# So, what is the verdict on HZ Strings?



## bvaughn0402 (Mar 15, 2018)

I realize that HZ Strings isn't out yet ... but after all the talk and debate ...

I was curious where people finally landed on this?

Do you feel it is an essential part? 

I feel like I've spent way too much money on things this year. And I have a lot of great string libraries (some Spitfire, CSS, etc).

So I'm just really debating it ...


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## X-Bassist (Mar 15, 2018)

I would think about it then put it on your wishlist if you really want it, perhaps at 40-50% off it may be worth learning a new engine and adding to your string palette. But like you indicated, I currently only have a dozen or so other choices in the string department.


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## Geoff Grace (Mar 15, 2018)

It seems a little odd to ask for a "verdict," when none of us have yet had a "trial" run of the product; but my impression from the information we have at this point is that it will be a useful product for those of us who have a need for the something extra it provides.

As for me, I have other needs to address first; but it's already on my wish list.

Best,

Geoff


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## Eptesicus (Mar 16, 2018)

Sounds interesting. Can't afford it even at the intro price though. Might be tempted if it is 50% at some point in the future.


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## fiestared (Mar 16, 2018)

Eptesicus said:


> Sounds interesting. Can't afford it even at the intro price though. Might be tempted if it is 50% at some point in the future.


One can dream on, something tells me it won't be discounted for a while !


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## jamwerks (Mar 16, 2018)

It's definitely a nitch product. I go on my gut asking myself if that's a sound I want /need in my pallet.


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## Jimmy Hellfire (Mar 16, 2018)

As you said, it's not even out yet. To me, this seems like a personal struggle between "I wanna buy more stuff" and "I know I shouldn't by any more stuff".
Nobody can tell you anything qualified about the product. I would agree with those seeing it as a "nitch" or "special flavour" library. It's not what every other string library is. It's also not a "bread and butter" library.

Is it worth the price and do you like the sound - that's something one can only know themselves.


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## blougui (Mar 16, 2018)

I DOubt it’ld be at -50% any time soon : had some HZ products in my wishlist christmas sale and it was rather a minus 25%.

I like the roundness of it, and the soft arts, though already in Toundra but evidently in another form, seem gorgeous.

But as many of us, I grabbed many strings during these insane sales, far more that I need. Or lets put it that way : I cannot spend all my limited dough on strings whenever SA spit out some jewels. What I need now is an SSD and some faders.

But tempted I am, for sure...


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## muziksculp (Mar 16, 2018)

I would categorize HZ-Strings as a niche/specialty library, I'm not really sure it will be a frequently used library if I had it, so ... it's not easy to decide to buy it at the discount price. Although, I still think that more demos & videos will help to better evaluate it. 

For now, I'm undecided.


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## d.healey (Mar 16, 2018)

bvaughn0402 said:


> Do you feel it is an essential part?





bvaughn0402 said:


> I realize that HZ Strings isn't out yet


How can something that doesn't exist be essential...


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## ghandizilla (Mar 16, 2018)

HZ Strings are so revolutionary they became...



*~.The Schrödinger Library.~*​


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## artomatic (Mar 16, 2018)

As for me, when I heard the demos, I got really excited. This is the lush sound that I've been wishing for!


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## Inductance (Mar 16, 2018)

If I wind up getting it (and I probably will, who am I kidding), it will be because of Oliver's video. That strings sound is ethereal, otherwordly. It tickles the creative part of my brain.


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## X-Bassist (Mar 16, 2018)

Geoff Grace said:


> It seems a little odd to ask for a "verdict," when none of us have yet had a "trial" run of the product; but my impression from the information we have at this point is that it will be a useful product for those of us who have a need for the something extra it provides.
> 
> As for me, I have other needs to address first; but it's already on my wish list.
> 
> ...



I like how you answered him with a comment that could be applied to any library:
“my impression from the information we have at this point is that it will be a useful product for those of us who have a need for the something extra it provides.”
Almost like a politician reading from his lawyer’s written statement: “We cannot confirm or deny...”
 Thanks Geoff, I guess that is as much as anyone can say atm.


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## X-Bassist (Mar 16, 2018)

blougui said:


> I DOubt it’ld be at -50% any time soon : had some HZ products in my wishlist christmas sale and it was rather a minus 25%.
> 
> I like the roundness of it, and the soft arts, though already in Toundra but evidently in another form, seem gorgeous.
> 
> ...



I agree, to be clear I see getting this at half price (or close) at or after Christmas 2019, which means I might not get to download and play it in something until 2020! 

Now that I think of it, last years wishlist items may only have been 40% off.


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## Michel Simons (Mar 16, 2018)

X-Bassist said:


> Now that I think of it, last years wishlist items may only have been 40% off.



Which, if I remember correctly, was the highest ever because of their 10th anniversary. So 50% off...don't see that happening anytime soon.


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## Soundhound (Mar 16, 2018)

I use it every day even though it doesn't exist. My first collection featuring the library, 'Hans and Christian Take Schroedinger To Lunch' (Opus XX, No. 9, No. 9, No. 9...) is coming along nicely. 



d.healey said:


> How can something that doesn't exist be essential...


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## blougui (Mar 16, 2018)

I indist, HZ percussion was only 25% down unlike the rest of my wishlist. I think they have to pay a special fee to use HZ name.


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## bvaughn0402 (Mar 16, 2018)

Thanks everyone ... I realize that much of what I meant to ask is if people were seeing this as "niche" or "bread and butter". If this is really meant as a "bread and butter" I think I would consider it. But not really wanting to spend money on "niche". It does sound nice though. But if you played me something written in this vs SpitFire SS or CSS ... not sure I could tell the difference.


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## Inductance (Mar 16, 2018)

bvaughn0402 said:


> Thanks everyone ... I realize that much of what I meant to ask is if people were seeing this as "niche" or "bread and butter". If this is really meant as a "bread and butter" I think I would consider it. But not really wanting to spend money on "niche". It does sound nice though. But if you played me something written in this vs SpitFire SS or CSS ... not sure I could tell the difference.



