# Hollywood Brass first demos are up



## Nick Phoenix (Aug 9, 2011)

Hollywood Brass first demos are up


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## germancomponist (Aug 9, 2011)

..... and are very great! 

I have downloaded the wavs and will listen in my studio in one hour.... .


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## Hal (Aug 9, 2011)

Makes me hate all my brass !
the pilot's hymn is beautiful i love Colin stuff


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## germancomponist (Aug 9, 2011)

Ha ha: This is a library what you can call "a brass library"!


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## EastWest Lurker (Aug 9, 2011)

If these do not convince someone as to how great this library sounds, then there is just no convincing that person.


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## jamwerks (Aug 9, 2011)

Great stuff !!!

All the different brass marry well together, as do HB with HS.
Real & cohesive room sound also (left-right, front-back), very nicel !!

in other words............Wicked awesome ! _-)


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## germancomponist (Aug 9, 2011)

So, we all have waited a little time longer, but wasn`t it worth it?


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## Ed (Aug 9, 2011)

I love it! TJ's demos are *bloody amazing* as usual.

EDIT: Theres some really great music in these demos, I love Welcome to Space Command by Richard Birdsall for example.

Also a is a great show of Hollywood Strings. Amazing.


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## Elektroakoustika (Aug 9, 2011)

All the demos are really fantastic. I especially like the two by Richard Birdsall. Well done mate.

This has been mentioned on the EW forums, but I can still sense that some of the staccatos are a little muddy (especially in the trumpets) in these demos. Wonder what causes that. Hoping EW will take a look at them soon...

Otherwise the brass blend well together and I'm looking forward to diving into my copy when it comes. Congrats EW.


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## choc0thrax (Aug 9, 2011)

Hollywood Brass is sounding pretty good. I probably like the Space Command one the most. At times it makes me feel like I'm questing the seas... almost as if I'm in a Deep Submergence Vehicle.


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## tabulius (Aug 9, 2011)

Not only TJ's mockups are amazingly orchestrated, his samples and different articulations are also so well in balance with each other. Also the hall reverb and mixing is perfect. He really should do some tutorials how to do this 

All demos sound pretty good, but I already preordered gold, so I'm just waiting it to arrive.


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## handz (Aug 9, 2011)

TJ s demo sounds great as usual but it is too close to the Allegro demo from HS to me, lazy lazy TJ 

I like the Richard Birdsalls demo best - sounds awesome, compositionaly it is my cup of tea, he did a long journey from the time he started with GPO (he won GPO competition 7 years ago if anybody remember)


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## germancomponist (Aug 9, 2011)

handz @ Tue Aug 09 said:


> TJ s demo sounds great as usual but it is too close to the Allegro demo from HS to me, lazy lazy TJ



Hm, where is the problem with this? 

And yes, all the demos sound great! I did not expect anything else. o=<


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## Patrick_Gill (Aug 9, 2011)

Sounding superb guys. Fantastic demos! Particularly enjoyed Richard Birdsall's as well.

Congratulations on the HB release too. 


Patrick.,


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## germancomponist (Aug 9, 2011)

Also great to can listen to a demo, done by our shooting star Alex Temple! Great!


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## sherief83 (Aug 9, 2011)

Over all, the Most Realistic Demos to my ears were Alex Temple's work and Welcome to Space Command by Richard Birdsall. 

The others are Fantastic Compositions as well. 

But as demos for the Brass Library, Alex and Richard surly sold me instantly on how great and expressive the Library is.

Congratulations to EW for a fantastic Job and I Hope The Library will be sucessful!

Now Bring on what i REALLY have been waiting for...Hollywood Woodwinds


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## rpaillot (Aug 9, 2011)

Wow... 

A real orchestra will still have more expression, clearly, but it seems the line between real and sampled is shrinking little by little ... frightening !


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## Nick Phoenix (Aug 9, 2011)

What stuck out to me is we posted all the demos we received, but one, and they all use Hollywood Strings and Brass exclusively. I think the brass and strings are really working well together. For me, the strings and brass are letting me write whatever is in my head. No matter how fast, quirky, soft, bombastic or lame the idea is.


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## handz (Aug 9, 2011)

So when the Hollywood Woodwinds /it would be tricky with the name/ will be ready? I would like to buy the whole bundle soon!


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## germancomponist (Aug 9, 2011)

Woodwinds & orchestral percussion, recorded in the same way with the sam mic positions, please!


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## José Herring (Aug 9, 2011)

Nick Phoenix @ Tue Aug 09 said:


> What stuck out to me is we posted all the demos we received, but one, and they all use Hollywood Strings and Brass exclusively. I think the brass and strings are really working well together. For me, the strings and brass are letting me write whatever is in my head. No matter how fast, quirky, soft, bombastic or lame the idea is.



Btw, the room has just the right sound imo. Leads to very flexible good sounding samples. Good move on getting Cello.

Got my HB on order. Can't wait!


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## handz (Aug 9, 2011)

germancomponist @ Tue Aug 09 said:


> Woodwinds & orchestral percussion, recorded in the same way with the sam mic positions, please!



YESSS so i can throw out all my other libs and and stop care about mixing etc, I hate those thing, gold ogood old gold.


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## dcoscina (Aug 9, 2011)

Nick Phoenix @ Tue Aug 09 said:


> What stuck out to me is we posted all the demos we received, but one, and they all use Hollywood Strings and Brass exclusively. I think the brass and strings are really working well together. For me, the strings and brass are letting me write whatever is in my head. No matter how fast, quirky, soft, bombastic or lame the idea is.



Yes they do mix very well together. Richard Birdsall's demos really captured a very rich sound from both brass and strings. Reminds me a little of Horner mixed with Barry.


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## Sovereign (Aug 9, 2011)

Both Birdsall demos were the best of the bunch imo and the most convincing.


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## handz (Aug 9, 2011)

Pitty Richard is not member here (or is he?) he was on old NS.


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## jamwerks (Aug 9, 2011)

Of course these demos make our mouths water and look now toward the WW’s. Can’t wait for those also.

As for a future percussion library, things like harp, piano, and percussion are all instruments that I’d like to be able to move around the stage depending on the piece, so fixed position may not be the best way to record imo. I’d rather have them all recorded centered in a narrow stereo image, then we move as needed/wanted. o=<


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## sherief83 (Aug 9, 2011)

Nick Phoenix @ Tue Aug 09 said:


> I think the brass and strings are really working well together. For me, the strings and brass are letting me write whatever is in my head. No matter how fast, quirky, soft, bombastic or lame the idea is.



