# Sonivox Brass 249 USD for 24 hours



## Hannes_F (May 23, 2011)

Go to 

http://www.sonivoxmi.com

and click on the banner on the top. Brass is USD 249.00 until 25th may 12:00 a.m.

Thoughts?

I think they made up their mind a little late but perhaps it is still worth it because of the mutes?


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## robibla (May 24, 2011)

hmm interesting. i'd be interested to know if this is decent as well


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## Pedro Camacho (May 24, 2011)

I already have the Kontakt 2 version of the whole orchestra from Sonic Implants.

What is the difference between Kontakt 2 version and Kontakt 3.5 version?


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## Hannes_F (May 24, 2011)

Pedro Camacho @ Tue May 24 said:


> I already have the Kontakt 2 version of the whole orchestra from Sonic Implants.
> 
> What is the difference between Kontakt 2 version and Kontakt 3.5 version?



They say the difference is the new programming. You could download it for free (go to the update tab of the library on their site) and tell us (that would be nice).


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## robibla (May 24, 2011)

I don't have any brass, (except factory kontakt library lol!) I'm going to get cinebrass for sure, but something that could handle a bit of divisi would be nice. Would love to hear some feedback from people that have experience with it.

Of course I suppose i could get HB, but, hmmm, play. anyway lets not go there.


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## Simon Ravn (May 24, 2011)

I still have a lot of SoniVox stuff in my template. From the brass I specifically use the horns and the tuba - the trumpets are not loud and sizzly enough for me (but hardly any commercial library's are - I guess Cinebrass and HB will change that). For trombones I still prefer a mix of custom ones and Project SAM.


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## shakuman (May 24, 2011)

Pedro Camacho @ Tue May 24 said:


> I already have the Kontakt 2 version of the whole orchestra from Sonic Implants.
> 
> What is the difference between Kontakt 2 version and Kontakt 3.5 version?



Pedro, why you don't upgrade to kontakt 4 it's free at their web site!

Shakuman.


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## Hannes_F (May 24, 2011)

Simon Ravn @ Tue May 24 said:


> I still have a lot of SoniVox stuff in my template. From the brass I specifically use the horns and the tuba - the trumpets are not loud and sizzly enough for me (but hardly any commercial library's are - I guess Cinebrass and HB will change that). For trombones I still prefer a mix of custom ones and Project SAM.



Simon, thanks.


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## Martin Hines (May 24, 2011)

I have been complaining for years that I would buy if Sonivox significantly lowered their price. I just purchased a copy.


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## robibla (May 24, 2011)

I wish I knew more about it, I get the feeling the library is starting to age? The demo's sound good in some places but fairly unconvincing in others. I think i'll wait for HB


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## musicpete (May 24, 2011)

A good offer. Unfortunately 4-5 years too late IMHO. 

I agree about the demos. They don't do this library a favor... Too few and (by todays standards) not impressive enough.


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## Pedro Camacho (May 24, 2011)

I still use the K2 version of the brass.
Nowadays... and It sounds awesome.

The trumpets properly mixed with "The Trumpet" sound amazing!

To be honest the woodwinds have the most amazing tone I ever heard, specially the oboe and the english horn.


I still can't see any K4 update on the website arrgghh.

Can't wait to test it.


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## Hannes_F (May 24, 2011)

Pedro Camacho @ Tue May 24 said:


> I still use the K2 version of the brass.
> Nowadays... and It sounds awesome.
> 
> The trumpets properly mixed with "The Trumpet" sound amazing!
> ...



Pedro, see this screenshot in order to know where to look.


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## TheUnfinished (May 24, 2011)

Massively off-topic and irrelevant (but I loved Hannes' red arrows!) but... shouldn't your sig read "All your string are belong to me"?

Okay, back to Sonivox...


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## Hannes_F (May 24, 2011)

TheUnfinished @ Tue May 24 said:


> Massively off-topic and irrelevant (but I loved Hannes' red arrows!) but... shouldn't your sig read "All your string are belong to me"?



Certainly "All your strings are oblong to me". Huh? :?: 

Anyways, sitting with the mouse on the trigger and waiting for an opinion about that K4 programming ...


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## rgames (May 24, 2011)

Does this lib have sampled legato? Seems it was recorded before that started - can't recall.

The sound in the demos is not bad - might be worth $250 if it has legato. Still don't like the attacks on the FF tpt, though. VSL has the same problem. Hopefully Cinebrass will take care of that...