IMO, I see it as another color, or set of colors, to add to my toolbox. It won't replace any of my primary tools, but it will be there to add interesting textures. Just judging from the demos, it seems like the big difference between this one and other string libraries is the soft articulations. Getting all those instruments to play that softly and delicately creates very interesting effects.


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## driscollmusick (Mar 16, 2018)

I admit I don't really understand it. Since it is recorded in AIR and has fewer articulations than their other strings libraries, it seems like the library's existence is based simply on an assumption more strings = better sound. But like all doublings, I think more strings (after a certain point) just means less expressive capability. The best part of a huge string section, IMO, is being able to write larger divisi chords. But even if you play a simple triad with the HZ 60 Violins instrument, you are actually creating the sound of 180 violins (in the demos online they do even more than that). It just sounds thick and indistinct to my ears.


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## Parsifal666 (Mar 16, 2018)

driscollmusick said:


> I admit I don't really understand it. Since it is recorded in AIR and has fewer articulations than their other strings libraries, it seems like the library's existence is based simply on an assumption more strings = better sound. But like all doublings, I think more strings (after a certain point) just means less expressive capability.



Tell Wagner, Mahler, John Williams that.

I like what I hear, but I'm honestly more interested in grabbing LCO. Mostly because I already have great SF (and EW) libraries...and I'm not sure the HZ Stgs is going to give me a whole lot besides yet another kind of niche library...and LCO is just more up my alley in the dept.

I say that, but I've been swayed upon release by SF's products before, so I don't want to be too hasty 

I imagine getting this library would be pretty darn exciting, nothing like the first few weeks of a brand spankin' new.​


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## driscollmusick (Mar 16, 2018)

Actually I don't think Wagner or Williams used especially large string sections, and the largest orchestral pieces of Mahler, Strauss and Schoenberg (e.g., Gurrelieder) only call for 20 players per violin section at the most. If anything, I would consider this library in the realm of sound design as opposed to reflecting anything in the standard orchestral repertoire.

LCO is great and definitely worth it if you will use the articulations (I am a fan of Spitfire, BTW, but their appeal to me is the subtlety/realism of their samples, not the bombast)


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## Parsifal666 (Mar 16, 2018)

driscollmusick said:


> Actually I don't think Wagner or Williams used especially large string sections, and the largest orchestral pieces of Mahler, Strauss and Schoenberg (e.g., Gurrelieder) only call for 20 players per violin section at the most. If anything, I would consider this library in the realm of sound design as opposed to reflecting anything in the standard orchestral repertoire.
> 
> LCO is great and definitely worth it if you will use the articulations (I am a fan of Spitfire, BTW, but their appeal to me is the subtlety/realism of their samples, not the bombast)



Maybe you should look up the orchestral pieces of Richard Strauss again, my friend. Not to mention some of the greatest recordings of Wagner and Mahler's music...you're off.

Or just take a look at my avatar. You're getting into my area now. I've studied those masters my whole life, so I _*damn*_ well better know what I'm talking about.


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## driscollmusick (Mar 16, 2018)

Parsifal666 said:


> Maybe you should look up the orchestral pieces of Richard Strauss again, my friend. Not to mention some of the greatest recordings of Wagner and Mahler's music...you're off.
> 
> Or just take a look at my avatar. You're getting into my area now.



In his opera _Salome_, Richard Strauss calls for 16 1st and 16 2nd violins, 12 violas, 10 cellos and 8 double basses.

When the composer’s instructions are followed, Mahler’s 8th symphony (nicknamed “Symphony of a Thousand”) demands an orchestra of around 120 musicians, two choirs (each with a minimum of 32 singers), 8 vocal soloists and a boy’s choir. The score of Arnold Schonberg’s _Gurrelieder_ (1901–10) calls for 20 1st and 20 2nd violins, 16 violas, 16 cellos, 12 double basses

http://theidiomaticorchestra.net/14-orchestra-size-and-setting/


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## Parsifal666 (Mar 16, 2018)

Actually, wait. This makes me look like I'm some kind of know it all jag.

Let's just say you're right and leave it at that. I've done the know it all thing WAY too many times here, sorry.


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## driscollmusick (Mar 16, 2018)

Parsifal666 said:


> Actually, wait. This makes me look like a know it all jag. Let's just say you're right and leave it at that. I've done the know it all thing WAY too many times here, sorry.



Yes, it does. But I'm not even sure what your point is here? That some recordings used more than 20 players, contrary to the composer's specifications? Surely you're not suggesting they used anything like 60? 25/30? The point? 

You claim to be an expert (based on your avatar of all things!) but seem to rely on authority as opposed to actual specific facts.


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## Parsifal666 (Mar 16, 2018)

driscollmusick said:


> Yes, it does. But I'm not even sure what your point is here? That some recordings used more than 20 players, contrary to the composer's specifications? Surely you're not suggesting they used anything like 60? 25/30? The point?
> 
> You claim to be an expert (based on your avatar of all things!) but seem to rely on authority as opposed to actual specific facts.



Tough shit. I do what I want.


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## driscollmusick (Mar 16, 2018)

Parsifal666 said:


> Tough shit. I do what I want.


And now the jaggy comments are deleted... Ah, the internet.

You know we're on the same side, right? Did you notice Beethoven is MY avatar??


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## Parsifal666 (Mar 16, 2018)

Alright, I got the knee jerk pissed off thing out of the way (Wagnerians can be uppity bastards). I can see what you're saying about "60 celli", kind of an abstract number for an actual s.o.

However, I thought you'd see that I meant in context, and got overly impatient when it seemed to go past you. Granted, I might not have been clear.


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## Parsifal666 (Mar 16, 2018)

Btw, the above was primarily shared because it's kinda wonderful. Not because I was being my usual dick self. Loads of expressive phrases.