You know it really feels like someone handing a fully Blown 6 speed 800HP V8 to a complete newbie to racing.


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## artinro (Aug 9, 2011)

Nick Phoenix @ Tue Aug 09 said:


> What stuck out to me is we posted all the demos we received, but one, and they all use Hollywood Strings and Brass exclusively.



Nick, they sound great! Do you happen to know, off hand, which mic positions were used in some of these demos (for both HS and HB). That information would be great to know.


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## Mahlon (Aug 9, 2011)

Wow~! That's incredible. And Hollywood Strings..... amazing!

o-[][]-o 

Mahlon


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## Colin O'Malley (Aug 9, 2011)

After a week or so with this library I feel it is one of the finest I've used for any instrument. Great articulation depth, phrasing detail and power. Everything is really well thought out and straightforward to use. 

Colin


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## Nick Phoenix (Aug 9, 2011)

Most of the demos are the main deca tree only. I think Colin used more mics. Will find out.


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## SvK (Aug 9, 2011)

Nick,

thanx for going dark on OZ.....i like it!


great demo,

best,
SvK


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## IFM (Aug 9, 2011)

I'll agree that Richard's demos are the best ones there...at least for me. I'm still feeling iffy on the trumpets but I can't quite put my finger on it...almost like they are too close. CB still gets the win on those IMO.


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## Rob Elliott (Aug 9, 2011)

Excellent demos. Nick, I think it would be helpful for us HS and HB owners to get a little info on the 'production/mixing/mics/verbs, etc.' on these demos. Since there is variety in 'sounds' on these demos I think knowing the production/mixing approach will help us obtain the sound we most like. For HB, particularly, it will help us get out of the gate much faster.

Many thanks in advance.


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## Nick Phoenix (Aug 9, 2011)

Dragonwind @ Tue Aug 09 said:


> I'll agree that Richard's demos are the best ones there...at least for me. I'm still feeling iffy on the trumpets but I can't quite put my finger on it...almost like they are too close. CB still gets the win on those IMO.



Trumpets are tricky. HB trumpets break a lot of ground. Unless you are really familiar with writing for trumpets, you may not realize that HB is the first brass library that really captures FFF with good players. It is found all over the demos. HB also can play realistic fast legato at any tempo or dynamic. Also found all over the demos. Much of what you hear in the demos can't be done so convincingly with CB. Also if you listen to Colins exposed brass demo, the trumpets are very exposed and this type of thing is normally close to impossible with samples, because of the variety of attacks, lengths and dynamics. maybe Colin has some comments on that? In a dense orchestration the trumpets need to cut through in a certain way. It is a certain sound that I have heard in good filmscore recordings over and over. I haven't heard it in samples before, except for the Private Project Prague stuff. HB has this and when you use it, you will know what I mean. I realize my demo is a little on the unusual side, but you can hear the FFF legato in the really loud section that I believe starts a little before the 4 minute mark.


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## Nick Phoenix (Aug 9, 2011)

Rob Elliott @ Tue Aug 09 said:


> Excellent demos. Nick, I think it would be helpful for us HS and HB owners to get a little info on the 'production/mixing/mics/verbs, etc.' on these demos. Since there is variety in 'sounds' on these demos I think knowing the production/mixing approach will help us obtain the sound we most like. For HB, particularly, it will help us get out of the gate much faster.
> 
> Many thanks in advance.



I don't think you have to do much with HS and HB. Maybe Richard will have some comments? I personally add a touch of extra soundstage ACME .8 FR B, but TODD AO will work great. Then I use the brass and string verbs from So Cal Hall. I added a touch of high end to my entire mix. I just used the main mics. I haven't really explored the other mics yet. I was too busy writing 10 minutes of drivel!


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## Nick Phoenix (Aug 9, 2011)

SvK @ Tue Aug 09 said:


> Nick,
> 
> thanx for going dark on OZ.....i like it!
> 
> ...



Thanks! I was editing the 6 horns and the wicked witch motif was going through my head for some odd reason. I kept playing it with the soft staccatos and thought it sounded good and that's how it all began. It's kind of a concert piece. For better or worse, I never would have written it without these samples. The playable string runs are a big part of it also.


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## noiseboyuk (Aug 9, 2011)

Every bit as outstanding as I expected! All my reservations are practical / Play ones - there's no arguing with the end result. Actually it would be terrific if we could get a video walkthrough of one of the demos at some future point to see which artics and how many etc. Congrats guys.


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## Tanuj Tiku (Aug 9, 2011)

Nick,

The the demos are just oustanding! Brilliant sound. Finally something to perhaps give my VSL extended Brass a little rest. They have been wonderful but time for some new stuff!


When does your Worldwide Shipping end? I need to order before that. And - I am going in for the HS and HB bundle!



Thanks.


Regards,

Tanuj.


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## jamwerks (Aug 10, 2011)

Excellent sound for just the main mics. I have the feeling that HS + HB will just mix all by themselves!


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## synthnut (Aug 10, 2011)

After hearing HS and HB together , you can surely hear that this combination is one to be reckoned with ..... As someone mentioned earlier , the line between real and sampled is increasingly fine .....The demo's are wonderful and really show off both libraries and how well they work together .....Jim


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## synthnut (Aug 10, 2011)

After hearing HS and HB together , you can surely hear that this combination is one to be reckoned with ..... As someone mentioned earlier , the line between real and sampled is increasingly fine .....The demo's are wonderful and really show off both libraries and how well they work together .....Jim


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## tabulius (Aug 10, 2011)

handz @ Tue Aug 09 said:


> So when the Hollywood Woodwinds /it would be tricky with the name/ will be ready? I would like to buy the whole bundle soon!



Yeah, and when do we hear some demos? Or just a quick patch demostration!!!!! :mrgreen:


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## Waywyn (Aug 10, 2011)

Holy moly, nothing more to add. Sounds terrific! Excellent demos! I enjoyed listening to all of them one after another!!


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## Markus S (Aug 10, 2011)

Wonderful pristine sounding! I know this is very tricky, but is it possible to hear how they do with fast repetitions that are not phrase based? Like rapid trumpet repetitions?


