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Hollywood strings, Symphobia, LA scoring strings... We can go on forever. EWQL Hollywood strings have made it up the food chain being the "top dog" in the industry of VST's. Why is this? Is it primarily sample recording? Or can it be the control of velocity at your fingertips? What are some opinions of the best! 

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Excuse an uninformed question: what is CC morphing? I absolutely agree about the spitfire and LASS-stuff, really good and love the clean, direct feel of the sound. I also found cinematic strings quite great for slower parts and really enjoy the GUI. Hollywood strings is a pretty good library as well.. Have yet to try out Berlin strings.

Spitfire has a beautiful assortment of string libraries at really good prices. Berlin Strings is one of the best I've heard altogether but is priced at $840 euros, which equates to about $940 USD.... great sounding library, one of my favorite composers uses it and has a few vids where he goes into detail about the library... his name Is Blakus (Blake Robinson). But, if you're looking for a nice ensemble of strings at a fair price, it's hard to beat what Spitfire has to offer... not only Mural, but their Sable strings are amazing sounding for small chamber strings... 

I'm using Spitfire BML strings mostly. I have LASS but I don't use it because the strings are so OUT OF TUNE. [You play a note and it takes a second for the string players to settle on a single pitch]. This is NOT real world [except for maybe high school orchestras]. For film scoring and concert music recordings, we would never allow such shoddy playing. Spitfire is better here.

As for Berlin, I'm not familiar with it, but I need  libraries that are dry to start with, or, as Spitfire, has different mic samplings from near to various room settings that I can choose. I can't use an out of the box "cinematic" sounding library, as I can add "cinematic" to a drier library, but I can't take it off if it already comes that way [a problem I think with Cinesamples].

This is an old thread where I don't know why people are responding but here's my thoughts:

LASS very detailed, you can get wonderful results but takes a lot of work and can sound quite harsh without proper reverb and eq.
Spitfire wonderful sound but has the most baked in reverb recorded at Air studios which is basically a church. Can be more difficult to combine with other libraries due to this.
Cinesamples can sound very dry, great shorts and soaring in your face strings but lacks con sordino for softer background passages. Sounds big but no division like LASS.
Hollywood Strings resorce heavy but beautiful and perhaps East West's best library.
Berlin great mic positions, easy to use, detailed, best sounding in my opinion and versatile becoming the new standard.
VSL needs MIRx for ease of use, recorded dry, no mic positions, and difficult to use compared to the other libraries.
Cinesamples doesn't really have this issue. It has three mic positions and you can cut off the reverb and adjust the releases forming a very dry sound. Sony only has a 1.5 ish reverb tail anyways compared to the 2.5 to 3 on Spitfire's Air Studios. CineStrings is good for in your face, soaring melodies and great shorts that cut through the mix.

Jonathan Sacks said:

I'm using Spitfire BML strings mostly. I have LASS but I don't use it because the strings are so OUT OF TUNE. [You play a note and it takes a second for the string players to settle on a single pitch]. This is NOT real world [except for maybe high school orchestras]. For film scoring and concert music recordings, we would never allow such shoddy playing. Spitfire is better here.

As for Berlin, I'm not familiar with it, but I need  libraries that are dry to start with, or, as Spitfire, has different mic samplings from near to various room settings that I can choose. I can't use an out of the box "cinematic" sounding library, as I can add "cinematic" to a drier library, but I can't take it off if it already comes that way [a problem I think with Cinesamples].

Yeah, the problem with Spitfire audio stuff is that it all works better with other spitfire audio stuff, Although I don't mind that, that much, most of their stuff is great, I especially like their percussion, it has tons of round robin and dynamics ranges (which is usually the weakness in some other libraries, like cinesamples' cineperc, which has too few dynamics recorded, making them work best for loud passages). 

by the way, Johannes Bergcrantz, when I mentioned Dynamic morphing I just meant to change CC1 (with mouse or modwheel) which is usually used nowadays to go smoothly(crossfade) from one dynamic range to another.

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