I apologize for aforementioned dick-a-tude.


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## novaburst (Mar 16, 2018)

I Think its a specialized product for the composers who specialize in epic and trailer music, those who want a distinct sound or voice.

I believe its going to be used in live movie production, and I would not be surprised if H Z is going to use it in one of his productions.

It has the potential to be a sort after product once the experts can deliver a great unique sound with it.


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## Josh Richman (Mar 16, 2018)

I think it’s going to talked about for a very very long time. It’s already created this thread and the enormous main product thread. Those who don’t jump on this deal will always be wondering when it’s at 800. “Should I have?” Half price is a dream. Like others have said SP/HZ stuff only marginally goes on sale. The brand quality + reputation of a big name composer putting there name on it. (B/c you don’t ultimately have to sign off on things that are really bad) Putting your signature at the bottom when you make something counts for a lot in my book. It’s a mark of pride, approval and reputation. The only questions that remain are really about this new sample engine, but the earlier points out-weight those concerns. In otherwords, the track-record instills enough confidence to make the leap.

I preordered it. I wanted the book.


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## bigcat1969 (Mar 16, 2018)

If it created this much publicity, it is good for Spitfire anyway! 
I'd just be happy to get a small string section to sound good on a piece I wrote! So I'll leave this to you genii (is the the plural of genius?) with Beethoven and Wagner and other iconic composers in your icons. Please post your work with it when it comes out.


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## blougui (Mar 16, 2018)

novaburst said:


> I Think its a specialized product for the composers who specialize in epic and trailer music, those who want a distinct sound or voice.
> 
> I believe its going to be used in live movie production, and I would not be surprised if H Z is going to use it in one of his productions.
> 
> It has the potential to be a sort after product once the experts can deliver a great unique sound with it.



Actually Mr Zimmer has confessed on this forum he used it on Dunkirk, celli and basses.


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## germancomponist (Mar 16, 2018)

The "sound"!


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## driscollmusick (Mar 16, 2018)

I find it odd that people think a Hans Zimmer-branded sound library from Spitfire is going to help any composer develop their own unique sound...


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## germancomponist (Mar 16, 2018)

driscollmusick said:


> I find it odd that people think a Hans Zimmer-branded sound library from Spitfire is going to help any composer develop their own unique sound...


When someone buys this lib, he do not want to develop an own sound, but Han's Zimmers .... .


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## novaburst (Mar 16, 2018)

germancomponist said:


> When someone buys this lib, he do not want to develop an own sound, but Han's Zimmers .... .



I guess if you try to use it like H Z used it yes you will sound like him, I like the way Asian composers use strings, I find it different and more interesting than European composers, but its the same type of strings Double basses, Cellos, violins, Violas, but they sound different in some one else's hand.

At the end of the day it is an instrument, it really doesn't matter who created it, Hendrix used a fender guitar but he did not sound like Eric Clapton who also used a fender.

H Z is very particular about sound and sound quality so at least you will get that with this product.


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## Guffy (Mar 16, 2018)

germancomponist said:


> When someone buys this lib, he do not want to develop an own sound, but Han's Zimmers .... .



But of course.
Who wouldn't want Han's Zimmers?


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## germancomponist (Mar 16, 2018)

Yeah, you will get this "sound", what I love!
Why do so many mans buy "Boss parfume"?


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## Living Fossil (Mar 16, 2018)

driscollmusick said:


> I find it odd that people think a Hans Zimmer-branded sound library from Spitfire is going to help any composer develop their own unique sound...



Why exactly?
Culture is about digesting lots of sources, influences, preexisting knowledge and use them - together with personal elements - to create a (subjective) vision.


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## blougui (Mar 16, 2018)

Exactly. And I’m confident most of media producers and TV channels are not looking for singular and original sounds. Rather the contrary.


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## RiffWraith (Mar 16, 2018)

blougui said:


> And I’m confident most of media producers and TV channels are not looking for singular and original sounds.



Sometimes they are, but that's not the norm. For the most part, they play it safe, and go with what they know has worked in the past.

Cheers.


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## Geoff Grace (Mar 16, 2018)

[EDIT]_The following is in response to the notion I've seen repeatedly in the Hans Zimmer String threads that—by using his library—we're going to automatically sound like him._[/EDIT]

You might as well say we shouldn't score for a symphony because that's someone else's signature sound.

Unless you're the next Harry Partch, you're going to create music using a tool that someone else created.

Best,

Geoff


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## RiffWraith (Mar 16, 2018)

Geoff Grace said:


> You might as well say we shouldn't score for a symphony because that's someone else's signature sound.



No - not at all what I was saying. You should do what you do, and not worry about it.

But the fact is, when it comes right down to it, producers, et al., will choose _playing it safe_ over_ taking a risk_ almost all the time.

Cheers.


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## Parsifal666 (Mar 16, 2018)

Living Fossil said:


> Why exactly?
> Culture is about digesting lots of sources, influences, preexisting knowledge and use them - together with personal elements - to create a (subjective) vision.



I actually would have LOVED to turn into Bernard Herrmann after I bought his Orchestral Toolkit. I use it all the time, and though I can get a seriously killer Herrmann-esque sound pretty easy, it has to be willed. Most of my last symphony was mocked up using BHOT, but it was so bad compositionally it really didn't sound like anybody or anything except a butt load of miserable suck.


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## procreative (Mar 16, 2018)

Whats telling to me, is that CH always mentions SCS as being his go to. To me while this "big" sound seems like a good experiment, its the details that make sampled strings come to life.

Details that only smaller sections can provide.

Sure massive shorts or soaring lead Legatos "might" sound better "bigger" in theory, but once under those other layers...

Not sure what the difference is between layering two libraries like say SCS and a drier one like CSS and this?

I was not that keen on 8W/Majestica when it came out as to me those extra players when sampled so tightly start to sound like someone has stuck them through a Eventide Harmoniser, to me this is not much different.

