By way of contrast, the bottom notes of 'cluster gliss up' sound more like a slightly naff recording of a distant speedway race! We guarantee privacy and spam protection. The Platinum library has improved the sound of my productions 1000%. That's a good thing, but using old names for new programs is confusing — it would have been better if East West had renamed the new programs and included the originals in a separate folder as a courtesy to existing Symphonic Orchestra users. One area where a sample-playback engine often falls down in comparison to loading a more conventional library into a fully fledged sampler is in the amount of editing the user can perform on the sample data. The effect is romantic and dramatic, but if you want less expression, there's a fast attack version which dispenses with the fade-in. I'd also recommend at least two computers dedicated to the library to get the most out of the sounds.
The combination of the built-in slight crescendo, tasteful incremental vibrato and lush concert hall acoustic is very enticing, creating an attractive sound for solo passages. Two years after the sessions for the original library, the Symphonic Orchestra production team headed as before by the Grammy-winning recording engineer Professor Keith O Johnson returned to the original orchestral hall with the same pool of players to record a new set of samples. Although it appears to be limited to three dynamic layers, and therefore won't really cut the mustard for very expressive, subtle solo work, I found the piano to be a playable, fine-toned, well-recorded instrument with plenty of presence, which will more than hold its own in an orchestral arrangement. The violin's three-second crescendos are sensitively played, and one ambitious piece of programming sees the crescendo samples tacked on to the end of sustains in the form of release triggers — unpredictable to play, but quite entertaining!. A pair of Japanese taiko drums also provides some agreeable low-end, vaguely ritualistic thumps and shell hits. One answer is that the two ensembles sound different, the smaller section making a purer, more transparent noise than the rich chorusing of the 18 violins. You could run Strings and Percussion on one, and Brass and Woodwinds on the other — a good idea given that the strings and brass are typically the most used sections in orchestral writing, especially in Hollywood! As choir director, I need an orchestral sample set that exudes realism and impact, since our broadcasts cover the globe by radio and internet.
If ever there was an instrument you want to be able to play in legato style, it's the clarinet. Virtual is not a word I use very often but the Symphonic Orchestra is virtually perfect! The new sessions addressed all that, and more. At that time the library lacked marimba, celeste, piccolo trumpet, solo viola and solo double bass, and the implementation of performance styles was somewhat patchy. Neither solo instrument's long notes are looped, but the double bass player elongates certain long notes by means of a distinct, almost exaggerated change of bow direction after four seconds — this could be seen as an expressive performance artefact, but the timing of the very obvious note reiteration it produces is likely to be at odds with the tempo of your music! And other more advanced elements of the programming, seen in the automatic up- and down-bow-switching, various key-switching instruments, or the modulation crossfading, are similarly hidden from your prying fingers. Another advantage is that orchestral repertoire written for first and second violins can be programmed without fear of sample duplication. This violin section plays three types of short note: marcato three different lengths , staccato played with a good sharp attack and martelé. I can't compare this to every orchestral sample library on the market but if there's a better one I'll be amazed.
This 'attack removal' approach is also used to good effect in Garritan Personal Orchestra and other sound libraries. In all cases, there are breaks in the timbre as you move up and down the scale when new instruments join or leave the ensemble because of limitations in their ranges. Symphonic Orchestra's supplied Kompakt player. All sound very effective, and the staccato performances are very good indeed. The cost of it really isn't an issue for me, because when I need to do the orchestral mock-ups I need to have the best sounding, most expressive orchestral instruments I can find.
Effects come in two flavours: a collection of extremely creepy, slowly ascending atonal slides reminiscent of the orchestral build-up in the Beatles' 'A Day In The Life' , and a distant gassy noise which sounds as though the players are hoovering out the insides of their violins. In these styles, the horns sound as though they'd be more at home in Nosferatu's lair than on the high seas accompanying piratical high jinks — their three-semitone cluster chords are classic horror film fare, and the 'cluster bend' program in which half the section quietly sustains a note while the other half slowly drifts down a semitone has a wonderful, disturbingly dreamy effect. Other welcome additions are upward semitone grace notes played by flute, clarinet and the new English horn — the timing of these perky staccato ornaments is very precise and matches the delivery of the existing oboe grace notes. Going against the Hollywood grain, no-vibrato sustains have an austere, slightly dispassionate atmosphere, but the muted con sordino performances produce a warm, inviting, very enjoyable timbre. Why, you might ask, do we need two violin sections? The mic preamps used in the recording were the Professor's own design the compact Mackie mixer at the edge of this shot was for monitoring only, and was not used in the recording path. There are some 'no vibrato' sustains, but the vibrato tends to be either off, or full on — a few samples featuring a more subtle vibrato would have been welcome.
The manual gives a clear and logical though sometimes cryptic list of all the variations in playing style, but says nothing about the instruments themselves. I was more impressed with the new 'two trumpets' section, which delivers strong sustains and very good, ultra-short 'repetition' staccatos. Notice that the second note's start point has been placed slightly after its initial attack — this removes the initial bow noise or, in the case of a wind instrument, the breathy attack portion , causing the sample to speak more quickly and deliver an instant full-bodied tone. The short marcatos are the quickest of all, delivering an urgent, emphatic bowing which is very suitable for detaché fast lines. A deep, powerful preset called 'big sustain' packs an aggressive bow attack — play this in octaves at 100 Watts, and your neighbours will soon be seeking alternative accommodation. There are other restrictions: the old and new samples must both be installed in the same folder on the same hard drive, so if the drive you use for the original library doesn't have sufficient space to install the new samples, you'll have to move the old samples to a drive big enough to hold both sets.
The violin's 'sustained vibrato hard' preset has a biting attack and an intense, passionate vibrato. No staccatos are supplied, but a preset called 'sustain accent' does a reasonable imitation if played in staccato style. The copy-protection scheme used is the one found in most Native Instruments software these days. Run in sandbox or consider false alert if detected. Anyone planning to buy the Symphonic Orchestra library should think first about the hard disk space required by its samples.
Newman has enjoyed a longstanding working relationship with director Danny DeVito, having scored the films The War of the Roses, Hoffa, Death to Smoochy, Duplex, Matilda, and Throw Momma From the Train. All three styles have built-in alternating up- and down-bows, and the staccatos even have an option that selects a down-bow for every third note played! The new bass clarinet sustains are also an improvement over the originals. A workaround is explained in the manual, but it's tedious. Just keep doing what you are doing. For a complete breakdown of the three edition's contents, see. The player uses a fairly strong vibrato on most styles, including fine swelling 'expressive' samples and a fast octave slide up with terrific comedy potential.
However, close listening to the 18 violins' vibrato sustains and pizzicatos revealed at least three distinct dynamic layers. The 10 cellos are strong on dynamic mobility: their 'lyrical sustain' samples don't just sustain, but quickly fade in, pull back in volume slightly, sustain for a short period, then perform a crescendo building to a note that is abruptly cut off. Recording started in August 2002, the orchestra giving up their Summer break to the sampling sessions, and editing the resulting multi-channel recordings lasted nearly another year. Recorded by 11-time Grammy nominated classical recording engineer Prof. The string ensembles' tuning sounds absolutely perfect, probably the result of some diligent post-production tweaking. The solo cello more or less duplicates the solo violin's styles, but substitutes a double volume swell for straight crescendos. The production room and recording gave it a great finished sound out of the box.