Jerome thanks!

Wo!!! I didn't realize the limitations of this new library! Almost makes me reconsider this move! I'm very nervous right at the moment...to completely change over not knowing if I'll be able to have all the aticulations that I need at my finger tips could make my work flow a total disaster! I count on this library to enable a rediculous TV writing schedule. This news is not good!

I read the thread that you attached and a master key idea for the user would be ideal...I can only imagine having one machine maxed out and still needing more string articulations while the harp and perc machine is sitting there saying "please sir may I have another?"

I guess the good news is that I'll need no more than 4 computers (????) The bad news is that once I'm out of memory, I'm out of luck!

Can I say "This is not good" one more time!

Hold on, hold on [:)]

You can have as many computers as you have Vienna Keys, and as many licences you have.

In theory, you then can have up to 10 computers, since you have 10 collections in the Symphonic Cube, and thus 10 keys (Except that you have to buy the separate Vienna Keys, but they're only about 30$ each).

It all depends how you spread your samples. As soon as you keep the same samples from the same collection together, then everything's fine.

You can have Strings I, Strings II and Woodwinds I on one computer, and Woodwinds II and Brass I on another computer, and then Brass II and Percussion on a third computer, etc. It's all up to you.

What you can't do is have the samples of one collection on two different computers.

Jerome

@rpmusic said:

Jerome thanks!

Wo!!! I didn't realize the limitations of this new library! Almost makes me reconsider this move! I'm very nervous right at the moment...to completely change over not knowing if I'll be able to have all the aticulations that I need at my finger tips could make my work flow a total disaster! I count on this library to enable a rediculous TV writing schedule. This news is not good!

I read the thread that you attached and a master key idea for the user would be ideal...I can only imagine having one machine maxed out and still needing more string articulations while the harp and perc machine is sitting there saying "please sir may I have another?"

I guess the good news is that I'll need no more than 4 computers (????) The bad news is that once I'm out of memory, I'm out of luck!

Can I say "This is not good" one more time!

Rob, I'm in the exact same boat. I have 4 giga PC's and two Mac's that I use. I'm also inbetween the first season and second season on a TV series so I'm making my jump right now to VI.(I have about 3 weeks to sort it all out) I'm also worried that I'm going to have a problem distributing the VI in way that work well.
So far, what I've done is put the entire VI on new drives and adding those to my system while keeping my old set up where it is so that I can try to use both. I've also bought the GVI so I can use all my non-VI lib along side with my VI.
Not sure how this is all going to work out. It's a little discerning that after spending a huge amount of money to upgrade to the entire VI, to be facing this issues. I hope that Herb and crew find an alternative and more flexible system to license Vi.

Ok, that makes sense...I guess I'm just spoiled being able to maximize or "squeeze" the memory out of a particular computer by spreading smaller articulations across the board.

So I guess the trick is figureing out what libraries to put on what computer to get the most out of the memory.

Too bad we get penalized because their are morons out there that like to steal software! [:(]

i have already posted several times that there will be *linked licenses* available (currently available for solo strings) to run a library additionally on a second computer for a limited time.
since licensing works with locally attached protection devices and not eg. over a local network theré can't be such a thing like a second full license for (hopefully) obvious reasons.
christian

Tripit

I feel your pain brother!!! I'm starting to do the transition myself beacuse as you know with TV there is no good time to make a transition so you just sort of have to "jump in"...I'm starting by installing one Mac Mini at a time and slowly getting rid f the PC's. I think at this point that I'm going to keep one PC w/Gigastudio and the full ProEdition Library up and running in case I do run out of memory...at least I'll have that library as a back up!

(By the way, have you heard when the GVI will be available for Mac and do you like it?)

Thanks Christian!

I hope you know that this frustration comes out of fear of the unknown! Who knows, I may get this whole thing up and running and realize that I had nothing to worry about!

I for one really appreciate all the support you guys give!

Hey we're musicians which basically means we're nuerotic to begin with! [:)]

@rpmusic said:

Tripit

I feel your pain brother!!! I'm starting to do the transition myself beacuse as you know with TV there is no good time to make a transition so you just sort of have to "jump in"...I'm starting by installing one Mac Mini at a time and slowly getting rid f the PC's. I think at this point that I'm going to keep one PC w/Gigastudio and the full ProEdition Library up and running in case I do run out of memory...at least I'll have that library as a back up!

(By the way, have you heard when the GVI will be available for Mac and do you like it?)

Yeah, I have a small break inbetween TV seasons and feature films right now. It's the first real time off in loooong time. So it's now or never, because there is no way I could even think about trying to make the jump while we're in production which starts up again in about 4 weeks.

