# Spitfire - Hans Zimmer Strings 24 Hours Left! ENDING Tuesday 5th June 23:59 BST



## Spitfire Team

​​


----------



## artomatic

Dang it! Time to pull out the plastic money... again. The choir is about to sing (I think)!


----------



## Audio Birdi

Labs re-launch since the current ones are on sale?


----------



## PaulBrimstone

There's an “X” in there, faintly. Black cat at night library...


----------



## mac

Spitfire monthly subscription is coming.


----------



## chillbot

Why was there no announcement that there would be an announcement today about an announcement??

Lame.


----------



## mac

PaulBrimstone said:


> There's an “X” in there, faintly. Black cat at night library...



Not a lot to take from that, i think its just decoration.


----------



## Hans-Peter

Roof of a church ... that's what I see .


----------



## Mornats

B***ards, that's right after pay day.


----------



## MillsMixx

The choir is coming.


----------



## Brian2112

N


----------



## Will Wilson

I would be very happy with some sort of monthly plan although I doubt it will happen. Choir seems the most likely!


----------



## synthpunk

yep



MillsMixx said:


> The choir is coming.


----------



## synthpunk

Christian is moving back to London ?


----------



## erica-grace

Great. An announcement on a forum about an announcement received via email about an announcement. Great.


----------



## catsass

chillbot said:


> Why was there no announcement that there would be an announcement today about an announcement??
> Lame.


You must have missed the announcement that there would be no announcement about the announcement today about an announcement.


----------



## Casiquire

You've got to be kidding me.


----------



## Wake

An announcement that an announcement will be made? I wish I was dead, but here I am in 2018.
How dead, on the other hand, is the soul of the poor graphic designer?


----------



## Maxime Luft




----------



## Atarion Music

Hey, you ever hear the saying, 'If alot of people believe in something, then it comes true??' Well......I believe it's a subscription service, or even better, a rent to own! Lol come on folks let's use the power of Teamwork!! If I never ask the human race to participate in anything else......


----------



## synthpunk

Casiquire said:


> You've got to be kidding me.


----------



## Garry

This has to be the Eric Whitacre lib? Surely?!!! I can't bear it!!

I fully realise they're (quite rightly) hyping this, but their marketing strategy is totally working on me - I can't wait!


----------



## christianhenson

Hey guys, its a proper 'save the date' as in there may be an op to attend something.... geography and lots of things permitting...


----------



## Garry

christianhenson said:


> Hey guys, its a proper 'save the date' as in there may be an op to attend something.... geography and lots of things permitting...



Arrggh... now they've got me thinking Eric Whitacre, Air Studios, delivering new library! Arrrghhh.... stop, I can't take it! Please, just take my wallet and hand over the library!


----------



## mojamusic

Brian2112 said:


> N



Did the creators of N team up with Spitfire to make the 1 million piece string quartet? This is gonna be epic!!!


----------



## Mornats

christianhenson said:


> Hey guys, its a proper 'save the date' as in there may be an op to attend something.... geography and lots of things permitting...



So more of a "shut up and take me" than a "shut up and take my money"?


----------



## Architekton

Choir please...


----------



## tosza

"Ask me anything with Christian and Paul" in November:

About "Typhon": their largest & most expensive library ever, currently alpha testing, to be released in Q1.

Just sayin'...


----------



## muziksculp




----------



## Garry

tosza said:


> "Ask me anything with Christian and Paul" in November:
> 
> About "Typhon": their largest & most expensive library ever, currently alpha testing, to be released in Q1.
> 
> Just sayin'...


Christian also asked Paul in the same interview, when he thought the Whitacre library would be ready, and he counted up to Feb, and Christian said, ‘oh, we’ll you’ve just given it away then!’. At least, that’s what my memory tells me - perfectly possible I dreamt that, but don’t disillusion me! I can wait no longer!


----------



## Matt Riley

Am I the only one that finds threads like this annoying? Just make the announcement when you're ready! I'm kidding. Well mostly.


----------



## Will Wilson

PS just in time for my birthday!


----------



## paulmatthew




----------



## rocking.xmas.man

christianhenson said:


> Hey guys, its a proper 'save the date' as in there may be an op to attend something.... geography and lots of things permitting...


oh boy - I hope for Leipzig instead of London.


----------



## PaulBrimstone

rocking.xmas.man said:


> oh boy - I hope for Leipzig instead of London.


Or Bermuda!


----------



## germancomponist

The long awaited fart library is recorded, better done like this? 
https://www.sound-ideas.com/Product/415/The-Original-Fart-Sound-Effects-Library


----------



## mr336

mac said:


> Not a lot to take from that, i think its just decoration.



Looks like they used a demo plugin from an app that wasn't registered.


----------



## Emmanuel Rousseau

Damned, I'll be on holidays.
Can we do this another time ? Maybe set a Doodle or something ?


----------



## stixman

Could it be that there is some dates and figs in trouble!
actually they mean Save the Figs!


----------



## prodigalson

Everyone wants this to be the choir library so bad that they’ll seeing anything they want in that image. 

I don’t see how it could have to do with anything other than the LABS instruments as the announcement is coming on the same day as the their discontinuation. 

Also, an announcement that there will be an announcement in 3 weeks?? ...lame.


----------



## Vischebaste

Pretty sure I could make out the hazy outline of a user manual for Trailer Giant in the background of that trailer image.


----------



## axb312

Zzzzzzzz


----------



## Puzzlefactory

About time, Spitfire hardly ever seem to announce and release stuff nowadays...


----------



## Paul Grymaud




----------



## Mystic

Did you just make a plan to make plans?!


----------



## DS_Joost

This, this is what I mean when I talk about Spitfire needlessly flooding the forums. No, I'm not going to save a date. No, I don't care that you're going to announce anything unless you actually announce it. But I have reported this, and so should anybody else.

I don't care if it's the holy grail of music making; if you've got something to announce, then properly announce it, like everybody else. All this pompousness for nothing.

I mean, what is this thread really other than just spam? What does this thread tell me? Why does this thread need to exist? It is useless unless there is actually some info (you know, the reason one makes a thread). This is not even a commercial announcement, because there is nothing commercial being announced. Pointless stuff and wasted space.

I like your products, I really do. But there's a point where this love will change into resentment if you keep acting like this. And I'm sure I'm not the only one, judging from this thread. It will backfire some day.


----------



## synthpunk

It is good advice above poster. But you also have to remember Spitfire pay for the commercial service as well so you need to respect that.

I hope Paul & Christian use some of the feedback they see here in the spirit it is meant. Think of it as that one friend who tells you the truth and you wish was your best man at your wedding  not just a bunch of nodding heads at a marketing meeting.


----------



## PaulBrimstone

Oh dear, a lot of grim disapproval going around. I suspect some people posting on this thread do not even like Marmite.


----------



## pfmusic

Some really disrespectful posts in this thread. Sad to see on a daily basis, the amount of shit some people stir up over nothing.

Good luck with the new project Spitfire Audio. Looking forward to whatever it is.


----------



## noises on

Spitfire audio will be taking over the marketing, social media as well as news releases for Harmonic Subtones emotional violin?


----------



## mouse

I wonder does everyone here realise that they're doing exactly what Spitfire wants them to do - *comment*. 

By commenting on the thread (whether a good or bad comment), you'll be notified when the product is released (as Spitfire will update the thread) and it makes the "Released" thread look more appealing to check because there are pages of comments already on it. So if you want to "stick it to Spitfire", just don't comment and let the thread die


----------



## jononotbono

PaulBrimstone said:


> Oh dear, a lot of grim disapproval going around. I suspect some people posting on this thread do not even like Marmite.



Imagining a World without Marmite. Now that's grim!


----------



## Michel Simons

PaulBrimstone said:


> Oh dear, a lot of grim disapproval going around. I suspect some people posting on this thread do not even like Marmite.



Marmite = The Devil.


----------



## Mornats

PaulBrimstone said:


> Oh dear, a lot of grim disapproval going around. I suspect some people posting on this thread do not even like Marmite.



Marmite's ok, I can take it or leave it really.


----------



## PaulBrimstone

michelsimons said:


> Marmite = The Devil.


Whoops — commercial thread, guys. Perhaps we should take our Marmite debate elsewhere... Pistols at dawn, michelsimons


----------



## Michel Simons

mouse said:


> I wonder does everyone here realise that they're doing exactly what Spitfire wants them to do - *comment*.
> 
> By commenting on the thread (whether a good or bad comment), you'll be notified when the product is released (as Spitfire will update the thread) and it makes the "Released" thread look more appealing to check because there are pages of comments already on it. So if you want to "stick it to Spitfire", just don't comment and let the thread die



You mean like this?


----------



## blougui

DS_Joost said:


> This, this is what I mean when I talk about Spitfire needlessly flooding the forums.


Thanx for taking part of the flooding, then. Posts like this turn a small tide into a huge wave.


----------



## Garry

I’m genuinely surprised at the pointless vitriol on this thread. So a software company, that produces products that you enjoy, has said, ‘hey, there’s something to look forward to at the end of the month’. How egregious! How dare they spoil your precious thread-reading time by letting you know there’s something that you might enjoy? And why didn’t they know that you personally don’t like to be kept waiting - if they make an announcement, you want it NOW! How dare they consider that they’re a business, and that using different approaches to create excitement around their products is not acceptable to YOU. Yes, totally shameless! 

I say that I’m surprised, because as a newcomer to this forum, I’ve been really impressed how the threads don’t typically degenerate into flame throwing, as they inevitably do on almost all other discussion sites. It’s a shame this couldn’t be maintained here. I love this forum - it’s been so useful and I’ve learned a lot from the expertise here.

If you’re listening Spitfire, I think your whole approach is *wonderful*: the engagement you have through Christian’s vlogs, the transparency of Paul’s walkthroughs and the ‘in action’ uses of the libraries, the creative cribs, the charity donations through the Labs, etc etc. Not to mention, your engagement on this forum. Honestly, I go to other companies’ offerings, and you are the standard I now compare them all against. I buy your products not only because I love the quality, but also the philosophy behind the company: composers creating tools first and foremost for their use as composers. I also feel I’m buying into a consumer relationship with a company engaged with its audience. Your products are outstanding and give me hours of enjoyment, for which I’m truly grateful. As to your marketing ploy of teasing by letting us know a reveal coming up in a few weeks - it’s totally transparent and I completely love it! I’m really excited, and thoroughly looking forward to what you’ll show. Keep it up! I’ve been excited about the Eric Whitacre library ever since he announced it, and showed the video of his choir singing ‘Sleep’ in Air Studios. The thought of having that sonic power at my fingertips is mouthwatering, so I’m hoping this is your announcement, but if not, I’m sure it’ll be something I’m trying to convince the wife I REALLY NEED! 

To those complaining about Spitfire’s approach, can I make the controversial suggestion to just not read the thread - they didn’t make it mandatory. Just move on, and realize that what YOU may not like, others may love, and it’s the purpose of the company to sell products, and that different approaches will work for different people. It’s no different than you would do if you had a successful company, and wanted to maximize engagement with your customers.

Now, back to my salivating... it’s the Whitacre library, right? Tell me I’m right!


----------



## pfmusic

Garry said:


> I’m genuinely surprised at the pointless vitriol on this thread. So a software company, that produces products that you enjoy, has said, ‘hey, there’s something to look forward to at the end of the month’. How egregious! How dare they spoil your precious thread-reading time by letting you know there’s something that you might enjoy? And why didn’t they know that you personally don’t like to be kept waiting - if they make an announcement, you want it NOW! How dare they consider that they’re a business, and that using different approaches to create excitement around their products is not acceptable to YOU. Yes, totally shameless!
> 
> I say that I’m surprised, because as a newcomer to this forum, I’ve been really impressed how the threads don’t typically degenerate into flame throwing, as they inevitably do on almost all other discussion sites. It’s a shame this couldn’t be maintained here. I love this forum - it’s been so useful and I’ve learned a loot from the expertise here.
> 
> If you’re listening Spitfire, I think your whole approach is *wonderful*: the engagement you have through Christian’s vlogs, the transparency of Paul’s walkthroughs and the ‘in action’ uses of the libraries, the creative cribs, the charity donations through the Labs, etc etc. Not to mention, your engagement on this forum. Honestly, I go to other companies’ offerings, and you are the standard I now compare them all against. I buy your products not only because I love the quality, but also the philosophy behind the company: composers creating tools first and foremost for their use as composers. I also feel I’m buying into a consumer relationship with a company engaged with its audience. Your products are outstanding and give me hours of enjoyment, for which I’m truly grateful. As to your marketing ploy of teasing by letting us know a reveal coming up in a few weeks - it’s totally transparent and I completely love it! I’m really excited, and thoroughly looking forward to what you’ll show. Keep it up! I’ve been excited about the Eric Whitacre library ever since he announced it, and showed the video of his choir singing ‘Sleep’ in Air Studios. The thought of having that sonic power at my fingertips is mouthwatering, so I’m hoping this is your announcement, but if not, I’m sure it’ll be something I’m trying to convince the wife I REALLY NEED!
> 
> To those complaining about Spitfire’s approach, can I make the controversial suggestion to just not read the thread - they didn’t make it mandatory. Just move on, and realize that what YOU may not like, others may love, and it’s the purpose of the company to sell products, and that different approaches will work for different people. It’s no different than you would do if you had a successful company, and wanted to maximize engagement with your customers.
> 
> Now, back to my salivating... it’s the Whitacre library, right? Tell me I’m right!



Well said Garry - agree 100%

Fingers crossed it's the Whitacre choir. If not, it's Typhon


----------



## CT

Those of you jumping to Spitfire's defense have obviously never experienced how brutally intrusive their marketing can be. 

It was only a few weeks ago that Paul and Christian, in the grips of their Chamber Evolutions mania, busted through my front door and proceeded to parade around the house shouting about waves and feathering. They absolutely trashed the place and traumatized a number of local children in the neighborhood with their vulgar language. I should also mention that one of them (but I won't say which) was exceedingly intoxicated. In a particularly disturbing moment, he urinated on my dining room carpet. Mid-stream, eyes locked on my own, he smiled deliriously and whispered: "we've got an announcement to make."

These people are a menace.


----------



## StillLife

miket said:


> Those of you jumping to Spitfire's defense have obviously never experienced how brutally intrusive their marketing can be.
> 
> It was only a few weeks ago that Paul and Christian, in the grips of their Chamber Evolutions mania, busted through my front door and proceeded to parade around the house shouting about waves and feathering. They absolutely trashed the place and traumatized a number of local children in the neighborhood with their vulgar language. I should also mention that one of them (but I won't say which) was exceedingly intoxicated. In a particularly disturbing moment, he urinated on my dining room carpet. Mid-stream, eyes locked on my own, he smiled deliriously and whispered: "we've got an announcement to make."
> 
> These people are a menace.


What? I thought that only happened to me!


----------



## Alex Fraser

I’m adding my comment to..
a) Be updated when there are more announcements from Spitfire.
b) Annoy the moaners by being “part of the system.” (See part a)

Ps #teamspitfire


----------



## Paul Grymaud

StillLife said:


> What? I thought that only happened to me!


----------



## Michel Simons

StillLife said:


> What? I thought that only happened to me!



They must have stunt doubles.


----------



## Paul Grymaud

Now, *stop* talking nonsense. 
Otherwise I'm gonna bite You all (especially Paul Grymaud)




*Spit + fire = sharp pain*


----------



## Puzzlefactory

syashdown said:


> Do you ever think you guys might sometimes get a little bit carried away with your own self-importance?




3 libraries for less than the price of just one on its own at Black Friday.

40% discount on their anniversary.

It’s not like they don’t deliver.


----------



## stfciu

Hey! Spitfire is the benchmark and a Rudolf of our VI sleigh. We can accept it or just go through it. No need for hate. Taking in consideration our specific area of interest I am more than happy we have that little gem. I do respect the hype I can participate in in this particular subject.

Best wishes to all Spitfire team and the Vicontrol community so that we can experience more of that in the future!


----------



## Garry

miket said:


> Those of you jumping to Spitfire's defense have obviously never experienced how brutally intrusive their marketing can be.
> 
> It was only a few weeks ago that Paul and Christian, in the grips of their Chamber Evolutions mania, busted through my front door and proceeded to parade around the house shouting about waves and feathering. They absolutely trashed the place and traumatized a number of local children in the neighborhood with their vulgar language. I should also mention that one of them (but I won't say which) was exceedingly intoxicated. In a particularly disturbing moment, he urinated on my dining room carpet. Mid-stream, eyes locked on my own, he smiled deliriously and whispered: "we've got an announcement to make."
> 
> These people are a menace.



Hilarious! I totally fell for your first sentence, and was shaking my head, saying, 'oh, get a grip'! 

Where do I nominate this for best post ever!


----------



## josephspirits

tosza said:


> "Ask me anything with Christian and Paul" in November:
> 
> About "Typhon": their largest & most expensive library ever, currently alpha testing, to be released in Q1.
> 
> Just sayin'...



I've been curious about that release too, but Christian does mention above this isn't a new library announcement.


----------



## Garry

josephspirits said:


> I've been curious about that release too, but Christian does mention above this isn't a new library announcement.



He does? Where? I see he says there may be an opportunity to attend something, but why might that not be a library launch? Picture it: Whitacre's singers give a performance to open the proceedings, before unleashing VI goodness on the waiting VI-control community! If I'm right, you heard it here for first! If I'm wrong, you'll find me pounding the wall shouting 'damn' a lot!


----------



## Kony

Garry said:


> I’m genuinely surprised at the pointless vitriol on this thread. So a software company, that produces products that you enjoy, has said, ‘hey, there’s something to look forward to at the end of the month’. How egregious! How dare they spoil your precious thread-reading time by letting you know there’s something that you might enjoy? And why didn’t they know that you personally don’t like to be kept waiting - if they make an announcement, you want it NOW! How dare they consider that they’re a business, and that using different approaches to create excitement around their products is not acceptable to YOU. Yes, totally shameless!
> 
> I say that I’m surprised, because as a newcomer to this forum, I’ve been really impressed how the threads don’t typically degenerate into flame throwing, as they inevitably do on almost all other discussion sites. It’s a shame this couldn’t be maintained here. I love this forum - it’s been so useful and I’ve learned a lot from the expertise here.
> 
> If you’re listening Spitfire, I think your whole approach is *wonderful*: the engagement you have through Christian’s vlogs, the transparency of Paul’s walkthroughs and the ‘in action’ uses of the libraries, the creative cribs, the charity donations through the Labs, etc etc. Not to mention, your engagement on this forum. Honestly, I go to other companies’ offerings, and you are the standard I now compare them all against. I buy your products not only because I love the quality, but also the philosophy behind the company: composers creating tools first and foremost for their use as composers. I also feel I’m buying into a consumer relationship with a company engaged with its audience. Your products are outstanding and give me hours of enjoyment, for which I’m truly grateful. As to your marketing ploy of teasing by letting us know a reveal coming up in a few weeks - it’s totally transparent and I completely love it! I’m really excited, and thoroughly looking forward to what you’ll show. Keep it up! I’ve been excited about the Eric Whitacre library ever since he announced it, and showed the video of his choir singing ‘Sleep’ in Air Studios. The thought of having that sonic power at my fingertips is mouthwatering, so I’m hoping this is your announcement, but if not, I’m sure it’ll be something I’m trying to convince the wife I REALLY NEED!
> 
> To those complaining about Spitfire’s approach, can I make the controversial suggestion to just not read the thread - they didn’t make it mandatory. Just move on, and realize that what YOU may not like, others may love, and it’s the purpose of the company to sell products, and that different approaches will work for different people. It’s no different than you would do if you had a successful company, and wanted to maximize engagement with your customers.
> 
> Now, back to my salivating... it’s the Whitacre library, right? Tell me I’m right!


Good post, Garry - 100% agree with this


----------



## jamwerks

All you whinny old spensters should thank SF for giving you a chance to bitch and moan! LOL 

They announced an event product launch. Seems like pretty good marketing to me!


----------



## VinRice

I wonder of Mr Whitacre is going to give us a little concert?


----------



## Batrawi

mouse said:


> I wonder does everyone here realise that they're doing exactly what Spitfire wants them to do - *comment*.
> 
> By commenting on the thread (whether a good or bad comment), you'll be notified when the product is released (as Spitfire will update the thread) and it makes the "Released" thread look more appealing to check because there are pages of comments already on it. So if you want to "stick it to Spitfire", just don't comment and let the thread die


That's why when I open a spitfire thread I just start from the last page to see actual reviews on the product itself and skip all the bs at the beginning


----------



## thesteelydane

miket said:


> Those of you jumping to Spitfire's defense have obviously never experienced how brutally intrusive their marketing can be.
> 
> It was only a few weeks ago that Paul and Christian, in the grips of their Chamber Evolutions mania, busted through my front door and proceeded to parade around the house shouting about waves and feathering. They absolutely trashed the place and traumatized a number of local children in the neighborhood with their vulgar language. I should also mention that one of them (but I won't say which) was exceedingly intoxicated. In a particularly disturbing moment, he urinated on my dining room carpet. Mid-stream, eyes locked on my own, he smiled deliriously and whispered: "we've got an announcement to make."
> 
> These people are a menace.



I WISH that happened to me. Sounds like a grand old time.


----------



## Saxer

The design of the announcement looks more like a bereavement.


----------



## Casiquire

I feel as though the people defending the non-announcement are already fans so there's some genuine excitement. For someone like me who thinks they sound good but hasn't seen a truly killer library from them and has yet to buy a product (beyond the Labs), I see a thread name like this one and think "cool, what's this library?" and get zero information out of it. In fact the hype-ception occurring here is a bit of a turn-off. Was the target market existing fans? If so, fair enough, the marketing worked as intended. This doesn't attract new customers though.

Also I think there's some overreacting here. I saw nothing amounting to "vitriol". In fact the first person to use a swear word was someone talking *about* people who are disappointed by this.


----------



## Vik

Wake said:


> How dead, on the other hand, is the soul of the poor graphic designer?





Saxer said:


> The design of the announcement looks more like a bereavement.


There surely is something funeralish over that design... maybe they'll declare the BML range dead and the start of the next generation orchestral libraries?


----------



## Alex Fraser

Vik said:


> There surely is something funeralish over that design... maybe they'll declare the BML range dead and the start of the next generation orchestral libraries?


That thought crossed my mind. At some point they’re going to have to go back into Air and do it “deeper, better, using everything we’ve learned in the last 10 years..”

That’s not a dig by the way. See VSL.


----------



## christianhenson

miket said:


> Those of you jumping to Spitfire's defense have obviously never experienced how brutally intrusive their marketing can be.
> 
> It was only a few weeks ago that Paul and Christian, in the grips of their Chamber Evolutions mania, busted through my front door and proceeded to parade around the house shouting about waves and feathering. They absolutely trashed the place and traumatized a number of local children in the neighborhood with their vulgar language. I should also mention that one of them (but I won't say which) was exceedingly intoxicated. In a particularly disturbing moment, he urinated on my dining room carpet. Mid-stream, eyes locked on my own, he smiled deliriously and whispered: "we've got an announcement to make."
> 
> These people are a menace.



Without firm photographic evidence of this happening I have been advised by my lawyers to neither corroborate nor discount the events described above. Needless to say Spitfire has a firm policy on not upsetting minors nor needlessly troubling household pets in any of it's "drop ins" and we have a well established rug replacement policy so things don't get too "Lebowski".

All I have to say in response to the account above is..

Fake News.

See you on the 28th (don't forget your waterproofs)


----------



## Daniel James




----------



## kgdrum

christianhenson said:


> Without firm photographic evidence of this happening I have been advised by my lawyers to neither corroborate nor discount the events described above. Needless to say Spitfire has a firm policy on not upsetting minors nor needlessly troubling household pets in any of it's "drop ins" and we have a well established rug replacement policy so things don't get too "Lebowski".
> 
> All I have to say in response to the account above is..
> 
> Fake News.
> 
> See you on the 28th (don't forget your waterproofs)




So Christian,
Spitfire is finally releasing the George Clinton FU**KSTATION library!!!
It will be great to finally have Fu*kuped Evos,George Clinton inspired Swarms,The Parliament Feathering Steam Band and Wobbles made with your FU**KSTATION bring it on!!


----------



## mac

christianhenson said:


> See you on the 28th (don't forget your waterproofs)



There you go, a spitfire cloud reference, I was right.


----------



## lucor

christianhenson said:


> (don't forget your waterproofs)


Typhon confirmed?!


----------



## Rasmus Hartvig

christianhenson said:


> (don't forget your waterproofs)



Spitfire's wettest library yet. With all new mic positions "Underwater", "Bottom of the pint glass" and "Brighton"


----------



## Ned Bouhalassa

I'm still waiting for my personal (supposed-to-be-secret) email to confirm this upcoming release. I will say though, that I think it's Big Ben. They've deep-sampled Big Ben. You heard it here first.


----------



## PaulBrimstone

Ned Bouhalassa said:


> I'm still waiting for my personal (supposed-to-be-secret) email to confirm this upcoming release. I will say though, that I think it's Big Ben. They've deep-sampled Big Ben. You heard it here first.


That would be a 12-tone scale, I suppose.


----------



## Puzzlefactory

Would be much more interested in a Spitfire cloud than an East West one, especially if it was priced similarly.


----------



## Garry

lucor said:


> Typhon confirmed?!



Perhaps it wasn't a cryptic reference: it'll be late February in London - waterproofs are essential!!  (well actually, any month in London!).


----------



## Alex Fraser

Garry said:


> Perhaps it wasn't a cryptic reference: it'll be late February in London - waterproofs are essential!!  (well actually, any month in London!).


Or he might have been referring to urinating on a rug. I hope not though.


----------



## JPQ

Puzzlefactory said:


> Would be much more interested in a Spitfire cloud than an East West one, especially if it was priced similarly.


Why? of course Spitfire has Albions and maybe bit more emotion their orchestral sounds but no ethnic sounds at all. I try always understand why people X think way how they think.


----------



## kgdrum

Alex Fraser said:


> Or he might have been referring to urinating on a rug.


 
Absolutely!!
When CH is playing with his FU**KBOX, pissing on a rug is part of his "'creative process"
I suspect it's his way of marking the Spitfire territory...............


----------



## Puzzlefactory

JPQ said:


> Why? of course Spitfire has Albions and maybe bit more emotion their orchestral sounds but no ethnic sounds at all. I try always understand why people X think way how they think.



Because there’s a ton of Spitfire libraries that I would like but can’t afford. The Symphonic orchestra for a start, the Evo collection, the red cola library, the LCO library to name a few. 

Plus you don’t have to deal with the play engine and the ridiculously slow load times. 

Also I’m in the middle of studying an economics degree and I’m starting to understand the importance of buying domestic (I live in London England).


----------



## JPQ

Puzzlefactory said:


> Because there’s a ton of Spitfire libraries that I would like but can’t afford. The Symphonic orchestra for a start, the Evo collection, the red cola library, the LCO library to name a few.
> 
> Plus you don’t have to deal with the play engine and the ridiculously slow load times.
> 
> Also I’m in the middle of studying an economics degree and I’m starting to understand the importance of buying domestic (I live in London England).



True maybe better way. but makes me wonder if i go this direction what i buy for some things what i miss in Spitfire. No is hard wait what happens my ideas in parts what i cannot itself control.(how NI,Eastwest and Spitfire etc works).


----------



## CT

christianhenson said:


> Without firm photographic evidence of this happening I have been advised by my lawyers to neither corroborate nor discount the events described above. Needless to say Spitfire has a firm policy on not upsetting minors nor needlessly troubling household pets in any of it's "drop ins" and we have a well established rug replacement policy so things don't get too "Lebowski".
> 
> All I have to say in response to the account above is..
> 
> Fake News.
> 
> See you on the 28th (don't forget your waterproofs)



Cheers mate. The replacement rug ties the room together even more.

(And, for the record, fully "Team Spitfire" here as well. No issues whatsoever with how you guys advertise, and looking forward to the 28th. )


----------



## josephspirits

Garry said:


> He does? Where? I see he says there may be an opportunity to attend something, but why might that not be a library launch? Picture it: Whitacre's singers give a performance to open the proceedings, before unleashing VI goodness on the waiting VI-control community! If I'm right, you heard it here for first! If I'm wrong, you'll find me pounding the wall shouting 'damn' a lot!



Yup, very possible, I just read it as trying to tame people's expectations and be ready for anything I guess.


----------



## josephspirits

kgdrum said:


> So Christian,
> Spitfire is finally releasing the George Clinton FU**KSTATION library!!!
> It will be great to finally have Fu*kuped Evos,George Clinton inspired Swarms,The Parliament Feathering Steam Band and Wobbles made with your FU**KSTATION bring it on!!



haha I love that idea of some nice big, beautiful Spitfire marketing promoting the "FU**KSTATION library: Everything you need to start F*$%ING SH*T UP NOW. _Recorded in some guys basement_."


----------



## Daniel James

kgdrum said:


> Absolutely!!
> When CH is playing with his FU**KBOX, pissing on a rug is part of his "'creative process"
> I suspect it's his way of marking the Spitfire territory...............



Dunno about you but I'd be totally interested in a FUCKBOX spotlight series of libraries....minus the piss of course, then again I have seen how exciting those modulars can be!

-DJ


----------



## mc_deli

Resale now allowed from 28.2!


----------



## Michael Antrum

mc_deli said:


> Resale now allowed from 28.2!



Link please or it's 'liar, liar, pants on fire.....'


----------



## kgdrum

Daniel James said:


> Dunno about you but I'd be totally interested in a FUCKBOX spotlight series of libraries....minus the piss of course, then again I have seen how exciting those modulars can be!
> 
> -DJ




+1 Absolutely,I'd love to see Spitfire go more towards the darkside, more sonic manipulation & mayhem(piss in the figurative sense) going into new territories.......


----------



## jononotbono

A Spitfire / Charlie Clouser collaboration would be very welcome. Why hasn’t this sonic filth happened yet?


----------



## ChristopherDoucet

really hoping its a Choirs Library.


----------



## Spitfire Team

​


----------



## Karma




----------



## Grizzlymv

hmmm. so you guys are doing an orchestral version of the Black Album?


----------



## Paul Grymaud

I think I'll be th'air


----------



## synthpunk

dammit, you stole my line! 



Grizzlymv said:


> hmmm. so you guys are doing an orchestral version of the Black Album?


----------



## AdamKmusic

Hmm maybe we get to do some samples on the choir library? Will definitely try get a ticket though!


----------



## procreative

Grizzlymv said:


> hmmm. so you guys are doing an orchestral version of the Black Album?



Is that the one by The Damned, Metallica... or Spinal Tap (how much blacker can it be... death sells)?


----------



## christianhenson

None more black


----------



## catsass

Ned Bouhalassa said:


> They've deep-sampled Big Ben. You heard it here first.


The bar in Gare de Lyon? That should be interesting. I hope they include a Happy Hour Patch. That damned place is frequently host to multiple room-clearing brawls, including a Bastille Day melee that involved a Benedictine monk smashing a full glass of Grand Marnier into the bartender’s face - only to be cold-cocked in response.

I'm really looking forward to this release.


----------



## VinRice

catsass said:


> The bar in Gare de Lyon?



OMG that brings back memories. My first back-packing adventure to the South of France. First experience of French waiters... about 100 years ago...


----------



## nulautre

jononotbono said:


> A Spitfire / Charlie Clouser collaboration would be very welcome. Why hasn’t this sonic filth happened yet?


10 MILLION TIMES THIS!


----------



## J Royles-Atkins

First ever Spitfire hype guess:

How cool would it be if SF are asking people down to Air Studios to be a part of the Choir library? 300/400 ticket purchasers to add shouts and phrases into their product? Either way I'm hoping to come down from Yorkshire, or as Christian likes to refer to it - the Texas of the UK...


----------



## windyweekend

Can't think of a better location for a get together, Q&A, tour even, given the legacy of their products. Air will probably charge SA a hefty fee by the minute so worth making the most of this. Can't travel 5000 miles for this unfortunately, but if I could, I'd be in there recording anything I could (pencil drumming, shoe tapping, toilet flushing, dog puking etc...) just to get the room sound. Would be great to see something similar maybe tagged onto the backend of NAMM here in the US one day (Fox studios? Sony? HGW studio crib tour?) if it were ever feasible.


----------



## Garry

J Royles-Atkins said:


> First ever Spitfire hype guess:
> 
> How cool would it be if SF are asking people down to Air Studios to be a part of the Choir library? 300/400 ticket purchasers to add shouts and phrases into their product? Either way I'm hoping to come down from Yorkshire, or as Christian likes to refer to it - the Texas of the UK...



That just gave me an idea: a Yorkshireman’s choir sample library!  You could have the following key switches:

C0: ee bah gum
C#0: ey up
D0: Tarra duck
D#0: that’s champion that is lad
E0: I’m chuffed t’bits
F0: Ahm fair to middlin
F#0: tha’ knows
G0: chip butty
G#0: how’s yer fettlin?
A0: You were lucky. We lived for three months in a paper bag in a septic tank

This will probably mean nothing to those outside of England, and perhaps not even outside the M62 corridor!


----------



## J Royles-Atkins

Garry said:


> That just gave me an idea: a Yorkshireman’s choir sample library!  You could have the following key switches:
> 
> C0: ee bah gum
> C#0: ey up
> D0: Tarra duck
> D#0: that’s champion that is lad
> E0: I’m chuffed t’bits
> F0: Ahm fair to middlin
> F#0: tha’ knows
> G0: chip butty
> G#0: how’s yer fettlin?
> A0: You were lucky. We lived for three months in a paper bag in a septic tank
> 
> This will probably mean nothing to those outside of England, and perhaps not even outside the M62 corridor!




HAHAHA! 
Spitfire please get on this.. and the ‘Yorkshireman in London Expansion Pack’ 

Includes Time Machine phrases:

- 5 quid a bloody pint?!
- where the bloody ell’s a Greggs?! 
- southern brews taste like shite
- what the ‘ell is a Pret?!


----------



## J Royles-Atkins

Garry said:


> You were lucky. We lived for three months in a paper bag in a septic tank



A septic tank? You were lucky - in my day you ‘ad to get up at 3 in’t morning to clean the lake, eat handful o’ hot gravel.


----------



## -Janne-

J Royles-Atkins said:


> A septic tank? You were lucky - in my day you ‘ad to get up at 3 in’t morning to clean the lake, eat handful o’ hot gravel.



Luxury


----------



## Shad0wLandsUK

christianhenson said:


> None more black


Now you make me want to use Digital Performer... 

...damn those aptly named themes


----------



## Garry

J Royles-Atkins said:


> HAHAHA!
> Spitfire please get on this.. and the ‘Yorkshireman in London Expansion Pack’
> 
> Includes Time Machine phrases:
> 
> - 5 quid a bloody pint?!
> - where the bloody ell’s a Greggs?!
> - southern brews taste like shite
> - what the ‘ell is a Pret?!



Oh, I would pay top dollar for these!! 

For those outside of the north of England who don't yet fully appreciate the wonder that is Yorkshire, here is all you need to know:


----------



## VinRice

"Two halves of Mild and a bag of pork scratchings mate..."


----------



## Michael Antrum

An American decided to write a book about famous churches around the world, so he bought a plane ticket and took a trip to Rome. 

On his first day he was inside a church taking photographs when he noticed a golden telephone mounted on the wall with a sign that read $10,000 per call' The American, being intrigued, asked a priest who was strolling by what the telephone was used for. 

The priest replied that it was a direct line to heaven and that for $10,000 you could talk to God. 

The American thanked the priest and went along his way.

Next stop was in Moscow. There, at a very large cathedral, he saw the same golden telephone with the same sign under it. He wondered if this was the same kind of telephone he saw in Rome and he asked a nearby nun what its purpose was. 

She told him that it was a direct line to heaven and that for S10,000 he could talk to God. 

'O.K., thank you,' said the American. 

He then traveled to France, Israel, Germany and Brazil. In every church he saw the same golden telephone with a '$10,000 per call' sign under it. The American finally decided to travel to the UK to see if the British had the same phone. He arrived in York and again, in the Minster, there was the same golden telephone, but this time the sign under it read '20p per call.' The American was surprised so he asked the priest about the sign. 'Reverend, I've traveled all over World and I've seen this same golden telephone in many churches. I'm told that it is a direct line to Heaven, but everywhere I went the price was $10,000 per call. Why is it so cheap here?' 

The priest smiled and answered, 'You're in Yorkshire now Lad, - it's only a local call'.


----------



## Spitfire Team

​​


----------



## Will Wilson

Already sold out????

I literally clicked on the link as soon as it hit my inbox and it says sold out?


----------



## Tjur

C'mon Eventbrite... I had one ticket and it became unavailable DURING checkout? I'm ready to take a trip from Norway for this...


----------



## Jimmy Hellfire

Tickets, really?


----------



## MarcelM

what are those tickets good for exactly?


----------



## VinRice

Jimmy Hellfire said:


> Tickets, really?


 £4.50 and it goes to charity - what possible objection could you have?


----------



## VinRice

I suspect they sold out before the email even went out. I got mine as soon as that post above went up. It'll either be the re-launch of Spitfire Labs, in which case, er...OK, or the Whitacre Choir which is more likely. A lot of standing around and then going to the pub I imagine (George or the Roebuck) but cool to see the studios. I'll report back after the event.


----------



## N.Caffrey

yeah the mail arrived at 5.11pm, glad my I checked the fb page and got it immediately at 5pm!


----------



## procreative

Was too busy watching Liverpool beat Southampton, oh well...


----------



## Kony

procreative said:


> Was too busy watching Liverpool beat Southampton, oh well...


Made even sweeter by Utd losing to Newcastle


----------



## procreative

Kony said:


> Made even sweeter by Utd losing to Newcastle



I suppose the detractors might say the Southampton A Team beat the Southampton B Team...


----------



## AdamKmusic

Managed to get some tickets! Can’t wait to see what happens!


----------



## Anders Wall

So @Spitfire Team
Should we buy the Solo Strings now for a "great upgrade path" or should we wait until the 28:th


Best,
Anders


----------



## PeterN

Heres a bet Spitfire will have phrase libraries coming later this year. Making more EVO:s will soon bite back. Once they got the choir out, after that they will also go phrase. Just a bet.


----------



## colony nofi

Aghh - even in London on a trip and missed getting tickets. So what pub will people be at afterwards? I'll be there.


----------



## VinRice

colony nofi said:


> Aghh - even in London on a trip and missed getting tickets. So what pub will people be at afterwards? I'll be there.



It's either The George on Haverstock Hill or The Roebuck on Pond Street. I don't know which is 'Air Approved' (the Roebuck I suspect). The George is en-route back to the Tube station though.


----------



## colony nofi

VinRice said:


> It's either The George on Haverstock Hill or The Roebuck on Pond Street. I don't know which is 'Air Approved' (the Roebuck I suspect). The George is en-route back to the Tube station though.


Thanks. Ah - and just saw it back earlier in the thread.


----------



## kimarnesen

Will this event be streamed live?


----------



## Musicam

Choir, its amazing, I am waiting for, my faith for your products are like a rock!


----------



## Spitfire Team

​


----------



## JT

If I had to guess about Feb. 28: Choir is announced and a very special vocal group performs at this event.


----------



## muziksculp

What if it is not a new Library announcement ? What else could it be ?


----------



## Ryan

Once upon a time I saw 13 boxes of different libraries in the Spitfire HQ awaiting to be released, both with code-names and real names...  that I'll keep for my self!


----------



## europa_io

There's no way there would be this big a build up for just another choir library.


----------



## europa_io

They wouldn't need ustwo to launch a choir library either. Slightly more significant if they've called in the beardy, Barbour-wearing, draw-string rucksack-carrying, cropped-jeans-with-no-socks cool brigade!


----------



## europa_io

If the business transformation is one towards a subscription-based service, I'm outta here...


----------



## VinRice

Of course it's the choir launch. With a little performance from the man himself I expect. Looking forward to it. I have a nice old-man jazzers beard but I wouldn't be seen dead without socks.


----------



## VinRice

Even in the shower...


----------



## jamwerks

Probably with some a/b examples between the library and some real singers.

I'm anxanxious see if they've been able (smart enough) to produce a great vocal library their first try at it. They pretty much always succeed in doing so, I hope here also...

8dio imo is pretty hard to beat at the vocal game and their multi-vowel technics.

I'll be following on FB!


----------



## synthpunk

The current Spitfire Labs ends the 28th also, coincidence ?


