# Spitfire Bespoke private range libraries



## valexnerfarious (May 2, 2019)

Prior to the commercial success of the Percussion and Albion there was a lot of demos of the strings,brass and woodwinds on their site.I think without question those libraries are the best sounding samples Spitfire have made to date.I remember the price of each library being thousands of dollars.Those samples were so full of life and energy that I feel Spitfire has not been able to come close to reproducing anything to that quality since.I myself would for them to consider making those available top the public because those will out sale anything they have out right now.Am I alone in this?


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## Zee (May 2, 2019)

I think those are just nostalgia goggles, samplers have come a long way since then, so did scripting and sample recording expertise the idea that those libraries are superior just because they were private doesn't make any sense from a product development standpoint


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## Floris (May 2, 2019)

I was looking into what demos this referred to. Here's one of them by Colin O'Malley. Sounds simply masterfully crafted in composition and programming:


Mentioned elsewhere by Paul:


Spoiler



The Brass is mainly Spitfire, there are a couple of new short articulations that we are in the process of recording and editing at the moment - for a few of these Colin substituted a few patches from his private collection.

You can hear the new Derek Watkins trumpet in there though - fantastic tight staccatos and great legato long notes! Thats currently in beta.

In fact everything else is Spitfire apart from the Wind runs, Harp and the Choir. I need to double check what the choir is before I credit it so I don't embarrass myself.. :D



I think what's important though, is not always just the samples. People like Andy Blaney do complete magic with the exact same samples as mine (), there's always so much you can do with your current samples: no matter if they're expensive 'bespoke' libraries, or the ones you picked up on sale a year ago.


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## lucianogiacomozzi (May 2, 2019)

Zee said:


> I think those are just nostalgia goggles, samplers have come a long way since then, so did scripting and sample recording expertise the idea that those libraries are superior just because they were private doesn't make any sense from a product development standpoint



This is key, those were produced in 2011(?) - 8 years since, they've made and learnt much more since.

In fact, I think the demos sound better because of the limitations of the samples that we don't have - as well as there being far fewer tools, you had to write well with what you had. It builds innovation to restrict oneself sometimes.


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## valexnerfarious (May 2, 2019)

lucianogiacomozzi said:


> This is key, those were produced in 2011(?) - 8 years since, they've made and learnt much more since.
> 
> In fact, I think the demos sound better because of the limitations of the samples that we don't have - as well as there being far fewer tools, you had to write well with what you had. It builds innovation to restrict oneself sometimes.


I would save up and buy all of those Bespoke samples in a heart beat and I known of others that would as well.I think it bring Spitfire a ton of new revenue.


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## Alex Fraser (May 2, 2019)

My understanding is that the bespoke samples were rolled into the current products (eg: Sable = Chamber Strings)

The demos above were created by masters at the top of their game. That counts for so much more than any perceived sample or programming limitations. To my mind, no-one makes the Spitfire libraries sing like Andy Blaney and he's peerless in making the samples sound like an orchestra.

Finally, I assume that the bespoke stuff was priced so highly as they were only sold to a select few. More modern SF libraries are sold at much lower costs to the masses, which perhaps can give the (inaccurate) impression that they're lesser products. 

My 2c anyhow.


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## EvilDragon (May 2, 2019)

Alex Fraser said:


> My understanding is that the bespoke samples were rolled into the current products (eg: Sable = Chamber Strings)



Nope.


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## Alex Fraser (May 2, 2019)

EvilDragon said:


> Nope.


Any more to add, or do I have to stroke your ego a little more to get an answer?


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## valexnerfarious (May 2, 2019)

Alex Fraser said:


> My understanding is that the bespoke samples were rolled into the current products (eg: Sable = Chamber Strings)
> 
> The demos above were created by masters at the top of their game. That counts for so much more than any perceived sample or programming limitations. To my mind, no-one makes the Spitfire libraries sing like Andy Blaney and he's peerless in making the samples sound like an orchestra.
> 
> ...


I have heard one thing that made the samples sound so full of life was the there was zero noise reduction


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## BenG (May 2, 2019)

valexnerfarious said:


> I have heard one thing that made the samples sound so full of life was the there was zero noise reduction



Basically this. 

There is much less editing in general what other these earlier libraries which,
in my opinion, is a huge plus. While there may be more flaws or discrepancies, I find the more human approach always sounds great and better than the overall processed stuff.

It's for the same reason I love a lot of these 'indie' developers or smaller libraries with their unique, raw musicianship baked-in and left as in. E.g. 'Scary Strings' is one of my favourite libs from Spitfire and it is essentially left unedited.


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## CT (May 2, 2019)

Alex Fraser said:


> To my mind, no-one makes the Spitfire libraries sing like Andy Blaney and he's peerless in making the samples sound like an orchestra.



Andy is incredible because I think he's the ultimate litmus test for virtual instruments. I've heard some of his demos for other developers. For all his skill, even he can only do as much as the tools allow him to do, and the difference between what he does for Spitfire and some of those other examples is pretty telling.


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## valexnerfarious (May 2, 2019)

I believe in some way if there was enough attention and requests that they might make it happen. They are tough to beat with all that we have now.


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## The Darris (May 2, 2019)

Alex Fraser said:


> Any more to add, or do I have to stroke your ego a little more to get an answer?


His answer is pretty much just that. Sable, Chamber Strings, Mural, Symphonic Strings, etc. Are all completely different recordings. The Bespoke stuff were a private venture that were available to a select few composers. There are other forums with more details about those libraries, the biggest being the major issues with the original Bespoke line that were never addressed or fixed. The patches were also locked too. 

The biggest issue I heard with the bespoke strings were the Cello Spiccato samples. Lots of pops and clicks from poorly edited samples. With all that said, at the time, the Bespoke line of instruments were *THE* creme de la creme of samples that a composer could get their hands on. It's what ultimately lead to the commercial development of Spitfire's libraries like Solo Strings, Albion 1 (Legacy) and their Percussion library.


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## valexnerfarious (May 2, 2019)

The Darris said:


> His answer is pretty much just that. Sable, Chamber Strings, Mural, Symphonic Strings, etc. Are all completely different recordings. The Bespoke stuff were a private venture that were available to a select few composers. There are other forums with more details about those libraries, the biggest being the major issues with the original Bespoke line that were never addressed or fixed. The patches were also locked too.
> 
> The biggest issue I heard with the bespoke strings were the Cello Spiccato samples. Lots of pops and clicks from poorly edited samples. With all that said, at the time, the Bespoke line of instruments were *THE* creme de la creme of samples that a composer could get their hands on. It's what ultimately lead to the commercial development of Spitfire's libraries like Solo Strings, Albion 1 (Legacy) and their Percussion library.