Also, I assume it's 24-bit - is that correct? Might not have looked hard enough...

rgames


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## hbuus (May 24, 2011)

No sampled legato.

Yes, 24 bit.


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## Pedro Camacho (May 24, 2011)

Ok got the K4 update. Nothing much there, I prefer my own custom programming.

Samples are very good to me but no legato and not so good crossfades sometimes.


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## Mr. Anxiety (May 24, 2011)

The Horns are really nice, they have a big cinematic sound with good dynamics. Solo-2-4 or 6 horns.The stacs are also really good. Probably worth the price for these alone.

The Brass are solid as well. The Bones have a great bark for action stuff.

Trumpets are solid, they don't have that last 10% ff-fff brilliance that you might want for action stuff, but fit well with the other sections.

Mutes for all sections........... nice

Pretty cheap price for a well balanced, versatile, big sounding library.

The new programming has some questions, mainly, how to get the legato script to engage for melody lines, etc. I have a query into Sonivox.

Yes, there is no sampled legato....... dealbreaker? not to me.

My 2 cents.......

If anyone has any input on the programming re: legato, please chime in!

Mr A


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## Ed (May 24, 2011)

I dont see why anyone would buy this unless they really have the desire to have eveything, when CS Brass is soon to be relased. 

Ok so CS Brass will likely be a little more expensive... but surely looking at price vs content it will still be *worth* more.


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## Ian Dorsch (May 24, 2011)

It's a slightly tempting deal, but ultimately I really can't see spending any money on this with Cinesamples' library only few weeks out. Maybe if they'd done this a couple of years ago, but now I'd much rather put the cash toward a more modern lib with sampled legato.


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## robibla (May 24, 2011)

This has a hell of a lot more stuff than CBrass, but nowhere near the sound quality


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## Hal (May 24, 2011)

i thought i would die before seeing this happening !
i never understood their pricing poicy 
with all the percussion on the market they still keep the same price and with all the great strings on the market they still keep the same price even tho it sounds nice it is long ago oudated with all the new scripting,legatos,techniques and mic options
excuse me but does 24 hours means its going back to 1000 $ !! i DOUBT almost the same price of the soon to be released eastwest HB ??
is it gonna sell one copy at that price with HB and CS brass and LASB and samplemodeling on the market "and other cheaper options"


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## RiffWraith (May 24, 2011)

Hannes_F @ Tue May 24 said:


> TheUnfinished @ Tue May 24 said:
> 
> 
> > Massively off-topic and irrelevant (but I loved Hannes' red arrows!) but... shouldn't your sig read "All your string are belong to me"?
> ...



*All Your Base Are Belong To Us*


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## re-peat (May 24, 2011)

Hal @ Wed May 25 said:


> (...) even tho it sounds nice it is long ago oudated with all the new scripting,legatos,techniques and mic options(...)


I never understood the frequently heard 'outdated'-comment with regard to the Sonivox symphonic libraries. There is nothing outdated about them whatsoever: great samples remain great samples, and if the Sonivox Symphonic Orchestra can claim one thing, it's certainly great samples. Often quite excellent samples even.
I mean, how can anyone say that a library which is capable of http://demos.sonivoxmi.com/sonicchangingwinds%2Dkavehcohen.mp3 (this) or http://demos.sonivoxmi.com/a+small+impression.mp3 (this), is 'outdated' and not follow that remark with an embarrassed, FastShow-like _"Okay, I'll take my coat."_?
When handled well, the Sonivox has got a clarity, detail, depth and rich, convincing timbre that is, in my opinion, unmatched by any other commercialy available orchestral library. With a few tweaks to its programming (I agree with Pedro that the library leaves much of its power unused because of its somewhat primitive and careless programming), the Sonivox orchestra is still very much among the very best (I'd even say *the best*) and most versatile orchestral packages currently available.

_


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## robibla (May 24, 2011)

those demos sound a lot better than the ones i heard.


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## Hannes_F (May 25, 2011)

Hmm ... while they said the offer would last until 25th of may, 12:00 a.m. it has expired. I always thought 12:00 a.m. would be the middle of the day. 

Could it be that 12:00 a.m. comes before 3:00 a.m. or something?


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## robibla (May 25, 2011)

Yeah 12am is midnight :( Usually companies announce things like that as 11:59pm 24th May to make it clearer.


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## Hannes_F (May 25, 2011)

OK, got it nevertheless. I dig the more classical timbre here.