----------



## Daniel James

jamwerks said:


> Probably with some a/b examples between the library and some real singers.
> 
> I'm anxanxious see if they've been able (smart enough) to produce a great vocal library their first try at it. They pretty much always succeed in doing so, I hope here also...
> 
> 8dio imo is pretty hard to beat at the vocal game and their multi-vowel technics.
> 
> I'll be following on FB!



I'm curious too man, the teaser for the choirs ages ago sounded decent. I think Fluffy Audio Dominus has the bar set for 'realism' and Audio Imperia Jaeger definitely have the bar for solo legato.

I wanna see those bars keep rising! I'll be tuning in.

-DJ


----------



## muziksculp

europa_io said:


> There's no way there would be this big a build up for just another choir library.



That's exactly what I'm thinking as well. This doesn't smell like another library announcement, but rather something else, what .... ?


----------



## Michel Simons

Will it be something that can be watched later or is it live only?


----------



## AdamKmusic

Who/what is the company at the bottom of that image?


----------



## Garry

Daniel James said:


> I'm curious too man, the teaser for the choirs ages ago sounded decent. I think Fluffy Audio Dominus has the bar set for 'realism' and Audio Imperia Jaeger definitely have the bar for solo legato.
> 
> I wanna see those bars keep rising! I'll be tuning in.
> 
> -DJ


Yes, for me, I'm waiting to pull the trigger on Dominus until after Spitfire's announcement, to see if this is the Whitacre library. If it is, Dominus is the bar it has to beat.


----------



## prodigalson

AdamKmusic said:


> Who/what is the company at the bottom of that image?



https://ustwo.com

*WHAT WE DO*
We work with businesses and organisations of all shapes and sizes, from early-stage startups to the world’s leading brands, to create digital products and services that solve the problems of today as well as define the opportunities of the future.

Through our company builder and accelerator arm, we also develop our own products and invest in ventures – all with the same goal of creating meaningful impact on the world.



So it's to do with labs…


----------



## Garry

Garry said:


> Yes, for me, I'm waiting to pull the trigger on Dominus until after Spitfire's announcement, to see if this is the Whitacre library. If it is, Dominus is the bar it has to beat.





Daniel James said:


> I'm curious too man, the teaser for the choirs ages ago sounded decent. I think Fluffy Audio Dominus has the bar set for 'realism' and Audio Imperia Jaeger definitely have the bar for solo legato.
> 
> I wanna see those bars keep rising! I'll be tuning in.
> 
> -DJ


How does the vocal legato compare to Ethera 2.0? This would be my current solo legato standard, but I looked on Audio Imperia's website to compare, and they don't give a walkthrough. 

As an aside, for me, this is what makes me such a fan of Spitfire: when they release a product, there is complete transparency: not just a teaser/overview video, but a full detailed walkthrough of all the patches, and an in action video showing it's use in a composition. You can really decide for yourself whether you like the sound of their library - how would you do that from Audio Imperia's website for Jaeger?


----------



## AdamKmusic

prodigalson said:


> https://ustwo.com
> 
> *WHAT WE DO*
> We work with businesses and organisations of all shapes and sizes, from early-stage startups to the world’s leading brands, to create digital products and services that solve the problems of today as well as define the opportunities of the future.
> 
> Through our company builder and accelerator arm, we also develop our own products and invest in ventures – all with the same goal of creating meaningful impact on the world.
> 
> 
> 
> So it's to do with labs…


Or maybe more standalone libraries? SA wanted to get out of using Kontakt eventually didn’t they?


----------



## europa_io

AdamKmusic said:


> Or maybe more standalone libraries? SA wanted to get out of using Kontakt eventually didn’t they?



Ah! yes. I think you’re onto something. That would make more sense of the ustwo relationship. Not business transformation but technology development! Out with Kontakt - in with bespoke software for their sample libraries. It would have to be blinding though - VSL have been doing it for years and yet still I prefer the Kontakt way.


----------



## muziksculp

Could they be moving from NI Kontakt to their own Sample Player ? 

That would qualify for a special live event, and is quite a big deal.


----------



## StefanoM

Garry said:


> How does the vocal legato compare to Ethera 2.0? This would be my current solo legato standard, but I looked on Audio Imperia's website to compare, and they don't give a walkthrough.
> 
> As an aside, for me, this is what makes me such a fan of Spitfire: when they release a product, there is complete transparency: not just a teaser/overview video, but a full detailed walkthrough of all the patches, and an in action video showing it's use in a composition. You can really decide for yourself whether you like the sound of their library - how would you do that from Audio Imperia's website for Jaeger?




Jaeger Legato is similar to Ethera Emotive True Legato of Soundscapes 2.0 . Not Ethera 2.0 ( blue ) that has a different legato.

but something is going on ....:-D


----------



## Daniel James

muziksculp said:


> Could they be moving from NI Kontakt to their own Sample Player ?
> 
> That would qualify for a special live event, and is quite a big deal.



I really hope its not that! Kontakt has the years of development behind it now. EWQL Libraries used to be the standard when they were Kontakt based and EW PLAY is only just becoming viable for me, after years of working *very* poorly for me (particularly when compared to Kontakt)

When any company goes for their own engine for me it has to be better or at least as good as Kontakt is already for me to seriously consider it. There is so much competition for every type of library that they do, that would now have the benefit of a stable and feature full Kontakt.

If they do make their own engine I would love to be blown away, but if I recall when phobos came out it didn't even have the ability to 'next' your way through presets. Small little features like that, which we always take for granted will be noticed on a new engine that you are forced into. And until all the bugs were ironed they would be pushing people towards the competition. 

Heh now I am just hoping all the marketing hype actually amounts to something XD

-DJ


----------



## muziksculp

It is possible that Spitfire has been working on their own Sample Player/Engine for quite a while, without anyone knowing about it. Chances are that their new player is as efficient or better than Kontakt at this time, and is running smoothly, with some unique features that Kontakt does not offer. Think about it, when was Kontakt 5 released ? and what's taking them so long to release Kontakt 6 ? 

VSL's VI-Pro 2 has been very efficient, and the fact that they will be releasing their new _Sychron Player_ in the near future, which is super flexible, and efficient at streaming lots of voices/samples in real time, is an indicator that some companies do not wish to be tied to NI Kontakt. For many reasons.

Oh well, So... this might end up not being about a new Spitfire Player, but then, what could it be ? A new business partnership ? How would that benefit them, and us ? or ... something else ... ?


----------



## mouse

Now everyone will be disappointed when its not a new sample library engine...


----------



## europa_io

Hands up who’s on here from Spitfire, operating under an anonymous avatar? :-P


----------



## jamwerks

Yeah could be their own sampler. They are at that level now (more sales than VSL probably) but building a custom sampler would cost around $1M. Not an easy decisiond...


----------



## Garry

StefanoM said:


> Jaeger Legato is similar to Ethera Emotive True Legato of Soundscapes 2.0 . Not Ethera 2.0 ( blue ) that has a different legato.
> 
> but something is going on ....:-D


Very intriguing... Can you say more, and if not, can you say when you can?....


----------



## Garry

muziksculp said:


> It is possible that Spitfire has been working on their own Sample Player/Engine for quite a while, without anyone knowing about it. Chances are that their new player is as efficient or better than Kontakt at this time, and is running smoothly, with some unique features that Kontakt does not offer. Think about it, when was Kontakt 5 released ? and what's taking them so long to release Kontakt 6 ?
> 
> VSL's VI-Pro 2 has been very efficient, and the fact that they will be releasing their new _Sychron Player_ in the near future, which is super flexible, and efficient at streaming lots of voices/samples in real time, is an indicator that some companies do not wish to be tied to NI Kontakt. For many reasons.
> 
> Oh well, So... this might end up not being about a new Spitfire Player, but then, what could it be ? A new business partnership ? How would that benefit them, and us ? or ... something else ... ?



Even if it was a new engine that was efficient and all the wrinkles worked out before release (doubtful, as Daniel pointed out), but even then, I still hope it isn't a new engine, since all of our other libraries would presumably still only work through Kontakt, and the new engine only used for Spitfire products; at best, even if this later were to become the new standard, it would be quite some time before all other libraries unified to take use of it. Personally, I'd prefer to see convergence and collaboration across the industry on platform, and for their ingenuity to be expressed at the level of the libraries. 

For me, I'm hoping the release is the Eric Whitacre library - that would be awesome.


----------



## Alex Fraser

Some thoughts on why it's (probably) not a new sampler engine:

It would cost a lot. A f*** ton. Not only for the initial programming and library conversion, but an ongoing commitment.
Where would the ROI be? Would Spitfire make any more money by selling libraries with a unique engine? I'm not sure they would. Would the existing userbase be bothered about converting?
The cost and issues converting any existing libraries to a new SF engine would be significant. I can see the forum posts now..
The loss of any cross marketing opportunities with Native Instruments - who also appear to be trying to save developers money at the moment.
What about Komplete Kontrol customers?
Pushback from existing customers who already have a working sample player.
That the launch of a new engine might be fraught with technical issues. There's a lot to lose here..
The only reason I could think of moving away from Kontakt would be cost savings and licensing fees.
Maybe there's a technical reason - but the Spitfire folk have always seemed more interested in a traditional sampling approach: Good room, good signal chain, best musicians. Not the latest flashy tech.

My 2c anyway. You can come laugh at me at the end of the month if it's a new player..


----------



## Daniel James

Alex Fraser said:


> The only reason I could think of moving away from Kontakt would be cost savings and licensing fees.
> Maybe there's a technical reason - but the Spitfire folk have always seemed more interested in a traditional sampling approach: Good room, good signal chain, best musicians. Not the latest flashy tech.
> 
> My 2c anyway. You can come laugh at me at the end of the month if it's a new player..



I think that would probably be the reason. When companies grow at the rate of Spitfire (sort of like EWQL did back in the day) and they start getting investment in the company, their job is to keep making the company grow on the behalf of their shareholders (well a fiduciary duty to maximise profits on their behalf). One obvious way when you look at things on paper, is to lower overheads such as outside licensing per product. On paper that might seem like a great idea, you have a new product you keep all the profits, no doubt one of the main reasons East West who were the standard sample companies at the time made the switch from Kontakt to PLAY. Although as we saw from PLAY, if you want to convince your customers that your products are worth the same value as before, then the new engine needs to be *at least *as good as what you are making them migrate from...otherwise you are charging them the same for a worse user experience. Now like I mentioned above, Kontakt has the advantage of many years of development and customer feedback. Ironing out bugs and adding subtle new features, a lot of which we take for granted (like my example of Phobos launching without the ability to 'next' through presets).

So a custom engine for Spitfire libraries would be a pretty big risk, bigger even I would say than when EW made the switch. The main reason being that now the competition is fierce. If they *do *launch a custom engine and it lacks features you get with Kontakt, should the customers pay the same price for the libraries?. If they are expected to pay the same rates, why would they choose Spitfire over any of the competition who now, just by virtue of being on Kontakt, have more stability and more features?. Now in a perfect world they could come out the gate with more features than Kontakt, more stability, faster load times, better memory usage etc, and I would be all in on it. But if _anything _is lacking, or worse, or slower than the Kontakt powered competition, they will have a hard time justifying their products against their rivals. Its just an all round huge risk in my opinion.

I would much rather they stuck with Kontakt personally, same as I wish I could get EW libs as Kontakt. As we have seen with things like Falcon by UVI, _even if _you have more features than Kontakt, it doesn't mean people are willing to switch.

Just my 2c (or 5 quid or whatever this rant is worth lol)

-DJ


----------



## Garry

Daniel James said:


> I think that would probably be the reason. When companies grow at the rate of Spitfire (sort of like EWQL did back in the day) and they start getting investment in the company, their job is to keep making the company grow on the behalf of their shareholders (well a fiduciary duty to maximise profits on their behalf). One obvious way when you look at things on paper, is to lower overheads such as outside licensing per product. On paper that might seem like a great idea, you have a new product you keep all the profits, no doubt one of the main reasons East West who were the standard sample companies at the time made the switch from Kontakt to PLAY. Although as we saw from PLAY, if you want to convince your customers that your products are worth the same value as before, then the new engine needs to be *at least *as good as what you are making them migrate from...otherwise you are charging them the same for a worse user experience. Now like I mentioned above, Kontakt has the advantage of many years of development and customer feedback. Ironing out bugs and adding subtle new features, a lot of which we take for granted (like my example of Phobos launching without the ability to 'next' through presets).
> 
> So a custom engine for Spitfire libraries would be a pretty big risk, bigger even I would say than when EW made the switch. The main reason being that now the competition is fierce. If they *do *launch a custom engine and it lacks features you get with Kontakt, should the customers pay the same price for the libraries?. If they are expected to pay the same rates, why would they choose Spitfire over any of the competition who now, just by virtue of being on Kontakt, have more stability and more features?. Now in a perfect world they could come out the gate with more features than Kontakt, more stability, faster load times, better memory usage etc, and I would be all in on it. But if _anything _is lacking, or worse, or slower than the Kontakt powered competition, they will have a hard time justifying their products against their rivals. Its just an all round huge risk in my opinion.
> 
> I would much rather they stuck with Kontakt personally, same as I wish I could get EW libs as Kontakt. As we have seen with things like Falcon by UVI, _even if _you have more features than Kontakt, it doesn't mean people are willing to switch.
> 
> Just my 2c (or 5 quid or whatever this rant is worth lol)
> 
> -DJ



Agree with all above (and I honestly don't think a new engine will be Spitfire's announcement, so just for the purpose of discussion...), but one positive consideration is if a new engine were to alleviate functional restrictions placed on them by Kontakt. Here, I have in mind Audio Modelling: the SWAM engine used for their strings (bass, cello, viola and violin) and saxes (bari, tenor, alto & soprano) is really outstanding in how expressive these instruments are; they have other instruments (trumpet, tuba, horn) for which they use Kontakt, but I recall them saying that there were some limitations of Kontakt that caused them to develop the SWAM engine. If that's true (and not just marketing), then while I would prefer they use Kontakt where possible, I'm also glad they innovated where necessary to get the best possible library out. I don't know enough to know if Kontakt would restrict Spitfire, but I'd be willing to forgive the use of a different engine if this were the case.


----------



## RiffWraith

jamwerks said:


> but building a custom sampler would cost around $1M



OOC, where do you get that # from?


----------



## RiffWraith

I know what it is. On the 28th, Christian and Paul will be announcing their retirement and sale of SFA to Apple.


----------



## Alex Fraser

RiffWraith said:


> I know what it is. On the 28th, Christian and Paul will be announcing their retirement and sale of SFA to Apple.


I might be down with that if Apple adds Spitfire's entire collection to a free Logic 10.4.1 update.


----------



## Coincidental

From looking at the ustwo site, it looks more likely that they would be involved in some sort of iPhone app, rather than full-blown multi-platform software development. May be unrelated though...


----------



## europa_io

Coincidental said:


> From looking at the ustwo site, it looks more likely that they would be involved in some sort of iPhone app, rather than full-blown multi-platform software development. May be unrelated though...



ustwo do more than that. But I agree they are the elephant in the room.


----------



## europa_io

Maybe ustwo are involved only from a venture capital pov


----------



## jamwerks

RiffWraith said:


> OOC, where do you get that # from?


Just a guess but would probably cost more than that imo.


----------



## europa_io

The need to close down labs is peculiar, though. Maybe that’s a red herring, the implication that there is a need to close labs as a prerequisite to the new thing being announced.


----------



## muziksculp

europa_io said:


> Maybe ustwo are involved only from a venture capital pov



That's another possibility, a business venture with them, which could mean more, and faster releases of libraries from SA.


----------



## europa_io

Why ustwo?
Why Air Studios?
Why close labs?

The answer:

Monument Valley 3 gets based in Air Studios where Ro has to solve musical puzzles in a laboratory of instruments, while fighting off evil underground swimming pool builders and county planning department officials.


----------



## synthpunk

There buying Air. Then Christian has a place to sleep in London.


----------



## Daniel James

synthpunk said:


> There buying Air.



I could see that being a thing for some reason.

-DJ


----------



## muziksculp

Daniel James said:


> I could see that being a thing for some reason.
> 
> -DJ



Maybe, but the price will be hefty !


----------



## prodigalson

I think people are missing the fact that ustwo seem to be focused on philanthropic endeavors. things that make a positive impact on the world. I think that will be a key aspect of whatever this announcement is. And making the announcement on the same day as closing LABS just can't be a coincidence.


----------



## Alex Fraser

Daniel James said:


> I could see that being a thing for some reason.
> 
> -DJ


They'd save a small fortune in recording costs.... 
Edit: Maybe they see the survival of the studio as critical to the future of the SF business. Didn't VSL buy the Syncron hall?

Here's my far fetched idea:
SF have brought the studio complex. They'll continue to run it as a studio but will announce a new 10 year project to "sample the orchestra in a deeper, more flexible way than has ever been attempted before."

That's why they've invited a bunch of Spitfire fans. Doesn't matter if they spill drinks on the carpet anymore..

(Or maybe we've all stumbled aboard the hype train. Again. It's a new castanet library.)


----------



## VinRice

Spitfire were capitalised about a year ago weren't they? I imagine that's what USTWO is about. I can totally imagine SF buying Air, at some point. I don't think either thing has anything to do with our little soirée.


----------



## RiffWraith

Alex Fraser said:


> Didn't VSL buy the Syncron hall?



Yep. And EW bought Cello studios.


----------



## muziksculp

I think we are on to something here, and It's not a new library release announcement.


----------



## MaxOctane

I think it's just this:

Feb 28: Eric Whitacre release. There will be a choir performance at Air. And wine. Christian, PT, Oliver, Homay, and the rest of the gang will be there.

Labs was shut down just for a re-packaging, as they said. Random guess: they'll rebundle them so there's not 50 individual $3 items, but collections of 5-10 items at a higher price, maybe $20-30 (and still for charity).
Alternative Strings was a simple mini-release to bridge Orchestral Swarm and Eric Whitacre. Gotta keep people thinking about Spitfire!


----------



## RiffWraith

MaxOctane said:


> I think it's just this:
> 
> Feb 28: Eric Whitacre release. There will be a choir performance at Air. And wine. Christian, PT, Oliver, Homay, and the rest of the gang will be there.
> 
> Labs was shut down just for a re-packaging, as they said. Random guess: they'll rebundle them so there's not 50 individual $3 items, but collections of 5-10 items at a higher price, maybe $20-30 (and still for charity).
> Alternative Strings was a simple mini-release to bridge Orchestral Swarm and Eric Whitacre. Gotta keep people thinking about Spitfire!



And how does *ustwo* factor in to that?

https://ustwo.com/work

_We design and deliver digital products and services that create meaningful impact.
_
There *has to be* sw/dig products involved in here somewhere.


----------



## Alex Fraser

MaxOctane said:


> I think it's just this:
> 
> Feb 28: Eric Whitacre release. There will be a choir performance at Air. And wine. Christian, PT, Oliver, Homay, and the rest of the gang will be there.
> 
> Labs was shut down just for a re-packaging, as they said. Random guess: they'll rebundle them so there's not 50 individual $3 items, but collections of 5-10 items at a higher price, maybe $20-30 (and still for charity).
> Alternative Strings was a simple mini-release to bridge Orchestral Swarm and Eric Whitacre. Gotta keep people thinking about Spitfire!


You're probably right. And that would be a great event in itself.

Here are some (half cooked) reasons why Air would be a great fit for a Spitfire purchase. Assuming the price of a purchase isn't completely off the charts and unrealistic. Or even if the studio is for sale. Or even that SF would want to buy it in the first place. Buuuut...

Its not completely without prescient (EastWest, VSL have their own studios.)
Guaranteed recording space and time for future product development. The lifeblood of a sample library company (alongside developers.) At some point, SF are going to want to go back and try and improve the original orchestral recordings, riiight?
Presumably the studios still create an income from recording, film scores etc. Why not have that on the books?
If the complex has office space, move the entire company there. Save a bunch of ££ in London rent.
It's the perfect glitzy, visible investment that makes everyone feel cozy and excited.
Probably not, who knows. We can dream.


----------



## CT

Alex Fraser said:


> You're probably right. And that would be a great event in itself.
> 
> Here are some (half cooked) reasons why Air would be a great fit for a Spitfire purchase. Assuming the price of a purchase isn't completely off the charts and unrealistic. Or even if the studio is for sale. Or even that SF would want to buy it in the first place. Buuuut...
> 
> Its not completely without prescient (EastWest, VSL have their own studios.)
> Guaranteed recording space and time for future product development. The lifeblood of a sample library company (alongside developers.) At some point, SF are going to want to go back and try and improve the original orchestral recordings, riiight?
> Presumably the studios still create an income from recording, film scores etc. Why not have that on the books?
> If the complex has office space, move the entire company there. Save a bunch of ££ in London rent.
> It's the perfect glitzy, visible investment that makes everyone feel cozy and excited.
> Probably not, who knows. We can dream.



That would be pretty darn cool. It could only get better if they also announce that they're looking to expand to other areas; opening a NYC or Los Angeles Spitfire branch, maybe, and looking to hire....


----------



## muziksculp

Yes... East West, and VSL have their own _Studios_, and their own _Sample Players_ too. 

Spitfire Audio has non of the above. So... ?


----------



## VinRice

Oh it makes a load of sense to buy Air. Studios don't make money as we all know but Spitfire will have an aggressive growth plan for the next few years if the VC's are to get their money out and Spitfire achieve their next round of funding. They need to guarantee their access to Air, and Air needs to diversify to survive. (Abbey Road, the only other large scoring studio left in London has all it's product licensing deals to help survival.) 

It doesn't hurt to have a nice piece of prime London real-estate on the books when talking to investors, assuming the lease is part of any deal. But... it'll be a big chunk of change (£20+ million in that part of London?) and investors will need to be confident of Spitfire's management team, (line managers, not Paul & Christian) and their ability to manage acquisitions - which they have to do moving forward. Perhaps an investment/joint venture?

I don't think there is any likelihood of a Spitfire Player at this point. That's a massive undertaking and fraught with potential pain & disruption. I don't think Phobos was a fun experience. I'm sure NI have big plans for Kontakt to maintain their dominance (isn't there a new development environment coming?) and Spitfire will no doubt be aware of those plans. They'll be concentrating on getting out as many compelling new libraries as possible.

All complete and somewhat disrespectful speculation!


----------



## Geoff Grace

This thread really highlights the creative minds of our forum members. I wonder whether manufacturers create these events shrouded in mystery to provoke us into brainstorming their next project for them...

Best,

Geoff


----------



## MarcelM

I would hope they take the subscription road. I was against subscriptions first, but now I believe its a good thing.


----------



## christianhenson

Wow, I'm enjoying this thread, some of you guys may have to have a word with my family before making the purchases you're talking about!!! (Note to self do not give VI-C CC details).

Look forward to seeing you all on Thursday if you can dial in via Facebook, its a big crowning moment for our 10th Anniversary year and part of that will be to thank you all for your support.

Right... back to that thing I have to do on the 28th!

C. x


----------



## jamwerks

I think this event is at Air because that's where the vox library was recorded. I don't think they would want to buy it because they will be recording there less and less.

I for one would love to have some strings from SF, somewhere between SCS & SSS size wise and recorded in a dryer room (Abby Road). Idem WW & Brass.


----------



## Alex Fraser

Geoff Grace said:


> This thread really highlights the creative minds of our forum members.


Or our ability to talk out of our backsides.


----------



## VinRice

Alex Fraser said:


> Or our ability to talk out of our backsides.



Yeah, that would be more accurate (in my case certainly)...


----------



## thereus

If Christian stopped spending so much money on hotels, he could afford Air Studios in no time.


----------



## StefanoM

Garry said:


> Very intriguing... Can you say more, and if not, can you say when you can?....




Still in progress... But Will be the Best Experience until now


----------



## thesteelydane

jamwerks said:


> I think this event is at Air because that's where the vox library was recorded. I don't think they would want to buy it because they will be recording there less and less.
> 
> I for one would love to have some strings from SF, somewhere between SCS & SSS size wise and recorded in a dryer room (Abby Road). Idem WW & Brass.


There’s an entire new and dryer orchestra coming from SF. Paul and Christian talked about it in the Black Friday Q&A.


----------



## jamwerks

thesteelydane said:


> There’s an entire new and dryer orchestra coming from SF. Paul and Christian talked about it in the Black Friday Q&A.


Wow that's great news that I totally missed!


----------



## VinRice

Ach... the weather's not looking good for Wednesday (this is not a metaphor, the weather's literally looking very dodgy - cancelled trains etc..)


----------



## Kristoben

thesteelydane said:


> There’s an entire new and dryer orchestra coming from SF. Paul and Christian talked about it in the Black Friday Q&A.


Woah I also haven't heard about this till now! I love using drier libraries because of the versatility. My dream is a full studio orchestra library. Audiobro did a great job with the strings with LASS but who knows if they will ever do the other sections. I hope Spitfire does it!


----------



## Zoot_Rollo

They are working with Roland on an Accordion Library






https://www.roland.com/us/products/fr-8x/


----------



## AdamKmusic

VinRice said:


> Ach... the weather's not looking good for Wednesday (this is not a metaphor, the weather's literally looking very dodgy - cancelled trains etc..)


Yeah stupid snow!!


----------



## Mornats

I tried to tune into the live Facebook feed a full day too early...


----------



## SoNowWhat?

Mornats said:


> I tried to tune into the live Facebook feed a full day too early...


Never mind. Just pop round the Facebook corner to the Facebook pub and have a few virtual pints while you wait.

Edit - BTW I have no option but to stream as well. Such is life. Time difference is a killer.


----------



## Mornats

At least I'm in the same time zone


----------



## Zoot_Rollo

So,

Who would jump on a Spitfire subscription service?


----------



## Mystic

Zoot_Rollo said:


> So,
> 
> Who would jump on a Spitfire subscription service?


Depending on price, I might consider it.


----------



## synthpunk

For those of us who leave Facebook to the kids please keep us updated tomorrow. Cheers.


----------



## Josh Richman

Zoot_Rollo said:


> So,
> 
> Who would jump on a Spitfire subscription service?



Honestly, I would be kinda bummed since I’ve invested so much in the past. I’m not putting my chips on this theory though.


----------



## Zoot_Rollo

Josh Richman said:


> Honestly, I would be kinda bummed since I’ve invested so much in the past. I’m not putting my chips on this theory though.




Yeah, i'm goin' with the Accordion thing.


----------



## AllanH

It'll be interesting, for sure. Maybe with the venture investors they want to become an incubator of sorts. We'll see tomorrow, I guess.


----------



## Soundhound

Choir release, live performance, Christian's iMac Pro gets a new fan designed by Elon Musk.


----------



## Iskra

Soundhound said:


> Christian's iMac Pro gets a new fan designed by Elon Musk.


...And it's sent afterwards to mars with some drum&bass soundtrack playing instead of Gould's Golberg Variations


----------



## PeterN

Heres a guess its something in the lines of Bernard Herrmann. Seems that library was such a success, that there will likely be something similar coming one day.

Which is bad, as it will probably be impossible to resist. Spitfire Jerry Goldsmith? James Horner? 180 GB.


----------



## rocking.xmas.man

PeterN said:


> Spitfire Jerry Goldsmith? James Horner?


give me spitfire Danny Elfman!

well, I'm curious about what they'll do


----------



## Zoot_Rollo

Spitfire/Chris Hein

<hides>


----------



## AdamKmusic

Well snowing like crazy here, doesn’t look like I’ll make it unless the weather changes :(


----------



## synergy543

"A rather nice sounding choir...."


----------



## Karma

Safe travels those heading down today!


----------



## MaxOctane

The betting pool is now open.

I'm going with Spitfire Eric Whitacre Choir, intro price $199. And relaunching Labs as collections of 10-item bundles.


----------



## PeterN

Bet: The John Barry Composer Toolkit.
Intro price: 349€
Size: 160 GB


----------



## Iskra

I would love if it's Typhon, as I do love BHCT. Same 'dryer' approach would be wonderful for a full orchestra in the hands of Spitfire.
But probably it is something completely different


----------



## Will Wilson

Is the Facebook live stream going to be available to watch later, I'm on putting the baby to bed duty tonight right at the time the stream is happening :(


----------



## mac

What even is Typhon, does anyone know?


----------



## Vischebaste

Pretty sure they're unveiling the Trailer Giant user manual.


----------



## Geoff Grace

Zoot_Rollo said:


> Spitfire/Chris Hein
> 
> <hides>


Spitfire/Clear Spot, featuring the guitar stylings of Zoot Horn Rollo.

Best,

Geoff


----------



## Welldone

It's not the choir. :-(


----------



## fiestared

Just received that from Spitfire : 
It's Not The Choir...


----------



## jamwerks

If it's not the choir, must be their own sampler!


----------



## AdamKmusic

mac said:


> What even is Typhon, does anyone know?


I’ve heard what it might be...


----------



## fiestared

fiestared said:


> Just received that from Spitfire :
> It's Not The Choir...


Maybe meaning, It's Not The Choir...you were expecting


----------



## pfmusic

How to deflate your event with one swift email - cheers Spitfire!


----------



## Will Wilson

So I just got an email from Spitfire about tonight with the subject:

*It's Not The Choir...*

Are they trolling?


----------



## rocking.xmas.man

somehow spitfire makes every announcement/event/release very enjoyable!


----------



## Ryan

haha! :D


----------



## Anders Wall

WallofSound said:


> So @Spitfire Team
> Should we buy the Solo Strings now for a "great upgrade path" or should we wait until the 28:th
> 
> 
> Best,
> Anders


Edit: Today?


----------



## PeterN

Yea, got a “not the choir” mail too. These guys sure know how to market. And it works. 

Judging by the pace there are coming out libraries, theres a manic phase going on. Owner walking around in a Napoleon hat, maybe. Theres this saying to bang the iron when its hot. So why not. 

Anticipating an interesting evening.


----------



## Will Wilson

If it really isn't a choir or a subscription service (which seems very unlikely) I'm going to be disappointed :(


----------



## jamwerks

There was so much expectation for the choir that they felt the need to avoid a big let down tonight!


----------



## kimarnesen

jamwerks said:


> There was so much expectation for the choir that they felt the need to avoid a big let down tonight!



That’s what they’re risking with their secretively and pompous announcements.


----------



## NoamL

Just got an email telling me the Spitfire Choir is not *THE ƎVENT*


----------



## StillLife

AdamKmusic said:


> I’ve heard what it might be...


Well....?


----------



## NoamL

For those who don't remember this deliciously terrible LOST-wanna-be TV show:



Maybe Damon Lindelof joined the Spitfire marketing team?


----------



## rocking.xmas.man

what if this is really just a party with coffee, cake and good vibrations to celebrate their 10th anniversary. that would be cool.


----------



## Iskra

mac said:


> What even is Typhon, does anyone know?


Apparently a huge orchestral library recorded on a dry environment as Paul & Christian mentioned on the BF stream... No other info though.


----------



## europa_io

Idle speculation of course, and can just wait til this evening, but it's fun to guess, even if wild, as this is what I would like it to be!........... 

+ Not the choir
+ At Air Studios
+ Giving back to the customers
+ Typhon dry library coming
+ ustwo involved
+ multi-million pound investment in the company in 2016 when Spitfire Audio was acquired by Spitfire Audio Holdings

So my money is on a new sample player, developed with ustwo, incorporating the dry samples of Typhon with reverb built on new, protected Air IR's (encrypted into a proprietary, embedded, sample player reverb, so not extractable, as Air are understandably very precious about their reverb and historically IR sampling has been a no-no), and previous sample libraries converted to the new player so that there is a seamless way to blend libraries recorded wet at Air with those that are not. Expect only compatibility with Spitfire libraries, not anything else. Cost of player to customers of qualifying Spitfire libraries: zero. 

That's all I'd like. Not much to ask, is it. Simple and cheap, right?


----------



## Garry

NoamL said:


> Just got an email telling me the Spitfire Choir is not *THE ƎVENT*



Bah, humbug! Down with the naysayers, and their fake emails! FAKE NEWS! 

It's the choir!


----------



## Will Wilson




----------



## Karma




----------



## Vischebaste

Is it a dolphin in a bathtub?


----------



## Garry

Garry said:


> Bah, humbug! Down with the naysayers, and their fake emails! FAKE NEWS!
> 
> It's the choir!




NOOOOOOOOooooooooo!!!!!! 'Tis true! The fake news is real news!! It's not the choir!!! 

This better be good...


----------



## Alex Fraser

Here's my betting slip:
I think it's more than one thing.

Labs as a single Kontakt player product (possible rebranding.) One purchase gets all the libraries plus continued updates. New content added. eDNA player. Higher price, but charitable donation included.
New choir. If not release, then preview. A live performance?
Big news on 10 year anniversary. Some new product development or company purchase/expansion. There's a reason the faithful are gathering at Air. It can't simply be: "We've made a new library. Now, have some wine." Although I'd be down with that..
I reckon there's an orchestra tooling up at Air this morning..


----------



## mac

I think it'll be @christianhenson releasing a drum and bass sample CD.


----------



## kimarnesen

Iskra said:


> Apparently a huge orchestral library recorded on a dry environment as Paul & Christian mentioned on the BF stream... No other info though.



Well if it's dry, it wouldn't make much sense to announce it from the Air Lyndhurst.


----------



## Welldone

CH suggested bringing your waterproofs. A hint at an upcoming Typho(o)n?


----------



## Alex Fraser

kimarnesen said:


> Well if it's dry, it wouldn't make much sense to announce it from the Air Lyndhurst.


Unless they achieved a dry sound at Air by dropping the ceiling and putting up a bunch of acoustic panels and different mic options?


----------



## Iskra

Alex Fraser said:


> Unless they achieved a dry sound at Air by dropping the ceiling and putting up a bunch of acoustic panels and different mic options?


Air Studios is not just Lyndhurst Hall, they also comprise 3 smaller (thus drier) studios. Maybe they have the IRs from the Hall as mentioned above, so they can splash it over drier samples? 
Not saying this has anything to do with Typhon/Typhoon (someone clarify if the name comes from the mythical being or the natural phenomena!), and they already said it's not the choir.... Anyway Lyndhurst Hall looks like a cool place to have a Rioja or Ribera while listening to some good live music


----------



## Ryan

Iskra said:


> Air Studios is not just Lyndhurst Hall, they also comprise 3 smaller (thus drier) studios. Maybe they have the IRs from the Hall as mentioned above, so they can splash it over drier samples?
> Not saying this has anything to do with Typhon/Typhoon (someone clarify if the name comes from the mythical being or the natural phenomena!), and they already said it's not the choir.... Anyway Lyndhurst Hall looks like a cool place to have a Rioja or Ribera while listening to some good live music



I'll take a Amarone


----------



## EvilDragon

AFAIK AIR doesn't allow recording IRs at all. No matter who asks for it.


----------



## Ryan

I've seen the Typhon box 4 & 6  
Just for the more teasing....


----------



## VinRice

Damn it! Not the choir huh? Now I'm definitely going to battle my way up to London through wind and snow and Southeastern Railways


----------



## Vik

I hope it's a new string library with multiple sections per instrument (in different sizes), auto-divisi and a brand new legato engine which also does polyphonic legato.


----------



## Critz

If they quit Kontakt and develop their own software I'm all in..


----------



## Mornats

Critz said:


> If they quite Kontakt and develop their own software I'm all in..



I wouldn't be all in on version 1 of any software. Best wait until V2 or 3 so it's mature enough to be workable.


----------



## synthpunk

Free snow for everyone in attendance today!


----------



## Soundhound

For the online impaired, how do we watch this? I go to the spitfire audio page, click on the special event post, and...? Will there be a link there at the time of the event or something? Sorry to be such a geezer...


----------



## CT

I'm sure about one thing: whatever they're announcing, I will want it, won't have the budget for it until about a year after its release, and this will annoy me.


----------



## jamwerks

Is it live? Don't see ananythi yet...


----------



## D Halgren

jamwerks said:


> Is it live? Don't see ananythi yet...


45 minutes or so.


----------



## Spitfire Team

You can watch our livestream here:

​


----------



## Anders Bru

Hans Zimmer Strings. Holy smokes!


----------



## Will Wilson

Another string library.......


----------



## Will Wilson

https://www.spitfireaudio.com/shop/a-z/hans-zimmer-strings/

Live now £549!

180GB!


----------



## Anders Bru

Up to 26 mic positions...


----------



## Critz

WTF....is it a joke?


----------



## Andrajas

Wow, they drop Kontakt!...


----------



## ctsai89

8dio probably will need to change their motto for Majestica "Largest orchestra ever sampled"


----------



## erica-grace

344 players

Holy chit.


----------



## Critz

That's becoming a measure-dicks competition..


----------



## erica-grace

ctsai89 said:


> 8dio probably will need to change their motto for Majestica "Largest orchestra ever sampled"



I think anyone who just purchased Century stings is saying, "DAMN!!!!"


----------



## ctsai89

Also.... ha ha ha at synchron? all the patches in this one has more than 10 mics??! wut.


----------



## ctsai89

erica-grace said:


> I think anyone who just purchased Century stings is saying, "DAMN!!!!"



lol and synchron


----------



## ctsai89

theiss1979 said:


> 344 Players. Oh my ...
> 60 Cellos alone ...
> 
> We laughed about 8Dios 66 basses, but THIS is a completely new level of insanity ...



oh and this! hilllarious


----------



## erica-grace

Oh wow - this doesn't seem to work on Windows 7. Bummer.


----------



## muziksculp

Happy to see it's not Kontakt based


----------



## muziksculp

Congratuations and Thank You to Hans Zimmer and Spitfire Audio


----------



## tokatila

I'll be waiting for HZ Woodwinds then!


----------



## Spitfire Team

​​


----------



## synthpunk

Wow, anyone need a kidney ?


----------



## theiss1979

Demos and walktrough are already online:

https://www.spitfireaudio.com/shop/a-z/hans-zimmer-strings/


----------



## synthpunk

Can someone there ask the SF crew if all SF libraries will be migrating away from Kontakt ?


----------



## Coincidental

Damn the wretched weather! Very annoyed not to be able to make it today after all. Release aside, it would have been fascinating to have a look at Air Studios and to cook a snook at their neighbour. Excellent announcement about the 1% - well done Spitfire.


----------



## Architekton

Def gonna check out, but I am sad they didnt announce choirs... :(


----------



## Scamper

synthpunk said:


> Can someone there ask the SF crew if all SF libraries will be migrating away from Kontakt ?



From the Hans Zimmer Strings FAQ:


> *Does this mean you are no longer releasing libraries in Kontakt?*
> No. We will still be making Kontakt libraries.


----------



## heisenberg

erica-grace said:


> Oh wow - this doesn't seem to work on Windows 7. Bummer.


Just to be clear to those thinking about preordering Hans Zimmer Strings. It requires Windows 8 or higher on PC. So it won't work on those who have steadfastly stayed on Windows 7 for good reason. So be it.


----------



## jamwerks

So I imagine they'll port all of their other products to this new sampler?


----------



## synthpunk

Spitfire servers need a upgrade, cannot get the audio demo's to load.


----------



## Emmanuel Rousseau

I just wanted to be the first to write : HZS.


----------



## John Busby

good lawd!


----------



## synthpunk

I hope I use it more than HZP



whitewasteland said:


> I just wanted to be the first to write : HZS.


----------



## sazema

200Gb, nice...


----------



## CT

I just want this new player for everything I already have!


----------



## Architekton

So, most probably theyll also make mega brass, mega woodwinds and mega percussion HZ libraries in this dedicated plugin. I doubt theyll stop there...


----------



## sostenuto

Is HDD media only way? Big server case / MB-SATA still full so no choice but to substitute for one existing HDD long enough to xfr to new 500Gb SSD …… almost 40%. Then HDD sits, empty.
Oh well ….


----------



## procreative

Think the custom plugin is a big risk.

1. Developing and supporting your own player is a BIG risk/undertaking and could end up being resource heavy for support. Witness the mess that was Play until at least v4.

2. Windows 8 and 10.10 minimum is a bit limiting.

Not sure the logic here as I expect the development/support will outweigh the Kontakt licensing costs, but I guess the Investors think differently.

But good luck, hope it works out!


----------



## sazema

And now I have a question... Is HZ itself plans to use it for yourself? or is this just another library to spend money to (library with big name).


----------



## Zhao Shen

Sounds fantastic, and I'm particularly interested in the sampled seating arrangements and mic mixes. Don't think that's been done before.

