Discussion in 'SAMPLE Talk' started by Sami, Aug 11, 2017.
Fair enough I stand corrected.
Price point for OT is also over $2K though... :/
just the strings and the expansions are probably worth that much ;w;
In my practical experience.
I use Cinesamples stuff when I am going big and loud.
I use Spitfire stuff when I am writing 'score' or softer stuff.
I use both Cineperc and HZ Perc in pretty much everything regardless of size.
If you have the opportunity, get all you can from both!
Berlin Stuff is outside my budget, as much as I love it. Wish I had received "free products" from them too... :((
The venerable Daniel James himself! It is a pleasure to see you here, Sir!
Your demo of the CineSamples stuff was what essentially pushed me to start out with CineSamples (in particular, that Mahleresque theme in the strings demo at the start and those skull-shattering deep-brass and metal percussion rips in the brass demo).
On a different subject, I'm finding CS a bit easier to control than Spitfire and ease of use is of great concern for me. Optimally I'd be using something like Sibelius for writing but with the midi editing capabilities of a DAW, I'm simply not used to this workflow yet (or maybe Logic isn't the best tool) so CS definitely has a benefit there.
Checked your page out Mike - brilliant stuff you've written there...
Thanks so much Dervish, very pleased that you liked some of it.
+1 I like to use more than 1 orchestral VST; for ex I usually write sustain with SF (chamber+london), legatos with 8dio Agitato, other articulations with Orchestral Tools etc...making a good mix and applying a common reverb makes it unique and live (same for woodwinds and brass).
I'd love to hear a bit more about why you're finding CS easier to control. I'm making the CineSamples / Spitfire choice at the moment, without access to directly try either. They both sound wonderful - Spitfire a little more lush and Cine a little more gritty (which I like!), in terms of bows on strings etc.
But playability for me is really important. I want to be able to easily switch from long articulations to short, ideally using the pedal. I've heard that CS supports this but Spitfire doesn't. I also tend to initially write my string parts all at once - I mock up all the sections by playing it all at the same time, and then edit and split them out to separate tracks as need be. Does CS or Spitfire lead the way in terms of patches that support playing all sections, such as all strings, at the same time in the idea creation phase?
Any feedback you have based on your own experience of both libraries would be fantastic!
For legatos, spitfire specifically has patches for shorts and legato types called "performance legato". It has spiccato when you quickly tap notes. You can also change parameters on when you want articulations to trigger but it's not as obvious you can compared to cinesamples. I recommend you look up the performance legato patches to see how they sound and function.
You really need to look at VSL. Even the intro packages are awesome. Also EW Hollywood. If you're looking at doing more than "big bam boomy" both VSL and EW have a ton of articulations that some other packages lack.
My humble 2 cents.
You can switch articulations using a pedal.
SSS and SCS do have ensemble patches.
I've just watched the first video - that's amazing. It lets you latch using the sustain pedal and choose any articulation to pair with sustain - exactly what I was hoping for.
So the million dollar question... this video is for the Albion libraries. Do the Spitfire Symphonic Strings and Spitfire Chamber Strings have exactly this same feature?
Thanks in advance to anyone who can confirm!
I'm totally happy to spend money on good libraries, that is not the primary concern. My fear is that I don't have the technical chops to make them sound good (futz/ massage etc.) and that -in the end- my creativity is going to be hampered by the very technology that's supposed to boost it.
I've considered actually notating the parts in Sibelius and importing the midi into Logic for automation and humanization, but it's still a laborious process.
I'm just afraid libraries like Vienna or EW are going to be "too much" for me to handle all the parameters at once, both the playing aspect and the technical aspect.
Having tried out CineSamples for a few days now here are my findings:
The UI is unified across the samples, which makes them easier to control
The samples are for the most part very realistic sounding out of the box, safe some attack/release issues. I did notice a lot of difference between legato patches and non-legato patches for the same instrument, so those cannot be easily mixed (in a multi-timbral track).
Compared to Spitfire demos, I'm getting that intense, sometimes metallic, always energetic vibe. Maybe like a snowstorm in Minnesota or a sunset in Arizona.
Spitfire gives me the sound of a train ride through the Cotswalds, a dreary seaboard town in Southeast England or maybe a drive with my vintage British motorcycle.
If I'd have to make a choice all over again, I'd have probably gone for the Spitfire Samples first, just cause I'm British and I'm "that kind of guy" who totally digs Walton and that image that the sound conjures. But the next library I'd buy would be CineSamples, just cause my music sounds like Gustav Mahler most of the time and the emotional tension in the strings of CineStrings in the low dynamics is monumental for some of those passages (think Mahler 9th Symphony, first movement, basically every passage).
Nuisances with CineStrings: No divisi and no sordinos, that kills me. Probably gotta run out and buy either Spitfire now or CS2.
I wish I'd never found out about this sample business and stuck with Sibelius and NotePerformer, the amount of money I'm throwing into samples is getting out of hand......
Pardon my glaring ignorance, but I cannot seem to bring up this menu. Which icon brings this up and not the bubble?
Divisi / Sordinos ..... and NOT LASS Full 2.5 +LASS LS 2.5 ?? Just askin'
Oh you have no idea...
I have noticed that some said Cinewinds had a lot of noise, i really dont think so. After their latest patch the noise isn't a problem at all.
There is a great video from Cinesamples that is called treating Cinestrings. That was very useful when i tried to get the best out of them. It explains a little about eq and compression and a lot about how to use reverb on Cinestrings. Worth checking out.
Just on a small note - I am using Spitfire almost exclusively now.
About your fear of "not being good enough to use it" - my main point for purchasing the Spitfire Symphony Orchestra was:
"I want to stop worrying about the quality of the samples - no more hearing that it sounds good but you need better Brass etc. I want to concentrate on writing and brining my chops up with quality instruments where I cannot just shove the 'It sounds bad because bad libraries' card into the critique".
That's it. OT was way out of budget for full orchestra, so I went Spitfire - also Spitfire matches "the sound in my head" more closely. You can make bad samples sound good with your composition/orchestration and production chops. I went for quality in that department to ease the production need - I'm having a higher start point. I need production chops etc. nonetheless, but my sketches can be critiques by friends and composer-collegues on a good level, where we all know "it's not the samples that sound off, it's your composition/orchestration/production skill!"
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