LA Scoring Strings

[James Semple]

Well this is just a quick blog post to say "Wow!"

These arrived last night and they are amazing. I'll go into more and more detail over the coming weeks.

In the meantime please take this demo put together extremely hastily. I will be refining it over the next few nights.

http://www.jamessemple.com/music/lassdemo.mp3

This doesn't even get close to showing what LASS can do but at least you get some idea of the rich and beautiful sound of the library.

[Jules Bromley]

Peter - your 'review' looks like it's rather more in depth than just 'a review'. You're being as modest as ever.

Great work, and I look forward to reading the next installment, and learning a lot more about divisi writing along the way!

Jules

[Jules Bromley]

Great work James.

Got mine a week or so ago and very much enjoying them. Section legatos and spiccatos are in a class of their own. Marginally less keen on the solo chairs, but horses for courses I guess. My only other gripe is the difference in articulation control between the short and long articulations. Not quite sure why Andrew programmed the long articulations with mod wheel controlling portamento, and the short bows with it controlling velocity. Makes it hard to adapt your playing style depending on which patch you're using.

Otherwise an excellent addition to anyone's string library.

All the best

Jules

[James Semple]

Here's a second demo which really shows LASS in more of a supportive role. I'm possibly the only go creating demos that hasn't gone mad with portamento effects...

http://www.jamessemple.com/music/lass2.mp3

[Peter Alexander]

Hey Guys! My first review of LASS just posted.
http://soniccontrol.tv/2009/07/31/lass-part-1/

I'll be following this up with three more reviews each testing LASS with specific string examples and techniques.

Peter Alexander

[Jules Bromley]

Hi James

Totally agree on the quality of Guy's courses. Genuinely practical, highly informative, well structured and industry orientated. The seminars I went to last year were exceptionally interesting and packed full of carefully thought out content, real-world examples etc. It helps that he's a phenomenally adept and productive working composer himself.

Unfortunately (or fortunately perhaps) I have just never had the time to complete much of the course work beacuse of work commitments. Comtemporary Orchestration sounds excellent - I should check that out.

Thanks for the invite - ditto if you're ever up Manchester way.

All the best

Jules

[James Semple]

Hi Jules,

I finished MFTM in November. I've also completed Digital Musician (now renamed Digital Music) and beta-tested their new (and excellent) Contemporary Orchestration course. I think the courses were excellent overall but now I'm out doing stuff with independent films and video games.

Thank you for the comments on my music, I'm glad you like it. If you're ever down near Reading then give me a shout and you can come and hang in the studio.

cheers

James

[Jules Bromley]

Hi James

That's extremely kind. I was honestly just thinking the same thing about your music, and wondering how (and to some extent why) you're still finding time to continue with MFTM. You've clearly got all the skills, and some very interesting approaches to melodic phrasing.

That's very helpful and encouraging news about the solo strings. If they're good, you just know the rest of the library is going to be fantastic.

Thansk again and all the very best

Jules

[James Semple]

Hi Jules. The solo strings are phenomenal. Absolutely amazing. The solo cello is just incredible. Also this library has the best viola samples as well.

BTW, Tyrone showed me your music a couple of months ago - absolutely fantastic stuff!

[Jules Bromley]

Hi James

The revised demo's sounding great - lovely tone, and a lovely arrangement.

Many thanks for the updated impressions. I'm placing my order now. Out of interest, are you finding the solo strings can stand up on their own? I can just about get a convincing solo violin out of VSL, with some careful work, but I find most other libraries fall down on the solo performances. Just wondered how you thought the LASS solo libraries performed.

I just bought a dedicated system to run our orchestral libraries, which is currently running VSL in MIR, and EWQLSO PLAY, so system specs shouldn't hopefully be a problem.

Thanks again for the insight and impressions.

All the best

Jules

[James Semple]

Hi Jules.

I have to agree that, for what you're getting here, the pricing is phenomenal. This library has top-quality solo strings, chamber sized strings and full symphonic strings. It also has sordino versions of these as well. How much might these all cost from another well-known library? I'd say about 3 times the pricess of LASS (maybe more).

One thing to consider is that to use the library properly you are going to need decent hardware. Each articulation really should be using 4 tracks per section. For instance for 1st violins legato you would use: -

1st chair (solo violin)
Divisi A (4 players)
Divisi B (4 players)
Divisi C (8 players)

A little randomisation on these and the attacks blur in a very satisfying and realistic way but obviously they are quite heavy to use. Andrew K recommends 2 PCs just for this library although I'm still running it on my main DAW (8-core Mac Pro).

I have all the top string libs (VSL App, Sonic Implants, EW, Symphobia) and these are really at a different level. Symphobia perhaps comes closest in terms of tone.

I do think these will blend well with others (and I may still blend in some Symphobia) but once you begin using them I'm not sure how much VSL you'll want to use.

Still haven't even begun looking into the Auto Rhythm stuff for ostinato passages but it seems amazing!

Oh and check out my link above again. I uploaded a new version last night with much better production.