I'm very surprised that they chose to go with strings to kick things off. It's already an over-saturated market. The library has a few really cool articulations, the seating sampling thing is really neat, and the GUI is absolutely stunning, but otherwise there's not much here that is a clear improvement over existing libraries. Hope they prove me wrong, but I'm certainly not holding my breath.


----------



## Jimmy Hellfire

ctsai89 said:


> lol and synchron



That's nonsense, but you already knew that.


----------



## Jonas Hallstrom

Great demo by Andy Blaney, on the Sptfire page check it out!
Nice legato lines...


----------



## JT

By the tme the add the brass and winds it'll be a 1000 piece orchestra.


----------



## synthpunk

Probably want to budget in a Samsung T-5 ssd.



sazema said:


> 200Gb, nice...


----------



## Jonas Hallstrom

Mahler and R Struass would have loved that...(1k piece orch)


----------



## Jimmy Hellfire

The library itself is unexciting to me - more strings, but this time with too many players - but I'd like to have my SF libs run in that new player.


----------



## muziksculp

HZS Sound wonderful. 

I'm looking forward to hear more demos.


----------



## sazema

Gigabyte wars ...


----------



## Alex Fraser

procreative said:


> Think the custom plugin is a big risk.
> 
> 1. Developing and supporting your own player is a BIG risk/undertaking and could end up being resource heavy for support. Witness the mess that was Play until at least v4.
> 
> 2. Windows 8 and 10.10 minimum is a bit limiting.
> 
> Not sure the logic here as I expect the development/support will outweigh the Kontakt licensing costs, but I guess the Investors think differently.
> 
> But good luck, hope it works out!


My fears too as I mentioned before..but....it's so pretty. What a wonderful bit of GUI design.
Fingers crossed it's all OK. Maybe there's a long term game plan.


----------



## procreative

Sounds nice, but not sure the 60 players sounds that much thicker than other libraries. 

I think the GUI is a bit of a waste of real estate and having to tab the articulations is therefore a bit silly. It does look nice design wise but really thats just fru-fru.

For me not enough to make it attractive as like the initial incarnation of HZP, while its nice to have so many choices, all that data and the memory it will eat through almost becomes a separate slave setup to use without glitches.

The final nail for me is Windows 7, no way I am upgrading my PC slaves just for this library... yet.


----------



## Simon Ravn

Sounds out of the ordinary but very interesting - seems like you will be able to achieve a whole new (well, probably not new to Hans Zimmer, but...) sound with this - especially the tone of the violins is very nice  A very ambitious project!

I am not too fond of the "own player" thing either, but hopefully it is well tested before release.


----------



## jamwerks

The modular aspect is great, allowing the user to choose the section size.


----------



## dtcomposer

It's appealing because of all the ways you can customize the sound and ensemble size for many uses. I think it's a really smart way to build a string library for media composition. I'm not sure if I am in the market for another string library at this point. It sounds great, and I love the look of the interface so it's possible I'll jump on this at some point. I feel I would need to buy another slave computer just for the upcoming HZ collection. Maybe that's what I should do before pulling the trigger on this.


----------



## Rectobiasi

@Spitfire Team @SpitfireSupport guys ! Please guys, there is a BIG BIG turn off right now that is stopping me from buying it, the fact that it doesn't work on Windows 7 !....I don't want to upgrade and i never felt the need to do so, everything is working fine here, so please fix this quickly and let me pre-order it! Thank you!


----------



## AdamKmusic

This would work perfect in my current project! Massive sound!


----------



## jononotbono

Has the Spitfire stream ended now then? I thought there was more.Man, HZ Strings! This is fantastic news (not for my partner)!


----------



## feck

To all the people complaining about Windows 7 - this is a technology business. Upgrade or go obsolete. I would vote that NO time should be spent by Spitfire accommodating dead OS's. That time is much better spent fixing bugs for current OS's.


----------



## Will Wilson

Rectobiasi said:


> @Spitfire Team @SpitfireSupport guys ! Please guys, there is a BIG BIG turn off right now that is stopping me from buying it, the fact that it doesn't work on Windows 7 !....I don't want to upgrade and i never felt the need to do so, everything is working fine here, so please fix this quickly and let me pre-order it! Thank you!



Microsoft don't even support Windows 7, why should software makers?


----------



## heisenberg

procreative said:


> Final nail for me is Windows 7, no way I am upgrading my PC slaves just for this library... yet.



A few other questions further to that. One, will this library work through Vienna Ensemble Pro? Two will it work on a Win 10 slave through VEPro? If all that checks out, will it work on a Win 10 slave piping the library through VEPro to a Win 7 DAW machine?


----------



## erikradbo

It does sound really breathtaking, but in the end, it's not that revolutionary. Happy for my wallet !


----------



## jononotbono

Would love to see more on the sampler. Watching the Walkthrough now and love the GUI but most importantly, love the sound of it. Out of this world great.


----------



## Killiard

Just noticed that the PC requirements say “machine must be connected to the internet”. What’s that all about then? Doesn’t say it on the Mac requirements.

Just curious!


----------



## Architekton

Yes, update your Windows to something latest, Win7 are not supported anymore by anyone, so Spitfire, please dont waste time on W7 and work on bugs and updating of your software.


----------



## muziksculp

I don't see the need for the negativity towards their new Sample Player. I'm really happy they didn't stick with Kontakt. I hope they release more libraries using their new Player as well.


----------



## Architekton

Killiard said:


> Just noticed that the PC requirements say “machine must be connected to the internet”. What’s that all about then? Doesn’t say it on the Mac requirements.
> 
> Just curious!



I belive it has something to do with copy protection so it doesnt get pirated.


----------



## Killiard

Architekton said:


> I belive it has something to do with copy protection so it doesnt get pirated.



I guessed as much. Just wondering if it’s the same case on the Mac version. Does it mean if you’re a pc user (I’m not) and your internet fails that you can’t use it?


----------



## Architekton

Killiard said:


> I guessed as much. Just wondering if it’s the same case on the Mac version. Does it mean if you’re a pc user (I’m not) and your internet fails that you can’t use it?


I wonder about that as well...hopefully thats not the case. We have to wait and see...


----------



## procreative

Architekton said:


> I belive it has something to do with copy protection so it doesnt get pirated.



Well thats a big no, no for lots of people with VEP setups. VEP and internet networks dont always play well especially on machines with only 1 network card. I really dislike those kind of copy protection systems.

Plus many users like to keep the internet away from their main DAW machines.


----------



## AdamKmusic

Just watching the overview, would love HZPerc with this UI!


----------



## muziksculp

When will HZS be available for download if I Pre-Order ?


----------



## Puzzlefactory

Can someone at @Spitfire Team tell us about the load times of the plugin (not using an SDD)? 

Comparable to Kontakt (after batch resave)? Or comparable to Play?


----------



## Living Fossil

Jonas Hallstrom said:


> Mahler and R Strauss would have loved that...(1k piece orch)



Not sure, the complexity of Strauss' orchestrations relies on well balanced sections... .
My impression (i've just heard the 3 demos on the SF homepage) is that this size may be over the ideal one.
It somehow loses its organic feel.
But that's just a first impression and may have to do with the examples...


----------



## AdamKmusic

muziksculp said:


> When will HZS be available for download if I Pre-Order ?


Think they said aiming for end of March


----------



## erica-grace

Will Wilson said:


> Microsoft don't even support Windows 7, why should software makers?



Because a hell of a lot of people still use W7. That's why.


----------



## muziksculp

AdamKmusic said:


> Think they said aiming for end of March



Thanks.


----------



## MPortmann

procreative said:


> Well thats a big no, no for lots of people with VEP setups. VEP and internet networks dont always play well especially on machines with only 1 network card. I really dislike those kind of copy protection systems.
> 
> Plus many users like to keep the internet away from their main DAW machines.



Exactly. I'm in that category


----------



## jamwerks

If they tecnicallyt could support W7, then they would. It's a brand new piece of sw so that kind of support would have just held them back. Why not upgrade? It's free!


----------



## Will Wilson

erica-grace said:


> Because a hell of a lot of people still use W7. That's why.



But with reasoning surely Microsoft would support it? Technology moves on. Unfortunately software makers cannot be expected to support old versions of operating systems .


----------



## Puzzlefactory

Killiard said:


> I guessed as much. Just wondering if it’s the same case on the Mac version. Does it mean if you’re a pc user (I’m not) and your internet fails that you can’t use it?



Good question. Doubt it though. 

Would be pretty shit to miss a deadline because your broadband went down.


----------



## Rectobiasi

To the people saying "Microsoft don't even support Windows 7", please take a look at this (still supported until 2020): http://home.bt.com/tech-gadgets/computing/windows-7/windows-7-support-end-11364081315419 

As for the others who shout for the debate of "upgrade or go obsolete" thing, i would say that "if it ain't broke, don't fix it"....Everyone has their own taste and prefered ways of working so deal with it. Now let's focus on the HZS release thread here.


----------



## South Thames

I do find myself wondering how much section size matters, over and above a normal symphonic section. Beyond the 50-60-person section range, the main effect is a sort of more diffuse and saturated quality in the sound, but considering the things you can already so to a symphonic section to achieve that effect, it's a bit of a hard-sell to have a huge library just to achieve this relatively subtle and rarely-called-for effect. It's easy to big the sound of a decent size section up, but very hard to take a huge one down, and I feel that would limit the usefulness of this.

I also find myself tiring a little of the Zimmer imprimatur on Spitfire products. Beyond its size (does anyone know if Zimmer records with especially large string sections? The behind the scenes videos for Interstellar didn't seem to show that), there isn't much about this product that seems to relate to his work especially, though some of extended articulations have an Interstellar-ish vibe to them. But mostly it seems it's pretty much the standard Spitfire approach in terms of articulations and programming, applied to a larger string ensemble and a new GUI. 

I own a good spread of Spitfire strings products, and they are my string libraries of first resort, but I really find myself wishing they'd look beyond these increasingly interchangeable string libraries (how many string libraries have they released in the last year? Lost count...) and release something really fresh and game-changing.


----------



## dbudde

Killiard said:


> Just noticed that the PC requirements say “machine must be connected to the internet”. What’s that all about then? Doesn’t say it on the Mac requirements.
> 
> Just curious!



The Manual says it is required to authorize the license. I suspect but am not certain that that is the only reason it is needed. So, once authorized then it doesn't need to be connected. It does say it is not possible to authorize without a connection. Required for both Mac and PC.

I just preordered. My first spitfire library. Looking forward to it.


----------



## Garry

I can see it’s a beautiful instrument, and they’re rightly proud of it. BUT... for me personally, this wasn’t the project for their 10 year anniversary I was hoping for. I only have Albion One from Spitfire; since they don’t allow resale, this would largely make the strings section of that redundant. This isn’t a good user model. Personally, I was hoping for something that would produce a DIFFERENT sound than I already have (and yes, the choir would certainly fit that bill!). Instead, with HZ strings, I could get something that I already have, albeit a better version. Personally, not what I’m looking for. The fact that it doesn’t work within Kontakt either means it disrupts what has become my workflow. So, HZ strings isn’t going into my collection, and my only decision now is whether to pull the trigger on Dominus that I’d been waiting to see if Spitfire would release a choir to compete with, or continue to wait...

Just my perspective - I’m sure for others, perhaps a 344 string orchestra is exactly what you were looking for?


----------



## Puzzlefactory

To be honest, when they released HZ percussion, my first thought was “I wonder why percussion and not strings” as I thought strings were much more of an iconic “Zimmer” sound than Perc.


----------



## Garry

South Thames said:


> I do find myself wondering how much section size matters, over and above a normal symphonic section. Beyond the 50-60-person section range, the main effect is a sort of more diffuse and saturated quality in the sound, but considering the things you can already so to a symphonic section to achieve that effect, it's a bit of a hard-sell to have a huge library just to achieve this relatively subtle and rarely-called-for effect. It's easy to big the sound of a decent size section up, but very hard to take a huge one down, and I feel that would limit the usefulness of this.
> 
> I also find myself tiring a little of the Zimmer imprimatur on Spitfire products. Beyond its size (does anyone know if Zimmer records with especially large string sections? The behind the scenes videos for Interstellar didn't seem to show that), there isn't much about this product that seems to relate to his work especially, though some of extended articulations have an Interstellar-ish vibe to them. But mostly it seems it's pretty much the standard Spitfire approach in terms of articulations and programming, applied to a larger string ensemble and a new GUI.
> 
> I own a good spread of Spitfire strings products, and they are my string libraries of first resort, but I really find myself wishing they'd look beyond these increasingly interchangeable string libraries (how many string libraries have they released in the last year? Lost count...) and release something really fresh and game-changing.



Yup - my thoughts exactly.


----------



## ka00

South Thames said:


> I do find myself wondering how much section size matters, over and above a normal symphonic section.



I've heard that the size of a section doesn't matter, but rather it's how you use it.


----------



## thevanman

not convinced that this is a library that we need. giving one features which you would not use nearly as often as a bread and butter type string library...


----------



## reutunes

Did everyone forget this is a Commercial Announcements thread?


----------



## synthpunk

Maybe they know a NI subscription model is on the horizon ?



muziksculp said:


> I don't see the need for the negativity towards their new Sample Player. I'm really happy they didn't stick with Kontakt. I hope they release more libraries using their new Player as well.


----------



## jamwerks

This is a sound very different from Albion I but closer to Albion V. But still a totally different beast.


----------



## synthpunk

Dear Spitfire, anyway you could please make this compatible with my Atari ST please ?


----------



## artomatic

To me, this has that lush London Symphony Orchestra vibe that I’ve been wanting. My plastic card is purchasing this. Not me. 
Congrats, Spitfire team!


----------



## South Thames

_I've heard that the size of a section doesn't matter, but rather it's how you use it._

Indeed. Clearly, there's a significant and useful difference between the sound of 15 strings and 50 strings, in terms of the detail and application of the sound. But I'm not sure the same can be said for 50 vs. 300, provided the 50 were recorded well and flexibly (and that the user is skilled at layering and working with effects etc). There's a good reason nobody bothers to assemble/contrive to record a 300-strong string orchestra in reality (or indeed much over 60 pieces, even on the most expensive film projects) and it's that the difference in sound doesn't justify the economics. 

And regarding that difference in sound, it may be interesting to people who collect libraries, but I'm not convinced it's a particular useful addition to the palette of someone who already has good string libraries and is looking for specific tools to enhance their work.


----------



## NoamL

Living Fossil said:


> Not sure, the complexity of Strauss' orchestrations relies on well balanced sections... .
> My impression (i've just heard the 3 demos on the SF homepage) is that this size may be over the ideal one.
> It somehow loses its organic feel.
> But that's just a first impression and may have to do with the examples...



I was studying some Stravinsky this week and was surprised at how much he uses divisi and string solos. Even in the middle of a big tutti.

For example check out this bit, which is my favorite part of the entire Rite of Spring, so beautiful and mysterious!



He gives a solo to 3 cellos (out of probably 14ish in a typical performance) even though they are doubled with trumpets in the middle of a thick orchestral texture. I noticed he also uses violins in subordinate or barely-heard roles far more often than my instinct would be. It was a real education to see how he orchestrates...

We should maybe split this discussion off from the thread, I just thought it was interesting that someone before you mentioned Mahler and later composers as preferring huge sections. Yes they did use huge sections but that was because they had to balance quadruple or quintuple sized wind sections, brass sections with 8 horns / 4 trumpets / etc. And they didn't use those sections the way we use sample libraries, they were constantly using divisi to adjust section sizes throughout a piece.


----------



## erica-grace

Will Wilson said:


> But with reasoning surely Microsoft would support it?



And why do you say MS does not support it? MS does indeed have extended support for W7 - until 2020.

According to *https://vi-control.net/community/javascript:void(0) (NetMarketShare’s)* January 2018 data, 42.39% are still using Windows 7 – compared to the 34.29% who have moved on to the latest operating system, Windows 10.


----------



## heisenberg

Will Wilson said:


> Microsoft don't even support Windows 7, why should software makers?



Windows 7 is officially supported until January 2020. A good number of users do not wish to upgrade to Windows 10 due to their non-consensual updating scheme and significant issues around privacy. As well, Win 7 users are most likely running rock solid machines and will not want to overwrite their properly running machine with an OS that could easily break a lot of things including software licenses. Upgrading an OS can be a complicated, costly and time-consuming affair. 

You will also find that Windows 7 users are a smart, subtle and sensible bunch of people who think things through who arrive at solid use cases for how they do things. Thanks to all of those dispensing advice to Windows 7 users. Good to have a different perspective. We do relish the attention you give us.


----------



## Puzzlefactory

Wish I had windows 7. M my machine came with 10 and I loathe it.


----------



## desert

Spitfire strings! Oh and yeah, we bought the license to use Hans Zimmer’s name on the product.


----------



## dtcomposer

I haven't had any major issues with W10. There was a memory leak thing at first but that was fixed. Since then it has been fine. I feel for those who don't want to upgrade, though.


----------



## Living Fossil

NoamL said:


> For example check out this bit, which is my favorite part of the entire Rite of Spring, so beautiful and mysterious!
> 
> He gives a solo to 3 cellos (out of probably 14ish in a typical performance) even though they are doubled with trumpets in the middle of a thick orchestral texture. I noticed he also uses violins in subordinate or barely-heard roles far more often than my instinct would be. It was a real education to see how he orchestrates...
> 
> We should maybe split this discussion off from the thread,...



Yes, that's maybe a good idea, also since this thread is in the commercial announcements...

The score of the Rite of Spring is one of my favorites; a huge source of inspiration, iso rich in finding solutions for orchestration outside of the stereotypes...
P.s. another interesting detail is the fact that the famous rite-of-spring-chord gets some extra power of the grid that comes with the intonation of double stops...


----------



## synthpunk

Was Hans there today btw ?


----------



## iobaaboi

synthpunk said:


> Was Hans there today btw ?



It didn’t seem like it. They first showed a video of him discussing sampling with Wallfisch and some other composers, then thanked him at the end while showing a picture of him.


----------



## synthpunk

iobaaboi said:


> It didn’t seem like it. They first showed a video of him discussing sampling with Wallfisch and some other composers, then thanked him at the end while showing a picture of him.


----------



## iobaaboi

I must say, I was disappointed when they were initially announced (I too was hoping for the choir) and was not too impressed by the quick in-steam play-through.

But after watching the entire walk-through and contextual demo on the site, I am leaning towards pre-ordering this library.

It is much more appealing when you consider it in the context of it being a separate instrument/tool and not one meant to emulate a practical string recording session.

It’s also the first library I’ve heard that really gets close to the massive string sound that is common in blockbusters today. Love it or hate it, it has its place in the present and it’s an aesthetic I wish to possess in my composer tool bag.

I’ve always wanted basses centered (I know some other libraries have this, but not 24 of them...they are truly stunning), with lots of celli (60 does seem high though) and violins on both sides of the stereo field (V1 L, V2 R). This is the kind of experimentation that HZS inspires.


----------



## iMovieShout

Tempting !!! But is it really that good? Has anyone gotten close to this library using a mashup of other libraries?


----------



## Puzzlefactory

desert said:


> Spitfire strings! Oh and yeah, we bought the license to use Hans Zimmer’s name on the product.



Haha, yeah because Hans really needs the money to throw his name on a product he’s had no involvement with.


----------



## Geoff Grace

I take the earlier "It's not the choir" email message to confirm that there is a choir coming, so I'm not disappointed to hear the Hans Zimmer Strings announcement. I take it as "in addition to" rather than "instead of."

Considering neither has been released, the choir could conceivably hit the market first.

Best,

Geoff


----------



## MacTomBie

Is it only me, or does the plugin GUI look like a productivity nightmare? The tiny preset selector with lots of scrolling, also mic position faders on 5 pages? I mean, the design agency knows how to make shiny graphics, but usability looks terrible with so much space wasted. Maybe it was designed to be touch friendly?


----------



## quantum7

synthpunk said:


> Dear Spitfire, anyway you could please make this compatible with my Atari ST please ?



Yes! It's about time that the Atari users start fighting back for equal rights!


----------



## Paul Grymaud




----------



## Ron Kords

SF could afford to sit back and count their money off SCS for the next 10 I would imagine. I'm not in the market for this right now but fair play to them for pushing on. I hope it's a f'ing smash and leads to better things for all of us. 

If you can afford to go first on HZS and take the 'risk' then count your blessings. Twice.

Hans should have showed though - it's not like he's busy.


----------



## Virtuoso

MacTomBie said:


> Is it only me, or does the plugin GUI look like a productivity nightmare? The tiny preset selector with lots of scrolling, also mic position faders on 5 pages? I mean, the design agency knows how to make shiny graphics, but usability looks terrible with so much space wasted. Maybe it was designed to be touch friendly?


That was my impression too. Moving away from Kontakt should have given them the freedom to do so much more, but it just looks unnecessarily clumsy in my opinion. I don't see any point in pre-ordering this - I'll wait and see what the user reports say (I was burned by the atrocious Hans Zimmer Piano, so my pre-ordering days with Spitfire are done!)


----------



## rottoy

I'm really digging the sound of those Col legno trattos.


----------



## jamwerks

The choir probably hasn't come out yet, because it's on this new sampler platform. Probably in a couple of months...


----------



## givemenoughrope

That's a whole lotta strings. 

I wonder what an 8 or 10 note cluster sounds like with them...


----------



## aaronventure

heisenberg said:


> non-consensual updating scheme


If this is what you mean, you can disable it.






If you mean automatic upgrades to Windows 10, I was able to reject it back in the day. I then upgraded anyway. Better OS in most ways.


----------



## rlw

I do like what I hear in the walk through. Was wondering when the delivery date is if you pre order ?


----------



## FriFlo

I couldn't find any info on dynamic layers and round robins about the individual patches. Neither on the web site nor in the manual. Anybody knows where to find that? Personally, I wouldn't buy a string library under 8 dynamic layers after synchron strings (just kidding) ...


----------



## PaulBrimstone

synthpunk said:


> I hope I use it more than HZP


Best comment of the day.


----------



## PaulBrimstone

synthpunk said:


> Dear Spitfire, anyway you could please make this compatible with my Atari ST please ?


Second best comment of the day. SP on fire!


----------



## sazema

edit: Deleted my post, for peace in house...


----------



## NoamL

sazema said:


> (p.s I have nothing against HZ or SF,



Sure, you just say that Spitfire's new libraries are old samples and that they don't pay musicians royalties... both of which are outright lies... but you have nothing against HZ or SF.


----------



## heisenberg

aaronventure said:


> If this is what you mean, you can disable it.
> 
> 
> 
> 
> 
> 
> If you mean automatic upgrades to Windows 10, I was able to reject it back in the day. I then upgraded anyway. Better OS in most ways.



No. I use Windows 10 on another machine, a laptop and have since it was first issued and use it daily... It works it is OK but as I mentioned pretty clearly, I object to Windows 10 due to its invasive nature. 

The vast majority of reasons given by others Windows 7 that I have spoken to (or read about) have nearly the same reluctance to upgrade. It has nothing to do with whether it is functionally better or not. It has to do with its invasive nature and the amount of privacy you are surrendering.

https://vi-control.net/community/th...ans-zimmer-strings.68809/page-19#post-4196668


----------



## Garry

sazema said:


> The real question is: are the samples clean or you can hear dogs barking and broken umbrellas and chairs in background? Maybe they implemented now special fader for that ?!
> 
> I'm sneaking a little bit this topic and as I expected, it will be 120 pages on topic soon. Don't get it? Library like library, for someone it will be good for someone not. Each new library is revolution here! A must!
> 
> I can bet they just blended their flagship string libraries into one SSS + SCS + Albion III low strings 8ve + Thundra + etwas etwas, recorded some new samples when HZ were in studio for coffee and asked external company to make VST plugin instead of Konakt  (just to be more mystical). Now, HZ has 30% on each sale because of his name or idea, SF has rest, and poor musicians nothing - they're paid by penny's for fiddling all day many days.
> 
> Now, I can imagine conversations inside SF about this project... Someone asked a good question, but who will buy this stuff, our customers already have plenty of our string libraries... And then "a secret recipe" is born!
> 
> But this recipe is already seen in the past, a recipe for success - just bring in HZ in any way (epic music in background)! and room musicians will start to scream like girls on concert. It's a cherry pick for room musicians who tend to be "one day" successful like HZ.
> 
> They still have HZ Brass, HZ Woodwinds, HZ... jokers in the pocket for every while.
> 
> I don't see (I haven't seen) any "real" composer is so obsessed by libraries, rather is obsessed by his work and music itself, and it's own sound designing - at least each serious piece will be (should be) recorded live (as for movie, as for other stuff) so then who cares? I mean, libraries are there just for mockups in most cases...
> 
> Few weeks ago, a new (brand new stunning overexciting) violin library has been released by same company... and what happen? Nothing, now is forgotten. Olafur library has been released, few days of OMG talk and nothing, it's forgotten. 8Dio Century strings, yehaaa, a must buy...
> 
> I'm wondering also, what if this library is named by 4 main characters of each section from recording session, like: *Brandon* (violin) *Madison* (Viola) *Leo* (Cello) *Goran* (Bass) => *BMLG strings*. With story "one day bassist Goran from west London came to Paul and said, I have such a beautiful idea, bla bla...". Interest will be the same?
> 
> Next library should be HZ Ocarina with 10 mic positions + specialized A. Meyerson mixes (about 170Gb).
> 
> _OMG, i already pre-ordered ... OMG, is it true... OMG I have to update my Windows 7 ... Can't decide to preorder now or tomorrow ... Really funny, truly PANIC!_
> 
> Ok, it's 600$ it's not 15$. For that money I will consider a bit and wait a little bit, it's not gonna be that download server will escape somewhere on north pole.
> 
> ... and so on, just a few thoughts, ok many but nothing more
> _
> (p.s I have nothing against HZ or SF, I love products from that company)_



Erm... well.... has someone been at the whiskey?!  

Time to put it down I think!


----------



## rottoy

sazema said:


> The real question is: are the samples clean or you can hear dogs barking and broken umbrellas and chairs in background? Maybe they implemented now special fader for that ?!
> 
> I'm sneaking a little bit this topic and as I expected, it will be 120 pages on topic soon. Don't get it? Library like library, for someone it will be good for someone not. Each new library is revolution here! A must!
> 
> I can bet they just blended their flagship string libraries into one SSS + SCS + Albion III low strings 8ve + Thundra + etwas etwas, recorded some new samples when HZ were in studio for coffee and asked external company to make VST plugin instead of Konakt  (just to be more mystical). Now, HZ has 30% on each sale because of his name or idea, SF has rest, and poor musicians nothing - they're paid by penny's for fiddling all day many days.
> 
> Now, I can imagine conversations inside SF about this project... Someone asked a good question, but who will buy this stuff, our customers already have plenty of our string libraries... And then "a secret recipe" is born!
> 
> But this recipe is already seen in the past, a recipe for success - just bring in HZ in any way (epic music in background)! and room musicians will start to scream like girls on concert. It's a cherry pick for room musicians who tend to be "one day" successful like HZ.
> 
> They still have HZ Brass, HZ Woodwinds, HZ... jokers in the pocket for every while.
> 
> I don't see (I haven't seen) any "real" composer is so obsessed by libraries, rather is obsessed by his work and music itself, and it's own sound designing - at least each serious piece will be (should be) recorded live (as for movie, as for other stuff) so then who cares? I mean, libraries are there just for mockups in most cases...
> 
> Few weeks ago, a new (brand new stunning overexciting) violin library has been released by same company... and what happen? Nothing, now is forgotten. Olafur library has been released, few days of OMG talk and nothing, it's forgotten. 8Dio Century strings, yehaaa, a must buy...
> 
> I'm wondering also, what if this library is named by 4 main characters of each section from recording session, like: *Brandon* (violin) *Madison* (Viola) *Leo* (Cello) *Goran* (Bass) => *BMLG strings*. With story "one day bassist Goran from west London came to Paul and said, I have such a beautiful idea, bla bla...". Interest will be the same?
> 
> Next library should be HZ Ocarina with 10 mic positions + specialized A. Meyerson mixes (about 170Gb).
> 
> _OMG, i already pre-ordered ... OMG, is it true... OMG I have to update my Windows 7 ... Can't decide to preorder now or tomorrow ... Really funny, truly PANIC!_
> 
> Ok, it's 600$ it's not 15$. For that money I will consider a bit and wait a little bit, it's not gonna be that download server will escape somewhere on north pole.
> 
> ... and so on, just a few thoughts, ok many but nothing more
> _
> (p.s I have nothing against HZ or SF, I love products from that company)_


Seems like someone is smoking some questionable leftover mic positions from the BML series.


----------



## Sovereign

Am I mistaken or is there no information on the amount of dynamic layers?


----------



## jononotbono

sazema said:


> I mean, libraries are there just for mockups in most cases...



Well, providing you aren't talking about most Films, TV Shows, Video Games, Albums and Commercial Media released into the World, then in most cases you are correct.


----------



## StevenMcDonald

sazema said:


> The real question is: are the samples clean or you can hear dogs barking and broken umbrellas and chairs in background? Maybe they implemented now special fader for that ?!
> 
> I'm sneaking a little bit this topic and as I expected, it will be 120 pages on topic soon. Don't get it? Library like library, for someone it will be good for someone not. Each new library is revolution here! A must!
> 
> I can bet they just blended their flagship string libraries into one SSS + SCS + Albion III low strings 8ve + Thundra + etwas etwas, recorded some new samples when HZ were in studio for coffee and asked external company to make VST plugin instead of Konakt  (just to be more mystical). Now, HZ has 30% on each sale because of his name or idea, SF has rest, and poor musicians nothing - they're paid by penny's for fiddling all day many days.
> 
> Now, I can imagine conversations inside SF about this project... Someone asked a good question, but who will buy this stuff, our customers already have plenty of our string libraries... And then "a secret recipe" is born!
> 
> But this recipe is already seen in the past, a recipe for success - just bring in HZ in any way (epic music in background)! and room musicians will start to scream like girls on concert. It's a cherry pick for room musicians who tend to be "one day" successful like HZ.
> 
> They still have HZ Brass, HZ Woodwinds, HZ... jokers in the pocket for every while.
> 
> I don't see (I haven't seen) any "real" composer is so obsessed by libraries, rather is obsessed by his work and music itself, and it's own sound designing - at least each serious piece will be (should be) recorded live (as for movie, as for other stuff) so then who cares? I mean, libraries are there just for mockups in most cases...
> 
> Few weeks ago, a new (brand new stunning overexciting) violin library has been released by same company... and what happen? Nothing, now is forgotten. Olafur library has been released, few days of OMG talk and nothing, it's forgotten. 8Dio Century strings, yehaaa, a must buy...
> 
> I'm wondering also, what if this library is named by 4 main characters of each section from recording session, like: *Brandon* (violin) *Madison* (Viola) *Leo* (Cello) *Goran* (Bass) => *BMLG strings*. With story "one day bassist Goran from west London came to Paul and said, I have such a beautiful idea, bla bla...". Interest will be the same?
> 
> Next library should be HZ Ocarina with 10 mic positions + specialized A. Meyerson mixes (about 170Gb).
> 
> _OMG, i already pre-ordered ... OMG, is it true... OMG I have to update my Windows 7 ... Can't decide to preorder now or tomorrow ... Really funny, truly PANIC!_
> 
> Ok, it's 600$ it's not 15$. For that money I will consider a bit and wait a little bit, it's not gonna be that download server will escape somewhere on north pole.
> 
> ... and so on, just a few thoughts, ok many but nothing more
> _
> (p.s I have nothing against HZ or SF, I love products from that company)_



I'm not even a Spitfire fan, but this post is mostly dumb rambling and hyperbole.

Also if you think samples aren't/shouldn't be used in any "serious" you're a bit behind the times.

I do think the whole mic position arms race is getting out of hand though. I think more of a focus on keeping libraries smaller and more streamlined would be beneficial and would get my attention more. A lighter and less pricey version of HZS would pique my interest. I'm talking like one or two mic positions and only essential articulations.


----------



## Greg

sazema said:


> I don't see (I haven't seen) any "real" composer is so obsessed by libraries, rather is obsessed by his work and music itself, and it's own sound designing - at least each serious piece will be (should be) recorded live (as for movie, as for other stuff) so then who cares? I mean, libraries are there just for mockups in most cases...



You do realize that you are on a virtual instrument forum don't you? It's a collective of people that love this stuff and take a lot of inspiration from it.


----------



## gpax

sazema said:


> I can bet they just blended their flagship string libraries into one SSS + SCS + Albion III low strings 8ve + Thundra + etwas etwas, recorded some new samples when HZ were in studio for coffee and asked external company to make VST plugin instead of Konakt  (just to be more mystical). Now, HZ has 30% on each sale because of his name or idea, SF has rest, and poor musicians nothing - they're paid by penny's for fiddling all day many days.


I'm fairly certain that your unsubstantiated claims and speculative misinformation is inappropriate in a commercial announcement thread.


----------



## aaronventure

gpax said:


> I'm fairly certain that your unsubstantiated claims and speculative misinformation is inappropriate in a commercial announcement thread.


Anyone who can read will take it for exactly what you said it is: speculation, even I'd say a bit far fetched. No danger, really.

He is asked to drop a decent amount of money on something and is wondering whether he is getting a recycled product because to him it sounds very similar to a previous one. Removing it... now how would that look?


----------



## rap_ferr

Hi,

Does anybody know when the pre order price ends?


----------



## gpax

aaronventure said:


> Anyone who can read will take it for exactly what you said it is: speculation, even I'd say a bit far fetched. No danger, really.
> 
> He is asked to drop a decent amount of money on something and is wondering whether he is getting a recycled product because to him it sounds very similar to a previous one. Removing it... now how would that look?


Forget I said speculation. It’s just patently false and misleading information.


----------



## feck

So the "Shorts" are just one articulation? Or does it do marcato/staccato/staccatissimo based on velocity?


----------



## muziksculp

feck said:


> So the "Shorts" are just one articulation? Or does it do marcato/staccato/staccatissimo based on velocity?



Would like to know this as well. There are so many types of shorts, and they sound quite different, I hope we are not just given one type of short articulation.


----------



## LamaRose

listening 
to the walkthrough--
it's about Time


----------



## Saxer

From the manual

PRESETS / TECHNIQUES INDIVIDUAL TECHNIQUES:
VIOLINS

60 Violins - Short
60 Violins - Short Pizzicato Bartok
60 Violins - Short Col Legno
60 Violins - Long
60 Violins - Long Super Sul Pont
60 Violins - Long Super Flautando
60 Violins - Long Soft CS
60 Violins - Long Col Legno Tratto
60 Violins - Legato
60 Violins - FX

20 Violins LHS - Short Tight
20 Violins LHS - Short Pizzicato
20 Violins LHS - Short Col Legno
20 Violins LHS - Long
20 Violins LHS - Long Super Sul Pont
20 Violins LHS - Long Super Flautando
20 Violins LHS - Long Sul Tasto
20 Violins LHS - Long CS
20 Violins LHS - Legato

20 Violins CTR - Tremolo
20 Violins CTR - Tremolo Harmonics
20 Violins CTR - Tremolo CS
20 Violins CTR - Short Tight
20 Violins CTR - Short Strummed Pizzicato
20 Violins CTR - Short Col Legno
20 Violins CTR - Long
20 Violins CTR - Long Super Sul Pont
20 Violins CTR - Long Super Flautando
20 Violins CTR - Long Sul Tasto
20 Violins CTR - Long Sul Pont
20 Violins CTR - Long Harmonics
20 Violins CTR - Long CS
20 Violins CTR - Long Col Legno Tratto

20 Violins RHS - Tremolo Harmonics
20 Violins RHS - Tremolo CS
20 Violins RHS - Short Strummed Pizzicato
20 Violins RHS - Short Pizzicato Bartok
20 Violins RHS - Short Col Legno
20 Violins RHS - Long
20 Violins RHS - Long Tremolo Harmonic Waves
20 Violins RHS - Long Super Sul Pont
20 Violins RHS - Long Super Flautando
20 Violins RHS - Long Harmonics
20 Violins RHS - Long CS
20 Violins RHS - Long Col Legno Tratto
20 Violins RHS - Legato
20 Violins RHS - FX

Violins Galleries - Tremolo CS
Violins Galleries - Short Pizzicato
Violins Galleries - Short Pizzicato Bartok
Violins Galleries - Short Col Legno
Violins Galleries - Long
Violins Galleries - Long Super Flautando
Violins Galleries - Long Sul Pont
Violins Galleries - Long CS
Violins Galleries - Long Col Legno Tratto

VIOLAS

20 Violas CTR - Short Tight
20 Violas CTR - Short Strummed Pizzicato
20 Violas CTR - Long
20 Violas CTR - Long Super Flautando
20 Violas CTR - Long CS
20 Violas CTR - Long Col Legno Tratto
20 Violas CTR - FX

20 Violas WIDE - Tremolo
20 Violas WIDE - Tremolo Harmonics
20 Violas WIDE - Tremolo Harmonic Waves
20 Violas WIDE - Short
20 Violas WIDE - Short Pizzicato
20 Violas WIDE - Short Pizzicato Bartok
20 Violas WIDE - Short Col Legno
20 Violas WIDE - Long
20 Violas WIDE - Long Super Sul Pont
20 Violas WIDE - Long Super Flautando
20 Violas WIDE - Long Harmonics
20 Violas WIDE - Long CS
20 Violas WIDE - Legato

CELLOS

60 Cellos - Tremolo CS Pont Waves
60 Cellos - Short
60 Cellos - Short Pizzicato Bartok
60 Cellos - Short Col Legno
60 Cellos - Long
60 Cellos - Long Super Sul Pont
60 Cellos - Long Super Flautando
60 Cellos - Long Soft CS
60 Cellos - Long Col Legno Tratto
60 Cellos - Legato
60 Cellos - FX

20 Cellos RHS - Tremolo Sul Pont
20 Cellos RHS - Tremolo Harmonic Waves
20 Cellos RHS - Tremolo CS
20 Cellos RHS - Tremolo CS Sul Pont
20 Cellos RHS - Tremolo CS Pont Waves
20 Cellos RHS - Short
20 Cellos RHS - Short Pizzicato Bartok
20 Cellos RHS - Short Col Legno
20 Cellos RHS - Long
20 Cellos RHS - Long Super Sul Pont
20 Cellos RHS - Long Super Flautando
20 Cellos RHS - Long Harmonics
20 Cellos RHS - Long CS
20 Cellos RHS - Long Col Legno Tratto
20 Cellos RHS - Legato
20 Cellos RHS - FX

20 Cellos LHS - Tremolo
20 Cellos LHS - Tremolo CS
20 Cellos LHS - Short
20 Cellos LHS - Short Pizzicato
20 Cellos LHS - Short Pizzicato Bartok
20 Cellos LHS - Short Col Legno
20 Cellos LHS - Long
20 Cellos LHS - Long Super Sul Pont
20 Cellos LHS - Long Super Flautando
20 Cellos LHS - Long Sul Pont
20 Cellos LHS - Long Harmonics
20 Cellos LHS - Long CS
20 Cellos LHS - Legato

20 Cellos CTR - Tremolo CS Pont Waves
20 Cellos CTR - Long
20 Cellos CTR - Long Super Sul Pont
20 Cellos CTR - Long Super Flautando
20 Cellos CTR - Long Sul Pont
20 Cellos CTR - Long Harmonics

Cellos Galleries - Tremolo CS
Cellos Galleries - Short Pizzicato
Cellos Galleries - Short Pizzicato Bartok
Cellos Galleries - Short Col Legno
Cellos Galleries - Long
Cellos Galleries - Long Super Flautando
Cellos Galleries - Long Sul Pont
Cellos Galleries - Long CS

BASSES

24 Basses - Tremolo
24 Basses - Tremolo CS Pont Waves
24 Basses - Short
24 Basses - Short Pizzicato
24 Basses - Short Pizzicato Bartok
24 Basses - Short Col Legno
24 Basses - Long
24 Basses - Long Super Sul Tasto
24 Basses - Long Super Sul Pont
24 Basses - Long Super Flautando
24 Basses - Long Sul Pont
24 Basses - Long Harmonics
24 Basses - Long Col Legno Tratto
24 Basses - Legato
24 Basses - FX2 (Chatter)
24 Basses - FX1 (Cluster Slides)

MICS & MIXES

NUMBER OF MICS

60 Violins - 21
20 Violins Left - 13
20 Violins Centre - 14
20 Violins Right -13 
Violins Galleries - 15
20 Violas Wide - 17
20 Violas Centre - 15
60 Cellos - 26
20 Cellos Left - 15
20 Cellos Centre - 14
20 Cellos Right - 15
Cellos Galleries - 18
24 Basses - 21


----------



## erica-grace

About time for what? The announcement was just a few hours ago!