There is a whole world of difference between 100 odd string players playing a line live vs static chromatically sampled notes. I don't see what sampling that many more players in this way adds.

But at least I'm saving myself a load of money and world of pain incorporating 200GB of data and having to upgrade my PC slaves to run the bespoke sample player...


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## Living Fossil (Mar 16, 2018)

Parsifal666 said:


> I actually would have LOVED to turn into Bernard Herrmann after I bought his Orchestral Toolkit. I use it all the time, and though I can get a seriously killer Herrmann-esque sound pretty easy, it has to be willed. Most of my last symphony was mocked up using BHOT, but it was so bad compositionally it really didn't sound like anybody or anything except a butt load of miserable suck.



That's absolutely ok...personally, i think it's a great opportunity to feel that there is space left for personal improvement. It's a chance, not a verdict...


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## Desire Inspires (Mar 16, 2018)

Geoff Grace said:


> It seems a little odd to ask for a "verdict," when none of us have yet had a "trial" run of the product



I already have it. It's kinda meh......




















(Yes, I am lying. Jokes, folks!)


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## Geoff Grace (Mar 16, 2018)

RiffWraith said:


> Geoff Grace said:
> 
> 
> > You might as well say we shouldn't score for a symphony because that's someone else's signature sound.
> ...


Sorry @RiffWraith, even though my post followed yours, it wasn't in response to yours. It was a response to the notion I've seen repeatedly in the Hans Zimmer String threads that—by using his library—we're going to automatically sound like him.

I'll edit my post to make that more clear, and I apologize for the confusion I caused.

Best,

Geoff


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## JohnG (Mar 16, 2018)

procreative said:


> Whats telling to me, is that CH always mentions SCS as being his go to. To me while this "big" sound seems like a good experiment, its the details that make sampled strings come to life.



To each his own. I'm getting it; I hardly ever use the Chamber strings actually!


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## RiffWraith (Mar 16, 2018)

Geoff Grace said:


> Sorry @RiffWraith, even though my post followed yours, it wasn't in response to yours. It was a response to the notion I've seen repeatedly in the Hans Zimmer String threads that—by using his library—we're going to automatically sound like him.
> 
> I'll edit my post to make that more clear, and I apologize for the confusion I caused.
> 
> ...



Ah, ok. My bad too, I guess. 

But you are right w/what you say. You might at times get a bit of HZ flavor by using this lib, but unless you arrange the strings exactly like he does, AND you use it as an addition to live strings (which I think is what HZ is really doing with this lib), AND you employ a lot of the other* 'stuff'* he does, you are not automatically going to sound like him. A lot of composers use HY's Damage. Do they all automatically sound alike? Of course not. 

Cheers.


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## bvaughn0402 (Mar 16, 2018)

I appreciate all the feedback. Guess I was looking for reasons to not buy something. :D

But someone said this ... at $500 compared to later at $800? Yeah, worried I'm going to regret not picking it up. Starting to lean that direction now. :(


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## blougui (Mar 17, 2018)

it’s rather 600 then 800


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## Jimmy Hellfire (Mar 17, 2018)

novaburst said:


> I like the way Asian composers use strings, I find it different and more interesting than European composers



That's interesting. Can you name some good examples to listen to?


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## AdamAlake (Mar 17, 2018)

The verdict is - it has not been released yet.


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## kimarnesen (Mar 17, 2018)

By the way, is this what has also been called "Typhoon"? They talked about "typhoon" as an up-coming library and which was their biggest project ever. And when they released the HZ Strings they called it their biggest project ever.


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## star.keys (Mar 17, 2018)

My verdict is simple - buy it today if there is a need right now, or buy it when there is a need


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## Fry777 (Mar 17, 2018)

kimarnesen said:


> By the way, is this what has also been called "Typhoon"? They talked about "typhoon" as an up-coming library and which was their biggest project ever. And when they released the HZ Strings they called it their biggest project ever.



I remember hearing Paul or Christian in one of their youtube videos call this library "Typhoon", so yes it is


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## Mike Fox (Mar 17, 2018)

I won't be buying it. That's my verdict.


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## kitekrazy (Mar 17, 2018)

If you are a hobbyist the only reason for this is bragging rights.


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## angeruroth (Mar 17, 2018)

kitekrazy said:


> If you are a hobbyist the only reason for this is bragging rights.


Sorry to interrupt, but I'm following with interest (and fun  ) the HZS threads and I don't understand your comment.
I'm a hobbyist and if I could I'd buy this lib, not to brag or sound like HZ but to sound like myself, experimenting with that IMHO awesome sound and the sections possibilities.


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## NoamL (Mar 17, 2018)

The sound is not just "big." It is massive. It's several multiples of what other composers have used on some of the largest recording sessions for the biggest scores ever. Most of the scores that people would cite as sounding "huge" use somewhere between 55 and 70 strings. HZS is five to seven _times larger _than this. That's what limits the utility for me. Beware of the calculation more players = epic sound. It's more like this library is an entirely different beast from an orchestral library and it just happens to use string players. It's about creating an "oceanic" sound, an acoustic synth_. _


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## angeruroth (Mar 17, 2018)

Epicness is overrated  Not something I'd say a regular amateur wants (I may be mistaken, of course) but things like the super sul and the (somehow weird) design possibilities of the different mics/sections looks interesting.
I think being a hobbyist frees you from the epic trend some (most?) pros nowadays follow.


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## Rctec (Mar 17, 2018)




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## angeruroth (Mar 17, 2018)

Rctec said:


>


LOL, me neither ^_^


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## germancomponist (Mar 17, 2018)

I think this discussion is delicious. To argue about sound taste is so pointless! Like it or not! I certainly like the sound and am looking forward to it when I can use it.
BTW: If I read or hear the name "Hans Zimmer" somewhere, it's first and foremost the word "sound, a very best sound", which I think!


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## Kony (Mar 17, 2018)




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## Parsifal666 (Mar 18, 2018)

AdamAlake said:


> The verdict is - it has not been released yet.