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## Scrianinoff (Aug 10, 2011)

Wonderful demos indeed! Each one showing different aspects of the lib. I particularly liked Nick's demo, also because it shows a lot of the articulations and sonic possibilities. After having seen the videos in which only the main mics were used, I was quite surprised to see Nick writing: "I just used the main mics. I haven't really explored the other mics yet." What?? Are you kidding us? You $%# created this lib and you have not explored the other mics? I cannot understand that. Don't get me wrong, I think it really sounds great already with only the main mics. However, trying out HS recently with 4 mics active blew me away, compared to the sound of only 1 mic position. From what I can hear, I think Thomas is also only using 1 mic position for HS in his demo, the mid mics right? Perhaps this is one of the secrets to writing great demo music: stop fiddling around with the mixing and focus on the writing process. Yet, please indulge us and make/mix a demo with multiple mic positions.

Still, great results so far, thanks!


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## Mike Connelly (Aug 10, 2011)

Any plans to put up examples of each of the mic positions alone? And maybe I missed something but I don't believe there have been any examples posted without verb added - it would be great to really hear what the mics sound like.


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## Richard Birdsall (Aug 10, 2011)

Good to see all the positive feedback about the demos and the library. And thanks for the compliments on my tracks!

A few people are asking about mixing/mic position etc, so for my demos it’s only main mics for both HS and HB with just a bit of reverb and that's it. I didn't do anything else to the sound. 

One of the many things I found really impressive and time saving about HB is how easy it is to get lots of dynamic effects (which would normally require specific patches) with just a normal sus or legato patch. I did not use any dynamic patches like sffz, swells, crescendos or anything like that – its all just done with the mod wheel with legato or sus patches. 

Another thing that impressed me (and again is very time saving) is how easy it is to make phrases that have short notes and long notes in succession. Normally this would take quite a bit of time to get right - you'd need to use a staccato patch (or something similar) for the short notes, and maybe a marc or sus/legato patch for the longer ones, and then usually spend ages tweaking the velocities to match up the attacks and dynamics so that they sound like they are part of the same phrase. And even then, the results were never that good.

In HB you can load up the stac/leg patches and just play it and it works. The velocity controls the attack so it's easy to make it flow from short notes to long ones in a single phrase. And you can still do it the old way (sometimes I find it’s best to) - by using a combination of short and long patches, but thankfully with HB this is much more seamless than ever before and therefore it saves time and sounds better.

The team have done such an amazing job. This is by far the best sounding and easiest brass library that I've ever used.


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## Nick Phoenix (Aug 10, 2011)

Scrianinoff @ Wed Aug 10 said:


> After having seen the videos in which only the main mics were used, I was quite surprised to see Nick writing: "I just used the main mics. I haven't really explored the other mics yet." What?? Are you kidding us? You $%# created this lib and you have not explored the other mics? I cannot understand that.



LOL! I know what they sound like but I basically finished the library and then had to do videos and then a demo, while working on update#1, which is ready. So when I did my demo, I thought the main mics sounded fine and I figured it would also be a good gold demo. Basically, the close mics are fairly close, so by themselves are not my cup of tea, unless you need that sound. But close mixed with surround or the mains is really nice. mids mixed with surround is very nice and close mixed with vintage is a great old school sound.


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## Ztarr (Aug 10, 2011)

Sounds great. Congrats to the dev team.


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## stevenson-again (Aug 10, 2011)

you are all to be congratulated. those demos are absolutely amazing. and HS works beautifully together with it. such a rich smooth sound.

i...er...won't be attempting to run these libs on a mac...but those dedicated PC sampler computers hooked up to my mac now sound an even more attractive solution to run these libs. if/when i go for this, i can get back into HS and run it on the slave computer.

http://www.directresolutions.co.uk/preconf.php?pctype=17.php (http://www.directresolutions.co.uk/prec ... ype=17.php)

and the musicality of the demos is fantastic too. they show off both libraries brilliantly. you listen to them and think - i sooo want my tunes to bang out like that...


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## José Herring (Aug 10, 2011)

Nick Phoenix @ Tue Aug 09 said:


> SvK @ Tue Aug 09 said:
> 
> 
> > Nick,
> ...



Yes very well done on that one that's for sure. Great piece. Sounds like real music to me!

Brass sound remarkable. I was wondering if you used the mid tree mics on the strings. They sound really good to me as well. Kind of a very personal sound.

Got my Hollywood brass Gold coming and looking to finally get the strings now. But still tossing between getting the full version or the Gold version for strings. These strings sound really, really good to me in your demo and I know that you said you were using the mid tree mics. So just wondering if you're still doing that.


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## Nick Phoenix (Aug 10, 2011)

Yes Oz is mid tree strings. I've been using only mid tree strings for a while now. But listening to Richard B.s demos made me wonder whether I shouldnt use the mains or surrounds if I want a grander warmer sound at times.


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## José Herring (Aug 10, 2011)

It's good to have choices. I fooled around with HS at John Graham's studio and to me the Mains+a tiny bit of surround had the best overall sound, but the mid trees in your demo just seem to sit really well in a full mix.


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## Nick Phoenix (Aug 10, 2011)

In a mix the mids dont get so muddy. I was using the mains early on and Thomas came in my studio and said that he was really loving the mids. So I switched and instantly got rid of heavy feeling I was getting in some of my mixes.


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## Casey Edwards (Aug 10, 2011)

Hey Nick, 

Could you explain how you use both the So Cal Brass and Acme B for Brass reverb. I've seen you post this a couple of times and I just don't understand how you combine the two and what each ones purpose is serving. I just bought Spaces and I'd like to experiment with some things and this is one of them if you'd be so kind as to post what you do. 

Excellent Demos by the way!


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## Christian Marcussen (Aug 10, 2011)

Very impressive demos. Some sound good, others sound nothing short of fantastic. The blend between HB and HS is great. 

Good job Nick and Co.


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## toddkreuz (Aug 10, 2011)

HB has a nice list of articulations, but CB sounds better. CB's velocity and cc scheme is more thought out too.

If EW could have recorded in the studio CB used, that would have been amazing.

Maybe CB will add the missing articulations someday soon. That would be a dream.


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## SvK (Aug 10, 2011)

Nick...try this:

1st VI: Main + Div A
2nd VI: MID + Div A
Violas: Mid + Div A
Celli: Mains ONLY
Basses: Mains +Div A

best,
SvK


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## germancomponist (Aug 10, 2011)

Opssss, what is "better"? Can you explain it, toddkreuz? 
To my ears, HB is the best sounding brass lib I have ever heared.


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## Nick Phoenix (Aug 10, 2011)

toddkreuz @ Wed Aug 10 said:


> HB has a nice list of articulations, but CB sounds better. CB's velocity and cc scheme is more thought out too.
> 
> If EW could have recorded in the studio CB used, that would have been amazing.
> 
> Maybe CB will add the missing articulations someday soon. That would be a dream.



