VEP w/ Vienna Suite

[littlewierdo]

I suppose this could be in another thread too, but Ill post it here. I just purchased Ensemble Pro, and I have a 30 day license for Suite Pro (I am using Cubase 10 Pro and the Special Edition complete, eastwest, cinesamples, and 8dio sound libraries). I have never done FX routing to any major degree as most of what I do doesnt really require it, but I want to start dabbling with it and improving my projects a bit. As Hanz Zimmer once said, composers are no longer just writing music, they must be sound engineers too.

1. What Im wondering is, is it better to set up the routing for FX (specifically Vienna Suite) through my DAW or completely bypass my DAW and do the routing through Ensemble Pro? Currently, Ensemble doesnt even see that I have Vienna Suite installed, and as such, I dont see it listed when I create a new BUS (I see my other FX plugins, but Im not seeing any Vienna Suite FX). I feel like setting this up through Ensemble will require less work (Cubase FX routing seems awfully cumbersome to me) but I need to get Ensemble to see Vienna Suite first.

2. The second question that is unrelated, the free version of ensemble loads a server instance automatically and connects to it when I add an Ensemble instrument track. The paid version, I have to launch the server first and then load my DAW and instrument track, then connect to the server. Since my DAW, Ensemble, and soundfonts are all being used on the same machine, how do I make Ensemble Pro launch the server automatically and connect to it automatically, in the same way the free version behaves?

3. Am I to understand that Ensemble Pro, specifically the surround version will allow me to export my audio in flac format with surround channels encoded (using the Cubase 10 export audio function)?

[bbelius]

Hi,

1. it depends on your workflow and your preference
Personally I try to have all FX except MIR in my DAW to have all FX in one place. But somtimes I equip a simple EQ before MIR in VE.
(Routing in Cubase is not that complicated and you don't need much FX channels most of the time. Just use the insert slots.)

3. VE Pro is capable of surround input / output. The encoding and export functions are dependend on your DAWs capability (Cubase 10 can do it).

Best, Ben

[jasensmith]

I can't answer questions 2 and 3 but, like bbelius said in 1, it all depends on your workflow.

Personally, I like inserting certain Vienna Suite plugs like, Power Pan EQ and Converbs, into Vienna Ensemble for several reasons, one being, I already have my templates built with those plugs set although I might adjust them depending on my needs.  Also, I believe if you insert the plugs in the VE instance it will reduce the strain on your CPU then if you inserted them to individual tracks within the DAW.

However, other plugs like Compressor, and Limiter, I'll insert on the audio track after bouncing in the DAW.

Then you have the multiband limiter, master EQ, Hybrid Reverb, and Analyzer which should be inserted on a Bus like the master for mastering.

 

I think for once I actually agree with Mr. Zimmer on this one.🤔.

Have a Happy New Year🎉

[William]

"As Hanz Zimmer once said, composers are no longer just writing music, they must be sound engineers too."

Yeah, doing what J.S.Bach, Beethoven, Brahms, Bruckner and Mahler did is just not sufficient anymore.  

[Acclarion]

@William said:

"As Hanz Zimmer once said, composers are no longer just writing music, they must be sound engineers too." Yeah, doing what J.S.Bach, Beethoven, Brahms, Bruckner and Mahler did is just not sufficient anymore.

Something interesting to ponder though, is if those masters weren't writing for live performances, and their only performances were with virtual instruments, how much less music would they have written in their life, considering how much time must be devoted to rendering virtual performances. Dave

[Errikos]

@William said:

"As Hanz Zimmer once said, composers are no longer just writing music, they must be sound engineers too."

Yeah, doing what J.S.Bach, Beethoven, Brahms, Bruckner and Mahler did is just not sufficient anymore.  

Well I'm sure Hans was referring to film -not concert- composers, and in that case he is of course absolutely right about 99.999% of today's practitioners; which is exactly why film scores today sound like engineers compose them instead of musicians. John Williams must really feel inadequate, poor guy...

Happy 2019, hopefully the wise men will all bring better aesthetics this coming year, we have enough of gold, frankincense, and myrrh, thank you.

[littlewierdo]

Very few composers are writing for live performances only. In fact, Yanni is one of the few that I think still writes for live performances. That and maybe broadway plays.

Many people ask me, why is classical music still relevant? Who still writes classical music? My response has always been, they still exist, but now they write soundtracks.

[Acclarion]

@littlewierdo said:

Very few composers are writing for live performances only. In fact, Yanni is one of the few that I think still writes for live performances. That and maybe broadway plays. Many people ask me, why is classical music still relevant? Who still writes classical music? My response has always been, they still exist, but now they write soundtracks.

Well, count me among the dinosaurs, as I write concert music exclusively for live performance and feel classical music is just as relevant as it always has been, for those that understand and appreciate it. Of course, as a percentage of the overall music-consuming public, it is very small, but I'd rather have 50 people in a room actively listening to my music, than 100s passively consuming it in a bar/nightclub/at the movies, etc.

[William]

There has never been a huge number of "classical" composers.  Probably percentage-wise the same number exists today as at almost any era of music, if one is talking about concert music.  So the friend asking "who writes classical music today?" is probably utterly unaware of the similar composers of previous eras as well.  Pop music in all its forms is a new development, different from either concert or folk music especially in the rabidly commercial aspect. But that hardly means "classical" or concert music is dead. 

Dave, I agree on hearing good concert music vs. bad film music, but not on hearing bad concert music vs. good film music.  😃

Happy New Year 🎉🍺🍺🍺

And remember - don't drink and post.  (Drinking and composing is o.k.)

[Acclarion]

@William said:

Dave, I agree on hearing good concert music vs. bad film music, but not on hearing bad concert music vs. good film music.  😃

Happy New Year 🎉🍺🍺🍺

And remember - don't drink and post.  (Drinking and composing is o.k.)

Hey Bill,

I should clarify, because I wasn't referring at all to the quality/perceived quality of film vs. concert music.  All I meant was that, for me as a composer, I'd be happier knowing that a small group of attentive and engaged listeners were congregating in a concert hall expressly to listen to my music than a film composer's score being passively consumed by an audience that is really only there for the film, and may or may not even notice the music.  Of course, as musicians, we all pay attention to film scores, but I think a lot of audiences that go to movies don't really think about the music, unless it is extraordinarily good/bad/distracting to the image on screen.

Happy New Year to you too!  I don't drink, but maybe it would help me with writer's block every now and then 😊

Dave

[littlewierdo]

Historically, most classical composers wrote for both pop music, which consisted of opera and and ballet (this is where the money was at) to sustain themself, and wrote the traditional classical music on the side.