Definitely a weird thread lol!


germancomponist said:


> I think this discussion is delicious. To argue about sound taste is so pointless! Like it or not! I certainly like the sound and am looking forward to it when I can use it.
> BTW: If I read or hear the name "Hans Zimmer" somewhere, it's first and foremost the word "sound, a very best sound", which I think!



That's cool! I personally don't think there's ever anything wrong with what a person likes...if you like it, it's good. 

I've noticed over the years that some of the most boneheaded forum arguments are over one person really liking someone, while the other person (people) don't (the latter often trying to explain why it is it's "wrong"/stupid/silly to like a certain thing, or set of things). It's one of the most dumb and futile ways to spend time on a forum, especially this one, where many folks are just starting out and aren't looking to see people freeking on each other. 

Dokay, apologies once again OT.


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## MaxOctane (Mar 18, 2018)

It's a fine library, but it takes forever to load on my laptop. At this rate, I doubt it will even start before March 28.


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## Niah2 (Mar 18, 2018)

I think the OP just wants us to help him make a decision.

I am usually not looking for big orchestral sections in sample libraries, I prefer smaller ones or solo instruments so I can build my own ensembles. The more players the more the patches can sound synthesized when played more notes at once so when I heard that HZ strings were 300+ players I was apprehensive. Having said that I was really surprised by the sound, it doesn't sound like this mish mush when performed. There's so really clever engineering going on there. There are also some very interesting arts there that make for incredible soft and subtle textures.

I would love to have it but I think I will wait for the new Spitfire solo strings, really curious about that, and then I get the HZ strings later on. I'm still on W7 so I'm waiting for a confirmation that HZ Strings will be compatible with W7 in the future.


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## Cinebient (Mar 18, 2018)

I´m a hobbyist and this is exact what i´m going to buy next.....at least if my machine can handle it.
The intro price looks nice for me for the content i get. That said, i don´t have many string libraries yet, so i don´t have much overlap i think. 
HZ is for me about breaking rules and just make/use what you think will work best for you. 
Even if i won´t score a blockbuster i think HZ Strings could exact what i want and what makes me happy for a while and also worth to escape from reality. Playing with these tools is sometimes like a little holiday for me and i´m sure it´s worth even the full price when i think about that it will be giving me something over years. 
I just also would like to see/hear a bit more about it.....otherwise i already had preordered it.


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## Parsifal666 (Mar 18, 2018)

It's funny how often folks bring up "real" ensemble sounds...I've heard actual orchestral recordings from the past few years where I was surprised there_* weren't*_ libraries used.

Not to accuse anyone specifically here, but I often wonder whether people are actually listening to major orchestra recordings the right way: with a completely open yet motivated ear. If you truly are looking for as realistic string ensembles as possible...I thought it was common knowledge one should give analogous recordings a concentrated headphone listen (or dozen).

This is not to condescend to anyone here, but I think there'd be people pretty darn surprised to hear how often even the real thing might not sound so "real", especially when in the background to other instruments....and not just then.


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## chimuelo (Mar 18, 2018)

I’m still happy with Hans Zimmer Guitar and Zebra2 HZ.
He seems to watch the dust settle then fills in the gaps.
I think I’ll be getting this.
I just hope Lossless compression is used, and if there’s 30 different mic positions I can keep a Close Dry version and create my own “positions” from TC Electronics Hardware Reverb Algos.

My CPU seems to have gained more headroom from recent upgrades of my other fake instruments/synths.
I really need an additional option in the Cello range, but having more of every section is also welcome.

Thank You Z Man...


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## Niah2 (Mar 18, 2018)

It is not a surprise to me at all since I have had those experiences myself with real orchestras.

It's just that things like 40 french horns,etc, real or sampled playing in unison start to sound more like a synth.


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## FriFlo (Mar 18, 2018)

Whenever this "car vs Moog"-question comes up, I think to myself this is a question a very privileged person, supported by rich parents can ask him-/herself ... most people on this planet rather have to decide between being able to pay their rent, food, essential insurance and stuff like that, before they could afford buying a car anyway ...


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## muziksculp (Mar 18, 2018)

Hopefully SA will post more audio and video demos of HZ-Strings in action to get a better, and clearer overall picture of it's capabilities, usage scenarios...i.e. mixed in with other libraries, ..etc.


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## Sears Poncho (Mar 18, 2018)

Parsifal666 said:


> Not to accuse anyone specifically here, but I often wonder whether people are actually listening to major orchestra recordings the right way: with a completely open yet motivated ear. If you truly are looking for as realistic string ensembles as possible...I thought it was common knowledge one should give analogous recordings a concentrated headphone listen (or dozen).



To add to your excellent post, I would also include the word "concerts" in addition to "recordings". I've heard recordings of my own concerts and thought "It didn't sound that way live, it was better/worse live".

I made one recording in particular that was somewhat renowned in the classical geek/audiophile nerd realm, chamber orchestra. We had played the show live 3 times then recorded it over many days in the studio with some heavy hitters doing the production, this was 20 years ago when there was still a budget for things like that. Simply put, the recording sounds way better than the concerts did, no comparison. The listener is listening to the skills of the engineers and editors as much as the players. One 30 minute work had 100 edits.

On the flip side, my wife went to one of my gigs where we did an opera in a cathedral, and she sat 20 feet from the tenor. I've never seen anyone so blown away as she was, ever. It was one of those moments that reminded me of the power of "live" to inspire.


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## angeruroth (Mar 18, 2018)

FriFlo said:


> Whenever this "car vs Moog"-question comes up, I think to myself this is a question a very privileged person, supported by rich parents can ask him-/herself ... most people on this planet rather have to decide between being able to pay their rent, food, essential insurance and stuff like that, before they could afford buying a car anyway ...