Soundwise, there are now plenty of HB demos to compare to CB demos. 

As far as the velocity scheme comment goes: I dont know where you get your info from, but thats silly.

Sony sounds amazing, but as it turns out a discovery was made that once the room gets too big, it cause problems with the legato intervals and playing fast. Vienna always talked about this, but I didnt really believe it. Turns out they were right. And it turns out that EW Studio is an ideal orchestral sampling room.


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## Nick Phoenix (Aug 10, 2011)

SvK @ Wed Aug 10 said:


> Nick...try this:
> 
> 1st VI: Main + Div A
> 2nd VI: MID + Div A
> ...



I will.


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## Dracarys (Aug 10, 2011)

Interested in how it compares to cinebrass. Going by my current system specs and the mic placements in cinebrass, I may hold off on this for a while. Can barely use hollywood strings with 16 gigs of ram and quad core amd, which sucks, because HW strings is the only library I barely have to tweek.


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## germancomponist (Aug 10, 2011)

Nick Phoenix @ Wed Aug 10 said:


> Sony sounds amazing, but as it turns out a discovery was made that once the room gets too big, it cause problems with the legato intervals and playing fast. Vienna always talked about this, but I didnt really believe it. Turns out they were right. And it turns out that EW Studio is an ideal orchestral sampling room.



.... and turns out, in other words, that a stage what is very fine for concerts and for recording sessions isn`t the best stage for recording libraries.


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## EastWest Lurker (Aug 10, 2011)

toddkreuz @ Wed Aug 10 said:


> 1. HB has a nice list of articulations, but CB sounds better.
> 
> 2. CB's velocity and cc scheme is more thought out too.
> 
> ...



1. Your opinion, which of course you are entitled to, but not a fact, though you state it as if it were.

2. No, plenty of thought went into HB's. You may, once again, prefer CB's but that does not make it "more thought out."

3. There are many things besides the room that contribute to a library's sound (mics, engineer, players, etc.) so you are making a supposition that could be true or just as well not be true. It is possible that with the same engineer, same mics, same players, etc. that if CB were recorded at Cello you would like it more or if HB was recorded on the Streisand stage you would like it less.

So if you like CB's sound better, then fine, feel free to say you like it better but please do not try to justify your preference with this kind of reasoning, because frankly, it does not pass muster.


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## Nick Phoenix (Aug 10, 2011)

germancomponist @ Wed Aug 10 said:


> Nick Phoenix @ Wed Aug 10 said:
> 
> 
> > Sony sounds amazing, but as it turns out a discovery was made that once the room gets too big, it cause problems with the legato intervals and playing fast. Vienna always talked about this, but I didnt really believe it. Turns out they were right. And it turns out that EW Studio is an ideal orchestral sampling room.
> ...



This is my opinion.


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## germancomponist (Aug 10, 2011)

Nick Phoenix @ Wed Aug 10 said:


> This is my opinion.



And you are absolutely right! o-[][]-o


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## Nick Phoenix (Aug 10, 2011)

Casey Edwards @ Wed Aug 10 said:


> Hey Nick,
> 
> Could you explain how you use both the So Cal Brass and Acme B for Brass reverb. I've seen you post this a couple of times and I just don't understand how you combine the two and what each ones purpose is serving. I just bought Spaces and I'd like to experiment with some things and this is one of them if you'd be so kind as to post what you do.
> 
> Excellent Demos by the way!



All my computers feed into a computer running Pro Tools. In my Pro Tools mixer I have 5 reverbs, SO CAL STRINGS FR TS, SO CAL BRASS FR TS, SO CAL CHOIR RR TS, HAMBURG CATHEDRAL A 2.7 and ACME .8 B FR TS or (ACME 1.2 B FR TS as an alternate bigger space which I dont normally use). All tracks have sends to all 5 reverbs. The brass sends to SO CAL HALL BRASS and also to a lesser degree ACME. ACME increases the stage size slightly and SO CAL is the reverb. Strings go to SO CAL Strings and a tiny bit to Hamburg Cathedral. So CAL STRINGS verb gives it reverb and Hamburg gives the strings a touch of big filmscore wash and air.

Some of the demos were done without Spaces and sound great, so I dont think the added reverb is that important with the Hollywood Series. You just need something decent. Birdsall's demos sound great and I dont think that is Spaces. Same with Colin's amazing piece. Maybe they will tell.


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## Richard Birdsall (Aug 10, 2011)

Thanks Nick. I used a bit of Dutch Concert Hall from Reverence.


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## jamwerks (Aug 10, 2011)

Hi Nick,

What are you running through the SO CAL CHOIR? Is that for the percussion that you want in the back?


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## Rob Elliott (Aug 10, 2011)

SvK @ Wed Aug 10 said:


> Nick...try this:
> 
> 1st VI: Main + Div A
> 2nd VI: MID + Div A
> ...




Hey Stephen,

As usual - great advice. Working on a sweeping 'golden era' piece today and these mic settings for HS is SPOT ON. (a little lexicon and M7 - and freaking cat's meow).

Thanks for the suggestion bro.


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## NYC Composer (Aug 10, 2011)

EastWest Lurker @ Wed Aug 10 said:


> toddkreuz @ Wed Aug 10 said:
> 
> 
> > 1. HB has a nice list of articulations, but CB sounds better.
> ...



Mike Verta, whose mantra is " frankness taken to the extreme" :wink: made one interesting point a few months ago regarding things like "IMO" and "IMHO", etc-

So if one does not use these abbreviations, is one stating something as if it is factual? Except on technical matters that are pretty cut and dried, aren't most posts someone's opinion?

For example, he stated that "CB sounds better". "Better" is so subjective, how could the statement be anything BUT an opinion?


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## EastWest Lurker (Aug 10, 2011)

NYC Composer @ Wed Aug 10 said:


> EastWest Lurker @ Wed Aug 10 said:
> 
> 
> > toddkreuz @ Wed Aug 10 said:
> ...



#3 was the most egregious error on his part, and my comment is factually correct., not just an opinion.


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## NYC Composer (Aug 10, 2011)

Excellent edit, Jay o-[][]-o


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## EastWest Lurker (Aug 10, 2011)

NYC Composer @ Wed Aug 10 said:


> Excellent edit, Jay o-[][]-o



I thought what I originally wrote was both funny and accurate but I know my sense of humor is an acquired taste


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## NYC Composer (Aug 10, 2011)

EastWest Lurker @ Wed Aug 10 said:


> NYC Composer @ Wed Aug 10 said:
> 
> 
> > Excellent edit, Jay o-[][]-o
> ...