Could you direct me with the links to those forums?


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## Alex Fraser (May 2, 2019)

The Darris said:


> His answer is pretty much just that. Sable, Chamber Strings, Mural, Symphonic Strings, etc. Are all completely different recordings. The Bespoke stuff were a private venture that were available to a select few composers. There are other forums with more details about those libraries, the biggest being the major issues with the original Bespoke line that were never addressed or fixed. The patches were also locked too.
> 
> The biggest issue I heard with the bespoke strings were the Cello Spiccato samples. Lots of pops and clicks from poorly edited samples. With all that said, at the time, the Bespoke line of instruments were *THE* creme de la creme of samples that a composer could get their hands on. It's what ultimately lead to the commercial development of Spitfire's libraries like Solo Strings, Albion 1 (Legacy) and their Percussion library.


Interesting, thanks. I had no idea there were earlier samples. They must have spent a fortune at Air over the years!


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## brenneisen (May 2, 2019)

The Darris said:


> Sable, Chamber Strings, Mural, Symphonic Strings, etc. Are all completely different recordings.



Nope.


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## valexnerfarious (May 2, 2019)

The Darris said:


> His answer is pretty much just that. Sable, Chamber Strings, Mural, Symphonic Strings, etc. Are all completely different recordings. The Bespoke stuff were a private venture that were available to a select few composers. There are other forums with more details about those libraries, the biggest being the major issues with the original Bespoke line that were never addressed or fixed. The patches were also locked too.
> 
> The biggest issue I heard with the bespoke strings were the Cello Spiccato samples. Lots of pops and clicks from poorly edited samples. With all that said, at the time, the Bespoke line of instruments were *THE* creme de la creme of samples that a composer could get their hands on. It's what ultimately lead to the commercial development of Spitfire's libraries like Solo Strings, Albion 1 (Legacy) and their Percussion library.


Sable and Chamber are the same are Mural and Symphonic are the same.


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## The Darris (May 2, 2019)

brenneisen said:


> Nope.


From the bespoke? Yes, they are different. 


valexnerfarious said:


> Sable and Chamber are the same are Mural and Symphonic are the same.


See above^


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## Simon Ravn (May 3, 2019)

Alex Fraser said:


> Any more to add, or do I have to stroke your ego a little more to get an answer?



I can tell you that the bespoke Chamber Strings sound nothing like Sable/Chamber Strings. Also the sections are bigger in bespoke - I think 6 or 7 1st violins vs. 4 in Sable. Also the bespoke collection was not recorded with a flexible mic setup like the commercial libraries, so you only have one (in some cases two) ambient settings to choose, and nothing as close as Sable. Sound like it was recorded in a bigger space too, not sure about that, could just be the mixing/mics though.


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## re-peat (May 3, 2019)

Spitfire's Bespoke Strings is not "the mythical, super-deluxe elite library that sounds better than, or is superior to everything else". It is pretty good, unquestionably, and some of it is timbrally still more to my liking than what came later, but if they were to release these strings today — which would require quite a bit of extra work because development of the library was abandonned long before it was finished — I'm pretty sure that most people would be rather underwhelmed. As in: "Is that all it is?".

The Bespokes, when looked at today, are more of a portfolio of first, second and third drafts for greater things to come. A sort of laboratory if you like, which allowed the Spitfire team to fine-tune their craft, and experiment with various techniques regarding recording, editing, implementing legato and crossfading and such. Which is why, like Chris already mentioned, these strings do indeed have their share of little annoyances and _crudité_. (And yes, the fact that the patches are locked is a bit of a downer as well, especially given the fact that most of the roughness would be very easy to correct if only one had access to the patches’ insides.)

But the library also has that invaluable vibe of passion, vision and complete dedication on the part of its makers, which is something I don’t hear at all in, say, the recent Studio Series. Makes a big difference when it comes to making music with samples.

As I said, it's a pretty good library — not the final word in string libraries, definitely not, but pretty good —, containing plenty of great timbres and some truly excellent ones (still the best pizzicati in existence by some serious distance, as far as I'm concerned, and the Chamber Strings will forever remain a fixture in my mock-orchestrations as well), but if released today, even if it were finished, no one in his/her right mind would consider these strings the equal of, let alone superior to the benchmark libraries of today.

And to confirm: Sable (which was turned into SCS) doesn’t share a single sample with the Bespoke Chamber Strings. To-tal-ly different sound. And neither does Mural (which became SSS) have anything in common, sample-wise, with the Bespoke Symphonic Strings.
(Why they ever went from the poetically beautiful and musically very aptly chosen ‘Sable’ and ‘Mural’ names to the uninspired and accountant-esque SCS and SSS, is beyond my understanding.)

_


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## rudi (May 3, 2019)

Fascinating insights into what makes sound libraries great: talent from the original musicians, the engineers capturing the performance / sound / atmosphere, the sample editors putting it all together.... and the musicianship and experience of those using the libraries.
Re the last one, I have a huge distance to go...


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## brenneisen (May 3, 2019)

The Darris said:


> From the bespoke? Yes, they are different.



then better call them more specifically since the new ones are also named Symphonic Strings and Chamber Strings



Simon Ravn said:


> Also the sections are bigger in bespoke - I think 6 or 7 1st violins vs. 4 in Sable.



8, 6, 6, 4, 3 on the bespoke

4, 3, 3, 3, 3 on SCS


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## brenneisen (May 3, 2019)

if someone is curious to read more about the old bespoke range here are some links:

http://www.spitfireaudio.com/wordpress/air-project-chamber-strings.html
http://www.spitfireaudio.com/wordpress/air-project-symphonic-strings.html
http://www.spitfireaudio.com/wordpress/great-british-brass.html
http://www.spitfireaudio.com/wordpress/british-wood.html


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## prodigalson (May 3, 2019)

brenneisen said:


> if someone is curious to read more about the old bespoke range here are some links:
> 
> http://www.spitfireaudio.com/wordpress/air-project-chamber-strings.html
> http://www.spitfireaudio.com/wordpress/air-project-symphonic-strings.html
> ...



those links are long gone


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## brenneisen (May 3, 2019)

prodigalson said:


> those links are long gone



I know, you got to do some magic


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## valexnerfarious (May 3, 2019)

brenneisen said:


> I know, you got to do some magic


Tell me this magic you speak of Sir. I must read


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## brenneisen (May 3, 2019)

valexnerfarious said:


> Tell me this magic you speak of Sir. I must read



https://web.archive.org/web/2011020...om/wordpress/air-project-chamber-strings.html

https://web.archive.org/web/2011020.../wordpress/air-project-symphonic-strings.html

https://web.archive.org/web/2010062...eaudio.com/wordpress/great-british-brass.html

https://web.archive.org/web/20110208173835/https://www.spitfireaudio.com/wordpress/british-wood.html


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## brenneisen (May 3, 2019)

here you can see prices

https://web.archive.org/web/20100426075839/http://www.spitfireaudio.com/wordpress/products-page/

damn, 12k quids for a brass library


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## barteredbride (May 3, 2019)

Pricey !