----------



## erica-grace

You know what I wonder? If we are going to see looping issues like we do with all of their Kontakt products.


----------



## Virtuoso

You know, instead of a gazillion mic options swallowing up hundreds of GBs of drive space, I'd much rather see something with the playability of Embertone's Joshua Bell Violin and the instant inspiration of Project Sam's Symphobia multis. THAT would be a huge leap forward for Spitfire, rather than BML on steroids!


----------



## jononotbono

Hoping there are the usual Spitfire Time Machine Patches for the shorts. Being able to change every single note length to be different is something I wish all libraries have.


----------



## rlw

feck said:


> So the "Shorts" are just one articulation? Or does it do marcato/staccato/staccatissimo based on velocity?


Good point


----------



## axb312

Zhao Shen said:


> Sounds fantastic, and I'm particularly interested in the sampled seating arrangements and mic mixes. Don't think that's been done before.
> 
> I'm very surprised that they chose to go with strings to kick things off. It's already an over-saturated market. The library has a few really cool articulations, the seating sampling thing is really neat, and the GUI is absolutely stunning, but otherwise there's not much here that is a clear improvement over existing libraries. Hope they prove me wrong, but I'm certainly not holding my breath.



Agreed. And its a little too pricey for my taste even with the pre-sale discount. I understand that this probably cost a lot too make but the price level makes it unapproachable for me, and probably a lot of other people. I do also understand that is typical spitfire pricing though.

GUI looks good, Sound is ok from the demos. I do like the fact that spitfire is doing it's own plugin now. Makes sense to give up reliance on NI in my opinion and I hope other developers follow suit.

I gotta say though, spitfire following the apple(ish) template for it's announcements isn't working for me. Steve Jobs used to announce great stuff almost every time he took the stage, so the buildup etc. were justified. Here?


----------



## windyweekend

I totally get the paradigm behind this given the massive flexibility you get with the HZ bundle (been using it for years and still think I'm only scratching the surface with its potential), but am curious to know a few things:

1. Is this the same recordings sessions as SSS, but with Hans' special ultra deep, widescreen recipe, and using the other mics from the original sessions that were just too many to include in SSS? If my memory serves me right there were 96 Mics then and many terabytes of samples created with only a subset making it into SSS - is this some of the rest in other words, or a completely brand new set of sessions? Dare I say it, the walk through sounds WAYYY superior to the already phenomenal SSS, so am thinking the later maybe. 

2. Is this going to play nicely with VEP? This is going to be a RAM hog and it would be nice to dedicate a slave to it.

3. Specs say win8 and above - does this mean it won't work on win7, or that it's only been tested on win8+? I don't really want to fork out new OS upgrades across my entire server farm just to get this one lib to work, so it would be great to know if it will ever work with Win7.

Looks like another great product, and totally out of the blue. The walk through shows how the true character of the hall has been captured to perfection. Sounds on the surface like possibly the best string library out there. I love Kontakt but have been burnt by the odd funky update in the past so it's good to see another impressive bespoke UI. Reminds me of Phobos which I loved, but very different from the kickstarter interface (that I've hated).


----------



## JT

Just wondering if the transpose trick will work in this new player. I've never heard a 1000 piece string section before.


----------



## ctsai89

This thread is going to break synchron's record


----------



## feck

So it seems from the manual that there is really one short - other than Col Legno, pizz and Bartok (which are all more or less specialty shorts). I’m surprised - doing an ostinato (which Hans does plenty of) with one short is going to be limiting. The sound on the walkthrough is pretty great though.


----------



## rlw

I also wonder if I can some how mix with my sss string short articulations in a convincing way. Love the sound of the HZ strings , just feel limited on the shorts.


----------



## sazema

NoamL said:


> Sure, you just say that Spitfire's new libraries are old samples and that they don't pay musicians royalties... both of which are outright lies... but you have nothing against HZ or SF.



Honestly NO! 
You should read between the lines.


----------



## christianhenson

Hi guys,

Just thought I'd pile in on a couple of points.

. To suggest these are recycled recordings will make our financial controller, and our very bruised wallets very sad. Simply put we believe these are amongst the most expensive set of recordings ever made! These recordings took a year and a half to make, they were momentous occasions featuring the very best London has to offer. Geoff and Jake work the room totally the opposite way round, as the many photos we showed last night suggest. Hans is all about pristine sonics, so the blend of mics is different and we didn't use tape like we do on our own 'house brand' stuff. Isobel Griffiths had to work incredibly hard to fix these huge bands around the busy schedules of movie music making musicians (so we couldn't work on "Typhon" if there was anything big going on elsewhere, namely Abbey Road). The recordings feature a selection of articulations that with bands of this size sound totally unique, and as Hans himself suggested in the excerpt from his round table, are not designed to sound like just another string library, but to make the impossible possible with a huge number of players shifting air in ways we've never heard before. The idea was to create something unique, not an SCS or a SSS but bigger, something truly different.

. Hans has better experience of recording these types of armadas than us so when discussing stuff like spiccs vs staccs with 344 players it just becomes 'short'. Users of SCS and SSS will probably testify that the different 'short' lengths in SCS are much more discernible than in SSS. Its a numbers game and with HZS you have to multiply your experience in SCS by an order of magnitude. I believe we got the shorts to be as short as humanly possible and they are still longer than the instant bite of the SCS spiccs. So your variety of shorts in HZS will come from the different section sizes. This is why we have 5 cello bands so that you can create different sounding shorts or ostinatos sections either with a massive roar of a 60 piece or more defined 20 piece bands riffing against each other from different sides of the room. We focussed where sections sizes of 120 players excel and add something truly remarkable to our palettes. Comparing with other string libraries is like comparing horses with a zebra. They may look the same shape, but one has stripes!

. We first and foremost make libraries that suit our workflow, otherwise we're out to sea. So when you buy any of HZ's libraries you're getting what he has spec'd and what we have delivered to him. The mic positions on this library are more important than on any other library as the blend of these oceans of players and the effect they have on the room is truly staggering. If you put 40 players in the galleries your ambients become your tree and your tree becomes your ambients. So what Hans wants, he gets, and what Hans gets, you get.

. We built the library from the ground up. This has taken 6 years, with the last 8 months working closely with design and UX agency UsTwo. Its not a bought in piece of tech, we have the scars and bloodied hankies to prove it. It is easy to say "yeah we're gonna do this", but the reality of it is entirely different. Making something like this is really really f**king difficult, and requires the talents of people who possess brain power that is beyond the reach of my humble comprehension.

. Win7 we're not releasing with this functionality, but to my knowledge *we will add this in a few weeks later*. Again, its not the software itself but the downloader and installer which has to do stuff very differently for Win7. Thats about as far as I can take this before my brain starts dribbling out of my nose.

. This is the most QA'd product we've ever created. We thought Phobos was very successful in this respect (with exception to the Win7 thing which was a communications howler on our part) with requests being actioned very quickly and pushed out as a v1.1 update in a matter of weeks. We've gone beyond that with HZS and moved from the "shit has anyone seen what happens when..." stage to the "you know what would be great..." stage many moons ago. Indeed this was going to be released last year but we all decided that we wanted it to not just be good, but we wanted it to be great, so we've all been beavering away with that aim in the months since.

Sorry for breaking my recent VI-C habits and chiming in like this, but when I took to the stage yesterday I explained I was at the forefront of an gigantic effort made by a huge number of incredibly talented and unique individuals, so I feel duty bound to protect their efforts here. Paul, our partner on this Hans, and myself are just composers trying to make our and indeed hopefully anyone who buys this, lives more fun and interesting. We're not hoaxers or raging capitalists, again our financial controller would testify to this! Even our design department recognised the huge complexity and historic nature of what were doing and suggested we make a book... So we did, we made a book. Not only does it look good, it smells great.

Much love to you all, and thanks for such spirited and enthusiastic debating here. I hope some of you sign up for the new labs and enjoy that too, especially now you're not having to donate to charity... thats down to us now donating 1% of our gross income (thats the income we make before we start spunking it on massive events at Air Studios!) to these fantastic and hard working local enterprises.

Right.... raging hangover, got to work out how to get back to Scotland (we've had a bit of a snow event here in UK).

Best wishes and much love.

C. x

**EDIT, and yes, to add to above comments. Musicians who play on these libs get top scale pay, this can be up to three times what they get paid on films, TV and certainly records, and we have a royalty department that distributes twice yearly a large proportion of the profitability to them. This is not a union stipulation it is our choice and is part of the bedrock of our business model and sense of ethics.


----------



## stargazer

Zoot_Rollo said:


> So,
> 
> Who would jump on a Spitfire subscription service?


Not me.


----------



## bigcat1969

How big is big and when is big too big? Must everything be epic? Just wondering. 
I think it was a superb pianist / decent vocalist who formed a trio in Southern Gospel, a genre known for male quartets with insane range, who said when asked why he formed a trio with tight, beautiful harmonies, much less range and a killer songwriter. Something like after you heard the bass go as low as he could and the tenor go as high as he could and everyone went home what was left? 
Maybe melody and harmony are more important than... ah never mind... just being weird. As you were.

PS I'm sure it sounds awesome. Don't mean to be unpatriotic here on Commercial Announcements!


----------



## christianhenson

I agree bigcat... which is why I'm not binning SCS anytime soon. The real rare artics on this lib is us doing the opposite of what you'd expect. Getting an army of string players to play at whispering levels. So the col leg tratto on this lib is a total one-off. Also, and this was the biggest surprise, sul pont on every other library has a searing and sometimes horrific nature, on HZS they are staggeringly silky and beautiful so the tone colour between longs, cs longs, flautando, sul tasto and sul pont is quite a variety of shades to work with, where in the past something like sul pont were more specific to a need, they now become very versatile. The other thing is the high stuff, on other libs when you start pushing the cellos beyond a pitch that is reasonable you can feel the 'reach' it has an unstable and uncomfortable quality, but with 60 blended players, it is proud so again the tone colour quite extraordinary. 

But as I said, col leg tratto is where its at for me at the moment.


----------



## muziksculp

ctsai89 said:


> This thread is going to break synchron's record



Haha... You couldn't resist mentioning _Synchron_ on this thread


----------



## ctsai89

muziksculp said:


> Haha... You couldn't resist mentioning _Synchron_ on this thread



Lol (healthy)


----------



## muziksculp

@christianhenson ,

Loving the sound of HZ Strings. Congratulations on this epic project. 

Q. Can we expect additional demos, and videos in the coming days/weeks to showcase more of this library ? This would be very helpful. 

Thanks,
Muziksculp


----------



## feck

christianhenson said:


> Hi guys,
> 
> Just thought I'd pile in on a couple of points.
> 
> . To suggest these are recycled recordings will make our financial controller, and our very bruised wallets very sad. Simply put we believe these are amongst the most expensive set of recordings ever made! These recordings took a year and a half to make, they were momentous occasions featuring the very best London has to offer. Geoff and Jake work the room totally the opposite way round, as the many photos we showed last night suggest. Hans is all about pristine sonics, so the blend of mics is different and we didn't use tape like we do on our own 'house brand' stuff. Isobel Griffiths had to work incredibly hard to fix these huge bands around the busy schedules of movie music making musicians (so we couldn't work on "Typhon" if there was anything big going on elsewhere, namely Abbey Road). The recordings feature a selection of articulations that with bands of this size sound totally unique, and as Hans himself suggested in the excerpt from his round table, are not designed to sound like just another string library, but to make the impossible possible with a huge number of players shifting air in ways we've never heard before. The idea was to create something unique, not an SCS or a SSS but bigger, something truly different.
> 
> . Hans has better experience of recording these types of armadas than us so when discussing stuff like spiccs vs staccs with 344 players it just becomes 'short'. Users of SCS and SSS will probably testify that the different 'short' lengths in SCS are much more discernible than in SSS. Its a numbers game and with HZS you have to multiply your experience in SCS by an order of magnitude. I believe we got the shorts to be as short as humanly possible and they are still longer than the instant bite of the SCS spiccs. So your variety of shorts in HZS will come from the different section sizes. This is why we have 5 cello bands so that you can create different sounding shorts or ostinatos sections either with a massive roar of a 60 piece or more defined 20 piece bands riffing against each other from different sides of the room. We focussed where sections sizes of 120 players excel and add something truly remarkable to our palettes. Comparing with other string libraries is like comparing horses with a zebra. They may look the same shape, but one has stripes!
> 
> . We first and foremost make libraries that suit our workflow, otherwise we're out to sea. So when you buy any of HZ's libraries you're getting what he has spec'd and what we have delivered to him. The mic positions on this library are more important than on any other library as the blend of these oceans of players and the effect they have on the room is truly staggering. If you put 40 players in the galleries your ambients become your tree and your tree becomes your ambients. So what Hans wants, he gets, and what Hans gets, you get.
> 
> . We built the library from the ground up. This has taken 6 years, with the last 8 months working closely with design and UX agency UsTwo. Its not a bought in piece of tech, we have the scars and bloodied hankies to prove it. It is easy to say "yeah we're gonna do this", but the reality of it is entirely different. Making something like this is really really f**king difficult, and requires the talents of people who possess brain power that is beyond the reach of my humble comprehension.
> 
> . Win7 we're not releasing with this functionality, but to my knowledge *we will add this in a few weeks later*. Again, its not the software itself but the downloader and installer which has to do stuff very differently for Win7. Thats about as far as I can take this before my brain starts dribbling out of my nose.
> 
> . This is the most QA'd product we've ever created. We thought Phobos was very successful in this respect (with exception to the Win7 thing which was a communications howler on our part) with requests being actioned very quickly and pushed out as a v1.1 update in a matter of weeks. We've gone beyond that with HZS and moved from the "shit has anyone seen what happens when..." stage to the "you know what would be great..." stage many moons ago. Indeed this was going to be released last year but we all decided that we wanted it to not just be good, but we wanted it to be great, so we've all been beavering away with that aim in the months since.
> 
> Sorry for breaking my recent VI-C habits and chiming in like this, but when I took to the stage yesterday I explained I was at the forefront of an gigantic effort made by a huge number of incredibly talented and unique individuals, so I feel duty bound to protect their efforts here. Paul, our partner on this Hans, and myself are just composers trying to make our and indeed hopefully anyone who buys this, lives more fun and interesting. We're not hoaxers or raging capitalists, again our financial controller would testify to this! Even our design department recognised the huge complexity and historic nature of what were doing and suggested we make a book... So we did, we made a book. Not only does it look good, it smells great.
> 
> Much love to you all, and thanks for such spirited and enthusiastic debating here. I hope some of you sign up for the new labs and enjoy that too, especially now you're not having to donate to charity... thats down to us now donating 1% of our gross income (thats the income we make before we start spunking it on massive events at Air Studios!) to these fantastic and hard working local enterprises.
> 
> Right.... raging hangover, got to work out how to get back to Scotland (we've had a bit of a snow event here in UK).
> 
> Best wishes and much love.
> 
> C. x
> 
> **EDIT, and yes, to add to above comments. Musicians who play on these libs get top scale pay, this can be up to three times what they get paid on films, TV and certainly records, and we have a royalty department that distributes twice yearly a large proportion of the profitability to them. This is not a union stipulation it is our choice and is part of the bedrock of our business model and sense of ethics.


Thanks for the insight, Christian. The logic behind the shorts makes sense. Looking forward to using these.


----------



## christianhenson

muziksculp said:


> @christianhenson ,
> 
> Loving the sound of HZ Strings. Congratulations on this epic project.
> 
> Q. Can we expect additional demos, and videos in the coming days/weeks to showcase more of this library ? This would be very helpful.
> 
> Thanks,
> Muziksculp



Yes... lots and lots of stuff to come!


----------



## MaxOctane

So this IS Typhon! Everyone thoughy Typhon was a dry library, based on the Christian and Paul interview video.


----------



## muziksculp

christianhenson said:


> Yes... lots and lots of stuff to come!



Splendid. 

Thank You.


----------



## christianhenson

Do check out Paul's walkthrough though, I think its his best one yet, and I think really explains the different qualities of the different bands really well... So often you take what he's playing for granted and then you stop and go.... hang on a minute those are cellos??!!



Right, put the VI-C away henson!


----------



## mouse

christianhenson said:


> Do check out Paul's walkthrough though, I think its his best one yet, and I think really explains the different qualities of the different bands really well... So often you take what he's playing for granted and then you stop and go.... hang on a minute those are cellos??!!
> 
> 
> 
> Right, put the VI-C away henson!




Not sure if anyone said it yet, but fair fucking play. Can't have been an easy project, can't have been easy to take to the stage yesterday etc. Thanks for constantly pushing the boundaries and graciously taking all the shit from all of us at the same time. You deserve much success with this entire project.


----------



## Vik

sazema said:


> Few weeks ago, a new (brand new stunning overexciting) violin library has been released by same company... and what happen? Nothing, now is forgotten. Olafur library has been released, few days of OMG talk and nothing, it's forgotten. 8Dio Century strings, yehaaa, a must buy...


Hi, some of those who haven't bought these libraries may have forgotten them - but I bought the OA Chamber Evolutions and found it very useful and inspiring. But with 100+ string libraries out there - a number which is increasing rapidly, we shouldn't be expected to walk around remembering all of them anyway. :-P 
The HZ Strings looks like a massive and brave move from Spitfire, and for someone who makes as many libraries as them, having their own sample player now may represent an even larger step - with future benefits both for SF and the users.


----------



## sazema

Vik said:


> Hi, some of those who haven't bought these libraries may have forgotten them - but I bought the OA Chamber Evolutions and found it very useful and inspiring. But with 100+ string libraries out there - a number which is increasing rapidly, we shouldn't be expected to walk around remembering all of them anyway. :-P
> The HZ Strings looks like a massive and brave move from Spitfire, and for someone who makes as many libraries as them, having their own sample player now may represent an even larger step - with future benefits both for SF and the users.



Absolutely. Olafur libraries are great, like most libraries from SF, and that's a fact. They have soul which is most important to me. It's not everything surgical clean and precise. And new violin from few days ago has really great sound.
Introducing self plugin instead of 3rd party sampler is a big move too, and nothing wrong with that. They have already introduced plugin with BT Phobos, so it's nothing new.
Nothing wrong and nothing against this library also, I believe it will be great add-on and it will find its own place in existing palette.

Should I scream? Should I be scared about performances? Should I be worried about mic positions on few tabs in plugin? Should I be worried about tiny faders on GUI? *No*. Life is same like 3 days ago. Relax.

We'll see upcoming videos and reactions like for any other library further days (real usage), when first guys get this.


----------



## bigcat1969

Thanks for the insight and for not being annoyed at my somewhat presumptions post.
It is interesting that you talk about range. In my little world of digital instrument making, which is about as far from yours as possible, the timbre of the highest range of stringed instruments drives me nuts. One quasi solution is to create a string section to get more 'instruments' and sort of massage out the worst high notes. So it makes sense that more stringed instruments together would create a better high sound to me. Of course your musicians already start with an impressive high end, so yeah pretty good stuff.
All the best on your massive and occasionally pianissimo project and I hope it sells well. Sounds like an insane amount of work.


----------



## Josh Richman

I'm not certain if this was intentional or inspiration (But, Im gonna take a shot anyways lol).

I think the style / branding / UI of HZS is literally "The thin red line"...











Just a thought... (Let's see if we get the back story for the design inspiration)


----------



## mrd777

When can I download, if I purchase?


----------



## PeterN

Im ready to buy Spitfire just bcs of the transparity in their presentations and the transparity of the company. (Sure there are some lines, but in overall comparsion). Unlike some of the developers, you dont even know what country they are located in. But Ive bit*hed about that already, so thats another story. But this concept is great, with the enthusiams they are doing their work, from a customer viewpoint, as most of us are nerds and addicted to this stuff, it cuts like a hot knife through melted butter to just follow whats going on. Say, if you are into space you like to see NASA presentations, if you are into sample libraries, you cant complain Spitfires concept.


----------



## Garry

christianhenson said:


> Do check out Paul's walkthrough though, I think its his best one yet, and I think really explains the different qualities of the different bands really well... So often you take what he's playing for granted and then you stop and go.... hang on a minute those are cellos??!!
> 
> 
> 
> Right, put the VI-C away henson!




Hi Christian,

Big fan of your work and of Spitfire's whole approach - the standard for all other developers to aspire to in my opinion.

However, some honest feedback regarding HZ Strings. When I ask myself if I should drop 800 bucks (assuming I can't decide until after the intro price) on a string library, I have to compare it to what I have, and what this will additionally give me, and ask myself if that's worth it. I compared it only to Albion One (which I love). As you suggested, I went through Paul's walkthrough (again, HUGE fan of the unrivalled transparency you provide), but additionally, I played exactly what Paul was playing, and tried to achieve the sound that he was getting with HZ Strings. So, the obvious point out of the way first - could I get exactly the same sound, no, of course not! But that wasn't the point. My question to myself was, 'how close can I get, and is the difference worth 800 bucks?'. I have to say, I felt I could get pretty damn close for almost all of it! This leads me to a few observations I hope you'll find useful user feedback:


Albion One really is the outstanding product I fell in love with; my best purchase by far! To be able to even make the comparison with a dedicated library is outstanding. If I didn't already have Albion One, and considering it against HZ Strings, I would be asking myself a different question: can I forego the rest of the Albion library (brass, winds, percussion, etc) for the difference in the strings - again, I think I would go for Albion
Adding more and more players doesn't really make THAT much difference (personal preference, I realise), particularly when I can layer and approach the same effect. I know it's not what you were aiming at, but I hope this doesn't become a trend in the industry, of a pissing match of which library has more players: I honestly don't think it makes that much difference. Some may disagree with the layering effect, but even without this, just 1 instance on it's own is sufficiently close to what I'm hearing from Paul's demo. The beauty in the HZ Strings I feel is in the additional articulations, but whether or not there are so many players, personally, I'm not hearing sufficient difference. I know you'll disagree here, since the impressive scale is one of the main selling points of the library, but just some user feedback for you to consider (or ignore!).
I feel that you (or perhaps if not you (you're clearly a thoroughly decent chap!), then others!) may scoff at my point that a generic library like Albion One can come anywhere near the subtlety of a dedicated strings library like HZ Strings. To this I would say 2 things: (i) I would class myself as a hobbyist with high end, but certainly not professional-level equipment: what I can hear is probably somewhere close to what you're hearing with the far superior equipment in your studios, but as an end user, perhaps that subtlety is mostly (not completely) lost for a majority of your audience. (ii) to other end users, please do the same as I did - directly compare the 2 libraries, and see if you think the difference (which there undoubtedly is, of course) is worth 800 bucks.
Spitfire has recently released other libraries (such as the Olafur Arnolds library): if I had bought this, only to find out 2 months later that another string library was to be released, I would have felt disappointed. I know you will feel that these are 2 entirely different libraries, but just in my personal opinion, they're not sufficiently different that it would have been good to know what was coming, to be able to make a comparison and choose before purchasing. Just trying to make a point about the timing of your releases, to help the audience make their best decisions.
I was SO looking forward to this being the Whitacre choir, that I'm having to try to ensure my deflation doesn't colour my opinion! So, with that in mind, I wonder if this would have been a better 10th Anniversary showcase piece: for that, as a Spitfire customer, there is nothing I can compare it to, to ask is it better than what I already have (unlike yet another string library), and as a loyal Spitfire customer, I fully expect it will blow the competition out of the water.
To finish I hope Spitfire gets the credit it deserves for (i) the 1% charity donation for Labs - absolutely wonderful! (ii) that GUI really looks beautiful and a pleasure to work with, (iii) always trying to push the boundaries of what is possible (iv) generating a community around their work that is far greater than simply the products themselves: it is this that wins and deserves my loyalty: your vlogs, Paul's detailed walkthroughs, Oliver's and Hornay's in action walkthroughs, creative cribs, in action videos, educational discounts, monthly journal, labs with charity donations, tutorials, tips, freebies, industry insights... the list goes on. Love what you do, and long may you continue to be successful.

Now please rush out that Eric Whitacre choir!


----------



## Garry

PeterN said:


> Im ready to buy Spitfire just bcs of the transparity in their presentations and the transparity of the company. (Sure there are some lines, but in overall comparsion). Unlike some of the developers, you dont even know what country they are located in. But Ive bit*hed about that already, so thats another story. But this concept is great, with the enthusiams they are doing their work, from a customer viewpoint, as most of us are nerds and addicted to this stuff, it cuts like a hot knife through melted butter to just follow whats going on. Say, if you are into space you like to see NASA presentations, if you are into sample libraries, you cant complain Spitfires concept.



Totally agree, in fact, I no longer buy a library, no matter how good the demos sound, unless there is a detailed walkthrough, like Spitfire's. If the developer can't provide this, then they're either hiding the lack of quality behind highly produced demos, or they don't consider it necessary (in which case, I don't consider it necessary to be a customer). I hope Spitfire becomes the standard.


----------



## NoamL

It's interesting to know this was made to HZ's requested specs if I understand you right Christian? Seems he has been moving in this direction artistically for a while, "Dust" on Interstellar, the Elgar arrangement on Dunkirk, Blue Planet, Blade Runner 2049...


----------



## Ryan

Looks very very interesting! But, is it one instance per instrument?

I think the choirs will be released with the new sampler . Just my thoughts .

Also, will spitfire move their other libraries over to this sampler? Thinking of percussion etc.

What I now need is a stress-test video from spitfire showing me the size of the engine/motor inside this sampler .is it a v8, tesla etc. Want to se how it preform with large templates  show me, and I buy.

Best
Ryan.


----------



## blougui

A lot to like. From the walkthrough, different sound though same room - and musicianship. I wonder what this riches of mics bring, I'ld be curious to hear them,like A/B comparison ?
Congratulations !
(but what amazes me the most, is how a project this scale, with so much people involved, can stay secret for so many years : no leaks whatsoever? Must have a Secret Service budget at one point, and a bulging one at that)


----------



## Britpack50

christianhenson said:


> Hi guys,
> 
> Just thought I'd pile in on a couple of points.
> 
> . To suggest these are recycled recordings will make our financial controller, and our very bruised wallets very sad. Simply put we believe these are amongst the most expensive set of recordings ever made! These recordings took a year and a half to make, they were momentous occasions featuring the very best London has to offer. Geoff and Jake work the room totally the opposite way round, as the many photos we showed last night suggest. Hans is all about pristine sonics, so the blend of mics is different and we didn't use tape like we do on our own 'house brand' stuff. Isobel Griffiths had to work incredibly hard to fix these huge bands around the busy schedules of movie music making musicians (so we couldn't work on "Typhon" if there was anything big going on elsewhere, namely Abbey Road). The recordings feature a selection of articulations that with bands of this size sound totally unique, and as Hans himself suggested in the excerpt from his round table, are not designed to sound like just another string library, but to make the impossible possible with a huge number of players shifting air in ways we've never heard before. The idea was to create something unique, not an SCS or a SSS but bigger, something truly different.
> 
> . Hans has better experience of recording these types of armadas than us so when discussing stuff like spiccs vs staccs with 344 players it just becomes 'short'. Users of SCS and SSS will probably testify that the different 'short' lengths in SCS are much more discernible than in SSS. Its a numbers game and with HZS you have to multiply your experience in SCS by an order of magnitude. I believe we got the shorts to be as short as humanly possible and they are still longer than the instant bite of the SCS spiccs. So your variety of shorts in HZS will come from the different section sizes. This is why we have 5 cello bands so that you can create different sounding shorts or ostinatos sections either with a massive roar of a 60 piece or more defined 20 piece bands riffing against each other from different sides of the room. We focussed where sections sizes of 120 players excel and add something truly remarkable to our palettes. Comparing with other string libraries is like comparing horses with a zebra. They may look the same shape, but one has stripes!
> 
> . We first and foremost make libraries that suit our workflow, otherwise we're out to sea. So when you buy any of HZ's libraries you're getting what he has spec'd and what we have delivered to him. The mic positions on this library are more important than on any other library as the blend of these oceans of players and the effect they have on the room is truly staggering. If you put 40 players in the galleries your ambients become your tree and your tree becomes your ambients. So what Hans wants, he gets, and what Hans gets, you get.
> 
> . We built the library from the ground up. This has taken 6 years, with the last 8 months working closely with design and UX agency UsTwo. Its not a bought in piece of tech, we have the scars and bloodied hankies to prove it. It is easy to say "yeah we're gonna do this", but the reality of it is entirely different. Making something like this is really really f**king difficult, and requires the talents of people who possess brain power that is beyond the reach of my humble comprehension.
> 
> . Win7 we're not releasing with this functionality, but to my knowledge *we will add this in a few weeks later*. Again, its not the software itself but the downloader and installer which has to do stuff very differently for Win7. Thats about as far as I can take this before my brain starts dribbling out of my nose.
> 
> . .


Thanks Christian. I dont think anyone could reasonably doubt the integrity of the Spitfire project. As an amateur, the whole ethos and culture you have generated around Spitfire, as well as the excellent, humourous high quality content, is what got me into orchestral composition in the first place. It’s incredible the sounds we can make with such tools.

There is only so much flexibility one can build into a sample library (there are a fixed number of samples!), so having multiple palettes/options to choose from seems like a blessing. People can choose what they buy, and criticism for not announcing your whole sequence of launches for the next two years in advance, seems a bit bizarre. You are not a charity, after all. Great job, very exciting.
Richard


----------



## mcalis

@christianhenson It's not for me at this point (maybe later) but I can certainly see how this has been a massive effort. The logistics on this must've been maddening... for that alone I must applaud you. I mean, I don't think many people really understand the pains of sampling until they try to do their own piano or something similar. It's a _lot _of work!


----------



## star.keys

Can we have some more demos and a definitive view of release date please?


----------



## fiestared

Spitfire Team said:


> ​



I already posted that in an other thread...
https://vi-control.net/community/threads/spitfire-dropping-kontakt-for-hz-strings.69409/page-8
Bravo Spitfire Audio, I BET on this lib ----HANS ZIMMER STRINGS---, and I'll buy it ASAP, this is the FUTUR...


----------



## Garry

Britpack50 said:


> criticism for not announcing your whole sequence of launches for the next two years in advance, seems a bit bizarre. You are not a charity, after all.



Let me give you an analogy: if Apple released iPhone 6 in January, and with no warning (and just after the intro price ran out), then 2 months later released iPhone 7, people would be understandably pissed. It's not bizarre, it's just enabling your customers to make the best decisions. Spitfire has (positively) emulated a number of Apple's approaches - they're often referred to as the Apple of sound libraries, for good (and again, positive) reasons: market leader, understand their customers, actively facilitate their customers' use of their products with tutorials and tips, developing high end quality products that are meaningful and useful to them as consumers as well not just what sells, it 'just works'; and now a pre-announced 'release event', complete with 'one more thing..' All great stuff that I applaud. My suggestion (that they can obviously heed or ignore), is to give some thought about how the scheduling of their releases best helps their customers. These are not phones, and so all considerations will not apply, but it's worth thinking about whether scheduling releases more predictably and consistently, such as Apple does, would help their customers. Olafur Arnolds is a string library; HZ Strings too. It seems to me not a bizarre question to pose, to ask if Spitfire did the best thing for their customers by releasing them with the timing they did.

You don't have to agree, neither do they, but bizarre???


----------



## Sovereign

Could someone from the Spitfire crew please illuminate how many dynamic layers are in this thing? I want to make an informed decision on pre-ordering today.


----------



## Will Wilson

For those calling out that Windows 7 is still under support I suggest you actually look at Microsoft's own support policies rather than simply posting third party stuff. Windows 7 is currently in it's Extended support period until Jan 2020, this means the only thing you get is priority security updates, no warranty, no support, no hardware fixes, updated drivers. People can of course keep using it for as long as they like but at their own risk. A risk that several local authorities and health care trusts know all to well after last years fiasco.

I've been an IT professional for nearly 20 years, yes upgrading to a new operating system can be a pain, however mainstream support for Windows 7 ended 3 years ago. Windows 10 isn't new and has had plenty of time to bed in, bugs to be fixed and the overall experience to be improved. Personally I find it to be one of the most stable Windows versions I have used (and I started back on Windows 3.1).

Great it looks like Spitfire will be adding Win7 support so everyone can stop moaning about Win7 and get back to discussing the actual product.


----------



## procreative

christianhenson said:


> Do check out Paul's walkthrough though, I think its his best one yet, and I think really explains the different qualities of the different bands really well... So often you take what he's playing for granted and then you stop and go.... hang on a minute those are cellos??!!
> 
> 
> 
> Right, put the VI-C away henson!




Off topic, watched a programme a short while ago called Next Of Kin and saw an an actor called Chris Larkin – could have sworn he was your older brother, definitely has the Henson look http://www.imdb.com/name/nm0488271/?ref_=tt_cl_t21


----------



## desert

@christianhenson 

Hey!

Can you please tell us how this product makes it “Hans” strings?

Like, was he there setting up the mics, giving advice on how he gets the sound for his ostinatos, etc?

Did alan meyerson help? Cause as you know (Hans percussion) he’s the guy behind the sound and recording.

To me it sounds nothing like what hans zimmer strings sound like. I’m curious on how Spitfire can associate the library with Hans.

So far, it feels like false advertising.

Like a scam.

Is this another fake email? Should I be laughing at this joke “hans” product?


----------



## sazema

desert said:


> @christianhenson
> 
> Hey!
> 
> Can you please tell us how this product makes it “Hans” strings?
> 
> Like, was he there setting up the mics, giving advice on how he gets the sound for his ostinatos, etc?
> 
> Did alan meyerson help? Cause as you know (Hans percussion) he’s the guy behind the sound and recording.
> 
> To me it sounds nothing like what hans zimmer strings sound like. I’m curious on how Spitfire can associate the library with Hans.
> 
> So far, it feels like false advertising.
> 
> Like a scam.
> 
> Is this another fake email? Should I be laughing at this joke “hans” product?



Christian already explained here in his big post
SPITFIRE - Announcing Hans Zimmer Strings!


----------



## SpitfireSupport

Rectobiasi said:


> @Spitfire Team @SpitfireSupport guys ! Please guys, there is a BIG BIG turn off right now that is stopping me from buying it, the fact that it doesn't work on Windows 7 !....I don't want to upgrade and i never felt the need to do so, everything is working fine here, so please fix this quickly and let me pre-order it! Thank you!



Hi all, just going through this thread now we've recovered from last night, so I'll answer some of these concerns. I can't say that we'll be able to support Windows 7 but if this changes, we'll let you know. I'm afraid that's all I'll say for now.

Ben


----------



## SpitfireSupport

Killiard said:


> I guessed as much. Just wondering if it’s the same case on the Mac version. Does it mean if you’re a pc user (I’m not) and your internet fails that you can’t use it?


Not at all. It's just the installation process that requires an internet connection, once it's installed, you no longer need to be connected.

Ben


----------



## Puzzlefactory

@SpitfireSupport can you shed some light on the new plugin? How CPU heavy is it? What are the load times like on non-ssd drives?


----------



## desert

christianhenson said:


> So when you buy any of HZ's libraries you're getting what he has spec'd and what we have delivered to him.



So just an email to Hans?


----------



## SpitfireSupport

rlw said:


> I do like what I hear in the walk through. Was wondering when the delivery date is if you pre order ?


28th March!


----------



## SpitfireSupport

sazema said:


> I can bet they just blended their flagship string libraries into one SSS + SCS + Albion III low strings 8ve + Thundra + etwas etwas, recorded some new samples when HZ were in studio for coffee and asked external company to make VST plugin instead of Konakt


Absolutely not


----------



## SpitfireSupport

rap_ferr said:


> Hi,
> 
> Does anybody know when the pre order price ends?



We're not announcing that date yet but it'll be after we've released the product, we certainly won't take it off the promotional price while it's still on presale.


----------



## SpitfireSupport

windyweekend said:


> 1. Is this the same recordings sessions as SSS, but with Hans' special ultra deep, widescreen recipe, and using the other mics from the original sessions that were just too many to include in SSS? If my memory serves me right there were 96 Mics then and many terabytes of samples created with only a subset making it into SSS - is this some of the rest in other words, or a completely brand new set of sessions? Dare I say it, the walk through sounds WAYYY superior to the already phenomenal SSS, so am thinking the later maybe.
> 
> 2. Is this going to play nicely with VEP? This is going to be a RAM hog and it would be nice to dedicate a slave to it.
> 
> 3. Specs say win8 and above - does this mean it won't work on win7, or that it's only been tested on win8+? I don't really want to fork out new OS upgrades across my entire server farm just to get this one lib to work, so it would be great to know if it will ever work with Win7.



1. No, these were brand new recording sessions
2. Yes
3. It won't install on a Windows 7 machine, if that changes, we'll be letting people know


----------



## germancomponist

WOW!
Congratulations to all who worked on this library!


----------



## SpitfireSupport

JT said:


> Just wondering if the transpose trick will work in this new player. I've never heard a 1000 piece string section before.


Yep


----------



## axb312

I wonder...how often does Spitfire update it's existing VIs? Are these all bug-free or do additional featueres/ articulations/ user requests just go into new libraries? I've been seeing a bunch of releases from them recently but no updates?


----------



## Rctec

sazema said:


> Honestly NO!
> You should read between the lines.


Ok, you rude twat: her are the lines: it’s All New. It’s based on an old idea of mine that Christian and Paul expanded on. We’ve always had that extra level of microphones in my custom sampler, so it’s easy for the recording engineer to go from Berlioz vastness to The tight sound of a dry section. It’s engineered in the way I set up the studio, with my regular team and the players I love. It’s not about how many, it’s about how good they are, How great their instruments sound. It’s about a vast number of individuals coming together, without sacrificing their soul and heart. I don’t really give a shit if you think it’s crap. It fits into my philosophy of bringing the best musicians together in my favorite room and seeing what comes our...


----------



## Puzzlefactory

Haha, I guess people forgot that Hans lurks here to sometimes.


----------



## Tatu

Balsy move, Spitfire. Nice to see something worth the hype for once


----------



## Will Wilson

and in busts HZ to set things straight! 

I'm just trying to work out what possible justification I can find to pre-order this!


----------



## AlexanderSchiborr

Oh great, 25 pages and it is already popcorn time. Where is my beer, damn its not yet 4 afternoon. Kein Bier vor 4. 
Anyways: I will check the Strings out later. lets see how they sound.


----------



## Scrianinoff

Congratulations on yet another very fine lib! Just pre-ordered these exquisite strings.

PLEASE provide *Windows 7* support. This would be my first lib in 5 terabytes of purchased libs that would _not_ work on Windows 7.


----------



## SpitfireSupport

Sovereign said:


> Could someone from the Spitfire crew please illuminate how many dynamic layers are in this thing? I want to make an informed decision on pre-ordering today.


It actually varies per technique (articulation). Most of the vanilla long and short techniques have three dynamic layers, while some of the other techniques have two or one.


----------



## Sovereign

SpitfireSupport said:


> It actually varies per technique (articulation). Most of the vanilla long and short techniques have three dynamic layers, while some of the other techniques have two or one.


Thanks for clearing that up. How many layers are in the legato recordings? That would be my last question before I pull some plastic.


----------



## wickedw

I think it's a very interesting idea. I like that the basses are recorded in the center of the room. And the idea of that many cellos playing at the same time does make something stir in my trousers to put it (not very) elegantly. 

However I'm personally gonna hold off on it as I just have a lot of other items on my wishlist before. But somewhere in the future I can totally see me getting this, even if you "can't" reproduce it in a live recording you could use it in background for sound scaping or whatever you fancy. 

But does all sample libraries really have to be an accurate representation of reality? I adore the orchestra, but there are just some sounds it's not capable of (or just not practical or even affordable). And if you don't like the idea or you for some reason doubt the massive effort that must have gone into it.. well I don't see anyone from spitfire forcing you to buy it  

._.. WAIT CHRISTIAN, i just don't have the money right now.. NO PLEASE DON'T. NO NOT THERE._


----------



## Old Timer

I'm still plodding on with my 2015 MacBook Pro and an external 7200 drive. I'm presuming HZ Strings will barely run on that?


----------



## SpitfireSupport

Sovereign said:


> How many layers are in the legato recordings?