I thought that what I was about to post in reply was even funnier and more accurate-see what you saved yourself?? :wink: 


Btw-back on topic-holy Hannah. Those HB demos sound awesome. Truly stunning.
I've decided to sell my blood (or any other bodily fluid that might raise the requisite cash).


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## José Herring (Aug 10, 2011)

NYC Composer @ Wed Aug 10 said:


> EastWest Lurker @ Wed Aug 10 said:
> 
> 
> > NYC Composer @ Wed Aug 10 said:
> ...



See you at the blood bank. I just ordered HB Gold. Building the computer and scrounging around old savings accounts to get HS. It's kind of fun in a way. Haven't had this urgency to get new libraries since I first heard EWQLSO. EW is back on top again! It's funny that the HS demos alone although good, didn't give me that "I gotta have this" feeling. But the brass and stings together gave me the deep down desperate feeling that if I don't get HB and HS I'll be working with stone age technology while everybody else has precision power tools.


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## Vision (Aug 10, 2011)

Excellent demo's guys. Other than having the technical skill, there's really no excuse to not be able to get realistic sounding "mockups" anymore. The challenge is to be able to run everything efficiently. These demos definitely give me more inspiration/motivation to add a PC slave with just EW Hollywood editions.


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## noiseboyuk (Aug 10, 2011)

Nick Phoenix @ Wed Aug 10 said:


> Sony sounds amazing, but as it turns out a discovery was made that once the room gets too big, it cause problems with the legato intervals and playing fast. Vienna always talked about this, but I didnt really believe it. Turns out they were right. And it turns out that EW Studio is an ideal orchestral sampling room.



Ha ha - not quuuuuuite so fast! As I think has now been posted around 137 times now, the upcoming 1.5 update is due to address exactly this issue. It remains to be seen how successful this will be, but I'd suggest definitive judgement is premature.

The issue is a simple one - can scripting successfully integrate a room's natural ambience with multiple overlapping samples and make it sound natural? On paper I'd have thought this is possible, though it's no easy feat. As I say, we'll wait and see how the reality turns out - 1.0 wasn't so hot in this regard, obviously. VSL's approach makes the job easiest, no doubt at all. HB has some built-in ambience, but at a level that isn't too problematic. A big scoring stage is a far bigger challenge.


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## Scrianinoff (Aug 11, 2011)

I hope my honest opinions expressed in this post won't upset too many people too much.

An almost inhuman amount of excellence has been endowed to Hollywood Brass (and Strings) throughout its creation process. Excellence has been shown in conceiving it (e.g. independent vibrato / loudness for strings), preparing for it (an outrageous high number of recording days to secure all these articulations, hiring top players), selecting a (imho THE) top recording engineer (recording 6 stereo mic channels), editing it (a truly gargantuan effort taking into account 300+ GB of samples for HS2.0).

In preparing demos for HB, again excellence has been sought, getting some of the top composers from HB's target market to make demos, and excellence in this area has indeed been found. From what I hear in the demos posted until now, the composers did the mixing themselves. Demos mixed by composers are a must have to be able to show how the lib is going to sound in a composer's studio. So these mixes are doing an excellent job in doing just that. Yet they do not convey what HB can sound like when it is endowed with the same amounts of excellence in the mixing and mastering processes. When the dust settles after the initial excitement about the release of HB and these demos, people are also going to compare the sound of these demos with the sound of excellently mixed soundtracks (e.g. by Murphy, Sands, etc.). Now, here it is where you might be selling HB short. After running a trial of HS Diamond and its wonderful capability of mixing 6 microphone positions at will, that is, after bouncing, close, mid, main, surround, vintage, and div a+b, I strongly feel that HS and HB have the potential of coming ridiculously close to the multi-faceted, multi-aspect, multi-stereo, multi-dimensional sound of excellent soundtracks. Having gone through all the trouble of securing excellence in every link in the chain of its creation, I think obliges you to endow HB with the same excellence in the mixing and mastering process. Again, don't get me wrong, the composers have been doing a great job in mixing and mastering. But I am sure they won't place themselves at the level of Shawn Murphy and his peers, at least I am not, although I have the highest respect for their work.

I think the following proposition is already staring us in the eye by now, if you can, and he is willing, get Shawn in again to work his magic on at least one of the demos. I guess he would only have to work a few hours on it, that is, if you prepare everything for him in advance, meaning, bouncing all 6 (dry) microphone positions of every part of every section and having it all loaded in pro tools or whatever he is using. Then while working his magic he can make choices which mic postitions to use and to what extent, adding reverb, plug-ins, etc.. Ok, ok, I know he has a personal preference for a few of the mic positions, but I also know he is not religiously holding on to that, you just might be surprised what he comes up with. Although we are in an area of diminishing returns here since exquisite results have already been presented, I am quite sure we would all be amazed at how much better results would be yielded if you would be daring enough to pursue such an endeavour.


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## devastat (Aug 11, 2011)

Scrianinoff @ Thu Aug 11 said:


> if you can, and he is willing, get Shawn in again to work his magic on at least one of the demos.


I love the demos as they are, but I agree with you it would be fascinating to hear Shawn Murphy mixing a HB demo - altho I am not sure how useful it would be from the customer's point-of-view (unless you are fortunate enough to get Shawn Murphy to mix your tracks).


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## NYC Composer (Aug 11, 2011)

Well, the question has been "how close?" If an expert mixer mixes it, the expanded question might be "How much closer?"


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## Alex W (Aug 11, 2011)

Nick Phoenix @ Thu Aug 11 said:


> ...as it turns out a discovery was made that once the room gets too big, it cause problems with the legato intervals and playing fast. Vienna always talked about this, but I didnt really believe it. Turns out they were right.



You were right to not believe it, because it's not true. The new version of CS will prove that. :wink:


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## dannthr (Aug 11, 2011)

Congratulations guys on a spectacular Demo Launch! These pieces really go the extra mile with exceptional writing.


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## hbuus (Aug 11, 2011)

Excellent demos.

HS and HB really sound magical when used together.

Henrik


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## Mike Connelly (Aug 11, 2011)

Alex W @ Thu Aug 11 said:


> You were right to not believe it, because it's not true. The new version of CS will prove that. :wink:



And we'll see how the fast legato sounds in the CB update. How is Albion for fast legato? Sounds like that's in a good sized hall and what I've heard of the legatos sounds pretty darn good although I haven't heard much fast stuff with it.


