VI Tips&Tricks 1

Contents

1. Optimize the processor performance (only Win)

You can optimize your computer for making music and for the use of the VIs and other audio applications.
Please follow the picture on the right even if it is a German screen-shot. Setting this option Windows will support the CPU's calculations with a higher priority. It is a tip which is written in Cubase's Instructions too.

2. Choose the ASIO 2.0 driver

It is important to choose the ASIO-driver which comes with your soundcard. If the soundcard is installed in a proper way you can select it in Cubase ("Devices > Device Setup>VST Audiobay > Master ASIO driver"), Logic (Audio > Driver 2...). Choose the driver of your soundcard now. If it is not possible for your host program to change the driver try to restart it or restart your computer. Try then once more without playing or doing anything before.

Don't install or set:

They are not efficient and optimally adapted for your soundcard. If you don't have an ASIO 2.0 driver for your soundcard try http://www.asio4all.com/ . Perhaps you are not happy with the original driver - also try ASIO4ALL.

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3. Set the Sample/Buffer Value (Latency)

Theory
What does this parameter mean? When you play the keyboard, the computer "tells" the harddisk which corresponding datas it has to send back to the computer. The software (VI) now gives the instructions to the CPU what to do. When all is done the CPU sends the treated datas to the soundcard.
The computer gets/sends these datas in packages: Samples/Buffer. As you know the music is digitalized for being used with a computer. So for example 1 second of music is chopped 44100 times - that means: 44100 pieces of information are necessary for 1 second of music.

What happens now? Compare it with a restaurant:

* 48kHz and 96kHz are customary as well
Like in the kitchen it is easy to read and calculate 1 sample/to roast 1 burger. But the computer has to calculate 44100 samples into music every second. For example it is much better to calculate 256samples at once than only one. In that case the CPU has to do the whole process (getting samples, calculating them and sending them to the soundcard) only 172 times every second (instead of 44100 times). Another advantage: The soundcard always has "some sound" in reserve. > no / less DROP OUTS. For our restaurant it is better to have some burgers in reserve too.
But don't forget: Some customers want to have a drink, some French fries, a salad - sorry they want some effects like reverb, limiter, compressor, EQs and so on. Perhaps they want more than one VI... dark times for the CPU.

So it could be necessary that you have to increase the Sample/Buffer value up to 512 or 1024!

Latency means the time (delay) which is necessary for the process of the sound's calculating. Amongst other things it depends on the Samples/Buffer value:
128 >> 3ms / 256 >> 6ms / 512 >> 12ms / 1024 >> 24ms / 2048 >> 48ms /...
Higher values need more time for the process but there is less danger for "drop outs". Lower values need less time for the process but the danger for "drop outs" increases. So it is pleasant to have low latency-times for playing the VI but you have to make a compromise perhaps.

4. Internet Connection

I recommend to have a connection to the Internet. When I was beta tester I noticed that the loading up of the VI triggers the contact to the net. I also do not know what the program of Synchrosoft does. My experience is that all together works in a safer way than without the connection to the net. Disadvantage: The running Firewall/Antivir - software needs RAM and CPU-power.

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5.1. Dithering (Theory)

Theory I
You heard about the term 16Bit/44.1kHz or 24Bit/96kHz. What does it mean? Every computer "understands" only the two states 1 and 0. So the audio signals have to be prepared for computers. One standard is to chop the signal 44100 times per second and to measure the amplitude of every chop. If you do this with a resolution of 8 Bit you are able to put 256 steps at the computer's disposal. With a resolution of 16 Bit (CD) you have 65'536 possibilities. So the computer measures 44100 times per second the amplitude level of the audio signal and assign one of the 65536 values to the corresponding amplitude. 24 Bit resolution means that the computer is able to differentiate the signal's level in 16'777'216 steps! Quite a lot, isn't it?

The samples' resolution of the Vienna Instrument is 24Bit. Unfortunately a reduction from this 24Bit- to 16 Bit- resolution happens in case of burning a CD (example). This reduction produces some artefacts. True, they are minimal but in piano and pianissimo parts of music they could be disturbing. In this case it is important to use a dither-effect.

For download: 220Hz 24bit.mp3

Let us focus now on this very last quiet part. Have a look at the graphics below. What happens with the signal while reducing the resolution from 24 Bits to 16 Bits?
Original (24 Bit resolution)

The same signal reduced from a resolution of 24 Bits to 16 Bits...

Theory II
The Dither-effect adds a low noise which is not disturbing the listening process later on. Please have a look at the average of the the signal's wave. The steps are replaced by the noise, and the original shape of the signal's sinus is given back (...be a little generous).

Please listen now to the different signals:

For download: 220Hz 24bit to 16bit with dither.mp3 and
220Hz 24bit to 16bit without dither.mp3 and
220Hz 24bit to 16bit 2xwith 2xwithout dither.mp3

5.2. Dither Effect: Yes > or < No

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6.1. Legato after single articulations

It is possible to get the legato-playing between a single-note articulation and a legato articulation. All you have to do is to set the keyswitch before the legato note starts to play.
I loaded up three different articulations: "sustained with progressive vibrato", "perf interval portamento" and "diminuendo/crescendo mV 3s" (1).
I prepared the VI so that I can switch between the three articulations with keyswitch C1, C#1 and D1 (2). With keyswitch A#1 and B1 I am able to switch between crescendo and diminuendo (3).