Well, I must disagree. I'm not privileged, far from it in fact, but even if you are f...ed up you should try to be happy and make others feel good, and if music fills your heart... Well, lets say sometimes you can do something about it.
Ok, sometimes you just can't, but a car can be a bigger house/room, or better food, or... You get the idea: Choose if that's possible or keep going if it isn't.
The really important thing is to do what you can and not what you shouldn't. But this is just a philosophical point of view


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## Michael Antrum (Mar 18, 2018)

So you didn't notice the separate sections and their seating arrangements ? 

Odd. I thought it was extremely clear.

Also, is it just me or does the term Divisi seems a bit unusual when used with reference to such large sections


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## Saxer (Mar 18, 2018)

Wunderhorn said:


> I do not see any real divisi options. For a major string library this would be a clear deal breaker for me. Who is this library geared towards? Keyboardists who don't care if they stack up 1000 players by playing chords? Or people who just don't know how to write for strings? I simply do not understand.


I see it more as a musical sound design library than a 'major' string library for bread and butter string work. It's more from/for producers who dare to stack 1000 players even if the won't fit into the room. Just because it's possible. It's like letting Superman fly in a movie. It's not because the producers don't care if people can fly or not. It's because everybody dreamed of it.


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## quantum7 (Mar 18, 2018)

My particular writing more often than not calls for smaller string ensembles. Maybe the next Spitfire-Zimmer collaboration could be Hans Zimmer’s Intimate Strings. Perhaps more along the lines of what he did for The Davinci Code. I do love the particular techniques I’m hearing on the videos and demos, but would just love a smaller size.


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## Rctec (Mar 18, 2018)

FriFlo said:


> Whenever this "car vs Moog"-question comes up, I think to myself this is a question a very privileged person, supported by rich parents can ask him-/herself ... most people on this planet rather have to decide between being able to pay their rent, food, essential insurance and stuff like that, before they could afford buying a car anyway ...


Yes, I was lucky. It wasn’t my parents that supported me, but other musicians and friends. Plus, I was good at convincing the bank to extend my overdraft to buy a synth. I really learned that thing! And I got quite good at programming and started to get a lot of session work. I had this impossible Sequencer, the Roland MC8, that no one wanted to program or learn and I became a wizard on it - because I needed to make it pay for itself. But I was always behind on the rent, had no insurance and owed money to every restaurant in my neighborhood. My home-cooked meals where anything that a tin-opener could serve. I lived a completely reckless life. And I still do...


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## Parsifal666 (Mar 18, 2018)

Rctec said:


> Yes, I was lucky. It wasn’t my parents that supported me, but other musicians and friends. Plus, I was good at convincing the bank to extend my overdraft to buy a synth. I really learned that thing! And I got quite good at programming and started to get a lot of session work. I had this impossible Sequencer, the Roland MC8, that no one wanted to program or learn and I became a wizard on it - because I needed to make it pay for itself. But I was always behind on the rent, had no insurance and owed money to every restaurant in my neighborhood. My home-cooked meals where anything that a tin-opener could serve. I lived a completely reckless life. And I still do...



Awesome.


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## kitekrazy (Mar 18, 2018)

angeruroth said:


> Sorry to interrupt, but I'm following with interest (and fun  ) the HZS threads and I don't understand your comment.
> I'm a hobbyist and if I could I'd buy this lib, not to brag or sound like HZ but to sound like myself, experimenting with that IMHO awesome sound and the sections possibilities.



Let me help you understand. There is so much more in the DAW world that a hobbyist should buy than a boutique string library.


Sears Poncho said:


> To add to your excellent post, I would also include the word "concerts" in addition to "recordings". I've heard recordings of my own concerts and thought "It didn't sound that way live, it was better/worse live".
> 
> I made one recording in particular that was somewhat renowned in the classical geek/audiophile nerd realm, chamber orchestra. We had played the show live 3 times then recorded it over many days in the studio with some heavy hitters doing the production, this was 20 years ago when there was still a budget for things like that. Simply put, the recording sounds way better than the concerts did, no comparison. The listener is listening to the skills of the engineers and editors as much as the players. One 30 minute work had 100 edits.
> 
> On the flip side, my wife went to one of my gigs where we did an opera in a cathedral, and she sat 20 feet from the tenor. I've never seen anyone so blown away as she was, ever. It was one of those moments that reminded me of the power of "live" to inspire.



Agree. I can even appreciate a mediocre performance because it's live.


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## Kyle Preston (Mar 18, 2018)

kitekrazy said:


> There is so much more in the DAW world that a hobbyist should buy than a boutique string library.



Not sure you can reasonably call a library with 344 string players _boutique_.


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## prodigalson (Mar 18, 2018)

Kyle Preston said:


> Not sure you can reasonably call a library with 344 string players _boutique_.



Boutique in this context generally refers to companies that specialize in catering to a smaller clientele with niche products

...which is what I would certainly consider a 344 player library


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## Sears Poncho (Mar 18, 2018)

Kyle Preston said:


> 344 string players _b_


There's gotta be a good joke in here somewhere, I'm too tired too think of one. Something something egos, 344 string players walk into a bar, along those lines.


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## Kyle Preston (Mar 18, 2018)

prodigalson said:


> ...which is what I would certainly consider a 344 player library




The idea of this being a _niche_ VI is absurd to me. It sounds like this kind of reasoning:



kitekrazy said:


> If you are a hobbyist the only reason for this is bragging rights.




What? This isn’t a pros only library (even if it’s priced like one) - regardless of whatever armchair psychology gets posted in this thread.

@angeruroth, I hope no one has swayed you with this ridiculous idea. If it (or any VI for that matter) is a tool that inspires you to be a creative human being, that’s awesome! If it generates an opportunity for you to begin writing orchestral music, that’s amazing. But don’t believe this _members only_ bullshit.


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## novaburst (Mar 18, 2018)

Cinebient said:


> i think.
> HZ is for me about breaking rule



Breaking rules and making new rules, why not.

