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Guide to VE Pro and Logic Part 1 & 2


n6smith

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Fair enough. Although I've set a few others up with VEP5, I've gone back to a one Mac system myself. I didn't like HAVING to use VEP5 if I just wanted to do a simple sequence that happened to use one sound that was only authorized to the slave. If there's a simple way around that, I'd probably grab an XPC.
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Fair enough. Although I've set a few others up with VEP5, I've gone back to a one Mac system myself. I didn't like HAVING to use VEP5 if I just wanted to do a simple sequence that happened to use one sound that was only authorized to the slave. If there's a simple way around that, I'd probably grab an XPC.

 

Sure, and I do have some smaller HO templates for my Mac in those cases.

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Hi Ashermusic,

 

Im just replying out if courtesty - and out of a little confusion. Can I ask you if your reply of May 30th is to my post on the 29th? If so, I cant make sense of it.

 

my questions were more general, about the necessity on whether required to do extra installs and acquire extra licenses on slave systems, but I cant find answers to my questions in your reply.

 

So if you were replying to me, thanks - but I'm utter lost - and wonder if you could indicate whether plugin and sample library installs are needed to be replicated on each slave system, and whether multiple licenses need to be purchased.m

 

Apologies if this is obvious to you and I seem dumb, but having even checked out the VSL web site and youtube setup tutorials, none explain the very basics to new potential users like me, regarding what preliminarty plugins, sample library and license issues need to be sorted for VE Pro to be actually used.

 

Thanks,

Kevin.

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Hi Kevin, I'm not as expert in this as Jay, but I'm 99.9% certain that whatever computer is hosting the plugins needs the authorization. So you can MOVE the auths from your master to your slave, without buying a 2nd set. (Or whenever possible, just keep them on an iLok and move that when necessary.)
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Hi Ashermusic,

 

Im just replying out if courtesty - and out of a little confusion. Can I ask you if your reply of May 30th is to my post on the 29th? If so, I cant make sense of it.

 

my questions were more general, about the necessity on whether required to do extra installs and acquire extra licenses on slave systems, but I cant find answers to my questions in your reply.

 

So if you were replying to me, thanks - but I'm utter lost - and wonder if you could indicate whether plugin and sample library installs are needed to be replicated on each slave system, and whether multiple licenses need to be purchased.m

 

Apologies if this is obvious to you and I seem dumb, but having even checked out the VSL web site and youtube setup tutorials, none explain the very basics to new potential users like me, regarding what preliminarty plugins, sample library and license issues need to be sorted for VE Pro to be actually used.

 

Thanks,

Kevin.

 

 

No Kevin I was not. But since you asked:

 

1. VE Pro 5 itself comes with 3 licenses but you would need two e-licenser (Steinberg) keys to run it on two computers.

 

2. Some libraries come with more than 1 license, but the EW ones do not, so to run an EW library on two computers requires 2 licenses. The second one however is 1/2 off.

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Thanks-

 

I asked because you posted your message a day after my post, but the previous post was in late April - hence why I thought you were posting to me!

 

Thanks for the information. That's a great pity. Even buying another 1/2 price license of such libraries is too expensive for most. I read about VE Pro with great enthusiasm only recently - thinking that it provided a mechanism to harness the CPU and RAM of other 'slave computers'.

 

Unfortunately it isn't that. The other systems VE Ensemble communicates with are just other systems - fully paid for in all respects - synced via audio and MIDI to your main system - so VE Pro isn't really offering anything at all from the true "slave system" stand point since the user has to pay out multiple times for all licenses.

 

A pity - it looked good (until I understood what it really is). It would be far more cost effective (and ultimately work flow efficient) to buy a single, more powerful computer.

 

Appreciate your clarity on it.

 

Cheers,

Kevin.

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Thanks-

 

I asked because you posted your message a day after my post, but the previous post was in late April - hence why I thought you were posting to me!

