano string (or strings in general) lends itself to velocity variations, but real world organ pipes do not.

Furthermore, the keyboards of pianos and organs are physically similar, but the issues of playing them and consequently effective technique for playing are quite different. For example, because there is no damper pedal on the organ, legato has to be accomplished by fingers alone. This results in a quite different approach to playing -- 3 passing over 4, 3 over 2, and 4 over 5 are common on organ and rare on piano, for example.

Finally -- it's worth mentioning latency. When I play a piano patch with latency much more than about 5 ms or so, it drives me crazy because that's not how real pianos behave. But with pipe organs it's common to deal with rather large latencies: sound travels approx 1 foot/ms (.3 meter/ms) so in a 20 meter room (not that large) with the console in the back and the pipes in the front your looking at 60ms (!) of latency. So large latencies with organ samples feel natural to me, but drive me absolutely crazy with piano samples. I've been in organ performance situations like this where I'm watching the conductor (speed of light), and I hear myself an 8th note behind what my fingers are doing. That's just part of learning to play pipe organs, and yet another way that pianos and organs are very different beasts!

So, if we're dealing with samples, there's no reason why you couldn't have a velocity sensitive organ sample.  (Load one up in Kontakt!) It would feel as weird to me personally as a non-velocity sensitive piano. But you'd venturing more into the realm of synthesizers than trying to reproduce real instruments. Which is fine, if that's what you want to do!

This feature looks great for auto-capturing your registration at the beginning of the piece. But what about adding/removing stops during the piece? (A very common thing for organists to do!)

How would I record registration changes? That is, while I'm playing, I add/remove stops. Might those not be recorded midi messages so when I play back it duplicates EVERYTHING I did while playing?

I'm having trouble figuring out the difference!

Thanks!

I'm using Cubase (the latest) and I've got my Syncron-Special Cellos loaded (for example), and using the expression map supplied by VSL I want to select Staccato in the Cubase articulation lane. How do I select Staccato in my Cubase Articulation lane? I'm just not seeing it. I also have looked at how the expression map is set up and I'm still not getting it. Sure I could use Key Switches, UGH! Rather defeats a major intent of expression maps/articulation lanes. Thanks in advance for your assistance!