It's funny how a person who is used to using just pencil, paper, and Finale is now excited about new recording software for rendering. It came about because I had several people in the past few years ask me if I could write music for their projects such as TV shows, videos, art shows, dance productions, etc. I said sure, but are you going to hire the musicians because I'm not? So I decided to jump into this world to make renderings for clients.

Last year I thought Cinesamples was my complete answer, but then I soon discovered that no library was perfect and the best answer was to mix the libraries. I also learned that even if your samples were recorded in a great room like Sony, they still needed a plug-in like East West's Spaces Reverb to both sweeten the sound and make them come alive.

My budget was only $1100 and I needed so much to feel the holes in Cinesamples. I needed better woodwinds so I "got the best" which was Berlin Woodwind's Main Library. I needed better strings which would have ate my budget fully so I purchased East West Spaces Reverb Plug-in to beautify those strings and Cinesamples' Tina Guo Legato Cello for added expression. I needed a piano, so I also went from Cinesamples, Piano in Blue. These "epic" sample developers do not know what flugelhorns or euphoniums are so then I had to order both the flugelhorn and euphonium solo from Vienna Symphonic Library. But the one library I am most excited about is Spitfire's Bones Volume 1, because Cinesamples' trombone ensembles are almost worthless because they lack true legato and the timbre cannot go to the rich mellow sound of true low brass.

So those are my new toys that I am downloading this week. Let me know if you have any questions why I pick those libraries over others.

~Rodney       

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  • They sound better than anything else on the market, have a bunch of articulations, the blend well with other libraries, and very playable out of the box. The clarinet ensemble, for example, blends better with CineBrass than CineWinds!
     
    Socrates Arvanitakis said:

    Hi Rodney,

    I have heard Vienna's WW and it sounded very good to me. I want to know why you gave preference to Berlin's version. How better are they? Is user tweaking and know how a decisive factor for both of them?

    Please give a sample once you've got something ready.

    I Just Ordered New Toys, Um I meant "Tools"
    It's funny how a person who is used to using just pencil, paper, and Finale is now excited about new recording software for rendering. It came about…
  • It's funny, the one I used the most is the one I thought little about, the Tina Guo cello. If they did full articulations with that beast, it could be the best cello vst on the market but sadly the Mikes at Cinesamples were too busy thinking of a sound design library. The spitfire trombones are beautiful, the piano beautiful, and the VSL instruments sound good but take the most tweaking to work with. I believe the best purchase was East West Quantum Spaces. Now I cannot live without it.
     
    Chris Carman said:

    Let us know how you like them.  All the sample companies seem to have their strengths and weaknesses and i'd be curious to hear your opinions after playing with them a little bit.  

    I Just Ordered New Toys, Um I meant "Tools"
    It's funny how a person who is used to using just pencil, paper, and Finale is now excited about new recording software for rendering. It came about…


  • Rodney Carlyle Money said:

    Help me out a little, when it comes to technology, I am a slow learner. This sounds very fascinating and maybe you can explain some more. Right now I can use any 64 bit library in Finale but since it is 32 bit it will "tap out" and say memory is full. I simply place the "dill" files into Finale's VST folder if I remember correctly. So how can Vienna Ensemble Pro 5 take the load off finale concerning other libraries that use another player such as Kontakt? Just for fun here is a link where I just used Finale with CineBrass Core: https://m.youtube.com/watch?v=oszEUEGFnI8

    Phillip Lovgren said:

    Hello Rodney,

    I believe you may still be able to use your 64-bit libraries with Finale using Vienna Ensemble Pro 5 as the sample host which then connects to Finale. Vienna Ensemble Pro 5 does a lot of the work for your software. I'm using it for my  32-bit DAW software and am able to use libraries such as Cinesamples and LASS and also 64-bit only libraries.  There is a free demo available although it does require the eLicenser USB dongle and you must have purchased at least one product from VSL. The product is on sale this month from VSL or retailers such as Sweetwater. I

    Sorry about the late reply. Yes, I understand that you don't have a compatibility issue with Kontakt and Finale but a 32-bit host(Finale)RAM limitation. Vienna Ensemble Pro 5 works OUTSIDE of Finale as a 64-bit host for Kontakt and others sample hosts, allowing you to access all your computer's memory. I'm not sure exactly how it accomplishes this but on my Mac the Activity Monitor shows VE Pro 5 accessing about 8 to 10 GB of my computer's memory and my DAW(Metro 7) is only using 114 MB of memory. This is a project that has a 32 track count so far using Cinebrass, Cinewinds, Cinematic Strings, LASS and some GPO percussion.  You should go to the VSL> Community site and do some searches or register and ask a question. They can be very helpful folks. Vienna Ensemble Pro 5 is amazing software.  

    https://www.youtube.com/watch?v=iEXzy_izeP4

    I Just Ordered New Toys, Um I meant "Tools"
    It's funny how a person who is used to using just pencil, paper, and Finale is now excited about new recording software for rendering. It came about…
  • Hi Rodney.

    Listened to your festival piece (again). Incredible piece and great sound.

    Hasn't been performed live yet? Shame if not.

    My question is about the horns. How good do you need to be to get those semiquavers?

    I know our horn players would never be able to play that piece, all amateurs, although our first horn played fourth horn in Schumann's Concertstuck.

  • Hello Michael, I hope this message finds you. For those wondering about the link Michael was referring to, here is the sound file for Resurrection scored for marching band: https://app.box.com/s/5lpmb5fa8xvapr84fdq46w18zl4x2vbk and here is the score: https://app.box.com/s/gcvw2tmwbhsbr0252scsdtzy6h6q21dm

    Thank you for the compliments, my friend. I have not heard it live as of yet, but it is being played across the United States in about 4 schools now including Central Florida University with a band of over 300 this fall. The 16th notes in the horns are actually a lot easier to play than one might think. It is in an easy range with a tempo of bpm=58-62, so it would be the same as playing eight-notes at 120. Any high school horn player should be able to play it.

    I am currently scoring this piece for orchestra for the ballets that I have been commissioned to write. When it is all said and done, it should run around 10 minutes hopefully. Hear is just a quick listen of 2 minutes rescored for full orchestra: https://app.box.com/s/bjgxr5xjjh13ahaeqk6hafs3sps30gu3
    Box
  • There is a part of the orchestral version that I want to add in the marching band version, and that is the 1st trombone line that has another melody. You can hear it at the loud section of the orchestral version, but that means I would have to rescore the trombones and euphoniums. The euphoniums would need to divide in parts which might work with larger bands, but I am afraid it will make smaller bands sound thin. Just things I need to think about.
  • .

    .

    Some things on this thread lead me to reflect, once again on the question:

    Why do some people insist the written score is not now obsolete?

    Much here seems to suggest that it is, or will be soon, when even those who advocate for the written musical score increasingly rely on what (apparently) will supersede it.

    The score window of any computerized composing problem appears now to be the appendix of the musical composition, doomed to irrelevancy, and eventually subject to removal and oblivion.

  • Because the written score is what translates from composer to live performer. Samples just provide a rendering and cannot compare to a live performer.
  • Why bother paying $15.00 when the pdf can be downloaded from IMSLP?

  • I just took a look. It's basically Aural Skills 1,2,3 that I took in my undergrad.
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