Used by many world renowned composers to record Hollywood soundtracks, the natural ambience it lends to the orchestra is both warm and detailed at the same time. Yeah, I love the Mic Position Mixes and being able to copy to different Arts for consistency but how do you raise or lower the volume of a specific Articulation, for example, if the String Col Legnos are louder than the String Spiccatos? Also, how do you give stems of Col Leg, Harmonics, Shorts and Longs which are typically asked for - and sometimes not - so flexibility is important when everything is coming out of the same audio output? The outriggers in particular have a sense of space, separation and width. It is six years since Spitfire Audio released Solo Strings featuring virtuoso violinist Andrew Haveron, viola virtuoso Bruce White, and widely-recorded British cellist Caroline Dale. Hi all, I'm starting the obligatory forum topic here, because I need to pretend to myself that I'll use some objective method of reviewing people's feedback here to stop me from the inevitable path of purchasing Spitfire Audio's newly released Symphonic Strings. This intuitive device allows you to build up complex patterns that react to your playing to achieve wild systems results tantalising Zimmeresque tension beds or cheeky multi-tonguing effects! Some time ago, I had a template with 800+ tracks, every articulation in its own track. I try and find a spot in everything I do for those flautando patches as well, they're just amazing. None of the patches feels static but feature an inherent liveliness that makes it a pleasure to compose music with.
This makes it very easy to mix with other libraries. For softer stuff the flautando are a bit of a must, as they work wonders in those sections, and the brushed shorts are nice also for a similar reason. Use these samples for exciting rhythm passages obviously , but also for injecting rhythmic energy into a melody line. This is our shot at creating the definitive compendium of Symphonic strings, recorded with a no-holds-barred approach. This miking can also be used to add overall definition, and sounds particularly effective when mixed in with the outrigger and ambient signals.
It basically consists of several different ensemble patches, layering the different instrument groups over each other in different articulations and sound colors, providing instant orchestral satisfaction by just playing a few chords. Like all contemporary orchestral libraries, Mural features mod wheel—controlled dynamic cross—fading for its long notes. Think I'm going to need to re-read a few manuals. Recorded at the studio that has played host to scores from blockbusters that have grossed billions of dollars, with the same players playing the same instruments. Concluding their year of renovation for now, British sample library developer just released another orchestral library:. I have just come across Legato Types and the Legacy Folder. Mural Volumes 1 and 2 are available only as downloads 33.
The effects samples fall into two distinct, drastically contrasting categories: in the red corner, a set of wild, screeching upwards and downwards glissando slides, suitable for all manner of unhinged musical madness and particularly scary when played by the basses. To ensure, every string section sounds from the right position in the stereo field, the library was recorded in situ — meaning at their position in the orchestra. I would use an iPad to visually have the Articulations but I am dubious because I'm trying to understand how to balance the levels of Articulations between one another and how do you layer different Arts on top of each other? If I would have or could to reduce my to many string libraries for sure all spitfire libraries would stay. The legato patches sound fantastic and their transitions smooth, adjusting to the speed at which you play. Room: Air Lyndhurst Studios, London Microphones: Close, Tree, Ambient in the core library, Outriggers, Close Ribbons and various stereo mixes in the expansion pack Developer: Software: Kontakt Player and full version Size: 86.
You can enable the built reverb and mix it to taste. Spitfire have totally nailed this technique: swells and fades sound smooth, natural and in tune, a great way of adding expressive, subtle or otherwise dynamics to your parts. Think I'm going to need to re-read a few manuals. Spitfire plan to release additional Stereo, Close Ribbon and Gallery mic perspectives for Mural: the first features a more direct, immediate sound and the latter, very distant, miking shows off the hall ambience to full effect. Each one has strengths and weaknesses and often a great deal can be achieved from blending several together to create the sound you need. Is this a correct thought? So that could mean you are able to manage the costs by using Spitfire Chamber String only. Thanks for sharing how you work.
I found that a three—way unison layering of con sordino first violins, second violins and violas produced an amazingly sheer, lush symphonic texture. It all comes down to the sound, which is completely dry with no room ambience whatsoever. My only complaint about Mural Volume 1 is the lack of certain articulations for second violins and violas, which has resulted in the second violins ending up with only five playing styles. Very popular amongst media composers on tight deadlines, it ships with just seven instruments — V1, V2, Violas, Celli and Bass, plus lite and full ensembles. Recorded at Air Studios in London and with the incredible level of experience and attention to detail Spitfire is known for, they managed to fulfill that mission after 5 years of development, coming out with an extremely well-rounded, complete orchestral collection to die for. Also, I'm also wondering how you would send different Reverbs to, for example, the Short Note Tails and the Legato Tails because of the way they are performed, the tails sound different with all libraries I know of? Again it is down to personal choice as to which of these you prefer from a workflow and flexibility perspective. This allows you to perform both smooth legato passages and accentuated marcato lines with one single patch, just by differing your velocity and by leaving gaps between the notes.
While woodwinds are often neglected these days, this library, in particular, can add some real power to your compositions. I like very much all those alternative articulations: flautando, Rachmanicoc, Sul G Legato wonderful tone , the alternative length shorts. I'm very intrigued about Articulation switching. In the tried-and-tested Spitfire Audio way, all the samples and articulations were recorded meticulously and with high attention to detail. These are very useful for situations, where you know you just need to use one or two playing techniques from a section. The character of the instruments and players is tangible in the samples and, like with the other libraries, the extreme variety, flexibility in sound, and deep sampling of this library give it an edge over most others.
I have it installed on my laptop hard drive so I can compose on the go without worrying about whether my computer will grind to a halt. They sound great but you do need a very powerful system to run them live. Currently I can only get one; which one would be the best to start with? Overall, Symphonic Strings features a polished and powerful sound, authentically reproducing a large string band in a concert hall. Yeah regarding Velocities, the performance Legatos rely on Velocity and speed of playing in order for the different Leg types to be setected so having a keyboard with bad velocity response is a bit annoying in this respect. Definitely on of my new favorite toys to play with and extremely useful for just writing. The Diamond version comes with additional microphone positions.
This saves you time and allows you to experiment with more confidence knowing that you can apply lots of sweeping changes to patches with ease. Since their recording conditions and presentation are identical, you can freely mix and match patches from the two collections: this is explored in Volume 2 in the shape of combination patches incorporating samples from both libraries. I will undoubtedly succumb and buy it. Along with the instruments and talent that appeared on those recordings, and the way they were instructed to play. All in all Cinematic Strings 2 is a very good library. Spitfire Audio has collectively clocked over 2,500 hours of sampling time since then.
Then the longs, trills, trems, and main shorts in for all the sections, and also the same for the ensembles if you want to use them. It mixes particularly well with Spitfire Symphonic Strings and Cinematic Strings 2. And that legato Sul G articulation. Other innovations include the Runs Builder and Playable Glissandi. And opening Kontakt to look in the patch list again just now, I can see I've got a long way to go to explore this library! Early versions could be a pain to work with, especially on Mac systems.