So do we know if these libraries we ever used on films?

Or were they still mainly used for mock-up purposes?

Spending nearly £30,000 on sample libraries just to get the cue past a director... Seems bonkers. But I can understand it was a private venture, with the assurance that it was only for an elite set of composers.

I'm sure I've heard Christian say in a recent video that they assured the composers they would NEVER make the samples public.

I'm sure there was some contract.


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## valexnerfarious (May 3, 2019)

barteredbride said:


> Pricey !
> 
> So do we know if these libraries we ever used on films?
> 
> ...


Do you have a link to that video?.I know that John Powell was one of the composers bought in to it. I dont understand he would not make them public and sell them.They really sound that good if I would have had the choice early one to pick those other string libraries it would hands down be the Bespoke range.


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## barteredbride (May 3, 2019)

valexnerfarious said:


> Do you have a link to that video?.



Whoa that man makes a lot of videos! Not sure.

Probably quicker to ask him... @christianhenson did you ever promise to never publicly release these libraries once the initial run had sold out?

And if not, are you planning to release some of them in the future?


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## valexnerfarious (May 3, 2019)

barteredbride said:


> Whoa that man makes a lot of videos! Not sure.
> 
> Probably quicker to ask him... @christianhenson did you ever promise to never publicly release these libraries once the initial run had sold out?
> 
> And if not, are you planning to release some of them in the future?


I don't see how you can run out of a digital product. @christianhenson If someone today was willing to pay those prices today would you make commercially available?I personally know a ton of people who would drop the cash on them right now.


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## barteredbride (May 3, 2019)

valexnerfarious said:


> I don't see how you can run out of a digital product. @christianhenson If someone today was willing to pay those prices today would you make commercially available?I personally know a ton of people who would drop the cash on them right now.



As far as I understand it, it was more 'limited edition'. So not really running out of physical products. The idea was that only a few composers would have access to a certain sound, rather than thousands of composers.

It made it exclusive, hence the price.


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## rottoy (May 3, 2019)

Just reading the list for the session players recruited for those Bespoke libraries should tip you off why the price is so high and kept to a limited number of composers.
The late, great Maurice Murphy of the LSO, 1st trumpet.
Richard Watkins, 1st horn. Nicholas Daniel on oboe.

I mean, holy fucking shit.


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## Nick Batzdorf (May 3, 2019)

Bespoke?

Like a custom-made suit?


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## chrisr (May 3, 2019)

*I was being a bit ungenerous... have deleted*


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## Raphioli (May 3, 2019)

I think you're chasing something that you'll never be able to get, IMHO. (Unless one of the very few original owners of the library were to violate the agreement)


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## CT (May 3, 2019)

rottoy said:


> Just reading the list for the session players recruited for those Bespoke libraries should tip you off why the price is so high and kept to a limited number of composers.
> The late, great Maurice Murphy of the LSO, 1st trumpet.
> Richard Watkins, 1st horn. Nicholas Daniel on oboe.
> 
> I mean, holy fucking shit.



Seriously! Imagine having "them" in your computer....


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## The Darris (May 3, 2019)

I'm a bit confused by this thread. I am not sure I understand what everyone's "problem" or question concerning Spitfire's "Bespoke" line is. 

Before Spitfire was well...Spitfire. Paul and Christian got together and decided to try a go at creating some very specific sampled instruments at air. Having the connections they had, such as Harry Gregson Williams (whom Christian worked for either before or at that time doing a lot of drum programming) and other A-listers, they created a proof of concept library of chamber strings (IIRC). They shared them with a select few who wanted to invest in them. 

At that time, these samples were very cutting edge compared to the commercial competition such as EWQLSO, VSL Cube, and even Sonic Implants. They were EXCLUSIVE to those who paid the massive costs. Because this wasn't commercial, they needed to make their money back but, exclusivity to A-listers as well as other working pros, Guy Michelmore of Thinkspace being one, they were able to come up with the core foundation of Spitfire Audio's commercial endeavor. 

We, a collective hive mind of composers itching for that next sample library, tend to get overly sweaty when we hear the terms _Bespoke_ and _Exclusive_ like those samples MUST be the best thing out there. In fact, they have long since become something of the past. A relic from a transition into a new epoch of sampling history. The Bespoke series was far from perfect but for the time, it was something composers loved to use because it was THE sound of Air and those big film scores unlike anything available on the commercial market.

Yes, these samples were used in movies. Since Pirates of the Caribbean, most film scores are nearly 50/50 mixed with samples. Almost all scores rely on sampled Percussion entirely because it's just so expensive to record a full orchestra. Section sizes are smaller resulting in the need to layer them up with samples to get the sound required. The Bespoke line was one, among a few, of those libraries at the time that made this process easier for mixers and programmers to blend them into a score. 

Personally, having tested out some of those bespoke samples at another composer's studio a while back. I wasn't impressed with them compared to the original Sable (now Chamber Strings). I certainly heard what was the sound of Spitfire but there were a lot of issues with them such as poorly edited sample starts and cuts that caused a lot of pops and clicks. Basically, you'd need to run a pass of your sequences through RX to de-noise and de-click some of those patches in order for them to be usable in an exposed nature. It felt like I was using a library from the early 2000's. 

I don't mean to crap on those who are interested in it. The demos created, like Colin's, show exactly what is possible with those samples when you are a great programmer. I remember being blown away by the sound years ago when I was getting my first taste of midi sequencing and programming with samples. The price blew me away too. But, having finally gotten a change to test out this mythical creature of samples we've come to regard this series as, it was like expecting a Unicorn but finding a miniature horse named Dave. Dave was cute and a well fed horse but he wasn't a Unicorn. 