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## Ashermusic (May 25, 2011)

re-peat @ Tue May 24 said:


> Hal @ Wed May 25 said:
> 
> 
> > (...) even tho it sounds nice it is long ago oudated with all the new scripting,legatos,techniques and mic options(...)
> ...



But Piet, it does not have "true legato" and "auto divisi" and as EVERYONE here knows, features like that are absolutely ESSENTIAL for creating good sounding music. :roll: :D 

I totally agree with you about just how good this library is and the new programming makes it even more usable, particularly with Kontakt's instrument banks.

BTW, I am not saying those things are not desirable and helpful, just that libraries that do not have then can still be very useful.


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## Ed (May 25, 2011)

re-peat @ Tue May 24 said:


> Hal @ Wed May 25 said:
> 
> 
> > (...) even tho it sounds nice it is long ago oudated with all the new scripting,legatos,techniques and mic options(...)
> ...



I don;t know how others use the term, but I would describe a library like that too. Yes, good samples are still good samples, but since no one thinks any samples are perfect if something better comes along and then the general standard is raised then you have composers expectations that are greater along with clients. It is outdated to release an serious orchestra library today without round robin or legato, 10 years ago this was not the case. 10 years ago people were saying Miroslav was a brilliant library, maybe they should buy it despite the ridiculously high price tag (by todays standards), but today they sound "outdated". Its really the same for all technology and its always been like that. At some point I remember people being amazed by Fairlight samples, but today you really want to ever use them except as an effect.

Now the thing with Sonivox, it is still very good but like Miroslav its getting to the point where it is so far behind the current technology, the price has to drop dramatically in order to be worth buying still.


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## re-peat (May 25, 2011)

Ed @ Wed May 25 said:


> It is outdated to release an serious orchestra library today without round robin or legato, 10 years ago this was not the case. 10 years ago people were saying Miroslav was a brilliant library, maybe they should buy it despite the ridiculously high price tag (by todays standards), but today they sound "outdated". (...) Now the thing with Sonivox, it is still very good but like Miroslav its getting to the point where it is so far behind the current technology, the price has to drop dramatically in order to be worth buying still.



Can't say I agree, Ed. I really, really don’t. Sonivox, to me, (especially its strings) is a timeless classic in the history of sampling. Timeless. And that means: _never_ outdated. No matter which clever technologies may arrive in years to come, no matter what developers think of next, Sonivox, even with all of its current flaws and limitations, will always remain a powerful, totally satisfying and gloriously sounding musical instrument to me. 
If this discussion were about Miroslav or Advanced Orchestra or the Prosonus Strings, I'd be more inclined to agree with you, but Sonivox is on a wholly different level. Hors catégorie, in my opinion. If my HD would die on me tomorrow, the very first thing I'd buy again — and I’m being completely truthful here — is the Sonivox collection. And happily at its full price, if necessary.

And honestly, if that same tomorrow, a global law were passed, strictly forbidding all uses of round robins, fake or true legato and release samples in sample libraries, I wouldn’t even raise an eyebrow. Perfectly fine with me. The most overrated things in sampling history, in my opinion, the most tediously over-discussed, whined about and/or stupidly glorified bits of musical meaninglessness are round robins, true legato and release samples. 
Now, you won’t hear me complaining that they’re here (and I gladly and gratefuly use them to add an extra layer of completely superficial appeal to my music), but seriously, I wouldn’t miss ‘em for a second if they were all gone again tomorrow. I really wouldn’t feel roundrobbed of any essential tools, or unable to make my music. (And, by the way, I’ve heard FAR more instances of legato, true or scripted, ruining a samplebased performance than actually enhancing it.)

Having said that, Sonivox *does* have round robins (be it in very modest numbers) and release samples. But I’ve also worked for many years with SISS (Sonic Implants Symphonic Strings, as they were still called at the time) in the earliest version of the EXS, software in which you couldn’t even enable the release samples. And it sounded perfectly OK to me. Still does. And legato, let alone true legato, was something you could only dream of. Which I never did (and still don’t). 

I like simple libraries. The simpler, the better. Like Sonivox. Sonivox can speak with one sample where other libraries might need a dozen. Sonivox does with two round robins what other libraries attempt with nine.
The same thing is true of the Spitfire Strings as well, by the way: extremely spartan in its available articulations, very little fancy trickery, a minimum of round robins, few velocity layers and yet … almost everytime you press a key or program a part, you hear that it’s going to sound just right. That, to me, is the sign of a great, timeless sample library. And Sonivox firmly belongs in that category, I feel. Good sound never grows old.