 

Thanks for the information. That's a great pity. Even buying another 1/2 price license of such libraries is too expensive for most. I read about VE Pro with great enthusiasm only recently - thinking that it provided a mechanism to harness the CPU and RAM of other 'slave computers'.

 

Unfortunately it isn't that. The other systems VE Ensemble communicates with are just other systems - fully paid for in all respects - synced via audio and MIDI to your main system - so VE Pro isn't really offering anything at all from the true "slave system" stand point since the user has to pay out multiple times for all licenses.

 

A pity - it looked good (until I understood what it really is). It would be far more cost effective (and ultimately work flow efficient) to buy a single, more powerful computer.

 

Appreciate your clarity on it.

 

Cheers,

Kevin.

 

Why not simply put your most demanding libraries, as I did with the Hollywood Orchestra, on the slave? In other words, divide them up. The only additional cost will be a second iLok key if the libraries require iLok and a second e-liscenser key.

 

And I don't believe a single computer, even a really powerful new Mac Pro, can give you the power I have achieved for considerably less money than that machine.

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Aha - a very smart idea (that's why I wouldn't have thought of it). Clear once you make the point - and very powerful.

 

I'm new to this - so clearly applying a sledge hammer to a nut in my thinking right now - so thanks for that excellent idea - VERY much appreciated - thank you!

 

I'm suddenly excited about this again (and there are other advantages to VE Pro that you've highlighted in this thread and I've read elsewhere, so clearly a platform to be embraced :-) ).

 

Thanks!

 

Very best,

Kevin.

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  • 1 month later...
And to Jay, or anyone out there - does anyone know why all my EWQL and EW Hollywood sounds glitch and get audio dropouts, while the Spitfire sounds (and most all libraries) stream perfectly over the LAN?

 

So many variables: power of machines, amount of RAM, the way the v-frames are set up in VE Pro 5 and accessed by Logic Pro audio driver settings etc.

 

Look at my signature and you can see what I am using and I don't have those issues.

 

I help people optimize their setups but it is a paid service as VE Pro stuff is not part of my EW gig.

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Thanks Jay. We've already had a couple of paid phone calls, and I appreciate your time. I'm using the setup you've outlined in several posts (and over the phone).

 

But since none of the the other libraries glitch (and I prefer the sound of Spitfire so much over the EW) I think I'll just use those.

 

If anyone else feels like sharing their experience with EW vs. other libraries, I'd appreciate it. I will say, all Kontakt libraries are working glitch free.

 

Thanks again.

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There is no doubt that the Hollywood Orchestra, especially Diamond, is the most demanding out there. There is also no doubt that for its maximum potential you need a decent Mac with Lgic Pro and a reasonably powerful slave PC with a lot of RAM and SSDs, like I have. If one does, then one will have no problems with clicks and pops unless something is wrong on the rig.

 

As for preferring Spitfire, if you like to work with the sound of wetter libraries, they are a fine, if really expensive, choice. Personally, I prefer libraries tha are more dry, because it is easier to combine them together.

 

But horses for courses.

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Thanks Jay - My slave is a MacPro Tower with Samsung EVO SSDs and 32 GB of RAM. Some Buffer settings and Max Voices in Play seem to be helping. Not sure what you mean by Spitfire being a wet library -- the close mics are actually quite intimate. Anyhow - if anyone else has any insight, that'd be great. Cheers.
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Thanks Jay - My slave is a MacPro Tower with Samsung EVO SSDs and 32 GB of RAM. Some Buffer settings and Max Voices in Play seem to be helping. Not sure what you mean by Spitfire being a wet library -- the close mics are actually quite intimate. Anyhow - if anyone else has any insight, that'd be great. Cheers.

 

But which Mac Pro tower, I have forgotten? Unless it is the new trash can, it simply is not going to rival my PC slave for the Hollywood Orchestra..

 

And once again, I have great respect for the Spitfire guys and their libraries but I think the close mics do not sound good at all and defeat the whole point of buying Spitfire, which is that lovely venue.

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