12. Improve weak attacks

Sometimes we have nice samples but they start a bit weak. Maybe their sound needs to long until it reach its typical sound we are looking for...
Combine the sample with another one which has a better attack part.
Examples of combinations:

  • Sustain with Staccato
  • Sustain with Sforzato
  • Sustain with Portato short or long
  • Crescendo with Portato long
  • Diminuendo with ...
  • Legato with Portato short or long... But attention here: You could destroy the nice Legato-Sound. So use the second Sample only with a low volume level.

Tip: This is an effect more ore less. If you can make out it you use it too intense.

Have a look below how to do it

13. BPM ?

The musical tempo is given in Beats Per Minute > BPM

A tempo of 60 BPM means that you will have every second a hit.
So if you have a 4/4 bar with this tempo it takes 4 seconds for playing it.
A tempo of 180 BPM means that you are 3 times faster than the upper example.

14. Fast Repetitions

VSL prepared fast repetition samples for the case of tempos above 150 BPM.
Think about the bad gun effect we will get by repeting always one or two samples up to 9 times with this speed..
"Fast Repetitions" means a row of nine 16th notes which are recorded in different tempos. If you want to play only four 16th you have to stop the length of the midi signal after a quarter note at the certain tempo.
But...The Vienna Instrument offers a function which closes every bundle of repetitions with a proper final note.
Therefore make sure that the function (PLAY RELEASE) is "on" (VI-Perform Menu).
So in practice you have to stop before you reach the the last note. In our example of four 16th: Leave the key after three 16th "are over" and the release funktion of the Vienna Instrument will play the last final 16th. So you will get four 16th in the end with natural ending of the sound. Listen to the example:

    Fast Repetitions at 180 bpm: Four 16th and nine 16th at the end

15. Setting the Dynamic with Samples

You know that the volume of a midi sound increase the higher the amount of velocity is.
The same effect happens with the sample sounds of the vienna instrument.
As an Example: A 2-Layer Library
The vienna instrument uses different sample types which correspond to different sound levels of a certain instrument.
In other words:
When the midi level increases the volume of the samples inreases as well. In case of a 2-layer library the sound changes at velocity 89 to a second and more forte sounding sample.

Set the Dynamic Sensitivity
You can adjust how strong the vienna instrument shall follow the midi velocity level.

  • Switch to "Patch Assign" On the left side of the "centre selecting ring" you will find " * 1 2 "
  • Press "1"
  • Now you can change the value at "DYN.R." (Dynamic Range).
  • 0 = "no velocity following"
  • 100 = maximum velocity following

A good startingpoint is 15 ... 25

Listen to this example / 4-Layer of the solo violin:
The DYN.R. is "0"

Even if the midi velocity increases: The sample volume is quit the same.
Nevertheless: The sample type changes around 0- 56, 57- 88, 89 - 108, 109 - 127
But the piano sample typ sounds in ff - unnatural!

Dyn "0" within the earlier VI Dyn "0" within the new VI
    DYN.R. Dynamic Range = 0

Listen to this example / 4-Layer of the solo violin:
The DYN.R. is "30"

The midi velocity increases again: The sample volume follows the velocity
quite natural.
To switch between different sounds with different samples makes sense now.

Dyn "30" within the earlier VI Dyn "30" within the new VI
    DYN.R. Dynamic Range = 30

Final Tip

The Dim- and Cresc- articulations often come with a DYN.R. between 8 ... 12.
This doesn't make us able to play a really piano diminuendo for example.

Increase the Dynamic Range to 15 ... 25 as a starting point for the dims and crescs.

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16. The Difference between VI and VE

The "VI"

The Vienna Instrument is a Sample Player which can hold lots of articulations of the Vienna Symphonic Libraries.
Use it in a single instrument track or midi track in your host program such as Logic, Cubase, Sonar or whatever. This Sample Player (VI) is able to load up to 144 (12x12) articulations into one MATRIX (see picture above)
It makes sense to do this for one single instrument like the C Trumpet or the orchestra cellos for example.
Further: It makes sense to use each of the possible 12 Matrixes for an "articulation family".
Load short articulations into Matrix 1 - controlled by Keyswitch "C0" for example,
Load sustained articulations into Matrix 2 (Keyswitch C#0)
Load legato articulations into Matrix 3 (D0)... etc.

This means: You need 4 VIs for a string quartet - for each instrument one VI. Each of these VIs is in its own track of your host program.
Important to know: The VI is not able to understand any midi channel - it ignores midi channel information but not midi controller information.
These controllers can be used to switch and control possibilities of the VI, such as X-Fade, Pitch Controll, Volume Control etc.