Same as for the longs, so:

60 Violins - 3
20 Violins - 3
Violins Galleries - 2
Violas Wide - 3
Violas Centre - 2
All Cellos - 3
Basses - 3


----------



## Jimmy Hellfire

This is already shaping up even better than the Synchron thread. Musicians trolling musicians!


----------



## Sovereign

Jimmy Hellfire said:


> This is already shaping up even better than the Synchron thread. Musicians trolling musicians!


There's at least one big difference, HZS actually sounds good.


----------



## Sovereign

SpitfireSupport said:


> Same as for the longs, so:
> 
> 60 Violins - 3
> 20 Violins - 3
> Violins Galleries - 2
> Violas Wide - 3
> Violas Centre - 2
> All Cellos - 3
> Basses - 3


Thanks for these details, I'll pre-order soon. Good enough for me.


----------



## Will Wilson

Does it have any kind of auto-divisi? If I play 2 notes on the 60 cello patch am I actually hearing 120 cellos?


----------



## colony nofi

Was awesome for this aussie to get to the event last night in London town. Lucky.
To see the excitement in Paul + Christians eyes over this... and understand the blood sweat and tears that - even though its a business proposition - goes into an amazing sounding product like this. And here's to the passion they have for creativity, emotion, musicians, ethics and composition.
Bravo.

--edit-- been there, done that, got the t-shirt.


----------



## desert

SpitfireSupport said:


> Same as for the longs, so:
> 
> 60 Violins - 3
> 20 Violins - 3
> Violins Galleries - 2
> Violas Wide - 3
> Violas Centre - 2
> All Cellos - 3
> Basses - 3


Can’t wait till you catch up with the questions and answer mine :D woohoo


----------



## Puzzlefactory

desert said:


> Can’t wait till you catch up with the questions and answer mine :D woohoo



Missed Hans’s response did we...?


----------



## fiestared

Sovereign said:


> There's at least one big difference, HZS actually sounds good.


To say the least...


----------



## Fry777

@SpitfireSupport In the walkthrough video, we can see on the interface the field "round robins" (bottom right) but it seems to stay at 1. 
Yet in the manual it says multiple round robins... 
Any chance to get more details on this ?


----------



## darrenwonnacott

@SpitfireSupport Hope your morning is going well! Just wondered what date (roughly) the special pre order price will be available too? Thanks for your help!


----------



## ClefferNotes

Bravo @Spitfire Team @SpitfireSupport @christianhenson The sounds of this library... just wonderful! Congratulations on being bold enough to constantly push the boundaries and provide us tools that are inspiring to use. I am sorry for the remarks you have received and have to put up with from some of the others in this thread who aren't "getting it" but I guess you can't please everyone at the same time.

Also wanted to say a huge congratulations on making your own plugin too, it looks really classy and I can honestly appreciate the amount of work and effort it must have taken you all to craft this huge project!

Seriously, congratulations and I really look forward to seeing what you guys have planned for the future! 

Much love to you all, and keep up the amazing work!
Chris


----------



## leon chevalier

N


----------



## Garry

Rctec said:


> Ok, you rude twat: her are the lines: it’s All New. It’s based on an old idea of mine that Christian and Paul expanded on. We’ve always had that extra level of microphones in my custom sampler, so it’s easy for the recording engineer to go from Berlioz vastness to The tight sound of a dry section. It’s engineered in the way I set up the studio, with my regular team and the players I love. It’s not about how many, it’s about how good they are, How great their instruments sound. It’s about a vast number of individuals coming together, without sacrificing their soul and heart. I don’t really give a shit if you think it’s crap. It fits into my philosophy of bringing the best musicians together in my favorite room and seeing what comes our...



OK, this just got real around here!!  Zimmer in da house!

I like (and enjoyed!) that you put someone in his place who was clearly just being an idiot! But I wonder if you'd be kind enough to take a moment to entertain more serious and genuine questions (out of my ignorance, not challenges - I don't know enough!).



Rctec said:


> It’s not about how many, it’s about how good they are.



- To be fair, the number of instruments was one of *the* key features that was highlighted by Paul and Christian. I can see that a bespoke, small library (eg Spitfire's Alternative Solo Strings) is about the player, but when there are 344 of them, can we really still say it's about the player? When they are just playing (for the most part) single notes or transitions, does the quality of individual players, beyond a certain level, amongst such a vast number, make such a difference? (Again, you know, and I don't - I'm asking out of genuine ignorance and interest to learn). If it was about the players, I would have expected more spotlight on who they are, not how many; but that was not what Christian and Paul focussed on.



Rctec said:


> it’s about how... great their instruments sound.



Again, I could see this for a library focussed on a specific instrument (eg Ravenscroft 275 - the library is about modelling _that_ _specific_ piano, not pianos generally). But '60 cellos' is not about an instrument, it's about focussing on what you get when you have that large a number of players, is it not? And in all honesty, I'm not seeing what the 60 gives you (see my previous post - I find I can get very close just using Albion One). That could be because I don't have the ears, equipment, knowledge or ability, but I'd genuinely appreciate to know your thoughts on how you would get the best out of this that the number of players affords over other libraries.



Rctec said:


> I don’t really give a shit if you think it’s crap. It fits into my philosophy of bringing the best musicians together in my favorite room and seeing what comes our...



Fair enough!  Delicately put!!  Again, perfectly reasonable response to an idiot troll.

I hope you won't equally think I'm being a troll for asking the following question; again, it's not meant to troll, but as someone who is currently watching your masterclass, which has touched on all aspects of working with the director, the musicians, and your thoughts on virtual vs live instruments. One aspect you didn't touch on is your relationship with sample library developers. You do talk about not using the same sample over again, starting everything from scratch for each movie, so I wonder how this relates to you collaborating with Spitfire on these and other libraries - do you/will you be using these in current/future projects? If so, I think that add great value to the library (this is the library Hans Zimmer is using to achieve his sound in movie X, would be an enormous selling point, and Spitfire would benefit from being able to cite). If not (and from the comment you made about not reusing, one would assume not), it seems a reasonable question to ask as to how this relates to the HZ brand?

And I have to ask the question that is the elephant in the room: your absence at the launch, either in person or via video, was confusing. You certainly don't have to account for your whereabouts! Least of all to me. But in the spirit of the theme of your masterclass, of understanding relationships in the industry, and laying out the Zimmer approach, I would be curious to know if you feel that having Christian and Paul resort to showing old footage of you discussing sample libraries, and saying thank you to a black and white photo, undermined their, and vicariously, your brand? I know that's a provocative question, and I don't mean it to be, but I appreciate your honesty and transparency you've shown in the masterclass, and just the very fact that you respond to these threads, so I'm taking you at your offering to be able to ask an honest question to get your thoughts (and hoping you don't consider me to a "rude twat" for doing so!). Feel free to ignore it too of course!

(with one or 2 notable exceptions) - great discussion! Not many industries could boast such open dialogue with those at the very top and those at the very bottom (ie, me!).


----------



## Jimmy Hellfire

Sovereign said:


> There's at least one big difference, HZS actually sounds good.



Yawn?


----------



## mouse

Wasn't Hans at an awards ceremony last night? That would explain why he couldn't be at Spitfires thing or do a video thing with them?


----------



## Garry

mouse said:


> Wasn't Hans at an awards ceremony last night? That would explain why he couldn't be at Spitfires thing or do a video thing with them?



I don't know, quite possibly. I'm sure there's a perfectly good reason. I'm not expecting him to account for himself; this is more a question about (i) branding strategy, and (ii) the apparent disparity between his philosophy (never reuse samples; make everything de novo) and the collaborations such as this that leverage his brand through sample libraries that would seem to be the opposite of his stated philosophy. Thinking about it, both positions may be perfectly compatible: the use of libraries is always only for the mock-up; for the final thing, he's only ever going to use novel sounds and/or real instruments - a position that Christian has endorsed a number of times in his vlogs. Perhaps that's how he sees things fitting together?

His absence at the event though gives the (I'm sure, unintended) impression of distancing; to avoid this, one might have expected, at the very least, a recorded 1 minute message of support for the success of the collaboration. I think Paul and Christian would have undoubtedly liked and benefitted from him being there, in person or not, and were disappointed that he wasn't, no matter how genuine the reason. They deserve the honest feedback from their customers that this was indeed the impression that was created, as they might have feared and expected it would, and at least superficially, undermined the branding and association with Hans they were perhaps hoping to achieve. Next time (assuming this isn't just my impression, which if it is, they can safely ignore!), they could use such feedback in planning their events (which I thought was great by the way, and would love to see continue). Perhaps his view was that he didn't want his celebrity to steal the limelight from Paul and Christian - again, that would be fair enough; I'd just like to understand his thinking - not often you get to ask a hugely successful person you admire such questions, and even less often you think they are open enough to give you an honest answer. I (we?) can only benefit and learn from his reply.


----------



## Dr Belasco

After watching the walk through it all sounds good. Big sound that will be suitable for certain appliances.


----------



## blougui

I'm sometimes genuily amazed at what is written here...
Mr Zimmer role in HZS ? "Please, do answer" ? As if it was paramount to a buying decision or something... 
Between fanhoodism and scepticals, one has to plough through vast amount of writting to get a sens of what this library brings to the table. Well, I guess this is the interweb dot 2...


----------



## PaulBrimstone

Dr Belasco said:


> Big sound that will be suitable for certain appliances.


Yes, should go well with my washing machine  No spin cycle jokes, please.


----------



## Garry

blougui said:


> I'm sometimes genuily amazed at what is written here...
> Mr Zimmer role in HZS ? "Please, do answer" ? As if it was paramount to a buying decision or something...
> Between fanhoodism and scepticals, one has to plough through vast amount of writting to get a sens of what this library brings to the table. Well, I guess this is the interweb dot 2...



Yeah, you'd think a discussion forum on virtual instruments, attended by the creators of a highly successful company, and an associated world-renowned composer, would just focus on Kontakt scripting, right?


----------



## blougui

PaulBrimstone said:


> Yes, should go well with my washing machine  No spin cycle jokes, please.


Well, not everyone is lucky enough to be a native english speaker. Never take it for granted. Some of us do make tremendous efforts to read and write and understand and be understood in these forums.


----------



## PaulBrimstone

blougui said:


> Well, not everyone is lucky enough to be a native english speaker. Never take it for granted. Some of us do make tremendous efforts to read and write and understand and be understood in these forums.


Of course, you're right. Sorry — just jesting.


----------



## stonzthro

This sounds FANTASTIC - and knowing Hans' ears and (no doubt) work ethic are behind it makes it all the more fascinating. And its own sampler - what an ton of work this must have been!

Way to go Spitfire - way to go!


----------



## blougui

@Garry : well, focused on sound or presumed usability, may be ? But it's not focused on questions about Zimmer role, for sure, but it feels weird that the company has to somewhat justify the name of its library, especially it's not a first.


----------



## blougui

PaulBrimstone said:


> Of course, you're right. Sorry — just jesting.



Fair enough


----------



## Garry

blougui said:


> @Garry : well, focused on sound or presumed usability, may be ? But it's not focused on questions about Zimmer role, for sure, but it feels weird that the company has to somewhat justify the name of its library, especially it's not a first.



They don't have to, they can ignore it if they choose to. So can you! This is how forum threads work - not every reply will be of interest to everyone. Feel free to skip over them, at no charge! 

As to whether they would WANT to justify it: the branding comes at a cost: both to them as well as us. Seems a reasonable question to benefit from the depth of this association: if Hans were to reply as to how HE feels he benefits from 60 players rather than an ensemble, I'll learn something. Personally, I'm not seeing the value of the large number of players - seems a reasonable question to raise if this is a direction the industry going in which I'm a consumer, and the providers are engaged enough to answer. Many who watched Hans' masterclass were disappointed it wasn't a more hands-on, 'turn this knob, use this preset' sort of course; since what he gave was a more philosophical overview, and discussion of industry relationships and ethos, seems reasonable to think he'd be open to such questions here, no?

You, however, gave no such masterclass - so please feel free to view my questions as uninteresting. I'm neither suffering from fanhoodism nor scepticism; just enjoying learning about something I know how little I know about!


----------



## Britpack50

Garry said:


> Let me give you an analogy: if Apple released iPhone 6 in January, and with no warning (and just after the intro price ran out), then 2 months later released iPhone 7, people would be understandably pissed. It's not bizarre, it's just enabling your customers to make the best decisions. Spitfire has (positively) emulated a number of Apple's approaches - they're often referred to as the Apple of sound libraries, for good (and again, positive) reasons: market leader, understand their customers, actively facilitate their customers' use of their products with tutorials and tips, developing high end quality products that are meaningful and useful to them as consumers as well not just what sells, it 'just works'; and now a pre-announced 'release event', complete with 'one more thing..' All great stuff that I applaud. My suggestion (that they can obviously heed or ignore), is to give some thought about how the scheduling of their releases best helps their customers. These are not phones, and so all considerations will not apply, but it's worth thinking about whether scheduling releases more predictably and consistently, such as Apple does, would help their customers. Olafur Arnolds is a string library; HZ Strings too. It seems to me not a bizarre question to pose, to ask if Spitfire did the best thing for their customers by releasing them with the timing they did.
> 
> You don't have to agree, neither do they, but bizarre???


Thanks, well, strange then, I'm my view, to criticise them for effectively being a business. They're in a competitive environment. To the apple analogy, everyone knows Apple will bring out another phone, another computer, but not what it will look like or what the detail will be. In the same way we anticipate spitfire will bring out another string library but not what the nature/content will be. So I do think this is basic business practice, and perhaps because Spitfire try to create such a close relationship with their customers, and feel like friends, we can forget that they are a business and times are tough. Keeping launches close to their chest creates anticipation, and also doesn't allow competitors to have an advantage. I'm struggling to think of a retail business model that would announce product details and their launch sequence in advance...


----------



## John Busby

@sazema 
HA!
Hans called you a twat...
congratulations!


----------



## Garry

I'm not criticising them as a business, in fact, quite the opposite, I've applauded them as the industry standard. I don't criticise teasing the launch, drumming up excitement & anticipation - these were all great, and worked on me as much as anyone, which I enjoyed. I don't think they should have announced it early either. My point is only this: if you're in the market for a string library, and your favourite library developer (Spitfire are certainly mine) releases one, only to release another 2 months later, I might regret my initial purchase, since perhaps I would have preferred the 2nd, coming so soon after. As a business, I don't want my customers to feel regret after their purchase, because next time, maybe they won't purchase: perhaps I've just incentivised them to always hold off buying, as I've created the uncertainly that something better might be around the very near corner. The Apple analogy I think is valid: given the regularity with which Spitfire is now able to bring out libraries (which is great, I'm a fan!), having a staggered, predictable approach might help customers make choices. Spitfire may also decide this model doesn't apply to their business, in which case, fair enough - they know their business far better than I do; it's just customer feedback. If your feedback to them is that it made no difference at all, that's useful to them too, I'm sure. If they decide to reply to say why I'm wrong, that would be interesting, useful and appreciated.


----------



## Garry

johnbusbymusic said:


> @sazema
> HA!
> Hans called you a twat...
> congratulations!


Is there a badge? Perhaps an emoticon could be added?!


----------



## AdamKmusic

Anyone got a link to that roundtable with HZ they showed a clip from?


----------



## SpitfireSupport

Fry777 said:


> @SpitfireSupport In the walkthrough video, we can see on the interface the field "round robins" (bottom right) but it seems to stay at 1.
> Yet in the manual it says multiple round robins...
> Any chance to get more details on this ?



The number of round robins varies by technique, the short notes have up to 8 round robins.


----------



## SpitfireSupport

darrenwonnacott said:


> @SpitfireSupport Hope your morning is going well! Just wondered what date (roughly) the special pre order price will be available too? Thanks for your help!



It will be after the product becomes available, so it's a promotional price rather than a preorder price. We're not announcing the exact date just yet


----------



## J-M

344 players? But...but I can barely write for a normal sized string section...


----------



## darrenwonnacott

SpitfireSupport said:


> It will be after the product becomes available, so it's a promotional price rather than a preorder price. We're not announcing the exact date just yet


Thank you for your reply


----------



## Sovereign

Just pre-ordered, looking forward to giving this a go.


----------



## quantum7

EpicDude said:


> Looking forward for everything Hans Zimmer, I love all his work (well maybe his master class not so much).
> 
> By the way, is *Rctec* really Hans Zimmer? How do you know? (I'm not very active in this forum).



I believe it really is Mr. Z, otherwise I would assume the Spitfire would have let us know if it wasn’t. I’m appreciative the Hans take time out of his busy schedule to occasionally comment here.


----------



## Ashermusic

Rctec IS Hans.


----------



## blougui

If we're going the "who's done what" road,I'ld like to know if Mr Robinson and Blaney have been deeply involved in the scripting. Just for fun and as a respectful and admirative node to their work.


----------



## SpitfireSupport

blougui said:


> If we're going the "who's done what" road,I'ld like to know if Mr Robinson and Blaney have been deeply involved in the scripting. Just for fun and as a respectful and admirative node to their work.


Blake and Andy were indeed involved!


----------



## AdamKmusic

Hey Christian, correct me if I'm wrong but just saw you tweet about Gary Barlow being there last night. I swear I remember somewhere him saying something about Spiftire (possibly Albion One) and having a 300 piece string section?


----------



## Soundhound

I'm working on my traveling setup for a few weeks, which includes the little iLoud speakers. They are pretty terrific considering the $, you can actually work on them. I can anyway..

During Paul's walkthrough, I heard out of them a gorgeous, low, deep 'basso profundo' or whatever one calls it. A low deep, yet detailed and moving growl that I hadn't heard out of them before. It shook the desk a little. That growl is going to cost me $599. 

And, my coffee almost went through my nose at Rctec's 'rude twat' post. I love this place.


----------



## South Thames

Ashermusic said:


> Rctec IS Hans.



If it really is the industry's premier composer, then I'd suggest that little outburst did not reflect well on him. If someone so overwhelmingly successful can have his ire raised by a bit of carping on an obscure internet forum, then... well, there's a touch of unhealthy narcissism there to say the least.


----------



## D Halgren

South Thames said:


> If it really is the industry's premier composer, then I'd suggest that little outburst did not reflect well on him. If someone so overwhelmingly successful can have his ire raised by a bit of carping on an obscure internet forum, then... well, there's a touch of unhealthy narcissism there to say the least.


He's a real person with real feelings and probably just had enough of it. It doesn't mean anything other than that.


----------



## Architekton

These sound wonderul, definitely preordering. Well done Hans and Spitfire, looking forward to more collabs.


----------



## Michel Simons

South Thames said:


> If it really is the industry's premier composer, then I'd suggest that little outburst did not reflect well on him. If someone so overwhelmingly successful can have his ire raised by a bit of carping on an obscure internet forum, then... well, there's a touch of unhealthy narcissism there to say the least.



Obscure internet forum??? I thought that this was the coolest thing since clotted cream? Are you implying that I am wasting my time on an obscure internet forum while I could also do my laundry?


----------



## Valérie_D

South Thames said:


> If it really is the industry's premier composer, then I'd suggest that little outburst did not reflect well on him. If someone so overwhelmingly successful can have his ire raised by a bit of carping on an obscure internet forum, then... well, there's a touch of unhealthy narcissism there to say the least.



His reply was not elegant but he did answer very politely to countless rude comments over the years on this forum. It's the first time he's answered with a spontaneous annoyed outburst and I don't think having feelings qualifies as narcissism, such a word in vogue anyways.


----------



## Puzzlefactory

South Thames said:


> If it really is the industry's premier composer, then I'd suggest that little outburst did not reflect well on him. If someone so overwhelmingly successful can have his ire raised by a bit of carping on an obscure internet forum, then... well, there's a touch of unhealthy narcissism there to say the least.



So because someone is famous they’re not allowed to get pissed off with someone talking (unfounded) shit about one of their latest projects? 

Also this maybe obscure for everyday people but it certainly isn’t obscure for people interested in media composition.


----------



## Soundhound

Boy do I disagree with this. I'm so tired of euphemism-laden corporate speak, it's refreshing to hear someone speak honestly and openly. 



South Thames said:


> If it really is the industry's premier composer, then I'd suggest that little outburst did not reflect well on him. If someone so overwhelmingly successful can have his ire raised by a bit of carping on an obscure internet forum, then... well, there's a touch of unhealthy narcissism there to say the least.


----------



## Will Wilson

Hans is a normal person just like the rest of us. Setting one person in their place doesn't reflect t badly on anybody but the person he was berating. 

We are all equal here .


----------



## South Thames

Valérie_D said:


> His reply was not elegant but he did answer very politely to countless rude comments over the years on this forum. It's the first time he's answered with a spontaneous annoyed outburst and I don't think having feelings qualifies as narcissism, such a word in vogue anyways.



That might well be so -- I'm not very active here, and it is of course in its own way a great thing that someone like him engages at this level, and laudable in many ways.

The way I see it though, he has the admiration, if not the worship, of millions of people across the world, most of them not on this forum. He surely knows this. I do think there's a responsibility that comes with that kind of renown, certainly for a 60-year old guy, not to fly off the handle on the basis of very insignificant provocations.


----------



## Johann F.

South Thames said:


> If it really is the industry's premier composer, then I'd suggest that little outburst did not reflect well on him. If someone so overwhelmingly successful can have his ire raised by a bit of carping on an obscure internet forum, then... well, there's a touch of unhealthy narcissism there to say the least.



I believe he was far too kind for wasting his precious time replying to such a douchey comment. Did you read all the stupid insinuations by sazema and desert? When you have two obnoxious members going to a commercial announcement thread to call it a scam, I think everyone involved should line up to spank their asses.


----------



## Valérie_D

South Thames said:


> That might well be so -- I'm not very active here, and it is of course in its own way a great thing that someone like him engages at this level, and laudable in many ways.
> 
> The way I see it though, he has the admiration, if not the worship, of millions of people across the world, most of them not on this forum. He surely knows this. I do think there's a responsibility that comes with that kind of renown, certainly for a 60-year old guy, not to fly off the handle on the basis of very insignificant provocations.



I understand your view and you have a point, his comments are usually honest and polite, nobody's perfect I guess


----------



## D Halgren

Back on topic, what is the thinking behind different articulations from different positions within the same instruments? Just curious. @SpitfireSupport


----------



## Dag H

As a beginner searching for a string library...would this be an alternative ?...or to LOUD? A one trick Pony ?


----------



## Johann F.

Dag H said:


> As a beginner searching for a string library...would this be an alternative ?...or to LOUD? A one trick Pony ?



I think HZS is a great complement for a more traditional library like Cinematic Studio Strings or similar offerings by Spitfire. I wouldn't start with HZS. Check out EastWest's Composer Cloud.


----------



## JohnG

I'm getting it.

Leaving aside the superstar stuff, Mr. Z really cares about music, the players, the hall and the sound. Like others here, I've been fortunate to have some wonderful players in London and Los Angeles, and they make a huge difference, a decisive difference, actually, so I feel rather lucky to piggy-back on a curated group like this. 

Because of the new playback engine and the fact that it's not actually released yet, I suppose it's somewhat of a faith-based purchase, but I like the personnel. I've enjoyed the HZ percussion library immensely and, while perfection is probably unattainable in any sample library, I've been very happy with Spitfire.


----------



## simfoe

Dag H said:


> As a beginner searching for a string library...would this be an alternative ?...or to LOUD? A one trick Pony ?



I think it's probably a bit too "large" for a starter library. I'd maybe look into something like Cinematic Studio Strings + Solo Strings, or Spitfire Chamber Strings so you can train your ear on something more intimate and detailed and develop your own sound (as much as it's possible to do so with samples). The EastWest stuff is also a good shout if you want to get your programming chops down, and you can try out the Composer Cloud as well so you don't have to part with a big lump sum just yet.

This will probably be a great compliment to those once you're ready.


----------



## SpitfireSupport

D Halgren said:


> Back on topic, what is the thinking behind different articulations from different positions within the same instruments? Just curious. @SpitfireSupport



It was a case of capturing a healthy variety of techniques with that number of musicians but without capturing everything by everybody lest the resulting library cost thousands instead of hundreds of $


----------



## maestro2be

From what I am hearing in these strings, plus knowing they are recorded in Air Studios, to me personally the logical strings to buy to go with them is SCS (Spitfire Chamber Strings). You would have small sections, capable of doing divisi with the built-in transposition trick, an up close intimate sound, lots of articulations and most importantly the exact same "reverb room" burned right into the samples. This may or may not be what you would want but I am finding more and more how this actually simplifies your life during the mix. I am pretty excited about these strings in terms of adding them to my SCS and Albion One. The ability to go from a chamber sound music, move into a larger section sound with Albion one and then knowing you have the ability to do the most bombastic shit on the planet with these huge strings is a bit inspiring.

On another note, it's just silly to think that people can attack someone, make false accusations/assumptions and spout their mouth about things they have no idea and then believe the person receiving the attack should "do nothing". That to me is just laughable. Oh how much better things would be and how much more respectable people would be if they got busted in the mouth every time they disrespected someone intentionally or tried to "be a tough guy" and got their ass beat. How did that work out for you when you did that to your dad when you were a kid? Did he kiss your ass and let you get away with it? Then I would understand why you think you can do it today. The only issue is that these people haven't done it to the "wrong person" in terms of "someone who literally beat their ass the second they did it". They would think twice from now on, and the rest of us would be better for it.


----------



## rlw

HZ and Spitfire.. While I am also concerned with the new app, I join with @JohnG for the respect I have for the team at Spitfire. I heard things in the walk through, such as the 20 Cellos in the Galleries with both Close and room mics where I heard a palette of sound I could not create with any reverb settings I am capable of, nor could I match the breath of sounds I heard. I hope I am able to master the integration of those sounds with the rawness of sound I find in LCO or (mixing the intimate with the massive).


----------



## maestro2be

I would love to see a video on these in terms of how they blend with the Spitfire Brass and Woodwinds. Can even just be the ones from Albion one. The question that I have beneath that video concept is for me to try to understand how well they will blend/mix with the current libraries knowing their massive section size.

I am really excited about hearing/seeing more about these.


----------



## Puzzlefactory

Would still like to know how the plugin runs?

For me it’s a bit of deal breaker as Kontakt is low on cpu and ram, and has fast load speeds.


----------



## Mateo Pascual

I didn't expect to be this excited about a strings library after so many of them in the market and having quite a few of them already. But I love the sound and the great options of bands and mic positions it offers. I wasn't very fond on that many mic positions at first, but watching the walkthrough again those galleries sections and mic options are more and more appealing to me. Hopefully the new sampler will have an option to unload from memory the mics you are not using. Does it?

Now, the main reason of my post is to ask if we will get more walkthroughs of the library, I think Paul already said something about this and looks like we indeed will get more, that would be great. And if this is the case, what I'm missing the most is a walkthrough of the legatos of all sections. Also, I would really love to see one about the shorts, specially the different shorts within each section, as I believe this library will have very interesting options for ostinatos with the smaller sections and all the mic combinations.


----------



## jtnyc

South Thames said:


> The way I see it though, he has the admiration, if not the worship, of millions of people across the world, most of them not on this forum. He surely knows this. I do think there's a responsibility that comes with that kind of renown, certainly for a 60-year old guy, not to fly off the handle on the basis of very insignificant provocations.



So because he's famous and people admire him, he's not allowed or shouldn't want to take a jab at someone who is questioning his integrity, in a commercial thread no less? 

Responsibility to who, for what? Are you so offended that he called the guy a twat? Flying off the handle? Hardly. The guy was repeatedly making false claims and disrespecting the people involved with the project. If your so interested in policing how people address each other, I think you should start with Sazema for coming into a commercial thread and making false and antagonizing statements.

As for the strings, They sound fantastic. The new UI and preset system looks great. I'm curious to hear and see more...


----------



## christianhenson

maestro2be said:


> From what I am hearing in these strings, plus knowing they are recorded in Air Studios, to me personally the logical strings to buy to go with them is SCS (Spitfire Chamber Strings).



I would strongly agree with this assertion.

C.


----------



## Karma

maestro2be said:


> I would love to see a video on these in terms of how they blend with the Spitfire Brass and Woodwinds. Can even just be the ones from Albion one. The question that I have beneath that video concept is for me to try to understand how well they will blend/mix with the current libraries knowing their massive section size.
> 
> I am really excited about hearing/seeing more about these.


It's not really a problem, they were recorded in the same hall after all.


----------



## benmrx

Hopefully this isn't out of line for this thread, but I would LOVE to see a detailed walkthru that focuses on the new player, how it functions, etc. Like, can you stack articulations, or crossfade between various 'long' articulations? Can you map various mic positions to discreet outputs, can you remap CC's to those of your choosing? Is there a Time Machine type function for the shorts? So many questions! Congrats BTW, regardless of anything the new HZS library sounds great!


----------



## Gerbil

Crawling out briefly from my lurking rock:

I look at the Gbs worth of data that Spitfire have recorded and can only admire the mountain of work that goes into making this stuff. So many top end libraries made by quality musicians and programmers.

Fantastic project and, as always, sounds beautiful.


----------



## sazema

Rctec said:


> Ok, you rude twat: her are the lines: it’s All New. It’s based on an old idea of mine that Christian and Paul expanded on. We’ve always had that extra level of microphones in my custom sampler, so it’s easy for the recording engineer to go from Berlioz vastness to The tight sound of a dry section. It’s engineered in the way I set up the studio, with my regular team and the players I love. It’s not about how many, it’s about how good they are, How great their instruments sound. It’s about a vast number of individuals coming together, without sacrificing their soul and heart. I don’t really give a shit if you think it’s crap. It fits into my philosophy of bringing the best musicians together in my favorite room and seeing what comes our...



No offence. Thanks for commenting. It's a public place after all, but I learned my lesson here.
As I already said here SPITFIRE - Announcing Hans Zimmer Strings! I'm very happy to see upcoming videos and reviews about library, as always.


----------



## JohnG

axb312 said:


> its a little too pricey for my taste even with the pre-sale discount



Not to pick on you, personally, but I paid $1,000 (at least -- can't remember) for Hollywood Strings when it was released in something like 2011 (?). I was very surprised HZ Strings is so inexpensive, considering how much it must have cost to create.

I accept that it's expensive, but I've paid $300, $500 and more for libraries that sit...idle...on my drives....

I doubt this will be idle. I'm trying to decide whether to get a PCIe-card based SSD setup for it. Probably will.


----------



## SpitfireSupport

Puzzlefactory said:


> Would still like to know how the plugin runs?
> 
> For me it’s a bit of deal breaker as Kontakt is low on cpu and ram, and has fast load speeds.


Great idea but this will take a bit of time to get together a proper response for you


----------



## blougui

SpitfireSupport said:


> Blake and Andy were indeed involved!


Thanx for the info, glad to know they're still there at the helm - or is it the engine room ?


----------



## FriFlo

Cool! So ... calling someone a twat is not a reason to get banned, it seems!  That is good to know and I will use that exact term the next time someone is really getting on my nerves.


----------



## artomatic

Would love to hear a demo done with contemporary jazz in mind - Diana Krall's "When I Look In Your Eyes" LP or Chris Botti's "To Love Again" LP.
So looking forward to this release. It's all about the sound for me!


----------



## blougui

Anyone remembers the then infamous "buy a harp !" ?


----------



## South Thames

jtnyc said:


> So because he's famous and people admire him, he's not allowed or shouldn't want to take a jab at someone who is questioning his integrity, in a commercial thread no less?
> Responsibility to who, for what? Are you so offended that he called the guy a twat? Flying off the handle? Hardly. The guy was repeatedly making false claims and disrespecting the people involved with the project. If your so interested in policing how people address each other, I think you should start with Sazema for coming into a commercial thread and making false and antagonizing statements.



Is there something particularly sacred about a commercial announcements thread? If you're putting a product out there and asking people to pay a lot of money for it, should the purity of your motives be beyond question? I'm not saying they are right; I'm just saying in a commercial marketplace, this kind of thing, annoying as it might be to those involved, 'comes with the territory', and rising above it is not a bad strategy. 

And I would say the man who has pretty much every success imaginable to those of us on a forum like this and gets intemperate over a few snide remarks from a couple of internet nobodies is not getting things in perspective. 

I'm not offended by anything he said, nor do I particularly object to him responding robustly to unfounded criticism - I actually think Christian usually does a pretty good job of this sort of thing.

I'm just surprised that someone in his position and of his age would write a post that reads like that. But if someone very distinguished and successful comporting themselves like that is ok in your book, then I guess we're just coming from two very different places.


----------



## D Halgren

South Thames said:


> Is there something particularly sacred about a commercial announcements thread? If you're putting a product out there and asking people to pay a lot of money for it, should the purity of your motives be beyond question? I'm not saying they are right; I'm just saying in a commercial marketplace, this kind of thing, annoying as it might be to those involved, 'comes with the territory', and rising above it is not a bad strategy.
> 
> And I would say the man who has pretty much every success imaginable to those of us on a forum like this and gets intemperate over a few snide remarks from a couple of internet nobodies is not getting things in perspective.
> 
> I'm not offended by anything he said, nor do I particularly object to him responding robustly to unfounded criticism - I actually think Christian usually does a pretty good job of this sort of thing.
> 
> I'm just surprised that someone in his position and of his age would write a post that reads like that. But if someone very distinguished and successful comporting themselves like that is ok in your book, then I guess we're just coming from two very different places.


Ok by me. He is excused for being human.


----------



## D Halgren

SpitfireSupport said:


> It was a case of capturing a healthy variety of techniques with that number of musicians but without capturing everything by everybody lest the resulting library cost thousands instead of hundreds of $


Thanks, for the quick response. Makes sense, especially in combo with panning and stereo widen/collapse ability.


----------



## Darren Durann

This looks cool. But I'm more interested in the upcoming Hein ensembles.


----------



## Mike Greene

FriFlo said:


> Cool! So ... calling someone a twat is not a reason to banned, it seems!  That is good to know and I will use that exact term the next time someone is really going on my nerves.


I wouldn't advise that.  Context is important. There have been many times on this forum where "passionate" responses have been okay and completely understandable, but that definitely does not mean similar responses are okay in _all_ situations.



South Thames said:


> Is there something particularly sacred about a commercial announcements thread?


As a matter of fact ... there is. Policy here on VI-Control is that Commercial Announcements threads aren't places for criticisms or debates about a product. They're intended to be "safe spaces" where a company can make announcements.

That may seem counter to what a free-speech forum like this should be about, but there were a few pretty nasty episodes a couple years ago where certain individuals went into full-on pit bull mode where they were posting amplified noise tails of pp samples and other crazy stuff, so we had to make the rule.

With that said, Spitfire doesn't seem to mind spirited discussion and they seem very open to feedback of all types. It seems to work well for them, because people seem to self-monitor and be respectful with their questions and comments. For the record, we never get requests from Spitfire (or VSL or a few other companies) to step in and moderate, other than a time last year when someone kept calling them "Sh**fire."

Personally, I think that's great that they are so open to their customers, but there's a flip side to that. If someone's integrity is being questioned (as Hans' was, IMO) then a little tit for tat is fine. Or twit for twat. (Apologies. Even by my standards, that was a pretty stupid joke.  )

Sazema has very graciously said he took no offense (kudos for that), so in fairness to Spitfire, and more importantly, in the interest of having forum conversations of substance rather than trivialities, I'll ask that we drop the Twattergate part of the discussion.


----------



## South Thames

Mike Greene said:


> Sazema has very graciously said he took no offense (kudos for that), so in fairness to Spitfire, and more importantly, in the interest of having forum conversations of substance rather than trivialities, I'll ask that we drop the Twattergate part of the discussion.



Fair enough. It seems my posts about the virtues of resisting provocation were unintentionally provocative.


----------



## FriFlo

Mike Greene said:


> I wouldn't advise that.  Context is important. There have been many times on this forum where "passionate" responses have been okay and completely understandable, but that definitely does not mean similar responses are okay in _all_ situations.


That is the point where I will have to respectfully disagree. There is an elephant in the room that clearly says the context is not really the reason, but rather the star factor. I am realistic and - like it or not - people are in fact not equal on this planet and this is just a small, unimportant example of that truth showing. I am not the person to fight that - especially in a trivial case like this. But I think this should at least be addressed truthfully ... I remember another similar situation like this here on VI-Control and it turned out the same way.


----------



## emasters

benmrx said:


> Hopefully this isn't out of line for this thread, but I would LOVE to see a detailed walkthru that focuses on the new player, how it functions, etc. Like, can you stack articulations, or crossfade between various 'long' articulations? Can you map various mic positions to discreet outputs, can you remap CC's to those of your choosing? Is there a Time Machine type function for the shorts?



Similar perspective here. Looks like another great SP (and HZ) product. If it was in Kontakt, would have been an instant buy for me. But I'm a bit reluctant, given how much of my workflow (and creative sound manipulation) exists inside Kontakt. For example, mixing articulations from SCS with HZS -- within Kontakt, a no-brainer. Between Kontakt and the upcoming SP player, don't know? Could be very straight-forward (and hope it is). Looking forward to a detailed review of the new SP player features and functionality, in detail. Best of luck to SP with this new product launch. Really a great company continuing to develop great products, and the 1% donation to charity is stellar!


----------



## Mike Greene

South Thames said:


> Fair enough. It seems my posts about the virtues of resisting provocation were unintentionally provocative.


Thank you. Trying to be fair when running a forum is hard, so I really do appreciate your understanding.



FriFlo said:


> That is the point where I will have to respectfully disagree. There is an elephant in the room that clearly says the context is not really the reason, but rather the star factor. I am realistic and - like it or not - people are in fact not equal on this planet and this is just a small, unimportant example of that truth showing. I am not the person to fight that - especially in a trivial case like this. But I think this should at least be addressed truthfully ... I remember another similar situation like this here on VI-Control and it turned out the same way.


Fine, but not here. That's not fair to Spitfire, so we have a Forum Complaints section somewhere that you can use.

With apologies, I've deleted the other related posts that followed my previous post a few minutes ago. The last thing I want is for this thread to become about me or how I run the forum. Again, any complaints can go in the "I Want to Be Banned" subforum ... errr, I mean the "Forum Complaints" subforum.


----------



## rlw

I am so grateful for HZ and Spitfire. These libraries have allowed me the joy and pleasure of saying something without the luxury of a symphony orchestra. So many on this forum show tremendous talent and I thank each one that has contributed. Today we have the pleasure of seeing the impossible possible. Thanks again to Hans and Spitfire


----------



## NoamL

Garry said:


> if Hans were to reply as to how HE feels he benefits from 60 players rather than an ensemble, I'll learn something.



I don't want to put words in anyone's mouth but I believe he already explained?* "Berlioz vastness"* - he is looking to create the sound of multiple symphony orchestras playing together like Berlioz did in some of his biggest pieces like his _Requiem. _You could picture this new library HZS as a sort of mad science experiment. 340 musicians would never fit inside AIR - but what if multiple "instances" of AIR could be stitched together to form the transepts of a giant church? Then you could really have a titanic ensemble and still keep the sound of AIR.


----------



## Rctec

Last night...and I blame Him! He wouldn’t let me get to London in time to be with my Spitfire friends. He made me work...