I would love to get rid of the PC's as I've been using mac's since the days of the Mac IIx, but I can't live without giga. As much as I love VSL, it's only maybe 40% of my composing palette. The other 60% is a blend of many other excellent libs that are currently mostly Giga. I don't understand how some guys just use one lib like VSl or EWQLSO for their entire palette. I'm need to blend a bunch of them to get what I want.

One of the main reasons I took so long to jump up to Vi was an issue with not being able to use giga. (besides wanting to wait while they sorted out the inital bugs) With the GVI out now, I'm able to join the two in one machine.
So far GVI looks pretty good, but I'm really just getting stuff installed right now, adding more memory and extra drives at this point. I'll be loading the drives and setting up all the autho here over the next week or so. And I'm trying to figure out my new lay out as well, which isn't so easy.

The good thing is that supposedly the GVI will be able to use the 3gb switch, so more samples all the way around. The pain part is having to break everything into all these smaller parts. One GVI is only 16 channels. I will have to load 6 instances now of them just to replicate one of my full loaded giga's. But it looks like I'll be able to load a lot more. I'll be pulling out VSL of the set ups and replacing them with VIs. Keeping everything saved and sorted might take a little more work now as well. Plus the gigapulse isn't the same. In giga I could access the gigapulse and sub mix sections. Not possible here. So, I'll have to rethink my mixing and just go with the altiverb in my main daw.
I hadn't heard anything about a mac version. I would love it if they made one. Until then though, I'm having to stick with PC's.

Pulling VSL out of your palette and replacing with VI will not only save you a lot of memory, but also a large number of MIDI tracks. Whilst I've never gone in for the 300+ tracks that some users do, I was regularly using between 150 and 200. Now that I have VI it is quite rare for me to use over 70 tracks.

Regarding using one library, I use mostly VSL, although I do mix and match within that. For example whilst all the violins might be from VSL, they will probably be a mixture of Appassionata, Orchestral, Chamber and Solo. There is really no need to go to another library as I've not heard anything from any competitor that VSL can't do. Using mostly VI makes my workflow much faster than using any other product on the market today. Of course I also have the advantage of knowing that my demos are going to be replaced by top session musicians, so I don't have to make it all sound perfect. In fact it could be counter-productive to make it sound too good, as the clients might not want to pay for the players if they thought that they could get the same result without ever leaving my studio. [[:|]]

DG

CM

I am unaware as to th elink license that you refer to for solo strings. How does one utilize this feature?

J

jay, there is no automated method available currently (and i'm not so sure it will ever be) so please just request them.
as mentioned we have only linked licenses for solo strings for testing purposes so far, so please ask for it opnly if you really need it and not as a *nice to have*

you can download a linked license for a collection to a second ViennaKey using an activation code you will recieve if you have the respective license already (both keys have to be attached to a computer with LCC and internet connection). after a successful download you activate the linked license and have 100 starts for the respective collection on your second key. it works for full libraries (standard + extended) only.
christian

@DG said:

Pulling VSL out of your palette and replacing with VI will not only save you a lot of memory, but also a large number of MIDI tracks. Whilst I've never gone in for the 300+ tracks that some users do, I was regularly using between 150 and 200. Now that I have VI it is quite rare for me to use over 70 tracks.

Regarding using one library, I use mostly VSL, although I do mix and match within that. For example whilst all the violins might be from VSL, they will probably be a mixture of Appassionata, Orchestral, Chamber and Solo. There is really no need to go to another library as I've not heard anything from any competitor that VSL can't do. Using mostly VI makes my workflow much faster than using any other product on the market today. Of course I also have the advantage of knowing that my demos are going to be replaced by top session musicians, so I don't have to make it all sound perfect. In fact it could be counter-productive to make it sound too good, as the clients might not want to pay for the players if they thought that they could get the same result without ever leaving my studio. [[:|]]

DG

Yes that is true. About half of the feature film score I do goes to real sessions and while the mock ups have to sound good, they aren't the finished product. Also I agree about not making the mock ups too good. But the other half of my work currently is for TV as well and only a small portion of that is live. No budget for live orchestra.

As for a single lib, I generally don't use a huge amount of orchestral replacements for VSL - there are other articulations from other libs that I use because they work better in context or VSL just flat out doesn't offer it. But I also use a huge amount of instruments that VSL doesn't offer. There's a whole world of sounds out there and VSL only covers a very small part. But with that said, I rely on VSL for the bulk of my orchestra and I agree that it's the best over all.
I look forward to having the expanded lib now and access to all the new strings and other articulations. I imagine that I will be using more of VI now.