Now I play the single note "sustained with progressive vibrato" and switch then to the "perf interval portamento". While I'm still playing the single articulation the VI will connect the new legato tone with a portamento sample. That's fantastic, isn't it. So you are able to continue with legato even if you start the first note with a single note sample.
Now I start with a "crescendo" switch to "legato portamento" added by the next tone. I'm getting a portamento directly out of the crescendo. Please listen to the example:

or download: VI single articulation to legato demo.mp3

Remarks to the picture above:
A) Unfortunately VI's C1 doesn't correspond with Cubase. There it is C0 with C1... ;-(
B) C0 (C-1) switches to Matrix C0 and C1 (C0) switches to sust progr. Vib.
C) Keyswitch C#1 switches to legato portamento
D) Keyswitch D1 switches to Dim/Cres and A#1 selects Crescendo
E) Keyswitch C#1 switches to legato portamento

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6.2. Legato after single articulations

Now you learned that the VI can connect single articulations and perf articulations with perf - samples. But sometimes you don't want this comfort. Listen to the following example:

Listen now to the "repaired"example:

For download: VI legato singleartic demo1.mp3
andVI legato singleartic demo2.mp3

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6.3 How to cross the gap of 50ms with sound?

Let's assume we have a very fast played section and you always have to change between single notes (staccatos) and legato samples. You will have no problems while changing from legato to single notes. There is no gap necessary. But you always need to have a gap of >50ms between changings from single notes (staccatos, détachés) to legato parts. A gap of 50ms can be a very long time in such fast played sections.

How to bridge the gap? The graphic below shows the way. You have to shorten the note so that you get a gap of > 50ms between the "Midi-NotOff" of the single note (here a détaché medium) and the keyswitch for "Perf Trill Legato".
Now with the midi command "Pedal CC64" you are able to play the note closer than 50ms to the following legato note without triggering the not wanted "legato crossing sound". >> graphic below

But attention: Stop pressing the pedal before setting the keyswitch(es) for the legato articulation and before starting the legato note. Otherwise you'll get errors like no sound, broken sound, hold ons...
Remarks:
> This application works for crossings from single-note articulations to legato articulations.
> You only can handle these fine tuning things by using the mouse and midi editors.

7. Order of keyswitches

It is important for the Vienna Instrument to receive the keyswitches in a correct order. Take the example on the right. It shows the selection of a "Crescendo".

(1) Matrix line (C-1)
(2) D0 = Diminuendo/Crescendo 3s (D0)
(3) A#0 = The choice of crescendo (A#0)
(4) Crescendo

You agree that it is not possible for the VI to select "Crescendo" before it got the keyswitch "Matrix Line" with the dim/cres samples. Even if you give the VI the keyswitches at once, it could be that it can't do a proper selection. So it is a good advice to set the keyswitches in a logical order.

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8.1. Pitch Bend

It is possible to use the "Pitch Bend - function" with the Vienna Instrument as we did in the good old "midi-days". The following settings are necessary:

It depends on your sequencer, but with most of them you can draw a "pitch course" beside the tones now.

Finally you have the tones - the pitch bend course - the keyswitches...
And it sounds like this:

For download: VI PitchBend Demo.mp3

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Link to the VSL-Forum

8.2. Pitch Bend - Baroque Tuning

No Problem: Choose the same settings as in 8.1. But then the difference is, that you draw a course to minus a half tone (and not back to zero) at the beginning of each instrument's miditrack.

9. Learn & Optimize

This function has nothing to do with the sound of our little melody. It only helps to save RAM above all you are short of RAM. It's an easy process. Activate "LEARN" on your VI-Instrument, then play the Midi track. After the the piece has ended press "OPTIMIZE". The VI removes all the samples exept those used while playing the Midi-track. You will notice that the value decreases quite a lot at "MEMORY USED". If you want to get al the unused samples back press "RESET"
Tip: It is not necessary to play the Midi track in real time it also works with the function "Audio Mixdown" in Cubase. I'm not able to test it in LOGIC with the function "BOUNCE" but it should work as well.

10. Short Notes Full Length?

With the First- /Pro- / Horizon- versions we where able to select stac-1 and stac-2. The advantage was that we could play sounds into each other...(two different midi-channels)
I mean two equal notes like c3 stac-1 into c3 stac-2. Now the VI automaticlly selects the stac-2 but it isn't possible to release stac-1 by lenthen the midi note into the following one because the midi order "note off" from the first c3 also stops the just started second c3.
So what to do? >>> You have two possibilities:

1. Use the damper pedal while playing the short notes.
2. Choose a higher Release Time Value with the Vienna Instrument.

1. Use the damper pedal while playing the short notes. If you set the keyswitches in the Piano-Editor or in an other Midi editor use the Midicontroller...
CC64 000 (Damper not presseed > Samples stop with the end of the note)
CC64 127 (Damper pressed > Samples fade out till their end)

Listen to the following example - detache short samples are used - and compare the image below.

2. Choose a higher Release Time Value with the Vienna Instrument. Please check the picture on the right.
It seems to be that a value of 100 corresponds to the upper solution "CC64 127".

Putting together:
The solution 1 (CC64) makes it easy for you to select the release of samples (yes or no).
The solution 2 (Releas Time Value) is for releasing samples in general till their end.

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