Garry said:


> OK, shit just got real around here mofos!!  Zimmer in da house!
> 
> I like (and enjoyed!) that you put someone in his place who was clearly just being a prick! But I wonder if you'd be kind enough to take a moment to entertain more serious and genuine questions (out of my ignorance, not challenges - I don't know enough!).
> 
> 
> 
> - To be fair, the number of instruments was one of *the* key features that was highlighted by Paul and Christian. I can see that a bespoke, small library (eg Spitfire's Alternative Solo Strings) is about the player, but when there are 344 of them, can we really still say it's about the player? When they are just playing (for the most part) single notes or transitions, does the quality of individual players, beyond a certain level, amongst such a vast number, make such a difference? (Again, you know, and I don't - I'm asking out of genuine ignorance and interest to learn). If it was about the players, I would have expected more spotlight on who they are, not how many; but that was not what Christian and Paul focussed on.
> 
> 
> 
> Again, I could see this for a library focussed on a specific instrument (eg Ravenscroft 275 - the library is about modelling _that_ _specific_ piano, not pianos generally). But '60 cellos' is not about an instrument, it's about focussing on what you get when you have that large a number of players, is it not? And in all honesty, I'm not seeing what the 60 gives you (see my previous post - I find I can get very close just using Albion One). That could be because I don't have the ears, equipment, knowledge or ability, but I'd genuinely appreciate to know your thoughts on how you would get the best out of this that the number of players affords over other libraries.
> 
> 
> 
> Fair enough!  Delicately put!!  Again, perfectly reasonable response to an idiot troll.
> 
> I hope you won't equally think I'm being a dick for asking the following question; again, it's not meant to troll, but as someone who is currently watching your masterclass, which has touched on all aspects of working with the director, the musicians, and your thoughts on virtual vs live instruments. One aspect you didn't touch on is your relationship with sample library developers. You do talk about not using the same sample over again, starting everything from scratch for each movie, so I wonder how this relates to you collaborating with Spitfire on these and other libraries - do you/will you be using these in current/future projects? If so, I think that add great value to the library (this is the library Hans Zimmer is using to achieve his sound in movie X, would be an enormous selling point, and Spitfire would benefit from being able to cite). If not (and from the comment you made about not reusing, one would assume not), it seems a reasonable question to ask as to how this relates to the HZ brand?
> 
> And I have to ask the question that is the elephant in the room: your absence at the launch, either in person or via video, was confusing. You certainly don't have to account for your whereabouts! Least of all to me. But in the spirit of the theme of your masterclass, of understanding relationships in the industry, and laying out the Zimmer approach, I would be curious to know if you feel that having Christian and Paul resort to showing old footage of you discussing sample libraries, and saying thank you to a black and white photo, undermined their, and vicariously, your brand? I know that's a provocative question, and I don't mean it to be, but I appreciate your honesty and transparency you've shown in the masterclass, and just the very fact that you respond to these threads, so I'm taking you at your offering to be able to ask an honest question to get your thoughts (and hoping you don't consider me to a "rude twat" for doing so!). Feel free to ignore it too of course!
> 
> (with one or 2 notable exceptions) - great discussion! Not many industries could boast such open dialogue with those at the very top and those at the very bottom (ie, me!).



Garry, I was playing an awards show with the L.A. Phil at the Disney Hall yesterday...and that kept me a bit in my toes. Plus, I’m desperately trying to get a movie written, in the middle of awards season distracting nonsesense. I didn’t even have the time to come over for the Baftas (lost anyway, but it’s still one of the few nice bashes to go to...)
But I couldn’t really say “no” to a gig just down the road...

I’ll answer some of your questions in more detail in time. Right now I’m just a bit knackered.

But just briefly: I find if you have a really small section of great players with amazing sounding instruments (and this combination is key!) in a beautiful room acoustic doing something as potentially boring as a sampling session, you can get a great sincerity of focus and intensity.
It gets harder when you go to a more usual, normal size section. However good the player, they can’t help but feel that they are just one of many in a comfortable and conventional situation. It’s nice, useful and all a bit...well, normal.

So you have to create a bit of the opposite for them to get excited, a bit of an event. They all know each other, but never get a chance to play together. So, bringing them together creates excitement for the players. Than there are certain articulation we’ve always tried to make sound good, but due to them actually not really working all that well in the conventional sized orchestral set-up (remember, however good the instrument and the player - while our ambitions for New techniques and sounds have evolved, they are still being performed on 17th century technology), just excepted as sevicable and ok. You forgive a slightly squeaky harmonic by buying into the moment of performance, but really - what you where hoping for was a laser-beam of Sonic purity, as an example...The Col Legno Christian mentions, or certain harmonic things are just a small part of discovering how to get closer to what the players and us composers “hear” in our heads and what can actually in reality be achieved by restricting or expanding the forces. (And - as an example - Mahler wasn’t an idiot when he called on those sort of forces in some of his symphonies. And it wasn’t about ‘loud’ either...) And it’s really in the quiet end of things, the pp to p dynamics, where a beautiful intensity starts happening by moving (and this is just obvious physics) air (at Air!) in a wider, more evenly spread way across the hall.

More later...

-Hz-


----------



## Darren Durann

Rctec said:


> -Hz-



Looks like two of the best composers in the world.


----------



## Rctec

and by the way... we already used some of these samples on “Dunkirk” last year...


----------



## D Halgren

Rctec said:


> and by the way... we already used some of these samples on “Dunkirk” last year...


I love that movie so much, and the music drives it so well! Bravo, I hope you and Chris win Sunday. I feel like it has really been getting passed over this season. Sorry for the gushing fandom.


----------



## Dag H

simfoe said:


> I think it's probably a bit too "large" for a starter library. I'd maybe look into something like Cinematic Studio Strings + Solo Strings, or Spitfire Chamber Strings so you can train your ear on something more intimate and detailed and develop your own sound (as much as it's possible to do so with samples). The EastWest stuff is also a good shout if you want to get your programming chops down, and you can try out the Composer Cloud as well so you don't have to part with a big lump sum just yet.
> 
> This will probably be a great compliment to those once you're ready.


Thank you for your response


----------



## dcoscina

From the demos, the library has a real nice tone. Looking forward to hearing more in ensuing days.


----------



## Garry

Rctec said:


> Last night...and I blame Him! He wouldn’t let me get to London in time to be with my Spitfire friends. He made me work...
> 
> 
> 
> 
> Garry, I was playing an awards show with the L.A. Phil at the Disney Hall yesterday...and that kept me a bit in my toes. Plus, I’m desperately trying to get a movie written, in the middle of awards season distracting nonsesense. I didn’t even have the time to come over for the Baftas (lost anyway, but it’s still one of the few nice bashes to go to...)
> But I couldn’t really say “no” to a gig just down the road...
> 
> I’ll answer some of your questions in more detail in time. Right now I’m just a bit knackered.
> 
> But just briefly: I find if you have a really small section of great players with amazing sounding instruments (and this combination is key!) in a beautiful room acoustic doing something as potentially boring as a sampling session, you can get a great sincerity of focus and intensity.
> It gets harder when you go to a more usual, normal size section. However good the player, they can’t help but feel that they are just one of many in a comfortable and conventional situation. It’s nice, useful and all a bit...well, normal.
> 
> So you have to create a bit of the opposite for them to get excited, a bit of an event. They all know each other, but never get a chance to play together. So, bringing them together creates excitement for the players. Than there are certain articulation we’ve always tried to make sound good, but due to them actually not really working all that well in the conventional sized orchestral set-up (remember, however good the instrument and the player - while our ambitions for New techniques and sounds have evolved, they are still being performed on 17th century technology), just excepted as sevicable and ok. You forgive a slightly squeaky harmonic by buying into the moment of performance, but really - what you where hoping for was a laser-beam of Sonic purity, as an example...The Col Legno Christian mentions, or certain harmonic things are just a small part of discovering how to get closer to what the players and us composers “hear” in our heads and what can actually in reality be achieved by restricting or expanding the forces. (And - as an example - Mahler wasn’t an idiot when he called on those sort of forces in some of his symphonies. And it wasn’t about ‘loud’ either...) And it’s really in the quiet end of things, the pp to p dynamics, where a beautiful intensity starts happening by moving (and this is just obvious physics) air (at Air!) in a wider, more evenly spread way across the hall.
> 
> More later...
> 
> -Hz-



So very much appreciated, thank you for replying. Really interesting insight that I anticipated I almost certainly lacked. Looking forward to any further comments you have, but in the meantime, I will take a listen with fresh ears to the pp to p dynamics in Paul's upcoming walkthroughs.

"Used in Dunkirk" - Spitfire, you HAVE to use that! I know you guys are too honest, and have too much integrity for your own good, but that is marketing gold! (Perhaps a name for the new engine?!).

And Hans, as excuses go, that isn't a bad one is it!!  I'm often just not able to get to the Baftas either!! 

Thanks Hans.


----------



## synthpunk

Name dropper..... Just kidding!!! 



Garry said:


> So very much appreciated, thank you for replying. Really interesting insight that I anticipated I almost certainly lacked. Looking forward to any further comments you have, but in the meantime, I will take a listen with fresh ears to the pp to p dynamics in Paul's upcoming walkthroughs.
> 
> "Used in Dunkirk" - Spitfire, you HAVE to use that! I know you guys are too honest, and have too much integrity for your own good, but that is marketing gold! (Perhaps a name for the new engine?!).
> 
> And Hans, as excuses go, that isn't a bad one is it!!  I'm often just not able to get to the Baftas either!!
> 
> Thanks Hans.


----------



## SoNowWhat?

Great thread. Great insight. Great product. Thank you Spitfire and HZ.


----------



## MaxOctane




----------



## germancomponist

A little bit oot, but, I have to say this here:
I always associate the name "Hans Zimmer" with sound, with a very good sound!
It's probably because we have the same sound preferences, but it's more! Hans has shown me in many ways what is possible. As Albert Einstein already said: "Everything that is conceivable, that is also feasible"!
Hans has shown it to us so often. And this library with all the mic positions ....., WOW!


----------



## Rctec

South Thames said:


> If it really is the industry's premier composer, then I'd suggest that little outburst did not reflect well on him. If someone so overwhelmingly successful can have his ire raised by a bit of carping on an obscure internet forum, then... well, there's a touch of unhealthy narcissism there to say the least.


True. But than - I’m not here to set an example. I’m rude, swear like a trooper, I’m juvenile and get really cantacarous when someone attacks the work of my friends. It wasn’t about me that I got angry, it was about not respecting Christian and Paul and the whole Spitfire team’s struggles, toil, panic and shear stupid daring to pull this project off. No, I don’t want to hide behind sophisticated language. I thrash on a punk guitar and have a fuzz-box. Sometimes I write a little film music. And then I feel the weight and the work and the budgets and the impossibility of it all on my shoulders. But this is Paul and Christian sticking their necks out! And first and foremost I’ll go to battle for my mates. And yes, I know the meaning of the word “Rabelaisian”...But the touch of unhealthy narcissism is a shoe - I have to admit to agreeing - that fits.
But sometimes a bit more “Monty Python” is more fun than good manners. Sorry...but not really.


----------



## samphony

I welcome the new direction SF is taking. For me it’s an instant buy also as a tool to achieve sound beyond the traditional. Looking forward to put these to use.


----------



## Puzzlefactory

Can’t wait to hear HZ Brass.


----------



## Architekton

Puzzlefactory said:


> Can’t wait to hear HZ Brass.


Hopefully we wont have to wait 2 years for it...


----------



## dhlkid

Puzzlefactory said:


> Can’t wait to hear HZ Brass.


Yes, 8 Horn, 6 Tenor Tbn, 6 Bass Tbn, 2 Cimbasso, 2 Tuba.....very interesting


----------



## NoamL

> If it really is the industry's premier composer, then I'd suggest that little outburst did not reflect well on him. If someone so overwhelmingly successful can have his ire raised by a bit of carping on an obscure internet forum, then... well, there's a touch of unhealthy narcissism there to say the least.



Suggesting that a company reuses samples without telling customers is basically alleging fraud. I don't know why those posts totally trashing a company's reputation without the slightest evidence are allowed to stay up. By all means trash away if you have the slightest leg to stand on - but you don't. Anyone who thinks the 24 basses in this product sound like the 8 basses in Mural should save their money because they need to buy some ears.


----------



## BradHoyt

Rctec said:


> Last night...and I blame Him! He wouldn’t let me get to London in time to be with my Spitfire friends. He made me work...
> 
> 
> 
> 
> Garry, I was playing an awards show with the L.A. Phil at the Disney Hall yesterday...and that kept me a bit in my toes. Plus, I’m desperately trying to get a movie written, in the middle of awards season distracting nonsesense. I didn’t even have the time to come over for the Baftas (lost anyway, but it’s still one of the few nice bashes to go to...)
> But I couldn’t really say “no” to a gig just down the road...
> 
> I’ll answer some of your questions in more detail in time. Right now I’m just a bit knackered.
> 
> But just briefly: I find if you have a really small section of great players with amazing sounding instruments (and this combination is key!) in a beautiful room acoustic doing something as potentially boring as a sampling session, you can get a great sincerity of focus and intensity.
> It gets harder when you go to a more usual, normal size section. However good the player, they can’t help but feel that they are just one of many in a comfortable and conventional situation. It’s nice, useful and all a bit...well, normal.
> 
> So you have to create a bit of the opposite for them to get excited, a bit of an event. They all know each other, but never get a chance to play together. So, bringing them together creates excitement for the players. Than there are certain articulation we’ve always tried to make sound good, but due to them actually not really working all that well in the conventional sized orchestral set-up (remember, however good the instrument and the player - while our ambitions for New techniques and sounds have evolved, they are still being performed on 17th century technology), just excepted as sevicable and ok. You forgive a slightly squeaky harmonic by buying into the moment of performance, but really - what you where hoping for was a laser-beam of Sonic purity, as an example...The Col Legno Christian mentions, or certain harmonic things are just a small part of discovering how to get closer to what the players and us composers “hear” in our heads and what can actually in reality be achieved by restricting or expanding the forces. (And - as an example - Mahler wasn’t an idiot when he called on those sort of forces in some of his symphonies. And it wasn’t about ‘loud’ either...) And it’s really in the quiet end of things, the pp to p dynamics, where a beautiful intensity starts happening by moving (and this is just obvious physics) air (at Air!) in a wider, more evenly spread way across the hall.
> 
> More later...
> 
> -Hz-


Hello Hanz, 
I just wanted to add my support to you and the Spitfire team! HZ Strings sounds amazing and I'm looking forward to delving into it. I think I could listen to the Long Col Legno Tratto violins for hours.


----------



## BradHoyt

NoamL said:


> Suggesting that a company reuses samples without telling customers is basically alleging fraud. I don't know why those posts totally trashing a company's reputation without the slightest evidence are allowed to stay up. It's also infuriating because anyone who thinks this product sounds like Mural needs to buy a pair of fuckin ears. How can someone confuse the sound of 8 basses with that of 24?



The snarky belligerence can be astounding at times, but such is the internet.. even here.


----------



## InLight-Tone

EpicDude said:


> Looking forward for everything Hans Zimmer, I love all his work (well maybe his master class not so much).
> 
> By the way, is *Rctec* really Hans Zimmer? How do you know? (I'm not very active in this forum).


If you read the responses from Rctec over the years you will see that it must indeed be Hans as per the sheer amount of knowledge about each project he volunteers. I have no doubt...


----------



## maestro2be

One thing I have to admit, thanks to Hans and Spitfire as I have never even heard of some of those bowings until this libraries release announcements. Truly will offer at least some things that no one else has right now. That's beneficial in itself I think and should be pleasing to the ears of all the listeners that will soon be enjoying the works coming from these strings.

I for one will be looking forward to turning it up, loading an entire ensemble patch and having the strings blow my hair straight up into a billy idol spike! Hell, and if the bangs fall where they may, I might be left with a mullet . What a site that would be!


----------



## Raphioli

NoamL said:


> Suggesting that a company reuses samples without telling customers is basically alleging fraud. I don't know why those posts totally trashing a company's reputation without the slightest evidence are allowed to stay up. By all means trash away if you have the slightest leg to stand on - but you don't. Anyone who thinks the 24 basses in this product sound like the 8 basses in Mural should save their money because they need to buy some ears.


I agree with every word. It was the complete opposite of being "constructive".
Depending on the company, I wouldn't be surprised if the legal department warned him/her.
He/she was lucky that it was Spitfire though (A group of kind, forgiving people that let it slide)


----------



## MaxOctane

InLight-Tone said:


> If you read the responses from Rctec over the years you will see that it must indeed be Hans as per the sheer amount of knowledge about each project he volunteers. I have no doubt...



Well, we *know* Rctec is real. But is Hans real? How can we even be sure?


----------



## CT

NoamL said:


> Suggesting that a company reuses samples without telling customers is basically alleging fraud. I don't know why those posts totally trashing a company's reputation without the slightest evidence are allowed to stay up. By all means trash away if you have the slightest leg to stand on - but you don't. Anyone who thinks the 24 basses in this product sound like the 8 basses in Mural should save their money because they need to buy some ears.



Yes, and anyone who thinks Spitfire shelled out the cash to get all those players in AIR just for a photo op to cover up their retooling of past products is certifiable.


----------



## Phillip

Zimmer is clearly enjoying his status of superstar composer on Internet forum. First he insults a VI member, than he admits that yes, He is a bit of narcissist. I don't think he would be so rude to a gas station attendant for fear of being punched in a face. Internet forum? No problem, bring it on. 

His collaborator Christian Henson - another legend. He brought F- word straight to thread title on VI, more than once. No problem , he is a paying client. Welcome Mr. Henson, you donate to Unisef and buy advertising space on VI, feel free to say anything.

It is ok to be less than talented, it is not ok to be rude. Shame on you guys.


----------



## thesteelydane

Phillip said:


> Zimmer is clearly enjoying his status of superstar composer on Internet forum. First he insults a VI member, than he admits that yes, He is a bit of narcissist. I don't think he would be so rude to a gas station attendant for fear of being punched in a face. Internet forum? No problem, bring it on.
> 
> His collaborator Christian Henson - another legend. He brought F- word straight to thread title on VI, more than once. No problem , he is a paying client. Welcome Mr. Henson, you donate to Unisef and buy advertising space on VI, feel free to say anything.
> 
> It is ok to be less than talented, it is not ok to be rude. Shame on you guys.



You're always banging on about how offended you are at Christians language. Well, I find your insistence on censuring how other people chose to express themselves offensive. So there....

You seem to appreciate the wisdom he is giving you for free at his own expense, while at the same time demanding that he does it in a way that suits your sensibilities. Thats pretty damn ungrateful, if you ask me.


----------



## MaxOctane

Phillip said:


> His collaborator Christian Henson - another legend. He brought F- word straight to thread title on VI, more than once. No problem , he is a paying client. *Welcome Mr. Henson, you donate to Unisef and buy advertising space on VI, feel free to say anything.*
> 
> It is ok to be less than talented, it is not ok to be rude. Shame on you guys.



That's rude, man, to call their integrity into question re: UNICEF, just cause you don't like the word *FUCK*.


----------



## SoNowWhat?

Puzzlefactory said:


> Can’t wait to hear HZ Brass.


*MFW* I can't repel a library of that magnitude.


----------



## jtnyc

Phillip said:


> His collaborator Christian Henson - another legend. He brought F- word straight to thread title on VI, more than once. No problem , he is a paying client. Welcome Mr. Henson, you donate to Unisef and buy advertising space on VI, feel free to say anything.
> 
> It is ok to be less than talented, it is not ok to be rude. Shame on you guys.



Hilarious!


----------



## charlieclouser

So much popcorn in this thread!


----------



## NoamL

Phillip said:


> Zimmer is clearly enjoying his status of superstar composer on Internet forum.



oh yeah i'm sure.


----------



## Rctec

Phillip said:


> Zimmer is clearly enjoying his status of superstar composer on Internet forum. First he insults a VI member, than he admits that yes, He is a bit of narcissist. I don't think he would be so rude to a gas station attendant for fear of being punched in a face. Internet forum? No problem, bring it on.
> 
> His collaborator Christian Henson - another legend. He brought F- word straight to thread title on VI, more than once. No problem , he is a paying client. Welcome Mr. Henson, you donate to Unisef and buy advertising space on VI, feel free to say anything.
> 
> It is ok to be less than talented, it is not ok to be rude. Shame on you guys.





Phillip said:


> Zimmer is clearly enjoying his status of superstar composer on Internet forum. First he insults a VI member, than he admits that yes, He is a bit of narcissist. I don't think he would be so rude to a gas station attendant for fear of being punched in a face. Internet forum? No problem, bring it on.
> 
> His collaborator Christian Henson - another legend. He brought F- word straight to thread title on VI, more than once. No problem , he is a paying client. Welcome Mr. Henson, you donate to Unisef and buy advertising space on VI, feel free to say anything.
> 
> It is ok to be less than talented, it is not ok to be rude. Shame on you guys.


----------



## thesteelydane

Rctec said:


>




A classic! I love this one too:


----------



## muziksculp

And quite a popular word in music too. 

Here is a cool F...n tune by _Royksopp_


----------



## Rctec

Phillip said:


> Zimmer is clearly enjoying his status of superstar composer on Internet forum. First he insults a VI member, than he admits that yes, He is a bit of narcissist. I don't think he would be so rude to a gas station attendant for fear of being punched in a face. Internet forum? No problem, bring it on.
> 
> His collaborator Christian Henson - another legend. He brought F- word straight to thread title on VI, more than once. No problem , he is a paying client. Welcome Mr. Henson, you donate to Unisef and buy advertising space on VI, feel free to say anything.
> 
> It is ok to be less than talented, it is not ok to be rude. Shame on you guys.


 Actually, Phillip dearest, it’s UNICEF... and they’d love your contribution, too! Big, friendly and lovingly peaceful Hug from one who’s talent is so average at best, but who’s narcissism fills the void between ideas and rude behavior. 
https://en.m.wikipedia.org/wiki/UNICEF


----------



## Garry

Rctec said:


>




That is so F***in funny!  How the self-righteous moral police just line themselves us for this shit (oops, sorry Phillip!).


----------



## dbudde

Rctec said:


>




Let's not forget the seven dirty words:


----------



## Garry

thesteelydane said:


> A classic! I love this one too:





Oh, I love this - but not quite as much as his routine on his consternation with modern shampoos! I had fun finding this. But if you truly want musical genius combined with vulgarity, please enjoy all that is *Tim Minchin*! Oh, I love that guy! (Phillip - do NOT google that - you will not like it my friend!).


----------



## thesteelydane

Garry said:


> Oh, I love this - but not quite as much as his routine on his consternation with modern shampoos! I had fun finding this. But if you truly want musical genius combined with vulgarity, please enjoy all that is *Tim Minchin*! Oh, I love that guy! (Phillip - do NOT google that - you will not like it my friend!).




Oh I have loved Tim Minchin for a long time! It all started with “Take my wife” for me. 

Edit: and now we really should get back to discussing this amazing new lib. I’m just thinking, with that many London string players, I MUST know some of the folks who played on this and not one told me anything!


----------



## Garry

Garry said:


> Oh, I love this - but not quite as much as his routine on his consternation with modern shampoos! I had fun finding this. But if you truly want musical genius combined with vulgarity, please enjoy all that is *Tim Minchin*! Oh, I love that guy! (Phillip - do NOT google that - you will not like it my friend!).




For the uninitiated, please , I can't recommend Tim Minchin enough. Not only did he write Matilda (which my daughter absolutely loves) but he also wrote these (if you haven't seen them, settle in, pull up YouTube, and search for these, you are in for a treat):

- Dark Side
- Taboo
- Rock and Roll Nerd (probably HIGHLY relevant to many of us here!). 
- Thank you God
- Prejudice
- If you Really Loved Me
- Come home (Cardinal Pell)
- You Grew on Me
- Storm 
- Mitsubishi Colt
- The Pope Song
- 5 Poofs and 2 Pianos
- The Good Book
- 3 Minute Song
- F Sharp

Phillip - if you can't see past the language, and enjoy the genius in these, you are seriously missing out.


----------



## AllanH

What a detour from a *** amazing new product from HZ and Spitfire. I am not sure I have the skills to use all the articulations but it sure sounds unlike anything else I have.


----------



## windyweekend

charlieclouser said:


> So much popcorn in this thread!


And a few jalapenos too...


----------



## windyweekend

I've actually got a question about this product (sorry for the distraction people) - if you want to load up multiple arts and instruments together, is it easy to do via the UI on one track (ala Kontakt), or would I need to spin up lots of Cubase tracks instead (and have to bounce between them)?


----------



## Patrick de Caumette

Some very nice textures, for sure!
Congrats!
One concern is how each section will co-exist spatially, since they all occupy a much wider territory?


----------



## bigcat1969

This is the most entertaining thread in some time. Bring on the Minchin funk. Note the letter N!


----------



## Daniel James

This thread took an interesting turn.

So back on point though. I just watched the walkthroughs again and I am digging the shorts. Can you get them going pretty fast? The demos so far are pretty slow tempo wise.

I love the tone but I guess 60 cellos even above 120bpm might start to get mushy. Perhaps the smaller sections work better there? I just have a dream of a super tight mega section playing some fast shit xD

-DJ


----------



## Soundhound

I fucking love this thread.


----------



## Jeremy Gillam

In this thread @Rctec mentions that he can't stand the way short samples are cut in a lot of commercial libraries. I'm curious to find out what is the HZ philosophy of cutting short samples, how it might differ from that of commercial developers, and whether that philosophy has been implemented for the shorts in this new library.


----------



## bigcat1969

Superb question coming out of this thread who knew? I'd like to know also.


----------



## prodigalson

Rctec said:


> and by the way... we already used some of these samples on “Dunkirk” last year...



Aaaand SFs sales of HZ Strings just tripled.


----------



## prodigalson

Phillip said:


> Zimmer is clearly enjoying his status of superstar composer on Internet forum. First he insults a VI member, than he admits that yes, He is a bit of narcissist. I don't think he would be so rude to a gas station attendant for fear of being punched in a face. Internet forum? No problem, bring it on.



all that shows is that they’re no different to every other normal human being on the fucking (oops!) internet


----------



## Christof

Maybe this has been asked before but I didn't read the whole thread due to some popcorn nonsense  
Is this new player multitimbral?


----------



## quantum7

I wonder if Hans has had a lot of time with the new SF sample playback engine? I’m loving the sounds of the walkthrough video so far, but I still get a bit nervous about the new engine. That darn EW Play experience scarred me for life!  LOL


----------



## muziksculp

Christof said:


> Maybe this has been asked before but I didn't read the whole thread due to some popcorn nonsense
> Is this new player multitimbral?



No, it's not.


----------



## blougui

I don't like popcorn so much, so I brought pretzels - or *b*retzels as we say in France.
Jeeez, I just love this place !
All kinds of people. And really, Mike the owner rulz !!!


----------



## Ryan

I wonder if Hans read this thread and laugh a bit.. (I know he has answered this thread)


----------



## ghandizilla

This escalates so quickly, reminds me of the Synchron Strings topic :o

I'm really curious about the new sampler, why it became a necessity, though it's so much commitment and hard work. Several hypothesis come to mind : GUI flexibility, maybe leave room for a subscription model, maybe Kontakt built-in FX were too colored, maybe some intelligent things which don't exist in Kontakt were implemented (but what? even speed-switching scripts already exist in Kontakt).

Concerning the library itself, it's really difficult (just based on the walkthrough) to have an idea of the applications of it. I mean: it's all about sculpting sounds and spaces intertwined. Space as an instrument. It would be awesome to see how it works in a production context. Can't wait to watch Daniel James working on it after its release on March 28th.


----------



## Rctec

sazema said:


> And now I have a question... Is HZ itself plans to use it for yourself? or is this just another library to spend money to (library with big name).


I’ve used it on “Dunkirk”


----------



## Fry777

Rctec said:


> and by the way... we already used some of these samples on “Dunkirk” last year...



I did think the walkthrough video had very similar tones to the track "Variation 15" from the Dunkirk OST ! 



SpitfireSupport said:


> The number of round robins varies by technique, the short notes have up to 8 round robins.



Thank you.
What about the number of RR for each legato patch ?
(By the way, is there a list containing that detailed info somewhere ? As it's not in the manual)

I understand the special articulations are the focus of the videos, and they sound beautiful, but would you consider doing one about the legatos too ?

Also, could you tell us more about the CPU activity when using the new engine and having several instances of it opened (since it's not multitimbral from what I understand) ? It seems to be varying quite a bit in the walkthrough.


----------



## Rctec

sazema said:


> edit: Deleted my post, for peace in house...


Thanks a lot! Now I get accused for bullying you, you Twat! No one has context anymore. Put it back up!


----------



## Rctec

sazema said:


> Honestly NO!
> You should read between the lines.


You took the post down....


----------



## Darren Durann

Rctec said:


> Thanks a lot! Now I get accused for bullying you, you Twat! No one has context anymore. Put it back up!



It was cowardly to take it down; however, he (she) isn't worth all this.

Here's Hans Zimmer, the quintessence of (deserved) success and influence in film music, while people like the twat...well, aren't.

It was just someone not thinking things out, perhaps a jealous person.

I imagine the same person is really regretting what he (she) wrote.


----------



## rottoy

sazema said:


> The real question is: are the samples clean or you can hear dogs barking and broken umbrellas and chairs in background? Maybe they implemented now special fader for that ?!
> 
> I'm sneaking a little bit this topic and as I expected, it will be 120 pages on topic soon. Don't get it? Library like library, for someone it will be good for someone not. Each new library is revolution here! A must!
> 
> I can bet they just blended their flagship string libraries into one SSS + SCS + Albion III low strings 8ve + Thundra + etwas etwas, recorded some new samples when HZ were in studio for coffee and asked external company to make VST plugin instead of Konakt  (just to be more mystical). Now, HZ has 30% on each sale because of his name or idea, SF has rest, and poor musicians nothing - they're paid by penny's for fiddling all day many days.
> 
> Now, I can imagine conversations inside SF about this project... Someone asked a good question, but who will buy this stuff, our customers already have plenty of our string libraries... And then "a secret recipe" is born!
> 
> But this recipe is already seen in the past, a recipe for success - just bring in HZ in any way (epic music in background)! and room musicians will start to scream like girls on concert. It's a cherry pick for room musicians who tend to be "one day" successful like HZ.
> 
> They still have HZ Brass, HZ Woodwinds, HZ... jokers in the pocket for every while.
> 
> I don't see (I haven't seen) any "real" composer is so obsessed by libraries, rather is obsessed by his work and music itself, and it's own sound designing - at least each serious piece will be (should be) recorded live (as for movie, as for other stuff) so then who cares? I mean, libraries are there just for mockups in most cases...
> 
> Few weeks ago, a new (brand new stunning overexciting) violin library has been released by same company... and what happen? Nothing, now is forgotten. Olafur library has been released, few days of OMG talk and nothing, it's forgotten. 8Dio Century strings, yehaaa, a must buy...
> 
> I'm wondering also, what if this library is named by 4 main characters of each section from recording session, like: *Brandon* (violin) *Madison* (Viola) *Leo*(Cello) *Goran* (Bass) => *BMLG strings*. With story "one day bassist Goran from west London came to Paul and said, I have such a beautiful idea, bla bla...". Interest will be the same?
> 
> Next library should be HZ Ocarina with 10 mic positions + specialized A. Meyerson mixes (about 170Gb).
> 
> _OMG, i already pre-ordered ... OMG, is it true... OMG I have to update my Windows 7 ... Can't decide to preorder now or tomorrow ... Really funny, truly PANIC!_
> 
> Ok, it's 600$ it's not 15$. For that money I will consider a bit and wait a little bit, it's not gonna be that download server will escape somewhere on north pole.
> 
> ... and so on, just a few thoughts, ok many but nothing more
> _
> (p.s I have nothing against HZ or SF, I love products from that company)_


Is that the contextual post in question? If it's not, I'll remove it. @Rctec


----------



## tob

Rctec said:


> Thanks a lot! Now I get accused for bullying you, you Twat! No one has context anymore. Put it back up!



Hahaha, this is true rocknroll attitude! Cant stop laughing here..


----------



## Lionel Schmitt

Haha, Hans Zimmer vs sazema.  Loving it.


----------



## Geoff Grace

charlieclouser said:


> So much popcorn in this thread!


344 buckets worth, if I recall correctly.

Best,

Geoff


----------



## Geoff Grace

Garry said:


> Spitfire has recently released other libraries (such as the Olafur Arnolds library): if I had bought this, only to find out 2 months later that another string library was to be released, I would have felt disappointed. I know you will feel that these are 2 entirely different libraries, but just in my personal opinion, they're not sufficiently different that it would have been good to know what was coming, to be able to make a comparison and choose before purchasing. Just trying to make a point about the timing of your releases, to help the audience make their best decision.


I suppose you could focus on the fact that they're all string libraries, or you could focus on the fact that last month's release was four players and this month's is 344: a stark contrast by any measure! The new Ólafur Arnalds release sits very nicely between those two extremes. 

I would personally love to own all three, and would have no buyer's remorse from having purchased either of those libraries upon finding out about this one, as they each fill different needs. I realize we're each different from one another, but I felt this matter at least deserved a contrasting perspective. 

Best,

Geoff


----------



## charlieclouser

I have most of the Spitfire libraries, and for what they are I consider them all a massive bargain, with very little overlap between the various products. Olafur vs Albions vs Tundra vs Evos vs HZS vs Mural - these libraries inspire to the point that they almost write the cues for me. The unique sonics and articulations provide a massive sonic differentiation between the products - much more so than when comparing 8dio vs CSS vs CS2 vs LASS vs etc. etc. etc. I mean, pretty much everything else out there is "just a string library". Maybe you get some cool aleatoric effects, slightly different tone, different rooms, bigger or smaller sections, better or worse spiccatos or legatos - but you can usually copy the MIDI track that triggers one library over to another and it's not going to be such a massive difference - not like switching between Evo and Tundra would.

If any of these $600 libraries inspires or provides the foundation for just one cue, what is that worth?

These products are nails, not hammers. They are consumables. Buy them, use them up, buy more, move on.

People talk about "investing" in a sample library like they're buying a car or something, like they're getting ripped off unless they can immediately extract value and somehow recoup that "investment". Personally, I'd pay $600 just to be able to sit in a room and bang away on tightly-edited spiccato patches with nice reverb. But if you must think of it that way, the money you make by selling the music you make is how you recoup that "investment" - if the economics of your music-selling operation don't allow for such expenditures, then fine...don't buy it. That $600 price tag is probably less than the cost of the coffee that was consumed at the recording sessions, so I consider HZS a bargain.

But all the accusations of re-use of samples, alluding to false HZ endorsements and shady marketing ploys, recriminations at Spitfire for releasing "too many" products, and now scolding over crude language... on an internet forum?!? 

...sheesh.

Jesus Herbert Walker Fucking Christ on a fucking crutch. This thread. Fucking internet. Never fails.


----------



## fiestared

charlieclouser said:


> I have most of the Spitfire libraries, and for what they are I consider them all a massive bargain, with very little overlap between the various products. Olafur vs Albions vs Tundra vs Evos vs HZS vs Mural - these libraries inspire to the point that they almost write the cues for me. The unique sonics and articulations provide a massive sonic differentiation between the products - much more so than when comparing 8dio vs CSS vs CS2 vs LASS vs etc. etc. etc. I mean, pretty much everything else out there is "just a string library". Maybe you get some cool aleatoric effects, slightly different tone, different rooms, bigger or smaller sections, better or worse spiccatos or legatos - but you can usually copy the MIDI track that triggers one library over to another and it's not going to be such a massive difference - not like switching between Evo and Tundra would.
> 
> If any of these $600 libraries inspires or provides the foundation for just one cue, what is that worth?
> 
> These products are nails, not hammers. They are consumables. Buy them, use them up, buy more, move on.
> 
> People talk about "investing" in a sample library like they're buying a car or something, like they're getting ripped off unless they can immediately extract value and somehow recoup that "investment". Personally, I'd pay $600 just to be able to sit in a room and bang away on tightly-edited spiccato patches with nice reverb. But if you must think of it that way, the money you make by selling the music you make is how you recoup that "investment" - if the economics of your music-selling operation don't allow for such expenditures, then fine...don't buy it. That $600 price tag is probably less than the cost of the coffee that was consumed at the recording sessions, so I consider HZS a bargain.
> 
> But all the accusations of re-use of samples, alluding to false HZ endorsements and shady marketing ploys, recriminations at Spitfire for releasing "too many" products, and now scolding over crude language... on an internet forum?!?
> 
> ...sheesh.
> 
> Jesus Herbert Walker Fucking Christ on a fucking crutch. This thread. Fucking internet. Never fails.



100% agree...


----------



## Ryan

I, as a owner of many, many Spitfire Audio libraries dating back to their first release, also the bespoke stuff, will buy it for sure. They delivered stuff that makes my creativity go nuts. And l like that. Just like synths, many possibilities, but with acoustical synthesis.

Best
Ryan


----------



## Darren Durann

charlieclouser said:


> If any of these $600 libraries inspires or provides the foundation for just one cue, what is that worth?



Some would argue that it depends on what you get paid for that cue. Not sure exactly how many $600 cues are out there...but I'd guesstimate not too many. Not quite lottery odds, but not too far away.

If you're going to invest in a library, perhaps it would be best to see it as something you want for something you like/love doing. Because it took me awhile to break even on mine, all the worse because I wanted to see that "investment" pay off sooner. I'd hover over my distributor's weekly tallies, Facebook likes, all of that potentially soul-crushing measuring that has nothing to do with quality of music or, hell, quality of life for that matter.

I became happier and a better composer when I stopped caring about making money off of music. It's great that I get compensated a little for what I do, but I do it because I love music and I love making music.

But these are just ideas, everyone is different,

À chacun ses goûts


----------



## roknardin

When I see threads like this, the first thing I think of is how much more amazing music could all the people here compose if they channelled their arguing energy to composing energy.

I'm also leaving a spicy meme here to which we can all relate to, hoping to cheer this place up a little.


----------



## Celestial Aeon

Just dropping in to say @Rctec that you, my dear sir mr. Zimmer in so many ways won the internet with your responses on this thread <3 And the library sounds amazing!


----------



## zolhof

I wish VI-C had the same "real name" policy as Verta's forum. Folks usually refrain from acting like maniacs when it's personal. And there's some degree of accountability.


----------



## Darren Durann

zolhof said:


> I wish VI-C had the same "real name" policy as Verta' forum. Folks usually refrain from acting like maniacs when it's personal. And there's some degree of accountability.



Some people like mystery. I don't like the whole "have to be up everyone all the time" culture....despise it, actually. Get out from up there.

I don't respect people using anonymity to be dickheads, though. That's just plain ignorant imo.


----------



## jononotbono

Hans Zimmer is a bully.


----------



## Darren Durann

jononotbono said:


> Hans Zimmer is a bully.



I sense a wink behind this.


----------



## PeterN

Celestial Aeon said:


> Just dropping in to say @Rctec that you, my dear sir mr. Zimmer in so many ways won the internet with your responses on this thread <3 And the library sounds amazing!



Yup, he did, and the debate is over.


----------



## AdamKmusic

roknardin said:


> When I see threads like this, the first thing I think of is how much more amazing music could all the people here compose if they channelled their arguing energy to composing energy.
> 
> I'm also leaving a spicy meme here to which we can all relate to, hoping to cheer this place up a little.


There are a lot of talkers on this forum and not many walkers...based on how some people post.


----------



## zolhof

Darren Durann said:


> Some people like mystery. I don't like the whole "have to be up everyone all the time" culture....despise it, actually. Get out from up there.
> 
> I don't respect people using anonymity to be dickheads, though. That's just plain ignorant imo.



Yeah man, I value my internet anonymity like the next person, but it can become really distracting when one bonehead decides to stir shit up. Look at what happened to this announcement thread. Most of us don't have the time (or will haha) to go through pages and pages of nonsense to find valuable information. I'd highly doubt those same trolls would question the integrity of hard working professionals if they had their real names behind it. How jaded and miserable do you have to be that charity makes you grumpy.

Mr. Greene does a fine job cleaning the aftermath, but does he really need the extra work? Grow up already...


----------



## Darren Durann

zolhof said:


> Yeah man, I value my internet anonymity like the next person, but it can become really distracting when one bonehead decides to stir shit up. Look at what happened to this announcement thread. Most of us don't have the time (or will haha) to go through pages and pages of nonsense to find valuable information. I'd hihgly doubt those same trolls would question the integrity of hard working professionals if they had their real names behind it. How jaded and miserable do you have to be that charity makes you grumpy.
> 
> Mr. Greene does a fine job cleaning the aftermath, but does he really need the extra work? Grow up already...



I'm with you!


----------



## Puzzlefactory

Just about to watch Dunkirk for the first time with the Mrs. 

Out of interest @Rctec, which scenes have the samples from this library in?


----------



## FriFlo

jononotbono said:


> Hans Zimmer is a bully.


And quite a great twa ... uh ... lad! _(I could have said it, but somehow I know my earlier post about different standards is quite accurate and I would love to keep my account for now ...)_


----------



## Christof

Just pre-ordered my copy of HZ strings.
I thought I don't need any more string libraries, but this one seems different.


----------



## charlieclouser

zolhof said:


> I wish VI-C had the same "real name" policy as Verta's forum. Folks usually refrain from acting like maniacs when it's personal. And there's some degree of accountability.