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## noiseboyuk (Aug 11, 2011)

Mike Connelly @ Thu Aug 11 said:


> Alex W @ Thu Aug 11 said:
> 
> 
> > You were right to not believe it, because it's not true. The new version of CS will prove that. :wink:
> ...



Yeah, a quick Albion fast legato demo would be worthwhile. And another example is Symphobia 2 - I'm not a big fan generally of that product but it's got plenty of ambience and the legatos seem to work well (all 1 layer of them....)

I think it's waaaay to premature to be writing off live halls and legato. HB has made a really strong debut, but it's a long way from having proved alternative methods wrong, which is what Nick seemed to suggest.


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## germancomponist (Aug 11, 2011)

noiseboyuk @ Thu Aug 11 said:


> I think it's waaaay to premature to be writing off live halls and legato. HB has made a really strong debut, but it's a long way from having proved alternative methods wrong, which is what Nick seemed to suggest.



And don`t forget the Samplemodeling brass, what is absoultely dry for a good reason... .


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## noiseboyuk (Aug 11, 2011)

germancomponist @ Thu Aug 11 said:


> noiseboyuk @ Thu Aug 11 said:
> 
> 
> > I think it's waaaay to premature to be writing off live halls and legato. HB has made a really strong debut, but it's a long way from having proved alternative methods wrong, which is what Nick seemed to suggest.
> ...



But I don't get your point? We know that dry legato works effortlessly. What Nick alleges is that live halls DON'T work for legato. All these libraries...

Albion
Symphobia 2
CineBrass 1.5
Cinematic Strings (new version)

...all suggest otherwise (though some yet to be proven).


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## germancomponist (Aug 11, 2011)

My point is that I think others are thinking the same as Nick is thinking. Me too. 

Ok, in a big arrangement the other instruments will drown some not so fine effects when a lib was recorded in a bigger hall....?!

But we will see (listen). I am always ready to change my mind if I'm convinced by new results.


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## sbkp (Aug 11, 2011)

Nick Phoenix @ Tue Aug 09 said:


> No matter how fast, quirky, soft, bombastic or *lame* the idea is.



This sounds like the perfect library for me.


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## Nick Phoenix (Aug 11, 2011)

What we noticed in our own samples is that our room has a one second reverb built into it. If you play a legato transition, the reverb of the transition is built into the sample and the pitch blur continues for one second after the actual transition. If you now play 2 legato notes quickly, the first legato transition's reverb gets cut off by the new or second legato transition. The reason this happens is the software has to fade out the first sample or the sustaining destination note will continue to sound ruining everything. The longer or louder the room reverb, the more obvious cutting off the first transition sample becomes. In PLAY we have a script that deals with this gracefully, but technically there is always a slight compromise. Or you let the natural reverb ring out for each legato transition. BUT, this only works if the legato transition you recorded ended abruptly upon hitting it's destination note. You would need to record special legato for fast lines and record it VERY carefully, paying attention to the destination note length and smoothness of the sample in general. Really freaking hard to get the musicians to do this, as it is very unnatural. Then there is the question of how fast did you record the transitions to begin with? I am happy to say that Thomas, Doug and I have done enough legato sampling to have a decent grasp on this issue. And thanks to companies like Vienna, we have built upon the concept a little bit. We got lucky with the room and we recorded the transitions correctly with the right players. Its not perfect, but generally sounds good playing any speed.


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## germancomponist (Aug 11, 2011)

What reminds me of my editing the old EWQLSO Platinum orchestra. There, In Kontakt, I had used "voice groups"...., the same thing what is used in any drum library, when an open hihat will be cut by playing the next note..... .


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## Nick Phoenix (Aug 11, 2011)

sbkp @ Thu Aug 11 said:


> Nick Phoenix @ Tue Aug 09 said:
> 
> 
> > No matter how fast, quirky, soft, bombastic or *lame* the idea is.
> ...



Hi Stefan! Long time.


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## Nick Phoenix (Aug 11, 2011)

Jamwerks:
Hi Nick, 

What are you running through the SO CAL CHOIR? Is that for the percussion that you want in the back?

-----



Choir or anything I want to be a bit more ambient. Maybe a solo trumpet or solo vocal?


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## NYC Composer (Aug 11, 2011)

Ok, with as little BS or politics or other diversions as possible, what configuration of PC slave or slaves will it take to run HW Gold and HB Gold with decent sized templates, and what what will that/those cost? (My specs-early 2008 Mac Pro 8 core, 10.67, 18 gig RAM, 3 SATA 2 internal drives, one Firewire 800 external). Thanks.


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## Nick Phoenix (Aug 11, 2011)

NYC Composer @ Thu Aug 11 said:


> Ok, with as little BS or politics or other diversions as possible, what configuration of PC slave or slaves will it take to run HW Gold and HB Gold with decent sized templates, and what what will that/those cost? (My specs-early 2008 Mac Pro 8 core, 10.67, 18 gig RAM, 3 SATA 2 internal drives, one Firewire 800 external). Thanks.



a fast 8 core PC with 2 SSD drives, one for HB and one one for HS, with 24 gigs of ram will do it. I am running HS on a computer like this and HB on a fast Mac slave. So 2 slaves is ideal, but one good one should do it.


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## Ryan Scully (Aug 11, 2011)

Absolutely incredible demos! Really dug Alex Temple's track and Colin O'Malley's piece is just gorgeous...Fine work all around! Best of luck with this library Nick & company - sounds brilliant!




Ryan =o


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## José Herring (Aug 11, 2011)

Nick Phoenix @ Thu Aug 11 said:


> NYC Composer @ Thu Aug 11 said:
> 
> 
> > Ok, with as little BS or politics or other diversions as possible, what configuration of PC slave or slaves will it take to run HW Gold and HB Gold with decent sized templates, and what what will that/those cost? (My specs-early 2008 Mac Pro 8 core, 10.67, 18 gig RAM, 3 SATA 2 internal drives, one Firewire 800 external). Thanks.
> ...



Man seems like overkill for the gold versions.


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## Nick Phoenix (Aug 11, 2011)

For gold I am sure you will be fine with one slave, but I would still get a good computer with SSD if possible.


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## Alex W (Aug 11, 2011)

Nick Phoenix @ Fri Aug 12 said:


> ...but technically there is always a slight compromise.



Well that I definitely agree with, which is of course a far cry from it not being possible. In the world of orchestral VSTi's, there's compromise from the moment you press a key. I agree with the other things you said too, but there are other better ways around the problems you describe which don't require special sampling imo.