Best,

Chris


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## CT (May 3, 2019)

The myth around these things is definitely a big part of the interest. As another example, I'd love to hear more about that private library that a group of composers did with the Utah Symphony a number of years back, which was supposedly another "exclusive secret weapon." I think someone mentioned it on here recently.


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## prodigalson (May 3, 2019)

valexnerfarious said:


> I personally know a ton of people who would drop the cash on them right now.



I find it hard to believe that ANYONE would pay 12 grand in todays market for any library, let alone one from 8 years ago. That is just absolutely bonkers. What exactly is the Bespoke Chamber Strings going to give you that is different from Spitfire Chamber Strings recorded with more experience in the same hall by the same people and available at a fraction of the price. 

This whole thread is loony tunes bonkers. You have people who actually own the libraries saying theyre not much to write home about compared to the current market and you still think they should make them available for 12K and ANYONE would buy them????


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## JohnG (May 3, 2019)

prodigalson said:


> This whole thread is loony tunes bonkers



I agree. It's a mix of fantasy and hearsay. 

Nothing today is stopping anyone with a few thousand dollars from writing really great-sounding music -- definitely not the absence of this library.

[edit: the sound of the bespoke library is excellent; not taking anything away from it. Paul was kind enough to give me a demo when it was still available and it definitely offered an engaging, musical sound.]


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## erica-grace (May 3, 2019)

valexnerfarious said:


> I don't see how you can run out of a digital product



It's not the product that they would have run out of. It's the NI licenses.


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## givemenoughrope (May 3, 2019)

Didn’t re-peat do some examples with these a while back? It sounded BML-esque with some clicks and pops. I think I remember the consensus being something along the lines of: if you have Sable, etc. youre not missing much.


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## Simon Ravn (May 4, 2019)

miket said:


> The myth around these things is definitely a big part of the interest. As another example, I'd love to hear more about that private library that a group of composers did with the Utah Symphony a number of years back, which was supposedly another "exclusive secret weapon." I think someone mentioned it on here recently.



That one didnt turn out so good. I Think only some of the effects and the trombone staccs still have a chance of getting pulled out here.


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## Simon Ravn (May 4, 2019)

prodigalson said:


> I find it hard to believe that ANYONE would pay 12 grand in todays market for any library, let alone one from 8 years ago. That is just absolutely bonkers. What exactly is the Bespoke Chamber Strings going to give you that is different from Spitfire Chamber Strings recorded with more experience in the same hall by the same people and available at a fraction of the price.



How about a silky smooth sound. Probably the best sordino strings recorded, the best pizzicatos and some very nice, intimate 1st violins vibrato. And there are some cool effects too, although limited in variation. It sounds nothing like the commercial Chamber Strings library, as already mentioned. Section sizes more like a big, full size divisi.

It has a lot of limitations of course. No legato recorded etc. so it falls short in many departments. But the sound of some of it (I only own the strings so can't comment on the woods/brass) is still in many ways better than most commercial offerings.


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## barteredbride (May 4, 2019)

I'm sure it was fantastic for the time, no doubt.

But by what people are saying, it sounds like this whole discussion is like chasing the end of a rainbow.


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## Guffy (May 4, 2019)

I had a dream once.


T'was the night before christmas. I'd wandered off into snooze-land after a tad too much malbec, but quickly came to consciousness after hearing this loud and odd rattle downstairs.
I jumped out of bed and made my way down to investigate. I encountered this foul stench of urine and spilled beer. I was certain it must had been one of those hoboes down the street by the bridge.
As nothing unusual could be seen (other than the smell) i made sure everything was locked before i found my way back to bed. A few hours go by before i hear the exact same sound. Slighly longer, slightly louder.
This time i'm not joking around, i grab my baseball bat from under the bed and sneak downstairs again. The same stench, but stronger, is yet again present.
This time, i see a large window left open. Whoever was there must have fled the scene.
The stench was fading, slowly turning into what can only be described as a heavenly delicious scent of coffee.
I slowly turn around towards the kitchen.
I see a large golden cup with steamy hot delicious coffee, surrounded by a small, gold-plated present looking like it's been delivered by the gods themselves.

As my tastebuds rejoiced while enjoying the angelic coffee, i slowly unwrap the present.
I peek inside before fully unwrapping it and i can hear angels sing quietly from the distance.
Eager to find out more, i TEAR open the box.
I feel a strange, powerful force running through my veins.
It's an external SSD - 2TB. 
I RUN to my studio to fire up the computer. *_Come on, come on! Boot damnit!*_
Finally, I gently insert the SSD into my favourite USB port.
Breath gets heavier..
I'm staring at the most beautiful folder structure i've ever seen.

One folder says _Spitfire Bespoke Range.._
Another says _Project Prague One and Two
.. VI-Pro o_n another.
And, _Hans Zimmer's Personal Library_
Finally.._Thomas Bergersen's entire catalogue of private samples_

I'm absolutely floored by excitement, and suddenly pass out as a result.

Suddenly i find myself awake in my bed. Of course it was all a dream. It was too good to be true.
There was no piss-reeking-gift-bearing barista after all.
Oh well. Guess i'll have to make do with my "shitty" commercial samples


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## valexnerfarious (May 4, 2019)

Simon Ravn said:


> How about a silky smooth sound. Probably the best sordino strings recorded, the best pizzicatos and some very nice, intimate 1st violins vibrato. And there are some cool effects too, although limited in variation. It sounds nothing like the commercial Chamber Strings library, as already mentioned. Section sizes more like a big, full size divisi.
> 
> It has a lot of limitations of course. No legato recorded etc. so it falls short in many departments. But the sound of some of it (I only own the strings so can't comment on the woods/brass) is still in many ways better than most commercial offerings.


This is what I have been saying lol


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## prodigalson (May 4, 2019)

Simon Ravn said:


> How about a silky smooth sound. Probably the best sordino strings recorded, the best pizzicatos and some very nice, intimate 1st violins vibrato. And there are some cool effects too, although limited in variation. It sounds nothing like the commercial Chamber Strings library, as already mentioned. Section sizes more like a big, full size divisi.
> 
> But the sound of some of it (I only own the strings so can't comment on the woods/brass) is still in many ways better than most commercial offerings.



My point is for the price? Should a human being pay 12k for this in today's market?

The sound of SOME of A LOT of libraries is in many ways better than MOST commercial offerings.