I agree. When people post under their real name, like Daniel James, christianhenson, and a few others, then I can figure out who they are, and make a better judgement about how much attention I should pay to what they say. Other than Rctec, which is well known to be the account HZ posts under (and maybe a few others I can't think of right now), usually when someone's posting under an anonymous forum handle we're not given any reason to assume any level of experience that would back up whatever random crap they post - so every post from an anonymous source is equally as important as any other.... which is to say, not very. In the flood of bitching and moaning on forums like this, some bitches stand out as being worthy of paying attention to - and it's rarely the ones done anonymously. To me anyway. Unless they write, directly in the post, their entire life story. If HZ says he likes to position the mics a certain way, I'm far more likely to pay attention than if it's some rando, because I know he's tried mic positions X, Y, and Z, and he's got the experience that gives his statements weight. Or, at least, enough weight to enter the arena for consideration (or rejection!).

It's like when you dip into some GS thread about the newest Neve 1073 clone from Warm Audio or whoever, and someone writes a long-ass post about how great they think the clone is, and the post starts with: "I've never used a real 1073, but..."

Blah blah blah. More internet noise.

When it's equally likely that an anonymous poster is a successful composer with a massive track record as it is that they're a hobbyist with six months using a cracked copy of FruityLoops, you either wind up paying attention to a bunch of bullshit or ignoring a bunch of real, useful information - and it's hard to avoid doing both at the same time! That sense of anonymity and "democracy" is liberating for some, and I guess it's sort of the original point of anonymous internet discussion boards, but that's why sooner or later every thread starts to look like Reddit or 4chan - just a swamp of trolls and shit-posters, spewing misspelled nonsense with no consequence, and the occasional nugget of useful info. 

I post under my real name, because I have no problem being held accountable for my words and actions - I can't really feel comfortable with any other way of doing it. To me, anything else is not communicating, it's anonymous scribbling on bathroom walls. And I don't put much weight behind what I read on bathroom walls. 

It's graffiti - fun to look at, but I don't want to take advice from it.


----------



## Jaap

Christof said:


> Just pre-ordered my copy of HZ strings.
> I thought I don't need any more string libraries, but this one seems different.



Yes thinking in the same direction actually. This is a different beast and loving the sonic possibilities with this one as it gives you probably a whole new range of options.


----------



## Darren Durann

charlieclouser said:


> I agree. When people post under their real name, like Daniel James, christianhenson, and a few others, then I can figure out who they are, and make a better judgement about how much attention I should pay to what they say. Other than Rctec, which is well known to be the account HZ posts under (and maybe a few others I can't think of right now), usually when someone's posting under an anonymous forum handle we're not given any reason to assume any level of experience that would back up whatever random crap they post - so every post from an anonymous source is equally as important as any other.... which is to say, not very. In the flood of bitching and moaning on forums like this, some bitches stand out as being worthy of paying attention to - and it's rarely the ones done anonymously. To me anyway. Unless they write, directly in the post, their entire life story. If HZ says he likes to position the mics a certain way, I'm far more likely to pay attention than if it's some rando, because I know he's tried mic positions X, Y, and Z, and he's got the experience that gives his statements weight. Or, at least, enough weight to enter the arena for consideration (or rejection!).
> 
> It's like when you dip into some GS thread about the newest Neve 1073 clone from Warm Audio or whoever, and someone writes a long-ass post about how great they think the clone is, and the post starts with: "I've never used a real 1073, but..."
> 
> Blah blah blah. More internet noise.
> 
> When it's equally likely that an anonymous poster is a successful composer with a massive track record as it is that they're a hobbyist with six months using a cracked copy of FruityLoops, you either wind up paying attention to a bunch of bullshit or ignoring a bunch of real, useful information - and it's hard to avoid doing both at the same time! That sense of anonymity and "democracy" is liberating for some, and I guess it's sort of the original point of anonymous internet discussion boards, but that's why sooner or later every thread starts to look like Reddit or 4chan - just a swamp of trolls and shit-posters, with the occasional nugget of useful info.
> 
> I post under my real name, because I have no problem being held accountable for my words and actions - I can't really feel comfortable with any other way of doing it. To me, anything else is not communicating, it's anonymous scribbling on bathroom walls. And I don't put much weight behind what I read on bathroom walls.
> 
> It's graffiti - fun to look at, but I don't want to take advice from it.



Some people would argue that it doesn't matter where and how wisdom finds you...it's all in applying it. Worrying too much about where or whom said wisdom is coming from can can impede you just as much as taking wrong advice. Either way it's a waste of time. Use your own powers of discernment to decide who to listen to.

But I'm playing devil's advocate. There are valid points to your post.


----------



## charlieclouser

Darren Durann said:


> Some people would argue that it doesn't matter where and how wisdom finds you...it's all in applying it. Worrying too much about where or whom said wisdom is coming from can can impede you just as much as taking wrong advice. Either way it's a waste of time. Use your own powers of discernment to decide who to listen to.
> 
> But I'm playing devil's advocate. There are valid points to your post.



To paraphrase and expand upon what Tom Hanks' character said in _Saving Private Ryan_:

"Complaints flow upwards, wisdom flows downwards."

In the broadest sense, of course. Sure, I've gotten tidbits of useful info and tricks from 25-year-old assistants - but the real meat-n-potatoes of information that I'm looking for usually comes from above, or at least from someone who's done *more* than I have, not less.


----------



## Ashermusic

Darren, in most areas of life, credibility is earned and it matters. While it is indeed theoretically possible to learn from everybody, the odds that you will do so from a "been there, done that" guy are much higher.

Because as a society we have devalued that, we have more crappy sounding music. (I know, I have turned into "You kids get off my lawn!!!!)


----------



## Darren Durann

Ashermusic said:


> Darren, in most areas of life, credibility is earned and it matters. While it is indeed theoretically possible to learn from everybody, the odds that you will do so from a "been there, done that" guy are much higher.
> 
> Because as a society we have devalued that, we have more crappy sounding music. (I know, I have turned into "You kids get off my lawn!!!!)



Again, those points are all perfectly valid. But, just to share something I think is kind of cool (and admittedly rare):

I remember Jeff Beck relating a story of doing a session in Nashville. He was having problems playing a part, and had been unsuccessful at recording it all day. He went for a smoke and met the janitor, guitar strapped on. The janitor asked to play the guitar and (quote) "started playing the most marvelous guitar", and helped him to nail the part with some much needed advice. Now, this is Jeff Beck, considered by many important names in the business as perhaps the greatest living Rock guitarist.

I just want to help younger composers. I'm fine with people being suspicious of who I am, because if I can get even one young composer to improve at what they're doing, it was worth it. I care about these young folks, and want them to be their best. Whether they listen or not.


----------



## Geoff Grace

charlieclouser said:


> I agree. When people post under their real name, like Daniel James, christianhenson, and a few others, then I can figure out who they are, and make a better judgement about how much attention I should pay to what they say. Other than Rctec, which is well known to be the account HZ posts under (and maybe a few others I can't think of right now), usually when someone's posting under an anonymous forum handle we're not given any reason to assume any level of experience that would back up whatever random crap they post - so every post from an anonymous source is equally as important as any other.... which is to say, not very. In the flood of bitching and moaning on forums like this, some bitches stand out as being worthy of paying attention to - and it's rarely the ones done anonymously. To me anyway. Unless they write, directly in the post, their entire life story. If HZ says he likes to position the mics a certain way, I'm far more likely to pay attention than if it's some rando, because I know he's tried mic positions X, Y, and Z, and he's got the experience that gives his statements weight. Or, at least, enough weight to enter the arena for consideration (or rejection!).
> 
> It's like when you dip into some GS thread about the newest Neve 1073 clone from Warm Audio or whoever, and someone writes a long-ass post about how great they think the clone is, and the post starts with: "I've never used a real 1073, but..."
> 
> Blah blah blah. More internet noise.
> 
> When it's equally likely that an anonymous poster is a successful composer with a massive track record as it is that they're a hobbyist with six months using a cracked copy of FruityLoops, you either wind up paying attention to a bunch of bullshit or ignoring a bunch of real, useful information - and it's hard to avoid doing both at the same time! That sense of anonymity and "democracy" is liberating for some, and I guess it's sort of the original point of anonymous internet discussion boards, but that's why sooner or later every thread starts to look like Reddit or 4chan - just a swamp of trolls and shit-posters, spewing misspelled nonsense with no consequence, and the occasional nugget of useful info.
> 
> I post under my real name, because I have no problem being held accountable for my words and actions - I can't really feel comfortable with any other way of doing it. To me, anything else is not communicating, it's anonymous scribbling on bathroom walls. And I don't put much weight behind what I read on bathroom walls.
> 
> It's graffiti - fun to look at, but I don't want to take advice from it.


I certainly feel more comfortable posting under my own name as well. 

That said, I do believe that a genius idea can come from anywhere—regardless of experience—but I also temper that notion with Benjamin Franklin's wisdom that "Genius without education is like silver in the mine." There are some things you learn best by being in the trenches, and I respect that experience. 

I'd also like to add that the world could do with more kindness, and I believe that the cloak of anonymity enables people to behave worse than they would otherwise. Fortunately, not everyone who posts under a pseudonym takes advantage of that freedom; but far too many do.

Best,

Geoff


----------



## Dr Belasco

Watch from 2:09


----------



## Ned Bouhalassa

This thread is making me want the library. And I thought I was done for a while...


----------



## Jaap

Would it be possible to sum up and what is answered by Spitfire in the opening post regarding all the extra info? I lack a bit the time to read through all 34 pages, but as I understood quite a lot of things have been asked and answered.


----------



## rottoy

Rctec said:


> I’ve used it on “Dunkirk”


Just going to take a stab in the dark here and say they are used on this track at least.


----------



## samphony

charlieclouser said:


> Jesus Herbert Walker Fucking Christ on a fucking crutch. This thread. Fucking internet. Never fails.


Charles! You nailed it (not hammered) very good!!!


----------



## fiestared

rottoy said:


> Just going to take a stab in the dark here and say they are used on this track at least.



Oh YES...


----------



## Puzzlefactory

charlieclouser said:


> But all the accusations of re-use of samples, alluding to false HZ endorsements and shady marketing ploys, recriminations at Spitfire for releasing "too many" products, and now scolding over crude language... on an internet forum?!?



Having a pop at Spitfire seems to be a bit of a sport on the forum nowadays. 

You’re not part of the cool gang unless you do.


----------



## jononotbono

Puzzlefactory said:


> Having a pop at Spitfire seems to be a bit of a sport on the forum nowadays.
> 
> You’re not part of the cool gang unless you do.



There’s nothing cool about idiocy.


----------



## Darren Durann

Puzzlefactory said:


> Having a pop at Spitfire seems to be a bit of a sport on the forum nowadays.
> 
> You’re not part of the cool gang unless you do.



I'm going wide, but the internet itself seems to breed more and more people who are dismissively critical of any project or person who's actually accomplished something. It's sheer jealousy and Lilliputian angst...and inevitably makes the dismissive look like a cesspool of desperation. Hopefully when and if they get off this forum, they'll actually do something in the world.

No offense meant to anyone in particular, period.


----------



## AlexanderSchiborr

No big on that overly large HZ Sound, but actually I did watch the walkthrough and the library sounds really good. If it is absolutely a must have for people who own a vast palette of Spitfire Strings already, not sure about that though. But if your truely happyness lays in to have HZ string sound impression at your fingertips, there is nothing wrong to go for it. 

Having said that, those gallery micings sound interesting to use them either to make the sound very ambient or use them solely for sound design / effects. I honestly didn´t know what to do with that library but I think the library is must have for every HZ Fan. I mean..in all honesty: How can a media composer these days hailing HZ not have that String Library? I mean..come one..


----------



## rpaillot

Looks so good ! ( so no kontakt anymore ? )

Thank you HZ for this library. The guy is so nice, giving us tools so we can steal jobs from him ! )


----------



## jononotbono

AlexanderSchiborr said:


> I think the library is must have for every HZ Fan.



I think HZ Strings is a must have for anyone that wants more musical choice. I just don't think you can have enough (perhaps I have a problem haha) and I personally wouldn't want to write music with the same stuff all the time. Choice is king.


----------



## Polkasound

charlieclouser said:


> usually when someone's posting under an anonymous forum handle we're not given any reason to assume any level of experience that would back up whatever random crap they post



I think that's true in some cases, but I never use my real name when I post forum messages or reviews for a specific reason. Over the years as we grow and learn, our views and opinions change. Anything you post can come up years later in a search of your name, because much of the internet is archived. Using a screen name or truncated name for public posting purposes will automatically disassociate you with your posted content. This isn't a concern for everyone, but it's rather a "better safe than sorry" precaution for some.



jononotbono said:


> I think HZ Strings is a must have for anyone that wants more musical choice.



Absolutely. This is one of those libraries that makes me ask God why he just HAD to make me a polka musician.


----------



## AlexanderSchiborr

jononotbono said:


> I think HZ Strings is a must have for anyone that wants more musical choice. I just don't think you can have enough (perhaps I have a problem haha) and I personally wouldn't want to write music with the same stuff all the time. Choice is king.



Musical choices are made - at least how I see music - in the composition / style of orchestration but not in the sound of a library (as I anways define music differently than you). But as we all know, right, we are anyways coming from total different schools of thoughts so its fine. Enjoy.


----------



## Ashermusic

jononotbono said:


> I think HZ Strings is a must have for anyone that wants more musical choice. I just don't think you can have enough (perhaps I have a problem haha) and I personally wouldn't want to write music with the same stuff all the time. Choice is king.



Actually, there is an argument to be made, and some have done this, that having fewer choices leads you to knowing your choices better and therefore producing better sounding music with them.

Unfortunately I have not taken the time to test this theory in my own work.


----------



## dcoscina

Ashermusic said:


> Actually, there is an argument to be made, and some have done this, that having fewer choices leads you to knowing your choices better and therefore producing better sounding music with them.
> 
> Unfortunately I have not taken the time to test this theory in my own work.


Great point Jay. Sometimes I like to single out one library and compose just using those sounds. In some ways, it makes the whole process more simplified because you know your palette and the focus is on the subject, not the colours.


----------



## jononotbono

Ashermusic said:


> Actually, there is an argument to be made, and some have done this, that having fewer choices leads you to knowing your choices better and therefore producing better sounding music with them.
> 
> Unfortunately I have not taken the time to test this theory in my own work.



Yeah. I don’t mean to sound like an enabler etc. I also value using very little but I consider VIs to be like buying Musical instruments and only because I own a few different instruments I don’t have to use them all the time. Totally get what you saying though Jay.


----------



## Darren Durann

Ashermusic said:


> Actually, there is an argument to be made, and some have done this, that having fewer choices leads you to knowing your choices better and therefore producing better sounding music with them.
> 
> Unfortunately I have not taken the time to test this theory in my own work.



Whenever I use solely EW Hollywood instruments in a project (sometimes simply as a personal challenge), I'm awed at how encompassing they are. Same with my beloved Bernard Herrmann OT library, I've used it on three of the eight movements of my symphonies, all alone and it sounds pretty great to me.

One of the most scattered, dumb periods I went through was when I thought I had to have two dozen synths. I sold all of them except for Reaktor, Nave, Massive, and Zebra/HZ and became much more focused/industrious.


----------



## Daniel James

Haha I tried to get the topic back on point. Lets try again XD







Something else I was curious about, the section sizes, in the manual its posted as 20 left 20 right 20 centre and 20 gallery with a full 60 section (non on gallery)

Was this recorded with 20 players shifting position then another session with 60 players filling all the chairs? Or was it 60 people playing it then you take the mics from the 20 left and have them as the left section, use the 20 centre for the centre mic etc

Also I see the 60 section doesnt have anyone in the gallery, Is there a way in engine to add the 20 gallery mics to the 60 on the floor? haha cause regardless of how this sounds, I love things big!!

-DJ

p.s I havn't heard twat this much since I left the UK. Love it xD


----------



## Darren Durann

Polkasound said:


> I think that's true in some cases, but I never use my real name when I post forum messages or reviews for a specific reason. Over the years as we grow and learn, our views and opinions change. Anything you post can come up years later in a search of your name, because much of the internet is archived. Using a screen name or truncated name for public posting purposes will automatically disassociate you with your posted content. This isn't a concern for everyone, but it's rather a "better safe than sorry" precaution for some.
> 
> 
> 
> Absolutely. This is one of those libraries that makes me ask God why he just HAD to make me a polka musician.



Without Polka, Metal musicians wouldn't have the apocalyptic, double bass blast beat. And that's something that has permeated the genre pretty thoroughly by now.


----------



## Daniel James

Ashermusic said:


> Actually, there is an argument to be made, and some have done this, that having fewer choices leads you to knowing your choices better and therefore producing better sounding music with them.
> 
> Unfortunately I have not taken the time to test this theory in my own work.



I think at some point we have all written with a limited palette, limitation does indeed spur creativity. However I think I lean more in the camp of covering my bases. I work with an empty template (everything routed with verbs and such just empty Kontakts) and what I end up doing is thinking "This song needs a sound like this...." Then I ask myself which patch will give me the sound I hear in my head and I load that. I think if I had a prelaoded template I would just use whats there, which might not always be the best for the cue I'm working on. It does mean you have to *know* you sample libraries. By this point though thats kinda my thing. Of course you can do it differently but it works for me 

-DJ


----------



## Celestial Aeon

My thoughts exactly. I like to work like this as well. Have a vast universe of choices and then limit yourself with the decisions you make.



Daniel James said:


> I think at some point we have all written with a limited palette, limitation does indeed spur creativity. However I think I lean more in the camp of covering my bases. I work with an empty template (everything routed with verbs and such just empty Kontakts) and what I end up doing is thinking "This song needs a sound like this...." Then I ask myself which patch will give me the sound I hear in my head and I load that. I think if I had a prelaoded template I would just use whats there, which might not always be the best for the cue I'm working on. It does mean you have to *know* you sample libraries. By this point though thats kinda my thing. Of course you can do it differently but it works for me
> 
> -DJ


----------



## fiestared

Daniel James said:


> Haha I tried to get the topic back on point. Lets try again XD
> 
> Something else I was curious about, the section sizes, in the manual its posted as 20 left 20 right 20 centre and 20 gallery with a full 60 section (non on gallery)
> Was this recorded with 20 players shifting position then another session with 60 players filling all the chairs? Or was it 60 people playing it then you take the mics from the 20 left and have them as the left section, use the 20 centre for the centre mic etc
> Also I see the 60 section doesnt have anyone in the gallery, Is there a way in engine to add the 20 gallery mics to the 60 on the floor? haha cause regardless of how this sounds, I love things big!!
> 
> -DJ
> 
> 
> I have the same questions... Spitfire Team ?


----------



## givemenoughrope

charlieclouser said:


> I have most of the Spitfire libraries, and for what they are I consider them all a massive bargain, with very little overlap between the various products. Olafur vs Albions vs Tundra vs Evos vs HZS vs Mural - these libraries inspire to the point that they almost write the cues for me. The unique sonics and articulations provide a massive sonic differentiation between the products - much more so than when comparing 8dio vs CSS vs CS2 vs LASS vs etc. etc. etc. I mean, pretty much everything else out there is "just a string library". Maybe you get some cool aleatoric effects, slightly different tone, different rooms, bigger or smaller sections, better or worse spiccatos or legatos - but you can usually copy the MIDI track that triggers one library over to another and it's not going to be such a massive difference - not like switching between Evo and Tundra would.
> 
> If any of these $600 libraries inspires or provides the foundation for just one cue, what is that worth?
> 
> These products are nails, not hammers. They are consumables. Buy them, use them up, buy more, move on.
> 
> People talk about "investing" in a sample library like they're buying a car or something, like they're getting ripped off unless they can immediately extract value and somehow recoup that "investment". Personally, I'd pay $600 just to be able to sit in a room and bang away on tightly-edited spiccato patches with nice reverb. But if you must think of it that way, the money you make by selling the music you make is how you recoup that "investment" - if the economics of your music-selling operation don't allow for such expenditures, then fine...don't buy it. That $600 price tag is probably less than the cost of the coffee that was consumed at the recording sessions, so I consider HZS a bargain.
> 
> But all the accusations of re-use of samples, alluding to false HZ endorsements and shady marketing ploys, recriminations at Spitfire for releasing "too many" products, and now scolding over crude language... on an internet forum?!?
> 
> ...sheesh.
> 
> Jesus Herbert Walker Fucking Christ on a fucking crutch. This thread. Fucking internet. Never fails.



I try to get my other string libraries (probably in vain) to sound like SF, the reverb and tone, via SPAT and eq. So, yea, they’re the top dogs imo. Somehow I haven’t used them so much for sorta crappy tv library “news cues” stuff bc they sorta sound TOO good at times. There’s a tv library sound that is obviously fake but come to be accepted (like a mellotron or a DX7 playing a piano patch). 

And I bought LADD to make a dozen bumper cues and made my money back in about 4 hours...and then made probably about 20x over that. I think I’ve used it twice since.


----------



## fiestared

for some reasons, I don't see my new text.

My question is : do the 344 players are really 344 people, or did you use the same players for recording in different positions ? I mean 20 from the 60 and so on... For myself, I don't see any prob in these, because it's the performance that matters. Thanks


----------



## Trusong

If only I could mortgage my house so I could afford HZ Strings...


----------



## procreative

35 pages in, anyone notice it says "Pre Oder Now"?!? Is that a hidden message...


----------



## Paul Thomson

Hi all - 

A couple of questions I can answer! I think it worked out approx 300 "individuals" in the end - we had specific reasons for having a few of the players playing in more than one section (albeit scattered - not in the same 'position') - as Hans already mentioned a while back - 'casting' is hugely important!! - and of course the galleries are such a different sound being so far located up there.

However, I can confirm that we did many, many days of sessions, all the sections were separately recorded, the muted stuff is all genuine - theres no faked stuff - our finance dept have wept copious tears of blood as the invoices came rolling in!! - and - as with every successive experience we've shared with Hans - it was one of the most exciting and interesting experiences of my career working on this.

The dangerous thing is we're all as bad as each other... between Hans, Christian and me theres no-one to put the brakes on and issue a word of caution.. we're all dodgy musical lunatics :D ... 

You know you're in trouble when you start your sentences with "I wonder what it would sound like if...."

P x


----------



## zolhof

Paul Thomson said:


> we're all dodgy musical lunatics :D









Never gets old heh


----------



## Sean J

The audio content is thrilling. Moving away from Kontakt isn't so much.

In Kontakt, I took Spitfire's "dig" articulation and moved the samples to an upper velocity layer instead (like a sane person). I've recently written a trill script that can work with any Kontakt library to detect an interval and play the right trill up to an octave, within the NKI, so it houses all trills inside a single articulation / bank slot / etc. It releases the trill only when the root of the interval is released. This lets you mark the interval via a grace note— so you can use the articulation in a DAW or notation software without any extra screwing around to get a score that looks and sounds right, and good.

Those are just small examples. I've gone into every patch I have to make Spitfire work in a way that's more intelligent. I'm not calling people like Andy and Blake stupid, far from it. They've done more than I could have. But that doesn't mean I can't add to what they are doing in ways they wouldn't have thought to. My first thought seeing a proprietary sampler is that it will cut me out of the loop as a power user. That distinction, IMHO, is what makes a tool either professional or consumer. I don't mind that line blurring economically, but I do with software. I'm too much of a nerd for that! That is meant as friendly feedback, not as a voice of criticism.

Any chance of getting a look at what the sampler can do, other than key switches? Is the CC locked to UACC, or more flexible than the previous nki scripts? Will the Chamber and Orchestral series be moved to this sampler? Spitfire hasn't had my favorite update philosophy in the past (and it's done a couple 180 turns for that matter). I'd expect as much from any company. We all have our own ideas... which change over time. All I'm saying that a little transparency about the plans with this sampler would be very appreciated.

All that said... Kudos to making a truly epic library. I've written a few things my friends jokingly call Mahler sized. This library just makes me want to be even more ridiculous than before. 

-Sean


----------



## VinRice

Daniel James said:


> I think at some point we have all written with a limited palette, limitation does indeed spur creativity. However I think I lean more in the camp of covering my bases. I work with an empty template (everything routed with verbs and such just empty Kontakts) and what I end up doing is thinking "This song needs a sound like this...." Then I ask myself which patch will give me the sound I hear in my head and I load that. I think if I had a prelaoded template I would just use whats there, which might not always be the best for the cue I'm working on. It does mean you have to *know* you sample libraries. By this point though thats kinda my thing. Of course you can do it differently but it works for me
> 
> -DJ



This is how I work now. A constant routing and fx set-up but a new pallet for each project. I was at sea for while because I gorged on too many libraries too quickly but now, having calmed down a bit and got to know each library I can choose appropriate things more easily. I still keep finding strange impulse-buy cheapy libraries I didn't know I had though...


----------



## Daniel James

Paul Thomson said:


> Hi all -
> 
> A couple of questions I can answer! I think it worked out approx 300 "individuals" in the end - we had specific reasons for having a few of the players playing in more than one section (albeit scattered - not in the same 'position') - as Hans already mentioned a while back - 'casting' is hugely important!! - and of course the galleries are such a different sound being so far located up there.
> 
> However, I can confirm that we did many, many days of sessions, all the sections were separately recorded, the muted stuff is all genuine - theres no faked stuff - our finance dept have wept copious tears of blood as the invoices came rolling in!! - and - as with every successive experience we've shared with Hans - it was one of the most exciting and interesting experiences of my career working on this.
> 
> The dangerous thing is we're all as bad as each other... between Hans, Christian and me theres no-one to put the brakes on and issue a word of caution.. we're all dodgy musical lunatics :D ...
> 
> You know you're in trouble when you start your sentences with "I wonder what it would sound like if...."
> 
> P x



Ok awesome so its split recordings of 20 20 20 20 then a day with 60? If so thats good. Much more control that way. Also means blending the 60 floor and 20 gallery should work pretty well (cause who doesnt want 80 cellos hitting the downbeat.)

I don't think it matters too much if its the same players in different seating arrangements, I wasn't worried about that. More just hoping the smaller sections were splits so that the air in the room is moving 20 players not 60 (more turbulent air) and then cut down mics. 

Is there a way to layer up in engine? so say I want the 60 floor and 20 gallery on the same key could I do that, or would I need 2 SFEngine instances and just record enable them together?

-DJ


----------



## august80

charlieclouser said:


> I agree. When people post under their real name, like Daniel James, christianhenson, and a few others, then I can figure out who they are, and make a better judgement about how much attention I should pay to what they say.



As a fellow anon, it really doesn't make much difference to me. Either a person makes a good point or doesn't make a good point. It makes little difference to me whether a testimonial / statement / argument comes from a known source or an anonymous person...at some point I will have to confirm the claim on my own time, or using my own money and resources. I've often received terrible advice from extremely successful well known people, and amazing advice from complete unknowns.

What you're talking about is the foundation of a lot of marketing though. Regardless of whether a product is of high quality, if you get a famous / reputable person backing it, or putting their name on it, it will sell better. Perfume, insurance, audio plugins, cars, sex positions, movies, drugs, lifestyle. Branding is a bit of a racket. Consumers are consistently suckers for this stuff, as I'm sure anyone who has invested in "Beats by Dre" or "Sylvester Stallone's Protein Pudding" can attest. I regularly see reputable A-list Oscar-winning actors promoting crappy movies, helping the studio sell as many tickets as possible on opening weekend before the reviews come in and word of mouth kills the momentum. 

This whole thread is about a product that you can't currently buy, that is expensive for most, of which there are no demos from real-world use, no reviews...and you can't return it if it sucks. The discussion also includes those with a vested interest promoting it, and those without a vested interest having never tried it. It's like Laurence Fishburne, Jeremy Irons, Holly Hunter, Diane Lane and Amy Adams telling you that their next movie is amazing. Must be - those are some very reputable names! Then the movie you see is Batman vs. Superman.

I think a bit of caution is always warranted no matter who's involved in the discussion. When it comes to spending money (in this case, probably a decent chunk of change for many customers), my advice would be to never purchase anything on pre-order unless you can afford the loss. Always try to test the product yourself, and if that's not possible, look for as much real world usage / reviews as time allows in order to gauge usability for YOU personally. Treat it like any other investment, and always avoid marketing blather & brand name hype.



charlieclouser said:


> "Complaints flow upwards, wisdom flows downwards."



I would switch this to "Money flows upwards, risk flows downwards." And people who want to make money try to make you forget about the 2nd part.


----------



## christianhenson

Hey August, my one observation from your post is Dre didn't invent headphones, Stallone didn't invent perfume, but Hans is actually a technologist. As far as I'm concerned Hans invented orchestral sampling in the way we use it today. We copied his techniques and ideas for years, and Paul and I have a daily cognitive dissonance that we have now become collaborators. To suggest a project like this is a marketing exercise is.... well.... there's cheaper ways of doing that! I'll say this 'til I'm blue in the face, but all we're doing here is making stuff we want to use and seeing how far we can push the envelope. The marketing efforts that accompany these are a result of Will Evans observing our enthusiasm for what we did. His input started with Tundra and continues to the mega event we created for Hans, because Paul and I know we probably will never ever dare something this big again. 

Much love.

C. x


----------



## CT

Andy's demo has to be some of the best sounding sampled strings I've ever heard. Did I see someone say it was the weakest of the three earlier in the thread? My ears must be going if that's true.


----------



## FriFlo

august80 said:


> As a fellow anon, it really doesn't make much difference to me. Either a person makes a good point or doesn't make a good point. It makes little difference to me whether a testimonial / statement / argument comes from a known source or an anonymous person...at some point I will have to confirm the claim on my own time, or using my own money and resources. I've often received terrible advice from extremely successful well known people, and amazing advice from complete unknowns.


I completely agree, yet, if you read what gets written in this forum, I sometimes get the feeling that this is not what most people do, because thinking about stuff, forging an opinion and having the guts to stand up for that is not what is comfortable and easy to do. They just float along with the tide, repeat what is obvious, not offensive and political correct (at least in their mind). And it has come this far, that you get bitten and spat at by those people for speaking out an uncomfortable truth.


----------



## Christof

miket said:


> Andy's demo has to be some of the best sounding sampled strings I've ever heard. Did I see someone say it was the weakest of the three earlier in the thread? My ears must be going if that's true.


Funny, I thought the same when I heard all 3 demos, Andy's is (for me) the weakest in terms of realism, this surprised me because I love his mockup work.
I like Christians (the teaser cue) most, it has something very special.


----------



## Ashermusic

christianhenson said:


> I'll say this 'til I'm blue in the face, but all we're doing here is making stuff we want to use and seeing how far we can push the envelope.
> 
> C. x




I totally accept that personally, Christian.


----------



## Darren Durann

Sometimes I wonder if accusing people of online dishonesty is like handing out speeding tickets at the Indy 500 (thank you, Stephen King).

Anyhoo, I luckily have a producer friend who's scooping this library up, so I'm happy I can fool with it before considering buying. As I mentioned, the fact that this is a dry library....I can't help but be interested in that. If it was another baked in deal I would have so passed...right off.


----------



## rottoy

miket said:


> Andy's demo has to be some of the best sounding sampled strings I've ever heard. Did I see someone say it was the weakest of the three earlier in the thread? My ears must be going if that's true.


Saying an Andy Blaney demo is the weakest of the competition, that's like calling Usain Bolt slowest in a race with stoned octogenarians.


----------



## desert

Okay, so from the responses it’s safe to assume this was just commissioned by Hans and SF used his advice on how to record it.

Unless of course I am wrong, please tell me what makes this “hans” strings.


Thank you


----------



## prodigalson

desert said:


> Okay, so from the responses it’s safe to assume this was just commissioned by Hans and SF used his advice on how to record it.
> 
> Unless of course I am wrong, please tell me what makes this “hans” strings.
> 
> 
> Thank you



What would you imagine is required for it be "Hans" strings?


----------



## rottoy

prodigalson said:


> What would you imagine is required for it be "Hans" strings?


Some dodgy questions to the string players, perhaps?


----------



## Paul Thomson

desert said:


> Okay, so from the responses it’s safe to assume this was just commissioned by Hans and SF used his advice on how to record it.
> 
> Unless of course I am wrong, please tell me what makes this “hans” strings.
> 
> 
> Thank you



It’s been explained several times. 

Your constant harping and rude innuendo and accusations are very boring, “desert”. 

If you have any genuine questions I’d be happy to answer them. 

P


----------



## desert

Paul Thomson said:


> It’s been explained several times.
> 
> Your constant harping and rude innuendo and accusations are very boring, “desert”.
> 
> If you have any genuine questions I’d be happy to answer them.
> 
> P


Ok, thanks, Paul for your reply. It was a genuine question. Just like HWS had heavily involvement with Thomas Bergersen, Nick Phoenix and Shawn Murphy, it’s important to me as a customer to understand what I’m buying truely had involvement from what it is marketed as.

I think we’re allowed to ask that question


----------



## Soundhound

There are now 36 pages of comprehensive answers to this question. Plus a shit ton of intrigue, drama and hilarity at no extra charge (that I'm aware of). Well worth your time to read it all if you're truly interested in the library.


----------



## Kony

charlieclouser said:


> I agree. When people post under their real name, like Daniel James, christianhenson, and a few others, then I can figure out who they are, and make a better judgement about how much attention I should pay to what they say. Other than Rctec, which is well known to be the account HZ posts under (and maybe a few others I can't think of right now), usually when someone's posting under an anonymous forum handle we're not given any reason to assume any level of experience that would back up whatever random crap they post - so every post from an anonymous source is equally as important as any other.... which is to say, not very. In the flood of bitching and moaning on forums like this, some bitches stand out as being worthy of paying attention to - and it's rarely the ones done anonymously. To me anyway. Unless they write, directly in the post, their entire life story. If HZ says he likes to position the mics a certain way, I'm far more likely to pay attention than if it's some rando, because I know he's tried mic positions X, Y, and Z, and he's got the experience that gives his statements weight. Or, at least, enough weight to enter the arena for consideration (or rejection!).
> 
> It's like when you dip into some GS thread about the newest Neve 1073 clone from Warm Audio or whoever, and someone writes a long-ass post about how great they think the clone is, and the post starts with: "I've never used a real 1073, but..."
> 
> Blah blah blah. More internet noise.
> 
> When it's equally likely that an anonymous poster is a successful composer with a massive track record as it is that they're a hobbyist with six months using a cracked copy of FruityLoops, you either wind up paying attention to a bunch of bullshit or ignoring a bunch of real, useful information - and it's hard to avoid doing both at the same time! That sense of anonymity and "democracy" is liberating for some, and I guess it's sort of the original point of anonymous internet discussion boards, but that's why sooner or later every thread starts to look like Reddit or 4chan - just a swamp of trolls and shit-posters, spewing misspelled nonsense with no consequence, and the occasional nugget of useful info.
> 
> I post under my real name, because I have no problem being held accountable for my words and actions - I can't really feel comfortable with any other way of doing it. To me, anything else is not communicating, it's anonymous scribbling on bathroom walls. And I don't put much weight behind what I read on bathroom walls.
> 
> It's graffiti - fun to look at, but I don't want to take advice from it.


It shouldn't make a difference whether a person posts under a real name or not. I'm reminded of an academic paper written by Charles Taylor called "Interpretation And The Sciences of Man" - the thrust of which is: one always has to make a distinction between the sense or coherence being made, and its embodiment in a particular series of clarifyers or signifiers - which is a roundabout way of saying separate the message from the messenger. In this context, I'm not looking at the person's name, but what they are saying.


----------



## Mateo Pascual

desert said:


> Okay, so from the responses it’s safe to assume this was just commissioned by Hans and SF used his advice on how to record it.
> 
> Unless of course I am wrong, please tell me what makes this “hans” strings.
> 
> 
> Thank you



He has already explained it was an idea he had and Paul and Christian expanded on it. This is not a conventional recording, so I imagine there are many things that come from his experience recording samples and particular needs. Also remember this is a HZ and SF product, so I'm sure the people at Spitfire had their own ideas as well. And anyway if this was a product Hans commisioned to Spitfire for his studio with his requirements, needs and feedback, I think it would be enough to consider it a "Hans" library, doesn't it?


----------



## Puzzlefactory

I think some people are determined to think that Spitfire have just paid Hans to use his name on the library.


----------



## Vik

desert said:


> Okay, so from the responses it’s safe to assume this was just commissioned by Hans and SF used his advice on how to record it.
> 
> Unless of course I am wrong, please tell me what makes this “hans” strings.
> 
> 
> Thank you


Personally, I’m interested in how the lib sounds and the UI; not if it’s it called ‘Hans strings’ or not. And while I don’t think that’s important for HZ either, I have no problem whatsoever with Spitfire using his name on this product - even the main motivation only would be to make sure it generates enough money to pay the players etc. 

And btw, this thread already contains explanations for why the library is called Hans Zimmer Strings. 

Will there be a purge functionality in this player, allowing the user to remove all the samples that aren’t needed from RAM?


----------



## august80

christianhenson said:


> Hey August, my one observation from your post is Dre didn't invent headphones, Stallone didn't invent perfume



I would absolutely buy 'Stallone Purfume' on pre-order. That's a Valentine's Day no-brainer. As an aside, I would definitely buy some HZ furniture. I foresee a red velvet couch, infused with stress and the tears of 100 former assistants.


----------



## s_bettinzana

miket said:


> Andy's demo has to be some of the best sounding sampled strings I've ever heard. Did I see someone say it was the weakest of the three earlier in the thread? My ears must be going if that's true.


I think the exact opposite. It is the first time that I hear an Andy’s demo not convincing at all.
So large sections are not for general purpose. In my opinion it is a niche library.


----------



## Virtuoso

desert said:


> please tell me what makes this “hans” strings.



I think you can clearly hear Hans' signature in the tail of those Col Legno Trattos...


----------



## MaxOctane

Vik said:


> Will there be a purge functionality in this player, allowing the user to remove all the samples that aren’t needed from RAM?



It's a nearly 200GB library. I'm gonna guess they remembered to implement "purge."


----------



## charlieclouser

Kony said:


> It shouldn't make a difference whether a person posts under a real name or not. ..... a roundabout way of saying separate the message from the messenger. In this context, I'm not looking at the person's name, but what they are saying.





august80 said:


> Either a person makes a good point or doesn't make a good point. It makes little difference to me whether a testimonial / statement / argument comes from a known source or an anonymous person...at some point I will have to confirm the claim on my own time, or using my own money and resources. I've often received terrible advice from extremely successful well known people, and amazing advice from complete unknowns.
> 
> What you're talking about is the foundation of a lot of marketing though. Regardless of whether a product is of high quality, if you get a famous / reputable person backing it, or putting their name on it, it will sell better. Perfume, insurance, audio plugins, cars, sex positions, movies, drugs, lifestyle. Branding is a bit of a racket. Consumers are consistently suckers for this stuff, as I'm sure anyone who has invested in "Beats by Dre" or "Sylvester Stallone's Protein Pudding" can attest. I regularly see reputable A-list Oscar-winning actors promoting crappy movies, helping the studio sell as many tickets as possible on opening weekend before the reviews come in and word of mouth kills the momentum.
> 
> ....It's like Laurence Fishburne, Jeremy Irons, Holly Hunter, Diane Lane and Amy Adams telling you that their next movie is amazing. Must be - those are some very reputable names! Then the movie you see is Batman vs. Superman.



Ya know, you go far enough down that road and pretty soon it's "There are very fine people on both sides, both sides". Americans spent the last few years thinking, "Either a person makes a good point or doesn't make a good point", without considering or researching the source, and got taken for a ride by Moscow's Internet Research Agency, and somehow we wound up with an orangutan as president! Shills, trolls, memers and shit-posters, hiding behind anonymous usernames, fucked up the whole program - while folks who instinctively don't trust anonymous info or opinion, and who want credited, named, verified sources of information are left shaking their heads, wondering how it all went so wrong. Yeah, this is stretching the analogy a bit far - but the core principles are similar. I'm a skeptic.

Being "marketed to" by celebrity endorsers is not really what I was talking about. If Laurence Fishburne is on Entertainment Tonight and says that his next movie is amazing, that's to be expected - but if I see that Roger Deakins or Harris Savides did the cinematography, at least I know it will *look* good, and that might be enough for me. Besides, marketing is not conversation - it's a loudspeaker playing slogans on loop, it's a flyer shoved under every door in the neighborhood, it's... output only. But these forums can offer some opportunity for a conversation, the ability to walk the information back a little closer to the source.

When it comes to areas of expertise that really do benefit from years of experience, and for which there are few shortcuts, like elaborate and expensive orchestral recording and sampling, then I absolutely pay more attention to those verifiable voices of experience than I would to less well-seasoned sources.