I appreciate you sharing your experience in creating HS though - and on that note I intend to write a sampling blog on future projects I work on, I find all this stuff really interesting. I also intend to write a bit of a "post mortem" on my whole experience of creating CS too, which was easily the hardest thing I've done in my life. And no, shhh, I don't have kids .

Anyway, didn't want to hijack the thread - very nice HB demos.


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## jkrans (Aug 11, 2011)

Nick Phoenix @ Thu Aug 11 said:


> For gold I am sure you will be fine with one slave, but I would still get a good computer with SSD if possible.



Nick, would a single AMD quad-core 2.5GHz slave with 8GB of RAM + SSD be suitable for one Gold library (HS or HB) or possibly even a modest Diamond template? Thx


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## Nick Phoenix (Aug 11, 2011)

Alex W @ Thu Aug 11 said:


> Nick Phoenix @ Fri Aug 12 said:
> 
> 
> > ...but technically there is always a slight compromise.
> ...




I am sure that you will find a good solution that works. Once you add reverb on top it is less of an issue anyway. I was just talking from the sampling side of things.


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## Nick Phoenix (Aug 11, 2011)

jkrans @ Thu Aug 11 said:


> Nick Phoenix @ Thu Aug 11 said:
> 
> 
> > For gold I am sure you will be fine with one slave, but I would still get a good computer with SSD if possible.
> ...



Yes


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## Nathan Allen Pinard (Aug 12, 2011)

I think Richard's work on the Dragon piece is possible the most realistic brass I've ever heard. Best out of all of them imo.

The Juice piece probably should not have been there. It doesn't seem to utilize HB as much.


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## Leon Willett (Aug 12, 2011)

Congrats on an amazing library. Also, what great demos! Nick, I loved your composition.


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## vlado hudec (Aug 15, 2011)

I found this video on youtube, guy plays various articulations, good for people, who don't own HB:

http://www.youtube.com/watch?v=0PlNr0r_LGg&feature=grec_index (http://www.youtube.com/watch?v=0PlNr0r_ ... grec_index)

french horns sounds really sweet !


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## Stephen Baysted (Aug 15, 2011)

Hi guys, 

How is the real world, in-template performance of HB on a Mac (compared to HS)? Just about to push the button... 

Cheers


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## Rob Elliott (Aug 15, 2011)

Stephen Baysted @ Mon Aug 15 said:


> Hi guys,
> 
> How is the real world, in-template performance of HB on a Mac (compared to HS)? Just about to push the button...
> 
> Cheers



I run HS on a different slave (SSD's) - 2 days into running HB on std 7200 drives. Whilst the loading is longer - have not noticed any performance issues. BUT will eventually convert those std to SSD drives on the HB machine.


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## Mahlon (Aug 15, 2011)

Thanks, Rob. Good to know. I'll be running HB off 7200 at first as well. Are you running Gold or Diamond? How many mics?

Mahlon


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## Stephen Baysted (Aug 15, 2011)

Yep, thanks Rob - encouraging news!


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## Rob Elliott (Aug 15, 2011)

Mahlon @ Mon Aug 15 said:


> Thanks, Rob. Good to know. I'll be running HB off 7200 at first as well. Are you running Gold or Diamond? How many mics?
> 
> Mahlon




Hey Mahlon, In my template I am running just the 'main' mics. Not so much about performance as ram. Having said that - project specific requirements will likely dictate the use of one or more of the other mics when I render (i.e close for being more 'present', vintage for warming it up, etc.)

Of course changing the timbre of anything recorded starts and stops with mics (and placement). Where in the past I have had to 'radically' eq something - I have never been 100% pleased. 

Hope that helps.


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## scoris (Aug 16, 2011)

I think HB sounds great but I suspect it has the same latency issue as HS: the articulations exhibit a different latency not reported to the host. For example the legato notes (articulations) need to be pushed back by 80 ms (or so), the staccatos only 20ms, the detache 40ms and so on....For every articulation (patch) there is a different amount...


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## JohnG (Aug 16, 2011)

hey there scoris,

When you write "I suspect it has the same latency issues as HS..." you imply that you don't even own the library or have access to it. If that is the case, isn't it the case that impugning the library -- or any library -- for "suspected" problems that you haven't personally experienced amounts to slanderous, or at least extremely rude, speculation?

Further, I don't have any issue with HS' performance regarding latency. Sure, some of the string patches with slower attacks should be positioned early by default in one's DAW software, but that is true of every string library I own.

If you have experience with a library and don't like something, obviously that's what the forum is for. If you actually do own it, then I suggest you make it more clear.

It is evident from my own experience and from the demos (that were put together fairly hastily, at least in my case) that the library sounds very good and performs admirably. I didn't slide any HB tracks in any direction while composing a fairly fast piece.


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## scoris (Aug 16, 2011)

I don't have HBrass but I do own the HStrings.
My wording I think was correct: I suspect that issue is also present in the case of HB as well. How can I say that without owning HB? Simple....Both HB and HS rely on the same sampler engine (Play). I believe that the place where this needs to be addressed is in the Play engine. 

The amount of latency (delay) is different from patch (articulation) to patch, some of them need a LOT of backing up in the midi editor, others less. When creating a melody phrase using different articulations (patches) you have to remember each one what is the amount of "push-back" it needs. Or to keep experimenting. It gets even worse: this amount is different from one section to another. 
I don't think that one can ignore these issues if he/she want the strings lines to be somewhat on time...

There is another thread where EastWest was asked to make the library (engine?) apply the same amount of latency across all the articulations. This would make life much easier becasue the user would only have to delay the whole MIDI track by the same negative value. No more messing in the editor. Don't you think?

In the end I would like to add that I DO think that HS sounds fabulous, I love the sounds....there only a few issues that need to be sorted out to make it easier to use.


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## JohnG (Aug 16, 2011)

You are wrong to criticise any library without trying it for yourself, in my view. 

In my experience, HB doesn't need shifting and sounds great right out of the box. It has many fixes under way and already two update releases have been prepared.

If you want to write music, HB's unbelievable. If you'd rather fuss, that's your affair.

(Note: I have received free products from EW)


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## José Herring (Aug 16, 2011)

scoris @ Tue Aug 16 said:


> I think HB sounds great but I suspect it has the same latency issue as HS: the articulations exhibit a different latency not reported to the host. For example the legato notes (articulations) need to be pushed back by 80 ms (or so), the staccatos only 20ms, the detache 40ms and so on....For every articulation (patch) there is a different amount...



Man this is pretty standard for any library. Different patches will have different offsets needed. But having played around with HB, I can tell that the patches react pretty immediately. Not like in HS where there is a considerable lag in the legato patches. But, not that that would really matter if you know how to offset tracks in your DAW.