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## valexnerfarious (May 4, 2019)

prodigalson said:


> My point is for the price? Should a human being pay 12k for this in today's market?
> 
> The sound of SOME of A LOT of libraries is in many ways better than MOST commercial offerings.


Judging in comparison the articulations between all 4 volumes of Sable and the Bespoke strings,Sable has more articulations and content.I know there were alot of better players in those private samples but other than than Im just curious how the price is so different.Not dissing intended just overall curious.


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## Simon Ravn (May 4, 2019)

valexnerfarious said:


> Judging in comparison the articulations between all 4 volumes of Sable and the Bespoke strings,Sable has more articulations and content.I know there were alot of better players in those private samples but other than than Im just curious how the price is so different.Not dissing intended just overall curious.



The price was higher because it was only sold in a limited number. And probably the musicians got a higher "buyout fee". Not sure about the latter, but the first part makes total sense. I only bought the strings - so "only" 4.500 quid total. I still consider that money well spent. Would I buy into something like this today? Depends, it would surely have to offer something the 400-pound libraries don't.


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## valexnerfarious (May 4, 2019)

Simon Ravn said:


> The price was higher because it was only sold in a limited number. And probably the musicians got a higher "buyout fee". Not sure about the latter, but the first part makes total sense. I only bought the strings - so "only" 4.500 quid total. I still consider that money well spent. Would I buy into something like this today? Depends, it would surely have to offer something the 400-pound libraries don't.


Just sent you a PM Sir


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## re-peat (May 4, 2019)

I always considered part of the price to be a gesture of support, a vote of confidence for what was, at the time, a fairly young company who were doing remarkable, unique things in the field of orchestral sampling.

I don’t regret one penny of the purchase either, even if (1) I no longer use the symphonic half of the library all that much and (2) I always felt that the price ought to have granted us a bit more input in how the library was taking shape and being improved. And (3) it being abandonned in the unfinished state that it was, had me raise my eyebrows too, I must confess.

Still, I like to think that our purchase helped, indirectly, in the creation of three or four orchestral libraries which I consider wither-proof classics and for the existence of which I am eternally grateful.

I’d do it again today. In a heartbeat. If some people told me they we were working on, say, a woodwinds library AND I was convinced they were doing it in a way I think it should be done, I’d happily pay a Bespoke-sized price for just two or three instruments. But it would have to be impeccable work from the first recording to the final line of code in the software, and I would have to have a say in all user-related aspects of the development.

_


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## valexnerfarious (May 4, 2019)

re-peat said:


> I always considered part of the price to be a gesture of support, a vote of confidence for what was, at the time, a fairly young company who were doing remarkable, unique things in the field of orchestral sampling.
> 
> I don’t regret one penny of the purchase either, even if (1) I no longer use the symphonic half of the library all that much and (2) I always felt that the price ought to have granted us a bit more input in how the library was taking shape and being improved. And (3) it being abandonned in the unfinished state that it was, had me raise my eyebrows too, I must confess.
> 
> ...


Shoot me a PM.


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## artinro (May 4, 2019)

re-peat said:


> Spitfire's Bespoke Strings is not "the mythical, super-deluxe elite library that sounds better than, or is superior to everything else". It is pretty good, unquestionably, and some of it is timbrally still more to my liking than what came later, but if they were to release these strings today — which would require quite a bit of extra work because development of the library was abandonned long before it was finished — I'm pretty sure that most people would be rather underwhelmed. As in: "Is that all it is?".
> 
> The Bespokes, when looked at today, are more of a portfolio of first, second and third drafts for greater things to come. A sort of laboratory if you like, which allowed the Spitfire team to fine-tune their craft, and experiment with various techniques regarding recording, editing, implementing legato and crossfading and such. Which is why, like Chris already mentioned, these strings do indeed have their share of little annoyances and _crudité_. (And yes, the fact that the patches are locked is a bit of a downer as well, especially given the fact that most of the roughness would be very easy to correct if only one had access to the patches’ insides.)
> 
> ...



As someone who has the whole bespoke range plus Spitfire’s later, commercial releases, this is 100% perfectly articulated. There are some absolute gems which remain in my template (thought not a huge number any longer), but Spitfire used the vast knowledge they acquired from creating this range to hone and develop their skills and talents and push forward with future releases. I'd say that's worked out quite well for them. On another note, it's highly unlikely the bespokes will be made available commercially. That was the understanding we all had at the time and was part of the reason we justified the large investment. Frankly, I think many people lusting after this range today would be somewhat disappointed even if they were able to purchase right now. They wouldn't have been when the libraries were first out, but given what’s available today, I think many things have been surpassed in tangible ways (save for a few gems mostly having to do with, as Piet says, personal preference for tone). Spitfire learned a tremendous amount from their work on this and went on to really stellar things. I respect the hell out of them.


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## thereus (May 4, 2019)

Is there still a big market for private samples? Are these companies doing lots of private jobs behind the scenes or has the quality of the commercial libraries killed that business?


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## paulthomson (May 4, 2019)

Thanks for the kind comments and interest!

When we made the bespoke series - never originally intended to go beyond some Chamber Strings (its thanks to John Powell that the rest of the range exists - his gentle encouragement!) - and it was a non profit endeavour. Just a way to make some great tools and pay the costs associated. The Brass and WW were more limited in release than the Strings, that is the reason the per license cost was higher.

The samples will never be commercially released - that was the agreement with the players and with the licensees.

We did a lot of experimental stuff beyond the 'vanilla' patches. I designed some playable fx as I was sick of hearing the same old orch fx in every TV show! We really went deep into things like measured trems and found ways to make them playable. 

Some things didn't work out so well. But as a whole the library is still pretty amazing sounding. I used it extensively in LBP2 - quite a lot of which has been uploaded to Youtube - if you are interested enough to chase some stuff down to listen to. Quite a few composers I know still use it in their templates. 

We fell into becoming a commercial endeavour totally by accident when we had spent a lot of money making a percussion library (Joby) and discovered that all our A listers weren't interested as they preferred to use their own private percussion! Joby was up for it and we crept into the world of commercial sample development hoping to make back our costs.

I often refer to the creation of the bespoke line as the most extraordinary (and expensive) private orchestration tutorial ever - I learnt an incredible amount recording and talking to all those incredible musicians over days and days of focussed listening!