_


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## germancomponist (May 25, 2011)

re-peat @ Wed May 25 said:


> I like simple libraries. The simpler, the better. Like Sonivox. Sonivox can speak with one sample where other libraries might need a dozen. Sonivox does with two round robins what other libraries attempt with nine.
> The same thing is true of the Spitfire Strings as well, by the way: extremely spartan in its available articulations, very little fancy trickery, a minimum of round robins, few velocity layers and yet … almost everytime you press a key or program a part, you hear that it’s going to sound just right. That, to me, is the sign of a great, timeless sample library. And Sonivox firmly belongs in that category, I feel. Good sound never grows old.
> 
> _



Very well said, Peat!

+1


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## Hannes_F (May 25, 2011)

re-peat @ Wed May 25 said:


> (And, by the way, I’ve heard FAR more instances of legato, true or scripted, ruining a samplebased performance than actually enhancing it.)



How true. 

Fictional meeting at sample developers:

Dev. 1: Listen, we have legato samples now.

Dev. 2: Nice ... can you make them more hearable?

Dev. 1: Well yes, but why? We took the original volumes of the performances

Dev. 2: But it needs to be heard louder since this is the new feature of our library

Result: note - KLOK - note - KLOK - note
Look Ma, we've got legato!

Very best greetings to Vienna and Hollywood and wherever this has happened.


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## germancomponist (May 25, 2011)

How does it sound when a brass player opens the spit valve to release it?

I have never had a listen to this in a library........ . :-D


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## noiseboyuk (May 25, 2011)

Well I know I'll get shot down for saying so, but imho there is a world of difference between a lib like SO without true legato and a good lib with (VSL, BBB, LASS). It seems kinda fashionable to knock true legato but I can't begin to imagine why.

I think there is some confusion over the term legato anyway, which seems to be used instead of portamento. I'm one who likes to hear the transitions sometimes (listening to Jurassic Park this morning - the 4 note horn phrase that starts the main theme... there it is on the last 2 notes 2nd time round). But the basic legato is of course so important too... just playing a single line on, say, a BBB trumpet or a VSL flute which sounds real to me... not showy, just natural. Just can't get that realism with SO's Qlegato, even though the sound is often very good.

Anyway, OT. I see the price is back up for this lib now.


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## Hannes_F (May 25, 2011)

noiseboyuk @ Wed May 25 said:


> It seems kinda fashionable to knock true legato but I can't begin to imagine why.



So your conclusion must inevitably be that neither me nor Piet know what we are talking about, right?


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## Hal (May 25, 2011)

no one said Sonivox is a bad library
when i say outdated and that i dont understand their pricing policy it means Price 1000 $ is not right ! as if they dont listen to the market and all the updates

at least that price is not right to me

their is programming,scripting,legatos that would not help you make better music BUT it would make it more flexible,easier,inspiring, and faster to work with ,more mic options and more techniques to use and all that worth money or at least the difference in money
ewqlso was once 3000 + u$ 
everything goes down
i doubt if u ask anyone for 1000 $ would u buy LASS,HS,the complete EWQLSO +XP OR sonivox strings he would choose sonivox
same will apply to the brass soon.


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## noiseboyuk (May 25, 2011)

Hannes_F @ Wed May 25 said:


> So your conclusion must inevitably be that neither me nor Piet know what we are talking about, right?



See.... Hannes, honestly this sort of reply doesn't help. Why issue a haughty defensive jibe rather than focusing on the argument?

All I have is my ears. I play an overlapping line on one of the aforementioned libraries and it sounds like a real instrument playing. I play it on one like SO without true legato and it doesn't. If I'm honest, what I suspect is going on here with you highly respected and extremely talented people is a bit of hyperbole. Perhaps (just a theory) you consider that the sound captured is all, the space it is in as well, so it reflects an ideological approach. I of course think is critical too. Goodness knows there's been enough threads about the VSL silent stage approach vs recording in a good space, and I'd of course prefer to have both - the great space and true legato. But given a choice - say a flute - I'd go for artificial space and what sounds like a genuine set of connected notes (VSL) over a natural space but overlapping mush or synthy artificiality of abrupt note changes (SO). That's what my ears tell me to do.