I think tradition can be a little bit of a setback, or restriction I think when musical rules are broken it gives more room for creation.


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## Geoff Grace (Mar 18, 2018)

No doubt: creation ≠ following rules.

Best,

Geoff


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## prodigalson (Mar 19, 2018)

Kyle Preston said:


> The idea of this being a _niche_ VI is absurd to me. It sounds like this kind of reasoning:
> 
> 
> 
> ...



Hang on a second, You're assigning implied exclusivity to the word "niche", not me. I was simply suggesting that by definition this product is a boutique library but I never ever said anything about whether or not this is a library that only pro's should have. "Boutique" and "Niche", to me in this context, just means that it's going to APPEAL to a smaller subset of the customer base than a more standard library but NOT that only that smaller subset SHOULD have it. Just like products like 8DIO's Majestica or Performance Samples Caspian Brass, they are specialized products that by their nature will appeal to a smaller client base but of course it will provide the same NICHE value to a hobbyists music as it will to a Pro's. 

Anyone should use any tools that they like and can afford. If a hobbyist wants to buy a Moog System 35 and can afford then good for them! 

So how about you relax and stop putting words in my mouth.


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## FriFlo (Mar 19, 2018)

Rctec said:


> Yes, I was lucky. It wasn’t my parents that supported me, but other musicians and friends. Plus, I was good at convincing the bank to extend my overdraft to buy a synth. I really learned that thing! And I got quite good at programming and started to get a lot of session work. I had this impossible Sequencer, the Roland MC8, that no one wanted to program or learn and I became a wizard on it - because I needed to make it pay for itself. But I was always behind on the rent, had no insurance and owed money to every restaurant in my neighborhood. My home-cooked meals where anything that a tin-opener could serve. I lived a completely reckless life. And I still do...


It was not my intent to imply, you did not have to fight for your success. I rather meant, most of us here (including me) come from a pretty privileged situation, just by being born in first world countries. Some more, some less, of course. And while personally I would probably buy a great synth over a car myself, I wouldn't take any pride in that (I almost bought a CS80 at one point, but didn't get it and bought a Prophet T8 instead - which is in repair up to this day ... this being a different story for a different thread, I suppose). The reason is simply, that I grew up in a pretty secure time in a very stable nation at that time. So, I was "reckless" enough to aspire studying music, although I hadn't had the formal training from a young age as all other students had. I think it is true, this tells something about a person and not all would follow their dreams as "recklessly" - even within this save environment! Yet, I have to acknowledge the privileged background I come from. No, it was not a rich household I grew up in. But it was a generation and period, where parents started to mostly encourage their kids to follow their dreams (although I still received many warnings and people were for sure worried about my future). I also received free education, which is not a given in this world.
I know quite a lot of folks coming from less developed countries, where "following their dream" meant much simpler things, like getting ANY job that would let them live and get old without to much worries and maybe have some kind of joy or buy some things that would make them happy. Only a few of those are anything fancy like composer, musician, artist, ... today. THESE are the people I would call reckless and I admire in their determination the most. Maybe I am a bit stubborn, but not as reckless as these people.
That is why buying a car (if you live in a city with good public transportation) or a Moog is in my mind pretty much the same - a first world problem. Nothing, I would personally take pride in deciding one or the other way. Probably you are indeed more reckless than I am, as I would probably not go to Hollywood without any promising plan as you did. I am sure people called you crazy at that time and I admire your determination to follow that through!
But if you think about it - despite all the tinned meals, loans and whatever worried you at those times - do you really think, you were ever in such an existential danger compared to really poor people on this earth? Did you never think about any safety net you might fall in in case everything goes wrong? Well, I know I did ... _(my philosophical 2 cents on that)_


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## angeruroth (Mar 19, 2018)

kitekrazy said:


> Let me help you understand. There is so much more in the DAW world that a hobbyist should buy than a boutique string library.


Thanks ^_^ Now I understand why you say that, tho I think it depends on what the hobbyist wants to do and what s/he have.
In my case, over the years I've been able to buy the things I considered "basics" to create the music I wanted to make, and I've discovered that the libs I really love are the peculiar ones, and that I could've skipped even the EWQLSO (that's my main VI) and use the money elsewhere.
Yes, it's nice to have a full orchestra, and I like to be able to write for every instrument in there, but you don't need to write for a real orchestra if no orchestra is going to play your music, and VIs don't really sound like the real thing so, given that VIs are just another kind of instrument, you can write for the libs you have, and that makes all libs a possible choice.



Kyle Preston said:


> @angeruroth, I hope no one has swayed you with this ridiculous idea.


Don't worry, I'm too stubborn to change my mind so easily 
Anyway, I see good intentions behind those comments, so I appreciate the reasoning.


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## SoundChris (Mar 19, 2018)

There are not that many situations where you need that huge amount of players excepted these special articulations shown in the videos. What also makes me a little bit sceptic is that this is not kontakt. All over this feels very overpriced IMO.


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## N.Caffrey (Mar 19, 2018)

SoundChris said:


> There are not that many situations where you need that huge amount of players excepted these special articulations shown in the videos. What also makes me a little bit sceptic is that this is not kontakt. All over this feels very overpriced IMO.



In my opinion, if you consider the huge number of players and studio time at AIR is probably not that overpriced.


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## Parsifal666 (Mar 19, 2018)

SoundChris said:


> All over this feels very overpriced IMO.



I agree on this somewhat...but I imagine this library really is meant for professionals, who are making plenty to incorporate something this quasi-niche (am I safe with this term? lol!) VI.

I understand SF is always keeping an eye out too for the novice, but I can't imagine any novice getting anything a whole lot more from this than from, say, the much less expensive EW Hollywood Strings, *especially in terms of consistently useful articulations*.

So, it must be for the genre professionals (plus people who hang around here...cracking up!). Nothing wrong with that 't'all of course. 

I'd would have pre-ordered this in a heartbeat is there wasn't still NFR. As it is, LCO is both cheaper and seems much more in line with what I'm looking for.