The one thing that I'd like to pick up is the 'unfinished' thing.. The libraries were finished (in terms of everything we promised to deliver). Some things didn't quite work as planned, and some areas of the library wouldn't stand up as commercial releases, but you can work around them as private projects. We were obviously restricted budget wise so we couldn't go on forever without going bankrupt. 

We actually added a ton of material that had never been planned. Legato patches for the Symphonic Strings, and areas of the Brass and WW. We re-edited the multitracks for some of the Brass to create early 'multi mic' versions of some of the instruments. Added extra solo instruments to the Brass.

We created a whole 'massive low trombones' addition to the Brass library called 'Monster Bones' that was obviously .. ahem .. "influential"... haha

But yes - the library as planned and sold had no legatos (this was back in 2008-2011 ish) and was very carefully spec'd and planned out, programmed (by myself) and delivered. We made a load of additional material above and beyond the initial spec which Andy B and Blake came on board to help program, at no additional charge to the bespoke licensees, in fact it was paid for by our income from selling the commercial libraries. There obviously came a point at which we had to close the cash hose. Remember, it was entirely not for profit.

I do believe we've surpassed the bespoke libs with commercial libraries we've done since, obviously the more you do something the better you get at it  but of course we still love some of the great sounds in the old libraries. And for its time - there was nothing that sounded as good, I'm fairly confident to be able to say that having heard what people did with it beyond just our team!!

Happy days. And of course - grateful for the group of composers who believed in us enough to buy a license. We always 'leapt before we looked' and paid for sessions with the belief that we were doing something great and the audience would appear.

Anyway I've rambled enough!

Cheers!

Paul


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## AllanH (May 4, 2019)

Thank you to @paulthomson for taking the time to share the history of the "bespoke" start to Spitfire. That's a great inspiring story.


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## valexnerfarious (May 4, 2019)

paulthomson said:


> Thanks for the kind comments and interest!
> 
> When we made the bespoke series - never originally intended to go beyond some Chamber Strings (its thanks to John Powell that the rest of the range exists - his gentle encouragement!) - and it was a non profit endeavour. Just a way to make some great tools and pay the costs associated. The Brass and WW were more limited in release than the Strings, that is the reason the per license cost was higher.
> 
> ...


How did your approach change from Bespoke to the Albion sessions as far as recording and editing the samples? The bespoke stuff seemed to have a lot more energy and life than Albion.(Bespoke sounded like it was less edited and less noise reduced why I feel made it better because of the imperfections that were left in it


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## brenneisen (May 4, 2019)

@valexnerfarious

[AUDIOPLUS=https://vi-control.net/community/attachments/something01-mp3.19805/][/AUDIOPLUS]

[AUDIOPLUS=https://vi-control.net/community/attachments/something02-mp3.19806/][/AUDIOPLUS]


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## valexnerfarious (May 4, 2019)

brenneisen said:


> @valexnerfarious
> 
> [AUDIOPLUS=https://vi-control.net/community/attachments/something01-mp3.19805/][/AUDIOPLUS]
> 
> [AUDIOPLUS=https://vi-control.net/community/attachments/something02-mp3.19806/][/AUDIOPLUS]


This is why they are superior. Ive been told the pizz are about impossible to beat as well as the sordinos.


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## brenneisen (May 4, 2019)

see! your ears are full of emotions and nostalgia

those are Albion 1 in good hands (I'd say "best hands")


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## valexnerfarious (May 4, 2019)

Maybe..If that is Albion 1 that is one of the times it has been that convincing.


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## erica-grace (May 4, 2019)

brenneisen said:


> [AUDIOPLUS=https://vi-control.net/community/attachments/something02-mp3.19806/][/AUDIOPLUS]



The strings at :44 - what patch is that, please?


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## barteredbride (May 4, 2019)

paulthomson said:


> Thanks for the kind comments and interest!
> 
> When we made the bespoke series - never originally intended to go beyond some Chamber Strings (its thanks to John Powell that the rest of the range exists - his gentle encouragement!) - and it was a non profit endeavour. Just a way to make some great tools and pay the costs associated. The Brass and WW were more limited in release than the Strings, that is the reason the per license cost was higher.
> 
> ...



Amen. Then end.

Thanks Paul for taking the time to reply.

@paulthomson but if I send you 50 quid can you send me the pizz patches? I'll not tell anyone.

50 quid is 50 quid, isn't it?


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## Zero&One (May 4, 2019)

brenneisen said:


> those are Albion 1 in good hands (I'd say "best hands")



Nice! where are these "golden hands" from if I may ask?


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## puremusic (May 4, 2019)

The problem with Gear Acquisition Syndrome is the harder it is to get the gear the more it goes into overdrive. :D


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## brenneisen (May 4, 2019)

James H said:


> Nice! where are these "golden hands" from if I may ask?



Andy Blaney


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## valexnerfarious (May 5, 2019)

brenneisen said:


> Andy Blaney


Is Andy on Facebook or?


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## valexnerfarious (May 5, 2019)

givemenoughrope said:


> Didn’t re-peat do some examples with these a while back? It sounded BML-esque with some clicks and pops. I think I remember the consensus being something along the lines of: if you have Sable, etc. youre not missing much.


I would like to hear those examples.


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## valexnerfarious (May 5, 2019)

re-peat said:


> I always considered part of the price to be a gesture of support, a vote of confidence for what was, at the time, a fairly young company who were doing remarkable, unique things in the field of orchestral sampling.
> 
> I don’t regret one penny of the purchase either, even if (1) I no longer use the symphonic half of the library all that much and (2) I always felt that the price ought to have granted us a bit more input in how the library was taking shape and being improved. And (3) it being abandonned in the unfinished state that it was, had me raise my eyebrows too, I must confess.
> 
> ...


Sir. Would you shoot me a PM?


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## re-peat (May 5, 2019)

I thought you knew, V., but it seems you don't: I am the same person you're already having a PM-conversation with for the past two days on The Sound Board.

_


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## erica-grace (May 5, 2019)

re-peat said:


> I thought you knew, V., but it seems you don't: I am the same person you're already having a PM-conversation with for the past two days on The Sound Board.


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## valexnerfarious (May 5, 2019)

re-peat said:


> I thought you knew, V., but it seems you don't: I am the same person you're already having a PM-conversation with for the past two days on The Sound Board.
> 
> _


Now I feel like a complete idiot lol


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## brenneisen (May 5, 2019)

erica-grace said:


> The strings at :44 - what patch is that, please?



probably Spiccato (Ostinatum)


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## Parsifal666 (May 5, 2019)

re-peat said:


> I thought you knew, V., but it seems you don't: I am the same person you're already having a PM-conversation with for the past two days on The Sound Board.
> 
> _


​


erica-grace said:


>



X100 

This made waiting for the Wish List sale far more tolerable.