Well I guess in the end there's not much to be said - my ears tell me one thing and yours are clearly telling you another. Like I said, I personally don't understand it, and your implication of "who am I to dare question" is perfectly clear... I have no answer to that of course. Shame we can't just focus on the arguments though.


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## Ashermusic (May 25, 2011)

noiseboyuk @ Wed May 25 said:


> Hannes_F @ Wed May 25 said:
> 
> 
> > So your conclusion must inevitably be that neither me nor Piet know what we are talking about, right?
> ...



Well, Guy, if you approach it as I do, which is that none of it _really_ sounds like a "real instrument playing" then what becomes paramount is how good it sounds to me, not how real it sounds, and to my ears the Sonivox stuff sounds good, really good.

Would it perhaps benefit from some of the more modern features? Sure, but it is still one of the best libraries out there despite lacking those and I will even go so far as to say if one cannot make good music with it, he/she cannot make good music with any libraries.


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## Hannes_F (May 25, 2011)

noiseboyuk @ Thu May 26 said:


> Hannes_F @ Wed May 25 said:
> 
> 
> > So your conclusion must inevitably be that neither me nor Piet know what we are talking about, right?
> ...



Because your way of arguing this topic comes over quite agressive to me.



> All I have is my ears. I play an overlapping line on one of the aforementioned libraries and it sounds like a real instrument playing. I play it on one like SO without true legato and it doesn't.



The point you don't consider here is individual re-programming. SISS goes a long way for me.

However what really baffles me is how after Piet and I indicate a problem that - from my point of view - screams samples quite explicitly and therefore is something that could really help if avoided (and Mike & Mike do it by introducing their transition fader) you jump into the thread like a cannonball practically declaring us (I mean Piet and me and probably Pedro too) as idiots and me as haughty. I don't understand this discussion style and honestly it is not very invitating.

Hal, I agree on the price being way too high. Sonivox should have done this sort of promotion years ago or offer the winds for 250 USD _now_. But they seem to have their policy and stick to that for whatever reason (that I can't understand either). I would even go as far as saying that the makers of the Sonivox Orchestra have cut themselves off from further development by their price policy which says "this product will be milked until it dies and then it is gone". I guess loops and beats are just more their business now.


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## Simon Ravn (May 26, 2011)

I don't want to take part in the heated discussion generated here, but just wanted to say that a lot of great, very realistically sounding sampled orchestral music has been created before the era of "true legato intervals". To me it is icing on the cake, but in most cases, not essential. At least not in most musical situations. 

If you want to create a realistic, pronounced, violins line for example though, this is where the legato recordings of VSL, LASS or HS can make a difference. The same goes for solo woodwinds, where VSL pretty much set the standard - and for solo brass I think Sample Modelling are setting the standard today.

But there are tons of pieces of music out there created with samples that don't include "true legato" which will fool 98% of the listeners into thinking they are listening to an orchestra. And true legato in itself would not necessarily have fooled the last 2%, since the sound of the samples and the way they were recorded means a lot more than true legato when it comes down to creating a realistic orchestral sound. And let's not forget the most important factor in creating a realistic sounding orchestra with samples: The person donig the composition/programming.

Just my 2 cents


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## noiseboyuk (May 26, 2011)

Well I was right in one regard - I have indeed been shot down for expressing my view! I see no point in continuing this line of personal debate on a public forum. If Hannes or anyone else wants to continue on that score, then I'd respectfully ask we all do so via PM - I have zero interest in these forum spats, and I'll happily apologise if others consider I've not helped with my previous posts in this regard (they seemed ok to me!).

On to the actual subject itself - I must admit I haven't had personal experience of SISS, maybe this would indeed change my view. I've tried several software solutions without success, but if SISS is really this good then of course that negates the need for true legato to some degree (on libraries where its technically possible to use it).

The Mike's volume slider for legato is an interesting idea, but I wonder how useful it will be in practice. I think the bigger issue is the interval sample itself... I'd have thought if it is a transition that calls attention to itself and the user doesn't like that, then the better solution is to have an alternate sample that is a cleaner transition than to adjust the volume down, which may end up sounding rather fake in terms of blending with the samples around it. As I understand it, CineBrass does have different interval samples depending on playing style, so they're covered on that score anyway. It'll be really interesting to see how it all works in practice - I'm delighted that the slider is there, but I think assuming the Mikes have had their chance to finish the tweeks, we won't need it too much in the real world and will adjust the playing style instead.