To me the proof is in these demos. I've never heard anything that comes even close to the musicality and sonic quality of these libraries. I'm a believer now. I'll put up with a few little inconsistencies in order to get that level of production.


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## EastWest Lurker (Aug 16, 2011)

scoris @ Tue Aug 16 said:


> I don't have HBrass but I do own the HStrings.
> My wording I think was correct: I suspect that issue is also present in the case of HB as well. How can I say that without owning HB? Simple....Both HB and HS rely on the same sampler engine (Play). I believe that the place where this needs to be addressed is in the Play engine.



You assumption is simply wrong. Nick and Thomas have written about the precise reasons this happens in HS. I am composing music for a featurette as we speak and using HB and it is not so in HB.


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## Nick Phoenix (Aug 16, 2011)

The legatos in HS do lag slightly because you need this to hear the proper transition. However we did address this issue on the recent update. They are now very consistent and quicker. You just have to play as a real string player would. The brass has less of this issue because brass transitions are quicker by nature. These are instruments and you have to play them with some knowledge of what they are and how they work.


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## NYC Composer (Aug 16, 2011)

Not to get too far OT, but if you, like me, are limited to a 256 buffer at best, you are ALWAYS playing ahead of the beat. It's a fact of virtual instruments in large arrangements, and personally I've been doing it so long it affects my live playing, as a recent gig illustrated to me. Th fact that orchestral instruments, especially strings, rarely attack right on the beat is additional.

Anyway, I'm used to it all and I expect it.


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## germancomponist (Aug 16, 2011)

Nick Phoenix @ Tue Aug 16 said:


> The brass has less of this issue because brass transitions are quicker by nature. These are instruments and you have to play them with some knowledge of what they are and how they work.



+1 o=<


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## Dan Mott (Aug 16, 2011)

The lag is annoying, but that part of the library doesn't bother me that much because I just move everything back, although it would be nice if it was tighter, I understand, but if this is what the library needs to sound the way it does, then so be it. I wouldn't want them any tighter if it would mean they started sounding odd.

HS's sound is great, but I have other (personal issues with it) that most of you know anyway.


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## Andrew Christie (Aug 16, 2011)

handz @ Wed Aug 10 said:


> TJ s demo sounds great as usual but it is too close to the Allegro demo from HS to me, lazy lazy TJ



'Tower of Mischief' kicks the pants of 'Allegro Agitato', for sure it's in the same vain but definitely not too close


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## Mr. Anxiety (Aug 17, 2011)

Anyone know where to find the Keyswitch patches for Hollywood Brass. My HB Diamond did not include keyswitched versions of any presets, unless they are very hidden.

I went on the Soundsonline site and................................

Thanks,

Mr A


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## Nick Phoenix (Aug 17, 2011)

Mr. Anxiety @ Wed Aug 17 said:


> Anyone know where to find the Keyswitch patches for Hollywood Brass. My HB Diamond did not include keyswitched versions of any presets, unless they are very hidden.
> 
> I went on the Soundsonline site and................................
> 
> ...



We feel like keyswitches are really not the best way to use HB, but we will add them in a couple of weeks when all the core patches are perfected and approved by the masses. We dont want to make the same mistake we did with Hollywood Strings, where it took a year to get 3000+ patches perfected and we are still not done.


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## Mr. Anxiety (Aug 17, 2011)

I was under the impression that keyswitched programs were available, as per the mention of them in the manual. Hence my request for them. 

My primary need for this is to have more control over the stac/marc accent.

The legslur accent is not tracking (velocity wise) the way i would like it to with my touch and keyboard velo curve. Ultimately I would like the accent to be cc controlled, to blend to taste......... otherwise, I need it separately and keyswitched to have it on one track.

If there is a better place to give you this note, let me know......... 

Thanks,

Mr A


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## Mr. Anxiety (Aug 18, 2011)

Nick & Co,

I'd still like to know the best place to add my idea for a HBrass update.

Thx,

Mr A


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## EastWest Lurker (Aug 19, 2011)

Mr. Anxiety @ Thu Aug 18 said:


> Nick & Co,
> 
> I'd still like to know the best place to add my idea for a HBrass update.
> 
> ...



The Sounds Online forum. Obviously, EW developers check that out more than this one, although Nick and Thomas do pop in here occasionally.


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## Mr. Anxiety (Aug 19, 2011)

Thx EWLurker,

I assumed their EW Forum, but where in it, which thread?
Why isn't there a specific thread for HB suggestions? That would make it obvious for all of us.

Thx, Mr A


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## EastWest Lurker (Aug 19, 2011)

Mr. Anxiety @ Fri Aug 19 said:


> Thx EWLurker,
> 
> I assumed their EW Forum, but where in it, which thread?
> Why isn't there a specific thread for HB suggestions? That would make it obvious for all of us.
> ...



Perhaps start a thread in the General Discussion forum, like "HB update feature requests."


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## Mr. Anxiety (Aug 19, 2011)

Done.......

Users, Add your feature requests for Holly Brass on the Soundsonline Forum


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## Nathan Allen Pinard (Aug 19, 2011)

> The legatos in HS do lag slightly because you need this to hear the proper transition.



It's not just that. The ultimate reason is what Thomas J said in another post/forum somewhere.

It's how strings play. They drag like a m'fer when it comes to slow legato transitions. Have you ever seen a traditional conductor conduct strings? It's not even CLOSE to a match between the two. Everything strings do is generally dragged like crazy, that's what makes them strings.

I find the pushing back then not that bad, though at times it's a bit much. But then again I guess I should've loaded the fast transitions.

Example: http://www.youtube.com/user/danko1975#p ... CEqRdEU7vI

Damn...that guy drags (and no it's not audio sync)


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## Mr. Anxiety (Aug 19, 2011)

Hey Jay,

Would you kindly change my thread title over at Soundsonline to HB feature requests, instead of HP feature requests.

Funny, I copied it from your post here in this thread and now your post has been corrected.........

Thanks,

Mr A


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## EastWest Lurker (Aug 20, 2011)

Mr. Anxiety @ Fri Aug 19 said:


> Hey Jay,
> 
> Would you kindly change my thread title over at Soundsonline to HB feature requests, instead of HP feature requests.
> 
> ...



I can't do that so I would post in the thread and ask Admin to do it.


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## Lex (Aug 20, 2011)

More user demos/mocks..

http://www.youtube.com/watch?v=Ig9AiMUz0Fo

http://www.youtube.com/watch?v=7-RJTp4d ... re=related


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