Regarding note data - was this inputted in Sibelius first, then exported to Sonar?

I have both programs and I wish to start using Sibelius and VSL properly for composing, but first, to input an orchestral score in SIbelius (no way I'll use the piano roll) by copying the print score (best way to learn Sibelius), using the standard Sibelius instruments for playback, then exporting the 'notes' as individual MIDI tracks to Sonar 8, set up 4 instances of Vienna Ensembles as VSTs in Sonar each with the main sections of the orchestra (WW, brass, etc.), then do all the mixing and articulation changes manually with MIDI messages.

I have the VSL SE and + but no extended instruments. Also I have 4Gb RAM but since I'm running on XP VSL only sees 2Gb (How do I get the 3Gb switch to work in VSL ?). I intend to move to WIn 7 64-bit and 8Gb RAM when Soniccore release their 64-bit SCOPE drivers!

I wish to do Ralph Vaughan Williams Symphony No.4 1st Mov, a powerful piece that's quite unlike the sort of music VW is usually known for, and a good project to do as the notation isn't very complicated and the orchestra is of only moderate size so might suit my low availablily of RAM.

I agree with that Johann, it is an all around feat.  But the thing that is most noticeable on these responses is how people keep saying they stopped listening to the samples and just listened to the music.  In other words it is the goal of VSL to become invisible. 

This brings up the question of what makes this possible.  On another thread people were complaining bitterly about how some ranges of articulations were not complete.  They focused on a few tiny missing notes and generalized about the entire orchestral library.   But the fact this massively complex modern piece is not only possible, but very expressively played, demonstrates that the height of orchestral performance is possible with VSL.  I always notice today how people take for granted technology.  They think it is ordinary and even simple, because they are used to it.   But in the case of computer technology it is vastly complex, and the only reason it functions at all (when it does) is because thousands of people have worked on it, creating and maintaining an infrastructure of almost frightening complexity.  In the case of this kind of technology,  applied to music, the greatest challenge was not the technical means, but the musical system by which the breaking down of the huge instrument known as the symphony orchestra had to be created.  It is in this area that VSL shines - the way that a system was evolved for determining what notes of the almost infinite number of possible ones are most needed.   The knowledge and musicality of a great performer/programmer such as Jay Bacal are essential, but none of that would be heard if the system for the representation of orchestral sound was not so thoroughly and ingeniously worked out as it is with VSL.  To this musical system was added the programming of the Vienna Ensemble/Instruments, which accomplished what only recently seemed impossible - making a musically intuitive system for sample selection and performance.

I agree with William totally. VSL is capable NOW of producing realistic orchestral performances (but I think you have to pick pieces that suit it best) - emulating an orchestra with a computer is a terrifically complex task - VSL succeeds with this, so this enables a new breed of talented musicians to emerge - 'Orchestra performer/programmer'  to give it a crude title-- Jay Bacal is one of the pioneers - but he wouild not have bothered to have done it unless he knew the tools were available/capable to do it.

I think Jay with the Rite of Spring has set a benchmark - but there are equally realistic mock-ups by other 'performer/programmers' on the demo page - just not with the length and complexity of Jay's work.

Jay

What an achievement! It's brilliance is evidenced by the fact that you don't hear the programming. 

And what an amazing way to totally imprint a masterpiece in your brain permanently. It must have been a roller-coaster.

Ben Bartlett

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Please take this the right way (I've been trying to mock the Rite up for years to nowhere near the same level of success..)

But is there not a wrong note in the two solo muted trumpet section near the beginning of the second part?