And good points Simon. There are of course plenty of parts that don't need legato to sound great. I guess I'm coming from a perspective of addressing the sorts of parts that samples at the moment struggle with.


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## Hannes_F (May 26, 2011)

noiseboyuk @ Thu May 26 said:


> Well I was right in one regard - I have indeed been shot down for expressing my view!



Guy, if that happens more than once I would consider revisiting the style and change it more towards 'live and let live'.

One possibility could be to ask open questions. Fictional dialogue:

Guy: How comes it that you don't seem to care as much as I do about true legato samples? Whenewer I use SO Qlegato it does not sound very good.

Hannes: Since I was unhappy with how my sample libraries sounded some years ago I have worked my way through Kontakt and use a bunch of techniques including scripts, re-mapping, re-programming etc. I can use SISS on EWQLSO in conjunction with their release samples for example. Therefore libraries are more like stone pits for me, however I see that this might be unpractical for other users, so every approach has its place.

Live and let live ... peace :|


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## Mike Connelly (May 26, 2011)

Seems like the recordings aren't outdated but the programming is. In Kontakt, users can update the programming, but isn't that something the developer should do? They obviously don't have a hardcore Kontakt guy on staff, but there are plenty of guys out there who they could hire to do the update.

And badly done "true legato" is going to sound worse than well done scripted legato (or no legato at all if it's done badly enough), but in my experience the libraries I've used that have it have been a huge improvement over the ones that haven't. It's not a question of whether libraries without passable legato (whether it's recorded intervals or a good script that fakes it) can make music that sounds good, it's that libraries that have it offer more options - I wrote things I was happy with before I had legato, but after getting it I've started writing parts I never would have attempted before.

So does anyone have an example of some legato playing with this library (I assume done with custom scripting)? If this library can pull it off, let's hear it.



Hannes_F @ Thu May 26 said:


> The point you don't consider here is individual re-programming. SISS goes a long way for me.



I assume you mean SIPS instead of SISS?


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## dcoscina (May 26, 2011)

Well the sale is over but I'm waiting for CineBrass. I also have enough brass libs that this didn't seem particularly enticing. I have the M-Audio Symphonic Brass that was basically a scaled down version of Sonivox brass anyhow.


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## re-peat (May 26, 2011)

Mike Connelly @ Thu May 26 said:


> So does anyone have an example of some legato playing with this library (I assume done with custom scripting)? If this library can pull it off, let's hear it.


No, I don't have such an example, I'm afraid (like I said, I don't lie awake at night thinking of all the great things I could do with legato), but I do have *a little example of some non-legato playing*. Or, to put it more correctly: legato playing, simulated (or suggested) with instrument patches that don't have any legato functionality.
It's rendered with a blend of the Sonivox strings and the Spitfire strings, neither of which uses legato instruments in this particular mock-up. (I did this excercise only to test a few customized patches and multis, in anticipation of a new job which might need this type of sound). The music is taken from Smetana's "The Moldau", the only bit in it which I like actually (don't care much for all the rest). 
Like I said, this is a sketch, trying out a few little things, it's not properly programmed, mixed or anything (although I'm pretty pleased with my choice of tempi), but it does give, I believe, a fairly good idea of the power of great samples, even if these don't take advantage of all latest and greatest developments in the area of sampling — which is the main idea of what I've been trying to say earlier on.

_


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## JohnG (May 26, 2011)

Simon Ravn @ 25th May 2011 said:


> ...a lot of great, very realistically sounding sampled orchestral music has been created before the era of "true legato intervals". To me it is icing on the cake, but in most cases, not essential. At least not in most musical situations.



Agree 100%. Legato is generally too loud (Hannes -- you are right) and sometimes too conspicuous even when not too loud. 

The main thing I enjoy about HS is the sound of it, not the legato or the other stuff. I'm not even using legato for composing. That said, it's a treat when it IS necessary. Some lines really need it or benefit from it. You can actually write a musically satisfying turn / ornament in strings with legato libraries that you couldn't before, and that's a nice benefit.

(Good example, Piet...)


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## Hannes_F (May 26, 2011)

Hi re-piet, great example.


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## KMuzzey (May 26, 2011)

If Sonivox were to suddenly offer the Symphonic Strings collection for $249, I'd recommend grabbing them. Just sayin.

Kerry


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## Mr. Anxiety (May 26, 2011)

Nice work Piet!

I agree....... there are many ways to "skin the cat" so to speak.

And for the brass....... scripting works quite well

Mr A


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