Don't get me wrong, this is obviously SF's usual, elite standard. I just can't justify buying it, though, especially when I have so many other (and a few outstanding) string libraries.


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## Kyle Preston (Mar 19, 2018)

prodigalson said:


> So how about you relax and stop putting words in my mouth.



I was actually talking about the comment I quoted (the one you omitted from your post). Maybe I'm not the one that needs to relax? Maybe don't tell people what to do?


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## prodigalson (Mar 19, 2018)

Kyle Preston said:


> I was actually talking about the comment I quoted (the one you omitted from your post). Maybe I'm not the one that needs to relax? Maybe don't tell people what to do?



no, you quoted MY post and equated it with the other members comment and then in the rest of your post suggested that my opinion was in the same camp as those saying only pro's should buy this which I made clear wasn't the case. And I didn't intentionally omit the other members comment, I quoted you're entire post so the comment didn't show up. Regardless, I'll ask again, don't put words in my mouth.


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## Kyle Preston (Mar 19, 2018)

Fair enough, I see how it came off like that, wasn't my intention and I apologize for making you feel that way. 

Given your definition, I still disagree that this is a _boutique_ library. And I suspect a lot of us will be hearing these samples throughout media music for years to come. It has the Zimmer name on it and it's a Spitfire product. Maybe if it was called _Famous Composer Strings_ and was built with Himalayan pesticide-free all-natural organic frictionless honey-stamped well-nourished wood, I'd agree with you.


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## kitekrazy (Mar 19, 2018)

Funny how people can react over a library.


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## Mike Fox (Mar 19, 2018)




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## prodigalson (Mar 19, 2018)

Kyle Preston said:


> Fair enough, I see how it came off like that, wasn't my intention and I apologize for making you feel that way.
> 
> Given your definition, I still disagree that this is a _boutique_ library. And I suspect a lot of us will be hearing these samples throughout media music for years to come. It has the Zimmer name on it and it's a Spitfire product. Maybe if it was called _Famous Composer Strings_ and was built with Himalayan pesticide-free all-natural organic frictionless honey-stamped well-nourished wood, I'd agree with you.



Thanks. I still think we're disagreeing on the definition of boutique and niche, though. I, personally, don't think those words inherently have any exclusivity attached to them the way you seem to be taking them (e.g. "Famous Composer Strings" etc.) I think you're interpreting niche to mean that it is only INTENDED for a wealthy or professional subset of the customer base whereas I interpret it to mean that the APPEAL is only for a subset of the customer base regardless of whether they're wealthy or not or pro or hobbyist.

So, my assessment as it being a boutique library is based solely on it being a 344-piece library that I imagine appeals to a smaller subset of the library-buying population - a smaller subset than are interested in more traditionally sized ensembles anyway - not that it's only FOR a subset of the population and has nothing to do with how expensive it is or the fact that it's got Hans Zimmer's name on it.


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## mc_deli (Mar 27, 2018)

I think it looks like an amazing achievement.
It's unique but expensive. 
It would be a vanity purchase for me

The promo talks up the GUI. Am I the only one thinking it looks a lot like Symphony Series (Imho best orch VI gui so not a bad thing)...?


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## Dr Belasco (Mar 27, 2018)

In late 1970 or early 1971, I entered the NatWest bank determined to get a loan for £850 to buy a MiniMoog. Being a little green I told the jerk off bank manager I wanted it for a MiniMoog, which when you think about it, is basically acting like a Martian in 1970. So that was a reject.

4 weeks later I entered Barclays bank and requested a loan of £850 for a car. After many reassurances, they let me have £650. Which was enough to get the MiniMoog. 
It payed for itself in about 8 months.


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## mc_deli (Mar 27, 2018)

I went into Lloyds in 1997 for 3 grand to buy a Mac for music, digital desk and interface. Several top up loans later, some atrocious financial advice - and one monster PPI mis-selling scam later - Lloyds paid me back over 6 grand nearly 20 years later and I blew it all on a Mac for music, synths and sample libraries!

(Obvs I've spent 5 times that in the last few years thanks to the shillin' on here!)

TBH I would have rather had a Moog for 20 years instead...


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## Rey (Mar 27, 2018)

I think it's gonna be a great library for its lush sound based on the demo. Other than that still need explore. Just a question how long will it be priced at 599?


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## NYC Composer (Mar 27, 2018)

Rey said:


> I think it's gonna be a great library for its lush sound based on the demo. Other than that still need explore. Just a question how long will it be priced at 599?


As long as it takes for the sales figures to fall to a predetermined number, which is how most businesses operate.
The premium buyers get the advantage of having something others don’t, the second and third tier buyers get a better price.


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## Rey (Mar 27, 2018)

NYC Composer said:


> As long as it takes for the sales figures to fall to a predetermined number, which is how most businesses operate.
> The premium buyers get the advantage of having something others don’t, the second and third tier buyers get a better price.



thank you for the heads up


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## Lupez (Mar 29, 2018)

Rctec said:


> Yes, I was lucky. It wasn’t my parents that supported me, but other musicians and friends. Plus, I was good at convincing the bank to extend my overdraft to buy a synth. I really learned that thing! And I got quite good at programming and started to get a lot of session work. I had this impossible Sequencer, the Roland MC8, that no one wanted to program or learn and I became a wizard on it - because I needed to make it pay for itself. But I was always behind on the rent, had no insurance and owed money to every restaurant in my neighborhood. My home-cooked meals where anything that a tin-opener could serve. I lived a completely reckless life. And I still do...



So now we know why you flew away from London! ehheheh.


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## Geoff Grace (Mar 29, 2018)

Now that _Hans Zimmer Strings_ has been released, perhaps—after people have had some time to try it out—we'll have some first impressions about the product. And maybe after a week or two, we'll have some verdicts that come from experience and deliberation.

Looking forward to reading about user experiences!

Best,

Geoff


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