The "VE"

The Vienna Ensemble is a host, so to say. So it is able to host up to 16 single Vienna Instruments. At the same time it only uses one track/ one open VSTi space. Each integrated VI will be controlled and played by/with an assigned Midi Channel.
An application for the VE could be:
Load 16 Vienna Instruments into the Ensemble - each with another Concert Organ Stop. All stops with the same assigned midi channel will play together...
An other possible VE-application:
Prepare a VE with a VI for each Woodwind-Instrument, and a VE with a VI for each String-Instrument... and save these ensembles as Woodwind-Ensemble and String-Ensemble with all the necessary positioning effects etc.
By the way: You can do this «Creating of Ensembles» in Cubase, Logic... as well! But you will need more than on track.

So the advantage of VE is:
Groups of VIs can be saved, an easy PowerPanning, 1VSTi hosts 16 VIs, Save an Ensemple Setup with all pannings and effects, ...

If you are new and not so familiar with VSL, ignore the Vienna Ensemble for the moment and get some exeperiences with the Vienna Instrument first. The VE can be usefull later on.

17. How to select samples within VI?

Klick on the picture to enlarge it...

18. How to build DIVISI... to double Instruments?

We are going to use the function Pitchbend.
The Trick: We transpose the Midi Notes for a half tone up and "pitchbend" for a half tone down.
The Result: We get the same melody but played with other samples.

Doing this as an example with the 6 violins of the Chamberstrings:
We have the original section, one same section up and one section down = 3 times an equal section for unisono parts.
If you have the Chamberstrings of the full Library you will get 5 sections:

1 Section transposed in midi +2 / pitchbend 200 / pitchbend - 100%
1 Section transposed in midi +1 / pitchbend 100 / pitchbend - 100%*
1 Section (original)
1 Section transposed in midi -2 / pitchbend 200 / pitchbend + 100%
1 Section transposed in midi -1 / pitchbend 100 / pitchbend + 100%*

* Sounds more natural but doesn't work with Download- and SE-Libraries.

For the SE - Libraries you need to use a midi-transpose of +/- 2 (whole note) and also a pitchbend of a whole tone.
The SE Libraries got samples which are recorded in steps of whole tones.
More about PitchBending >>>here

How to arrange the VI?

Please observe the lower pictures. Click on them...

Preparing the VI a) Preparing the VI b) Our example got 5 Miditracks which are playing a melody "unisono"
For 3 Tracks I used the Chamberstrings:
1st Original
2nd transposed down / pitch up
3rd transposed up / pitch down

And here another picture out from the Sequencer.

Click to enlarge...

Listen to the result now:

Finally, these tips can enhance the divisi effect even more:
1. Try to find the most efficient balance between the sections.
2. Pan the different sections a little different.
3. Give each section a bit another EQ-setting.
4. Give the different sections some ms delays (- 40ms till +40 ms)

19. Combining Articulations

This method can create new timbres.
For showing a possible result I combined the Appassionata Strings with the Chamber Strings. As an exception:
The 1st Appassionata Violins got the Soloviolin as additional articulations. The nice vibrato of them shine through the compact sound of the Appassionatas from time to time (sounds very nice).

How to solve it?

Load a second articulation into the B-Cell and adjust its volume as you like it.
The Appassionata Strings can get back a bit of the lost direct sound by adding the articulation of the Solo- or Chamber-Strings at the same time...

Apssionata Strings

Apssionata + Solo Strings

20. USB = USB? About the fastest connection

Not long ago I bought an external Hard Disk.
Further, I thought to have the fastest connection with a PCIe-USB Interface card...
bought it, connected it and worked with it.
A bit later I wanted to know how fast my new Ext HDD is - compared with the old one.
I installed a disk benchmark software for checking and comparing the power.
What a shock: My new Hard Disk was slower than the one I bought years ago...
Then I began to test the new HDD with the different possibilities.

1. USB sockets > PCIe USB extension card
2. USB sockets > PCI USB extension card
3. USB sockets > Mainboard PC

And here are the results:

USB sockets Read 1000MB-Blocks
Read 512MB-Blocks
Write 1000MB-Blocks
Write 512MB-Blocks
PCIe USB extension card 24.74 17.84 23.50 23.02
PCI USB extension card 24.44 17.33 23.03 22.98
Mainboard PC 34.92 22.11 27.50 27.48

Sum Up
We probably need ext HDDs for saving Sample Libraries. So READING is a very important feature.
The upper results are showing us two things:
1. The handling of internal USB-Lines (within the Mainboard) seems to be the fastest possibility.
2. A proper Defragmentation of Harddisks can help to improve the reading abilities (see results at "random-reading")

I got better results without any Security Program and further:
With the removing of the USB-Mouse and the Licence-Keys I got even better results.
So I've moved all the "have-to-be-fast-USB-connections" to the mainboard sockets and
all the "speed-is-not-important-USB-connections" I moved to the USB-Extension-Cards.

I recommend: Test your system as well for finding the fastest USB-connections!
A simple check could be to messure the benchmark of a USB-HDD with the different sockets of the computer.

After that:
- Use the slower ones for the mouse, the keyboard, the licence keys etc. and - above all - for each USB 1.1 - application.
- Use the "fast sockets" for all audio - applications.

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