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## givemenoughrope (May 6, 2019)

valexnerfarious said:


> I would like to hear those examples.


Now that I think about it I’m pretty sure the topic was just short strings on TSB...so that’s all I heard.


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## JGRaynaud (May 14, 2019)

For those who are interested in hearing the sound of some patches from the bespoke range, I found in the dark corners of one of my hard drives some audio tests Spitfire Audio posted a long time ago on their old blog (their ancient website). Sadly I lost the strings examples but I still have two solo trumpet examples, a solo flute example and a solo oboe example.

[AUDIOPLUS=https://vi-control.net/community/attachments/sfoboeleg2-mp3.20017/][/AUDIOPLUS]

[AUDIOPLUS=https://vi-control.net/community/attachments/sf_bond-mp3.20018/][/AUDIOPLUS]

[AUDIOPLUS=https://vi-control.net/community/attachments/sf_trumpet3_wip-mp3.20019/][/AUDIOPLUS]

[AUDIOPLUS=https://vi-control.net/community/attachments/sf_flute_prokofiev-mp3.20020/][/AUDIOPLUS]


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## barteredbride (May 14, 2019)

Sounds good!

I´ve added the bespoke Trumpet to my Spitfire wishlist, so with the sale reduction should only be around €3500 now. 

Does anybody know how the bespoke Spitfire Trumpet blends with the lost Don Drummond trombone Smokin´Legato patch that doesn´t actually exist?

I´d be interested to hear opinions from people who have both.


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## BenG (May 14, 2019)

modiel said:


> For those who are interested in hearing the sound of some patches from the bespoke range, I found in the dark corners of one of my hard drives some audio tests Spitfire Audio posted a long time ago on their old blog (their ancient website). Sadly I lost the strings examples but I still have two solo trumpet examples, a solo flute example and a solo oboe example.
> 
> [AUDIOPLUS=https://vi-control.net/community/attachments/sfoboeleg2-mp3.20017/][/AUDIOPLUS]
> 
> ...



Geez, this is such a blast from the past! Remember hearing these years ago, thanks for sharing!!!


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## barteredbride (May 14, 2019)

modiel said:


> For those who are interested in hearing the sound of some patches from the bespoke range, I found in the dark corners of one of my hard drives...



But in seriousness, many thanks modiel for taking the time to find these and upload them.


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## AlexanderSchiborr (May 15, 2019)

modiel said:


> For those who are interested in hearing the sound of some patches from the bespoke range, I found in the dark corners of one of my hard drives some audio tests Spitfire Audio posted a long time ago on their old blog (their ancient website). Sadly I lost the strings examples but I still have two solo trumpet examples, a solo flute example and a solo oboe example.
> 
> [AUDIOPLUS=https://vi-control.net/community/attachments/sfoboeleg2-mp3.20017/][/AUDIOPLUS]
> 
> ...



I am sorry, I appreciate the fact you grab those old examples for demonstration and maybe my ears are totally impaired by the long working day in the studio but if that are "sampled" patches from the that bespoke ranges I am the great cornholio and need some tp for my bungholio.

For me all of those examples sound like short live performance snippets and not like patches from a sample library at all. If that are the patches then spitfire definitely did something completely right there in every aspect, but totally wrong with many if not all of their releases after that particular bespoke range release. Correct me if I am totally wrong.


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## Scamper (May 15, 2019)

AlexanderSchiborr said:


> For me all of those examples sound like short live performance snippets and not like patches from a sample library at all.


Yeah, I mean at the end of the Bond example, you can hear them laughing, so it seems much like a live performance. Maybe this was just meant to show the sound of the room and setup.


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## JGRaynaud (May 16, 2019)

AlexanderSchiborr said:


> For me all of those examples sound like short live performance snippets and not like patches from a sample library at all (...) Correct me if I am totally wrong.



I really think these are from the bespoke range, and are not live performances. That's how they presented it in their blog years ago actually.

Maybe @paulthomson could confirm this ?

It's too bad I lost the strings examples because it was way more obvious on these files, and we were able to hear way more it's samples. About the laugh at the end of one of the trumpet examples, I guess they just added a laugh recorded during the sessions to make it sound more in context and like a real performance. Also you can hear on the oboe file a crossfade between the layers around 00:03 - 00:04.

On the second trumpet example, not the Bond one, you also can hear the staccato sample at the end of the up run playing a bit at the same time as the arrival note (the repetitions). It's around 00:26-00:27


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## rottoy (May 16, 2019)

I think it's still fairly obvious that it's samples, albeit very well put together.


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## AllanH (May 16, 2019)

The "Bond trumpet" is really quite a bit more alive than anything I can do with my sample libraries.


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## clisma (May 16, 2019)

These are very good but unless someone can prove it, I remain convinced of their sampled nature. The Oboe for one while stunning, performs with much the same dynamic range throughout the example. And I think a real player would take an extra breath in some of those spots.

The trumpet sounds great again, but some of the transitions seem exaggerated in the first example, and repetitive. Not usually the way a live player would play.


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## Ollie (May 16, 2019)

modiel said:


> I really think these are from the bespoke range, and are not live performances. That's how they presented it in their blog years ago actually.
> 
> Maybe @paulthomson could confirm this ?
> 
> ...


you can hear some old demos here: https://web.archive.org/web/20121013141634/http://www.spitfireaudio.com/demos


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## erica-grace (May 16, 2019)

modiel said:


> For those who are interested in hearing the sound of some patches from the bespoke range, I found in the dark corners of one of my hard drives some audio tests Spitfire Audio posted a long time ago on their old blog (their ancient website). Sadly I lost the strings examples but I still have two solo trumpet examples, a solo flute example and a solo oboe example.



WOW - those sound great!

Maybe you can answer Alexander's question, and speak to whether or not those are all individual samples, or if there are any performances in there?

ooh - nevermind - I see you already addressed this.


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## rocking.xmas.man (May 16, 2019)

Ollie said:


> you can hear some old demos here: https://web.archive.org/web/20121013141634/http://www.spitfireaudio.com/demos


Ha! I can remember the time when their page used to look like that. does not seem like too long ago actually


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## remark39 (May 28, 2020)

Just went back and listened to those old Bespoke demos...they're as I remember from way back in the day. Just so FULL of life. Maybe it's the rawness and "mistakes" that give them that feeling of being alive. To my ears, many of the new spitfire samples are missing this quality. Just look at how Albion One turned out...the original Albion definitely is superior. No judgment whatsoever...the spitfire guys are brilliant. But I think this may be the thing we've all experienced before in the studio. Sometimes there is MAGIC that happens on the first take that can't be replicated, no matter how many times you try it again.


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## BenG (May 28, 2020)

remark39 said:


> Maybe it's the rawness and "mistakes" that give them that feeling of being alive.



This. 

To be honest, I much prefer their older libraries and Labs stuff where there is so much natural energy. Things haven't have the musicianship polished out of them, so to speak. For this reason, I usually don't update my libraries...

Note to developers, leave the rawness baked-in!


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## wilifordmusic (May 28, 2020)

The libraries today sound the way they do because they gave the public what they demanded.
Sanitized nearly perfect performances.
Yes, the early releases sounded great. They had a lot of life and spirit to them. With small glimpses of the humans behind the sound.


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## Stringtree (May 29, 2020)

This was like looking at old family photo albums, especially what Paul Thomson wrote. What a privilege to perch on the edge of a chair and sip something and listen to all these cool pioneers talk about the reality that I never thought I'd get to know anything about. 

This whole thing gave me goosebumps. The makers, the composers, the beautiful examples frozen in time.

Imperfections, yeah, but spirit. 

I love this stuff. 

Greg


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## Rubens Tubenchlak (Dec 17, 2021)

brenneisen said:


> @valexnerfarious
> 
> [AUDIOPLUS=[URL]https://vi-control.net/community/attachments/something01-mp3.19805/][/AUDIOPLUS[/URL]]
> 
> [AUDIOPLUS=[URL]https://vi-control.net/community/attachments/something02-mp3.19806/][/AUDIOPLUS[/URL]]


Brennensein, the something02 sounds amazing. Was this the bespoke?


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## Casiquire (Dec 17, 2021)

I think there's an elephant in this room. If a library is only owned by working professionals who are experts in orchestral recordings, every example we hear will sound amazing. I mean, are we really lusting over a library's sound when we've only heard it in the hands of Andy Blaney and Colin O'Malley?! How many copies of LASS did Colin singlehandedly sell thanks to one single demo?


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## Nando Florestan (Dec 17, 2021)

Exactly. Andy Blaney kills it every time, doesn't matter which library. I am waiting to hear the words, "I am Andy Blaney... and this is my masterclass".


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## becolossal (Dec 17, 2021)

Nando Florestan said:


> Exactly. Andy Blaney kills it every time, doesn't matter which library. I am waiting to hear the words, "I am Andy Blaney... and this is my masterclass".


Sold.


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## Evans (Dec 17, 2021)

"I am Andy Blaney, and these are all my project files so you can learn by looking at the source. Please just don't copy/paste into your own projects. Please."


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## ALittleNightMusic (Dec 17, 2021)

Casiquire said:


> I think there's an elephant in this room. If a library is only owned by working professionals who are experts in orchestral recordings, every example we hear will sound amazing. I mean, are we really lusting over a library's sound when we've only heard it in the hands of Andy Blaney and Colin O'Malley?! How many copies of LASS did Colin singlehandedly sell thanks to one single demo?


Yes we should be. Because it literally proves that the library is capable - and we are not. And so perhaps our focus should be on improving our own writing than being overly focused on the “bumpiness of legato transitions” 😉


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## Casiquire (Dec 17, 2021)

ALittleNightMusic said:


> Yes we should be. Because it literally proves that the library is capable - and we are not. And so perhaps our focus should be on improving our own writing than being overly focused on the “bumpiness of legato transitions” 😉


That's my exact point, agreed. We've heard equally good demos from the same people using libraries gathering dust on our hard drives.


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## ALittleNightMusic (Dec 17, 2021)

Casiquire said:


> That's my exact point, agreed. We've heard equally good demos from the same people using libraries gathering dust on our hard drives.


Indeed - or continue to buy new ones 😂 I’m certainly at fault - which is partially why I started that brass programming thread. It has really forced me to deep dive into the intricacies of each library - and there’s a lot to explore.


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## Casiquire (Dec 17, 2021)

ALittleNightMusic said:


> Indeed - or continue to buy new ones 😂 I’m certainly at fault - which is partially why I started that brass programming thread. It has really forced me to deep dive into the intricacies of each library - and there’s a lot to explore.


Right! I haven't jumped into that thread yet but maybe i will when i get a moment.

Think about this: would you play the violin better if it was one of forty instruments you're studying, or if it's the only one? To an extent samples are similar though on a much smaller scale. They're so full of quirks and peculiarities, the more time you spend with one the more you can do with it. That's part of why I'm trying not to buy up every last thing that comes out, it just dilutes my attention


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## brenneisen (Dec 22, 2021)

Rubens Tubenchlak said:


> Brennensein, the something02 sounds amazing. Was this the bespoke?


Albion 1.0


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## Ricgus3 (Dec 22, 2021)

brenneisen said:


> Albion 1.0


I think the originals epic strings and epic brass n woods is from Albion I. I asked support if I could buy Albion I and they told me it is the same samples. So get epic strings for 30 and try to make the same track see if it lines up!


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## lettucehat (Dec 22, 2021)

Now that this thread's already been necro'd, I have to follow up on something from earlier in the thread - Andy Blaney's done demos for other developers? Since when??


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## gst98 (Dec 22, 2021)

lettucehat said:


> Now that this thread's already been necro'd, I have to follow up on something from earlier in the thread - Andy Blaney's done demos for other developers? Since when??


For VSL - but that was pre-SF


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## Rubens Tubenchlak (Dec 22, 2021)

lettucehat said:


> Now that this thread's already been necro'd, I have to follow up on something from earlier in the thread - Andy Blaney's done demos for other developers? Since when??


as far as I know, Blaney has done VSL demos before Spitfire's. You can even still find it at VSL website.


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## Raphioli (Dec 22, 2021)

Ricgus3 said:


> I think the originals epic strings and epic brass n woods is from Albion I. I asked support if I could buy Albion I and they told me it is the same samples. So get epic strings for 30 and try to make the same track see if it lines up!


Still wish Spitfire would sell Albiion I Legacy to Albion ONE owners.
From what I've read, 8dio sells their legacy version for a few bucks to users who have purchased Anthology.
Wish Spitfire did that.


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