Whose opinion on a reverb or loudspeaker carries more weight - Alan Meyerson's or "banginbeats420"? Are both opinions equally valid, relevant, and useful? Consider the statement, "I like the new JBL's a lot. Plenty of bass, excellent imaging, worth a listen for sure." Coming from Alan that statement means something very different than coming from "banginbeats420", doesn't it? Because we know that it's Alan's hundredth set of speakers, and he's putting them next to some outrageous B&W rig or whatever, while "banginbeats" might have just upgraded from a pair of Rokit-5's with one pushed-in tweeter.

If HZ or Christian say, "Putting the mics by the ceiling at AIR gives a really good/bad/airy/sludgy sound", then I might file away that nugget of info - but if an anon says the exact same thing, how do I know that the statement didn't originate out his imagination, or is just a copy/paste/edit of something said by someone else in a totally different context? 

It's not always the best idea to *automatically* give equal value and trust to all information and opinion, regardless of source. To stretch the point, does an anonymous political post that originated at Moscow's Internet Research Agency carry the same weight as a sourced and signed article in the Washington Post?

But, yeah.... money flows upwards and risk flows downward for sure. That's a good one.

All this babbling aside, back to the topic of HZS:

- It does appear that the new player is *not* multitimbral but *does* offer multiple articulations in a single instance via keyswitching (and other means). This is okay by me I guess. I rarely use Kontakt in multitimbral mode anyway. Maybe this will help (force?) distribution of CPU load across multiple instances / cores?

- It appears that you *can* purge / unload the mic positions you're not using for each instance. So, that's good.

- The UI looks crisp, clear and legible - if a little dark and "tiny font-ed". At first glance, the ratio of huge swaths of empty black space to the little islands of tiny bright white text is maybe a little too far to one extreme for my taste (and aging eyes in need of bifocals!), but this isn't a deal breaker - and anyway, it's not like there's a zillion controls to manipulate. It's probably just fine. UsTwo (and SF) are not novices at this stuff. It already looks a bit easier to read than Phobos or Hexeract, so that's a good thing. 

- It appears that one can *not* get "under the hood" to adjust sample key range mapping or velocity / mod wheel crossover points between dynamic layers, and possibly cannot fully edit ADSR settings or velocity>loudness amounts. This concerns me a little bit. Probably will wind up saving me the hours I would spend tweaking, but.... if SF took the approach of not normalizing samples and thus not using any velocity > loudness modulation, then if one wants the quiet stuff to sound louder one will need to apply dynamics processing (compression, limiting) on the audio output of the player. For me this is not completely ideal. I often like to have the volume of the quietest layers raised somewhat to reduce the amount of compression I need to apply on the output. While my approach reduces the "realism" of the result, sometimes that's what I want. This isn't a deal-breaker, but will remain a minor concern until I play with the thing. It's probably fine, but I like to have the option to disturb the relationship between quiet and loud samples as I see fit. Maybe the "velocity mapped to dynamics" switch and the four velocity curves on offer will be enough for me. Probably. We'll see.

- I see that it was mentioned that the "transpose trick" is possible with the new player - where you transpose the pitch of the samples downwards while maintaining their map, to achieve a more "sludgy" sound. There is a "tune" knob at the top of the player's GUI, but it's not mentioned in the manual what the range of this knob is - it might just be a fine-tune control and not offer +/- 36 semitones of pitch control like you get in Kontakt - and it's not immediately clear how this control and the "transpose" control in the technique selector interact. Again, I'm neutral on this aspect until I play with the thing.

- In the "options" in the technique selector there are controls for things like "neighboring zone RR" and those kind of "round robin tricks" that a lot of us like to use. So that's a great thing to have since we can't get under the hood.

- The "tightness" control in the UI appears to be a "sample start point adjustment" and not a "time machine" type deal that would time-compress the samples to adjust length and tightness. I actually like having those TM versions of the short articulations in SF's Kontakt libraries, and although it can sound processed, I do use that approach sometimes. Maybe the new player doesn't have any kind of time-stretching in it at all (yet?). Not a deal breaker, but I would love to see something like the old Kontkat "TM-Shorts" happen.

- The variety of techniques, ensemble sizes, and mic positions on offer seems to be above reproach. Spoilt for choice in this department.

- The sound. Well, who can tell until you play it? But from the videos I watched it sounds... pretty massive, pretty great. Shorts seem tight, the weird and quiet stuff isn't coming across at minus a zillion db (which was a minor complaint I had with Tundra), and the hall sounds as huge as it is in real life. We'll see, of course, but everything I heard in those videos made me think, "ADD TO CART"!

So... well done Christian, Paul, and the whole SF team. Well done HZ.


----------



## Darren Durann

charlieclouser said:


> Ya know, you go far enough down that road and pretty soon it's "There are very fine people on both sides, both sides". Americans spent the last few years thinking, "Either a person makes a good point or doesn't make a good point", without considering or researching the source, and got taken for a ride by Moscow's Internet Research Agency, and somehow we wound up with an orangutan as president! Shills, trolls, memers and shit-posters, hiding behind anonymous usernames, fucked up the whole program - while folks who instinctively don't trust anonymous info or opinion, and who want credited, named, verified sources of information are left shaking their heads, wondering how it all went so wrong. Yeah, this is stretching the analogy a bit far - but the core principles are similar. I'm a skeptic.
> 
> Being "marketed to" by celebrity endorsers is not really what I was talking about. If Laurence Fishburne is on Entertainment Tonight and says that his next movie is amazing, that's to be expected - but if I see that Roger Deakins or Harris Savides did the cinematography, at least I know it will *look* good, and that might be enough for me. Besides, marketing is not conversation - it's a loudspeaker playing slogans on loop, it's a flyer shoved under every door in the neighborhood, it's... output only. But these forums can offer some opportunity for a conversation, the ability to walk the information back a little closer to the source.
> 
> When it comes to areas of expertise that really do benefit from years of experience, and for which there are few shortcuts, like elaborate and expensive orchestral recording and sampling, then I absolutely pay more attention to those verifiable voices of experience than I would to less well-seasoned sources.
> 
> Whose opinion on a reverb or loudspeaker carries more weight - Alan Meyerson's or "banginbeats420"? Are both opinions equally valid, relevant, and useful? Consider the statement, "I like the new JBL's a lot. Plenty of bass, excellent imaging, worth a listen for sure." Coming from Alan that statement means something very different than coming from "banginbeats420", doesn't it? Because we know that it's Alan's hundredth set of speakers, and he's putting them next to some outrageous B&W rig or whatever, while "banginbeats" might have just upgraded from a pair of Rokit-5's with one pushed-in tweeter.
> 
> .



All respect, it looks like you've expended a bit of energy on this subject. Nothing against your perfectly valid reasoning, but you made your point awhile ago. Maybe start another topic on it...it seems from here that it might fly.


----------



## windyweekend

There's been lots of good content here (on the product and the philosophy behind it), but fuck me, I'm exhausted reading this thread. The galleries sound delicious enough to make me want it but I'll probably take my cello into the church down the road to see if I can record it with the same mic 60 times to see what I can do myself on the cheap. When I come back disheartened in 6 months and decide to buy the product because the diy job was too much effort, I really hope you lot aren't still going on this thread.


----------



## muziksculp

Q. If you heard the three demos posted by Spitfire Audio of HZ Strings, (without knowing any of of the library details/info. in advance ) would you have guessed the number of string players playing in the demo tracks, i.e. 150+, or 200+ , or .... string players ?


----------



## charlieclouser

Darren Durann said:


> All respect, it looks like you've expended a bit of energy on this subject. Nothing against your perfectly valid reasoning, but you made your point awhile ago. Maybe start another topic on it...it seems from here that it might fly.



Yeah, you're right. I made my point. I do type fast though, and I'm just sitting here watching progress bars creep across the screens for a file backup! But I can't wait to get my hands on HZS. I'm sure it will be a big seller. Let's just hope that the more advanced VEPro / slave users out there will have no issues with the new player.


----------



## Geoff Grace

charlieclouser said:


> (Snip) back to the topic of HZS:
> 
> - It does appear that the new player is *not* multitimbral but *does* offer multiple articulations in a single instance via keyswitching (and other means). This is okay by me I guess. I rarely use Kontakt in multitimbral mode anyway. Maybe this will help (force?) distribution of CPU load across multiple instances / cores?
> 
> - It appears that you *can* purge / unload the mic positions you're not using for each instance. So, that's good.
> 
> - The UI looks crisp, clear and legible - if a little dark and "tiny font-ed". At first glance, the ratio of huge swaths of empty black space to the little islands of tiny bright white text is maybe a little too far to one extreme for my taste (and aging eyes in need of bifocals!), but this isn't a deal breaker - and anyway, it's not like there's a zillion controls to manipulate. It's probably just fine. UsTwo (and SF) are not novices at this stuff. It already looks a bit easier to read than Phobos or Hexeract, so that's a good thing.
> 
> - It appears that one can *not* get "under the hood" to adjust sample key range mapping or velocity / mod wheel crossover points between dynamic layers, and possibly cannot fully edit ADSR settings or velocity>loudness amounts. This concerns me a little bit. Probably will wind up saving me the hours I would spend tweaking, but.... if SF took the approach of not normalizing samples and thus not using any velocity > loudness modulation, then if one wants the quiet stuff to sound louder one will need to apply dynamics processing (compression, limiting) on the audio output of the player. For me this is not completely ideal. I often like to have the volume of the quietest layers raised somewhat to reduce the amount of compression I need to apply on the output. While my approach reduces the "realism" of the result, sometimes that's what I want. This isn't a deal-breaker, but will remain a minor concern until I play with the thing. It's probably fine, but I like to have the option to disturb the relationship between quiet and loud samples as I see fit. Maybe the "velocity mapped to dynamics" switch and the four velocity curves on offer will be enough for me. Probably. We'll see.
> 
> - I see that it was mentioned that the "transpose trick" is possible with the new player - where you transpose the pitch of the samples downwards while maintaining their map, to achieve a more "sludgy" sound. There is a "tune" knob at the top of the player's GUI, but it's not mentioned in the manual what the range of this knob is - it might just be a fine-tune control and not offer +/- 36 semitones of pitch control like you get in Kontakt - and it's not immediately clear how this control and the "transpose" control in the technique selector interact. Again, I'm neutral on this aspect until I play with the thing.
> 
> - In the "options" in the technique selector there are controls for things like "neighboring zone RR" and those kind of "round robin tricks" that a lot of us like to use. So that's a great thing to have since we can't get under the hood.
> 
> - The "tightness" control in the UI appears to be a "sample start point adjustment" and not a "time machine" type deal that would time-compress the samples to adjust length and tightness. I actually like having those TM versions of the short articulations in SF's Kontakt libraries, and although it can sound processed, I do use that approach sometimes. Maybe the new player doesn't have any kind of time-stretching in it at all (yet?). Not a deal breaker, but I would love to see something like the old Kontkat "TM-Shorts" happen.
> 
> - The variety of techniques, ensemble sizes, and mic positions on offer seems to be above reproach. Spoilt for choice in this department.
> 
> - The sound. Well, who can tell until you play it? But from the videos I watched it sounds... pretty massive, pretty great. Shorts seem tight, the weird and quiet stuff isn't coming across at minus a zillion db (which was a minor complaint I had with Tundra), and the hall sounds as huge as it is in real life. We'll see, of course, but everything I heard in those videos made me think, "ADD TO CART"!
> 
> So... well done Christian, Paul, and the whole SF team. Well done HZ.


Very informative! The signal to noise ratio of this thread just improved. Thanks, *Charlie*.

Best,

Geoff


----------



## tmhuud

(Wow. So many Soap Box posts.) Congrats Spitfire!

The library looks amazing. Best of luck with it! Looking forward to using it on the next project.


----------



## jononotbono

tmhuud said:


> (Wow. So many Soap Box posts.) Congrats Spitfire!
> 
> The library looks amazing. Best of luck with it! Looking forward to using it on the next project.



What's a "Soap Box post" mean? Curious.


----------



## jononotbono

AlexanderSchiborr said:


> Musical choices are made - at least how I see music - in the composition / style of orchestration but not in the sound of a library (as I anways define music differently than you). But as we all know, right, we are anyways coming from total different schools of thoughts so its fine. Enjoy.



Yes, we do come from different schools of thought when it comes to how we "see music" and "define music". For a start, I usually hear it. Unless I'm mixing. Then I'm definitely looking at it - Shapes and shit. 

And defining it? Well, music is music. That's how I define it. The End.

A Sample Library is a musical instrument. You may think the "sound" of a library may not be why your musical choices are made but that's your choice. Stick to Pencil and Paper. Nobody cares (except for you). Do what you want but when you are ready to write music that literally can't be written down on paper, then it might be a very interesting and creative time for you. As an example, imagine trying to notate Tom Morello's (Rage Against the Machine) guitar work on a piece of paper! Useless. Pointless. Futile. Fun (?) (if you're bored) no doubt. I'm sure Tom Morello has never bothered to do so.

"Style of Orchestration"... Why does everything revolve around orchestration? And if everything did, then just actually record the real thing. Record an actual Orchestra!!! I now know that samples and the real thing are worlds apart (yes, 
I have finally experienced my first live orchestral recording sessions in December 2017 - it blew my mind). And after I still love both. You can do so much (limited to your own imagination obviously) with a sample library and the fun begins, in my opinion when you're not trying to emulate the real thing but actually just doing your own thing. Which, let's face it, is the entire point of HZ Strings. Realism? Go and record the real thing. Creativity? Buy everything, use nothing, use everything, turn the brain on or off. Write, drink, do whatever it takes to write the music from you head. Whatever. It's none of my business how your brain works. It sounds like your musical choices are the choices other people have already made. Nothing to do with buying a musical instrument.

"Stop trying to hit me and hit me" - Matrix

The only school of thought someone should have is that music is music.


----------



## Geoff Grace

jononotbono said:


> What's a "Soap Box post" mean? Curious.


soapbox

Full disclosure: I used to post as "soapbox" on several music forums in the early 2000s, before I decided to simply post as myself.

Best,

Geoff


----------



## christianhenson

I have to thank you for helping me write the script for my next vlog! Here's a VI-C exclusive (and so you don't have to put up with my ugly mug saying it on some mountain!)

_"I think what is not understood about what we do, whether it be composition or sampling is that the process evolves over many years. Just like a sushi chef that takes ten years to learn how to make rice. Or a shoaling monk who spends several decades learning how to throw a needle through a pane of glass. What Hans offers the collaboration is decades worth of Kaizen. Kaizen is the concept of small iterative improvements. It is rarely pointed out that Hans is hugely faithful to the people he works with, and he is rewarded for that in the returns he gets for applying small iterative improvements and countless experiments together with them not only over many years but over an eye watering number of hugely successful projects. 

Spitfire has an advantage over other devs entering the space say this year, because we have ten years of intense experience, personal and financial investment on over a hundred libraries. This is probably well over our 20th string library, do we release too much, or are we constantly improving our work, testing the boundaries and coming up with new ideas in order to broaden our knowledgeable and understanding of what just works? Getting our sushi rice just right. At first shamelessly but respectfully copying Hans and then evolving into our own respected approach that is subtly different. This is what we bring together here. 

Faithful collaborations over epochs create a form of communication and a short hand that is understood. So when I ask an engineer for more ’splosh’ he knows I mean the same as ‘gravy’ or indeed reverb. That is my reward for investing time with her or him, a short hand, an understanding, a method. I employ the same orchestrator time and time again because we have invested in each other and are able to improve from our joint experience on every project because the unsaid is not the unknown but the known doesn’t need to be said. Instead of spending sessions saying ‘no I didn’t mean that’ we spend sessions going ‘oooh that was nice we should do more of that on the next one’.

So with Hans, on this series of recordings that took over 18 months we consulted with him on choice playing styles and how to approach them, of technicians and players, we used his fixer, so you have Mary Scully leading the basses having not only worked on countless Hans sampling sessions but also hundreds of recording sessions for scores of scores. We and the troops assembled employed his shorthand, his method whether that be with his conductor, his engineer Geoff all the way through to the assistants. Whilst Hans is a strong and visionary field marshal he also has his generals which he talks intensely and closely with, and by assembling those generals all of those decades of conversations, of experiments of Kaizen is mobilised to deliver a tool that Hans uses and feeds back on. A leitmotif on these sessions was “I tell you what Hans really likes is when you…”. 

Spitfire brings to the table an ability to help produce recordings and a system of approaching and planning sessions that has been carefully perfected over a decade of creating huge numbers of libraries by some very talented and intelligent young individuals. Our systems and approach to post-production is a hugely refined one and our ‘agile’ approach to creating instruments via a series of well planned 'sprints' mean we’re able to take the wooden spoon out of the pot to try the sauce within days. Which means we get to apply a little more turmeric here leave off the salt there until we have the finished product we all desire.

This is why we created HZS from the ground up we wanted the software to respond to the very defined needs of this library, just like we did with Phobos. We wanted to not only be in control of the whole dish, we wanted to be in control of how it is served up, golden plated cloche and all.

Financially the project is a joint venture, I won’t explain the intricacies of that as that is our business, but it is also well known that we pay musicians and technicians royalties, and that is no exception here Hans wholeheartedly supports that as part of our combined business plan.

I guess what I’m saying is you could try and pay Hans for his name, go to some concert venue in the Czech republic and pay some impoverished musicians a few crowns to over track them for a few weeks. You could study Hans’ scores and get a rough idea how he may have done certain stuff. But I fear your audience would not only hear the contrivance they would feel it, because they wouldn’t feel all of those decades of experience coursing through every player, every mic position and stroke of the baton. They wouldn’t feel the thousands of conversations, the debates, the nerdy post mortems, the short hand, the method. I’ll say this a thousand times 50% of what we do is sound, 50% is feeling and no matter how hard you try to imitate a room, or bypass the experience gained through serious hard work and successful endeavour, your user, your audience will FEEL it. Kind of like the kind of sushi you get out of a refrigerator in a chain sandwich shop; it has all the same ingredients and is bearable to eat but what makes it so entirely different to the sushi at Jiro. Well its all about the rice."_


----------



## Geoff Grace

Well put *Christian*. It's an apt analogy and a good insight into your process.

And my guess—both judging from what I know of you, as well as from my own past experience in the record industry—is that you probably work a lot more than 40 hours a week (60-80 hours, I'm guessing). That work ethic elongates the experience you've accumulated in the past decade well beyond that of a typical 9-5 job.

Best,

Geoff


----------



## Kony

charlieclouser said:


> Ya know, you go far enough down that road and pretty soon it's "There are very fine people on both sides, both sides". Americans spent the last few years thinking, "Either a person makes a good point or doesn't make a good point", without considering or researching the source


The irony here is I had no idea who you were until recently, but had formed my own limited opinion of you prior to that - based on your insightful posts on hardware/software etc - as a knowledgeable, experienced person on VI matters to be taken seriously. All based on your posts, not on who you might have been. I later found out your background after seeing posts here on VI-C about you. Until that point, you were also "anonymous" ... I even thought your name was made-up ... But you obviously knew what you were talking about....


----------



## Fry777

In an attempt to get back on topic :
@SpitfireSupport @christianhenson would you have time to answer these questions please ? 



SpitfireSupport said:


> The number of round robins varies by technique, the short notes have up to 8 round robins.



Thank you.
What about the number of RR for each legato patch ?
(By the way, is there a list containing that detailed info somewhere ? As it's not in the manual)

I understand the special articulations are the focus of the videos, and they sound beautiful, but would you consider doing one about the legatos too ?

Also, could you tell us more about the CPU activity when using the new engine and having several instances of it opened (since it's not multitimbral from what I understand) ? It seems to be varying quite a bit in the walkthrough.


----------



## christianhenson

Hery Fry, we have oodles of content planned so keep an eye out here, or on our YouTube site. Each beta iteration I'm seeing is returning more and more incredible performance results so once we have final 'lock' we'll offer up some more scientific bench tests.

I'm currently working on a vid showing how I wrote the trailer music and will also be doing a special on shorts and how to use the different bands.

The customer experience team are going to be working on more nuts and bolts raw facts stuff and Homay is going to film the masterclass she presented at Air the other night.


----------



## jononotbono

Kony said:


> I even thought your name was made-up .



Yours isn't? I mean, you're proud to be a war criminal from Uganda? Kony? Seriously.

Yeah, the name "Charlie Clouser" sounds made-up? Kony?

Something that is totally made up... Charlie Clouser + Hans Zimmer + Spitfire Audio = More financial tears.


----------



## NoamL

august80 said:


> This whole thread is about a product that you can't currently buy, that is expensive for most, of which there are no demos from real-world use, no reviews...and you can't return it if it sucks. The discussion also includes those with a vested interest promoting it, and those without a vested interest having never tried it. It's like Laurence Fishburne, Jeremy Irons, Holly Hunter, Diane Lane and Amy Adams telling you that their next movie is amazing. Must be - those are some very reputable names! Then the movie you see is Batman vs. Superman.



The difference people are not getting in this thread is that a movie, or other entertainment product, was made for the audience and nobody else.

This product is a tool that was made for HZ to his specs. He already put it in a movie that grossed $500 million. Now you get it second hand less than a year later. 

The same goes for that orchestral swarms library Spitfire made for the BF guys for their television work.

These commissioned libraries with timed exclusivity deals are actually really smart. *It benefits everyone.* Spitfire gets some much needed up front financial certainty, the public gets envelope pushing sounds, and the pros gets something too, I bet.That could be a discount on the commission or maybe profit participation when the library goes public. Just a guess; it's not our place to know.

Here's the bottom line though. Without those kind of partnerships, it's starting to look like a very risky landscape for developers. I think the heyday of developers betting it all on the public release is over. The market's too crowded for that.



Christof said:


> Funny, I thought the same when I heard all 3 demos, Andy's is (for me) the weakest in terms of realism, this surprised me because I love his mockup work.
> I like Christians (the teaser cue) most, it has something very special.



Yeah agreed. He's written other demos that are tremendous, like "Kraken" for BML.



charlieclouser said:


> Ya know, you go far enough down that road and pretty soon it's "There are very fine people on both sides, both sides". Americans spent the last few years thinking, "Either a person makes a good point or doesn't make a good point", without considering or researching the source, and got taken for a ride by Moscow's Internet Research Agency, and somehow we wound up with an orangutan as president! Shills, trolls, memers and shit-posters, hiding behind anonymous usernames, fucked up the whole program - while folks who instinctively don't trust anonymous info or opinion, and who want credited, named, verified sources of information are left shaking their heads, wondering how it all went so wrong. Yeah, this is stretching the analogy a bit far - but the core principles are similar. I'm a skeptic.



@charlieclouser , I more or less agree with you. Attribution and expertise are important for sure! The difference is on VI-C we can judge each other by our work as well as our words. I don't have a clue who this @muk guy is in real life. But I know he or she has written multiple mockups that had great nuance, detail and musical feeling. When I see that username giving an opinion on something I sit up and listen. I do not need to know who they are in real life.


----------



## AlexanderSchiborr

jononotbono said:


> Yours isn't? I mean, you're proud to be a war criminal from Uganda? Kony? Seriously.
> 
> Yeah, the name "Charlie Clouser" sounds made-up? Kony?
> 
> Something that is totally made up... Charlie Clouser + Hans Zimmer + Spitfire Audio = More financial tears.



Honestly..I would advice you not to make up so many conclusions about people you don´t know and even put things in others peoples mouth what they never have said. I first wanted to answer your comment (about my post) but actually I think it is just the way how you are and respond in general. I mean who said Kony (the member) is referring with his nick to Joseph Kony and even worse: Who the fuck thinks or said he is even proud of??? Whats going on with these comments here all the time from you? Do you have to proove something? Why do you think to defend everything, is someone attacking somebody or you? You often say that idiocy is not cool. I agree with you. But comments like that won´t show that you do it better imo. It is a bit strange to me to say at least. Correct me if I am wrong.


----------



## Kony

Thanks Alexander - I was in the process of responding but you summed it up better


----------



## jononotbono

AlexanderSchiborr said:


> Honestly..I would advice you not to make up so many conclusions about people you don´t know and even put things in others peoples mouth what they never have said. I first wanted to answer your comment (about my post) but actually I think it is just the way how you are and respond in general. I mean who said Kony (the member) is referring with his nick to Joseph Kony and even worse: Who the fuck thinks or said he is even proud of??? Whats going on with these comments here all the time from you? Do you have to proove something? Why do you think to defend everything, is someone attacking somebody or you? You often say that idiocy is not cool. I agree with you. But comments like that won´t show that you do it better imo. It is a bit strange to me to say at least.



You've lost me. I have no understanding what you are talking about. I haven't made up anything. Unlike yourself.

"I would advice you not to make up so many conclusions about people you don´t know and even put things in others peoples mouth what they never have said."

I haven't

"I first wanted to answer your comment (about my post) but actually I think it is just the way how you are and respond in general."

Then do. Actually do that. I haven't put anything into anyone's mouth. "The way how you are and respond in general"... What? With absolutely positivity? Yeah, sorry. Guilty. How do you respond to people? Yeah, check yourself out. Could be interesting for you (it won't be for me)

"I mean who said Kony (the member) is referring with his nick to Joseph Kony"

We (not you) are talking about anonymity and using fake names. Why is it difficult to assume someone called "Kony" isn't referring to Joseph Kony? Would you think the same if someone called themselves "Hitler"? Just a fake name right?

"Who the fuck thinks or said he is even proud of???"

Have I even said the word "proud". No. Just more made up stuff from your brain.

"Whats going on with these comments here all the time from you?"

What comments "all the time" from me? I wasn't aware I have always been commenting on anything in particular. Sorry if you don't like what I say. Well, actually, I'm not sorry. I'm not aware I ever actually say anything offensive. Hope that helps.

"Do you have to proove something?"

Nope. Only that the correct spelling is "Prove". But hey, you probably know that now.

"Why do you think to defend everything, is someone attacking somebody or you?"

I'm not defending anyone, anything and I haven't once even thought someone is attacking me. What actually are you talking about? Truly, you have lost me. As I already said.

"You often say that idiocy is not cool. I agree with you. But comments like that won´t show that you do it better imo. It is a bit strange to me to say at least."

I have said "There is nothing cool about idiocy" ONCE. Not often. Not sure why you would make this up. "Often"? And yes, you have proven my point. Stop being an idiot. It's not cool.

And @Kony. I'm not saying you are Joseph Kony but you probably understood this anyway.

Thanks


----------



## AlexanderSchiborr

jononotbono said:


> You've lost me. I have no understanding what you are talking about. I haven't made up anything. Unlike yourself.
> 
> "I would advice you not to make up so many conclusions about people you don´t know and even put things in others peoples mouth what they never have said."
> 
> I haven't
> 
> "I first wanted to answer your comment (about my post) but actually I think it is just the way how you are and respond in general."
> 
> Then do. Actually do that. I haven't put anything into anyone's mouth. "The way how you are and respond in general"... What? With absolutely positivity? Yeah, sorry. Guilty. How do you respond to people? Yeah, check yourself out. Could be interesting for you (it won't be for me)
> 
> "I mean who said Kony (the member) is referring with his nick to Joseph Kony"
> 
> We (not you) are talking about anonymity and using fake names. Why is it difficult to assume someone called "Kony" isn't referring to Joseph Kony? Would you think the same if someone called themselves "Hitler"? Just a fake name right?
> 
> "Who the fuck thinks or said he is even proud of???"
> 
> Have I even said the word "proud". No. Just more made up stuff from your brain.
> 
> "Whats going on with these comments here all the time from you?"
> 
> What comments "all the time" from me? I wasn't aware I have always been commenting on anything in particular. Sorry if you don't like what I say. Well, actually, I'm not sorry. I'm not aware I ever actually say anything offensive. Hope that helps.
> 
> "Do you have to proove something?"
> 
> Nope. Only that the correct spelling is "Prove". But hey, you probably know that now.
> 
> "Why do you think to defend everything, is someone attacking somebody or you?"
> 
> I'm not defending anyone, anything and I haven't once even thought someone is attacking me. What actually are you talking about? Truly, you have lost me. As I already said.
> 
> "You often say that idiocy is not cool. I agree with you. But comments like that won´t show that you do it better imo. It is a bit strange to me to say at least."
> 
> I have said "There is nothing cool about idiocy" ONCE. Not often. Not sure why you would make this up. "Often"? And yes, you have proven my point. Stop being an idiot. It's not cool.
> 
> And @Kony. I'm not saying you are Joseph Kony but you probably understood this anyway.
> 
> Thanks




Oh boy, allright, I think there is nothing more to add to this. I think you proved enough here to me, man. :D And sorry for the misspelled word. I am really sorry.


----------



## Kony

jononotbono said:


> Yours isn't? I mean, you're proud to be a war criminal from Uganda? Kony? Seriously.





jononotbono said:


> Have I even said the word "proud". No. Just more made up stuff from your brain.





jononotbono said:


> And @Kony. I'm not saying you are Joseph Kony but you probably understood this anyway.


Actually, I don't understand. Part of me is wondering why you reacted so negatively to a basically flattering comment to someone else, part of me is wondering why you assumed I opted to be named after a Ugandan warlord, and part of me is wondering whether this is going to deteriorate into a debate on the merits of choosing a name with bono in it:

https://www.theguardian.com/comment...poorest-glastonbury-avoidance-paradise-papers

https://nypost.com/2017/11/11/the-hypocrisy-of-bono-and-his-one-charity/

https://www.cbsnews.com/news/bono-incites-backlash-after-putting-down-girly-music/


----------



## jononotbono

Haha! Amazing. 

Back to HZ Strings. They sound amazing.


----------



## jules

Edit. 
Back on topic.


----------



## AdamKmusic

Back on topic,

I hope we get a behind the scenes making of and some interviews similar to the HZperc videos!


----------



## august80

@charlieclouser Hmm. I don't think this requires too much thought Mr. Clouser. Being cautious about investing in a product shouldn't be a controversial opinion, no matter who is behind that product. Unfortunately, we are in an industry where test-driving products is rarely possible, and where pre-orders are incentivized. Relying on 3rd party walkthroughs, aggregate reviews, public discussion from real-world users is fairly important.

By 2018, something like Best Service's 'Try Sound' should really be standard and functional. It mitigates most of the risk to the developer, and gives the consumer at least some hands on incite into what they might be buying. Literally anything is better than the current "buy and pray" method. I doubt many people would invest $500+ into a microphone that they've never used personally, that can't be refunded or resold, is built on a new form factor, even if it was endorsed by someone they admire. Although some people have money to burn and like living on the edge. Ha. 

As for your "this leads down the path to good people on both sides" - you're confusing skepticism with false equivalence. These are not remotely the same thing. Experts can and do make mistakes. They can be biased. They can be irrational. They can have motives that put the consumer / audience / public's interest second. We have methods to reduce error, deception and bias. Scientists, journalist, academics all use these methods. Consumers can use them too. 

Anyway. All this nonsense to say - who knows if this product is any good. It ain't out yet. Could be the second coming of Jesus; could be a buggy and unusable disaster; could be just "meh". It will be nice to see some 3rd party walkthroughs and reviews.

@NoamL said:


> The difference people are not getting in this thread is that a movie, or other entertainment product, was made for the audience and nobody else. This product is a tool that was made for HZ to his specs. He already put it in a movie that grossed $500 million. Now you get it second hand less than a year later.



And that is relevant how? Was the whole score made with this product? Or was it this product combined with the enormous resources at HZs disposal to fill in the gaps...none of which most people will have access to. 

I mean, what are people smoking around here. I feel like I stepped into a Scientology meeting.


----------



## Michael Antrum




----------



## NoamL

august80 said:


> Was the whole score made with this product?



I don't think I said it was, August... 

All I was saying is that the RemoteControl guys are invested in the quality of these Spitfire products like Orchestral Swarms because they were created for _their_ use.


----------



## mac

This is the hardest thread to follow I've ever read on vi 

Not sure if these have been covered already, but does anyone know if;

1) It will be NKS compatible?
2) The license can be transferred?
3) There will be a demo version?
4) Is there any kind of intelligent play mode which combines articulations, similar to adventure strings or performance samples?


----------



## Ron Kords

mac said:


> This is the hardest thread to follow I've ever read on vi
> 
> Not sure if these have been covered already, but does anyone know if;
> 
> 1) It will be NKS compatible?
> 2) The license can be transferred?
> 3) There will be a demo version?


I'd say it's a safe bet that 2 and 3 is a no...


----------



## Jay Panikkar

I've been looking forward to a massive-scale string library of this sort for a long time, but I'm left totally confused by the specification of HZS:

– Only one staccato "Shorts" articulation for each section? I can't see any marcato, spiccato, or any other variant of staccato bowing per section. Considering the unusual scale and sound of HZS, reaching out for some other library for bread and butter articulations does not seem ideal.

– Different staccato articulations across different sections? I don't see how using a spiccato patch from 20-player section, and a marcato patch from a 60-player section for the same performance is going to work for general use. This makes the consistency problem much worse, especially since HZS has a divisi setup. Is there some kind of Time Machine option? Also, I can't judge if there are gaps in dynamic layers on the Shorts based on the walkthrough.

– Zero round-robins and limited dynamic layers on "Longs" patches? Similar problem as above, but with sustained articulations, and Spitfire don't sample every note.

– Same concerns as above, but with Legato patches.

This seems to be a self-defeating design where one gets a _very_ intriguing divisi style setup on the surface but no means to actually use it for intricate writing (and one-off articulations in place of bread and butter material).


----------



## mac

Ron Kords said:


> I'd say it's a safe bet that 2 and 3 is a no...



Hey, you never know. I've read in the past that NI and the kontakt format held back a lot of developers from transferring licenses and offering demos. This new platform would be a viable alternative to kontakt if it does.


----------



## jamwerks

Jay Panikkar said:


> Spitfire don't sample every note.
> 
> 
> 
> Not sure you'd even want them to. Double the resources (and size) for .1% better sound.
Click to expand...


----------



## Puzzlefactory

Jay Panikkar said:


> I've been looking forward to a massive-scale string library of this sort for a long time, but I'm left totally confused by the specification of HZS:
> 
> – Only one staccato "Shorts" articulation for each section? I can't see any marcato, spiccato, or any other variant of staccato bowing per section. Considering the unusual scale and sound of HZS, reaching out for some other library for bread and butter articulations does not seem ideal.
> 
> – Different staccato articulations across different sections? I don't see how using a spiccato patch from 20-player section, and a marcato patch from a 60-player section for the same performance is going to work for general use. This makes the consistency problem much worse, especially since HZS has a divisi setup. Is there some kind of Time Machine option? Also, I can't judge if there are gaps in dynamic layers on the Shorts based on the walkthrough.
> 
> – Zero round-robins and limited dynamic layers on "Longs" patches? Similar problem as above, but with sustained articulations, and Spitfire don't sample every note.
> 
> – Same concerns as above, but with Legato patches.
> 
> This seems to be a self-defeating design where one gets a _very_ intriguing divisi style setup on the surface but no means to actually use it for intricate writing (and one-off articulations in place of bread and butter material).



They explained in one of the videos that with section sizes that large you can’t really have separate short articulations. It just blends into one big “short” articulation.


----------



## fiestared

AdamKmusic said:


> Back on topic,
> 
> I hope we get a behind the scenes making of and some interviews similar to the HZperc videos!


Oh YES, me TOO...


----------



## Rctec

fiestared said:


> for some reasons, I don't see my new text.
> 
> My question is : do the 344 players are really 344 people, or did you use the same players for recording in different positions ? I mean 20 from the 60 and so on... For myself, I don't see any prob in these, because it's the performance that matters. Thanks


Actually, it is 344 players....


----------



## muk

NoamL said:


> I don't have a clue who this @muk guy is in real life. But I know he or she has written multiple mockups that had great nuance, detail and musical feeling. When I see that username giving an opinion on something I sit up and listen. I do not need to know who they are in real life.



Now that is exceedingly kind of you @NoamL! Thanks a ton, you made my day.


----------



## Rctec

AlexanderSchiborr said:


> Musical choices are made - at least how I see music - in the composition / style of orchestration but not in the sound of a library (as I anways define music differently than you). But as we all know, right, we are anyways coming from total different schools of thoughts so its fine. Enjoy.


I totally agree with you. But I’m in the lucky position to write for life musicians, and then it becomes something slightly different: I write very much with the individual musicians in mind. I Know what sound, technique and some of their strength are, their emotional or objective style, but I try to always push them a little beyond, or forward... I’m not saying my music is hard to play, but I think that the individual musician, their instrument sound (for instance, each cellist sounds different...) plays into what i want to write... more so than even the subject of the movie I’m working on.
I always thought that part of John Williams’ incredible “Jaws” and “Close Encounter” score was very much inspired by his knowledge that he could write impossible notes for Tommy Johnson...


----------



## Rctec

prodigalson said:


> What would you imagine is required for it be "Hans" strings?


Mic’ing. Engineer (look up Geoff Foster...).Turning the player in the room around by 180 degrees from the normal “Spitfire” sound (which makes it great to use - I’ve done this - with “Spitfire”’s other libraries, because you get a 360 degree perspective, you’re ‘inside’ the orchestra). “Air” reacts very differently if you play ‘away’ from the gallery - which is my preferred setup - to ‘into’ the gallery. Players. Attitude. New sample engine. The Basses in a complete stereo field, not off to one side. Working at “Air” with intimate knowledge, because I used to hang around when they actually built the place. So I know what’s behind the walls...and pretty much knowing every face of every player...do you want me to go on?
And because we started collaborating more on a project by project basis. A lot of “Blue Planet” is an orchestral experiment that “Spitfire” did for us. As are bits of “Dunkirk”...


----------



## Rctec

august80 said:


> I would absolutely buy 'Stallone Purfume' on pre-order. That's a Valentine's Day no-brainer. As an aside, I would definitely buy some HZ furniture. I foresee a red velvet couch, infused with stress and the tears of 100 former assistants.


The tears of a hundred former directors...


----------



## OleJoergensen

rottoy said:


> Just going to take a stab in the dark here and say they are used on this track at least.



Lovley!


----------



## Niah2

From what I am reading this won't run on Win7, is this true?

Sorry if this has been answered already.


----------



## Puzzlefactory

Niah2 said:


> From what I am reading this won't run on Win7, is this true?
> 
> Sorry if this has been answered already.



I think Christian said that (win7 compatibility) will be coming in a future update.


----------



## N.Caffrey

Please can some moderators come and bring back some order? This is a commercial announcement thread and I'd really like if we could all come back on topic. Thank you


----------



## Puzzlefactory

Christof said:


> Before we go back to topic, what's your full name then?



When has this thread been on topic?


----------



## zolhof

mac said:


> Hey, you never know. I've read in the past that NI and the kontakt format held back a lot of developers from transferring licenses and offering demos. This new platform would be a viable alternative to kontakt if it does.



Hi mac, it's indeed a no for both 2 (no trial) and 3 (no refunds if you have completed the download/installation). source

At least we get to try the new engine when they relaunch Labs - now free. Sweet!


----------



## Dr Belasco

Much snow in Spitfireland.


----------



## windyweekend

I've spent much of the night contemplating whether this is really going to make any difference to the palate of SA strings libraries I already own, and whether the directors and audiences on the (occasionally alright) gorilla indie movies I score for will even notice. (There's a reason I value my digital anonymity @charlieclouser - I don't want future employers and wives to see what I've been writing in ten years time).

What I keep coming back to is


Rctec said:


> Mic’ing. Engineer (look up Geoff Foster...).


The thing I learned from the HZ01/02/03 libraries was that the mics and recording are everything. Mixing them differently will give you different feeling every time, and I'm still finding new gold for scores in those libraries after using them for years - all because of the mics and the mixes.

So will this sound different enough to SSS for me to invest, hammer, nail away with? The list of mics and where they've been placed tell me I think the answer is yes.


----------



## prodigalson

Rctec said:


> Mic’ing. Engineer (look up Geoff Foster...).Turning the player in the room around by 180 degrees from the normal “Spitfire” sound (which makes it great to use - I’ve done this - with “Spitfire”’s other libraries, because you get a 360 degree perspective, you’re ‘inside’ the orchestra). “Air” reacts very differently if you play ‘away’ from the gallery - which is my preferred setup - to ‘into’ the gallery. Players. Attitude. New sample engine. The Basses in a complete stereo field, not off to one side. Working at “Air” with intimate knowledge, because I used to hang around when they actually built the place. So I know what’s behind the walls...and pretty much knowing every face of every player...do you want me to go on?
> And because we started collaborating more on a project by project basis. A lot of “Blue Planet” is an orchestral experiment that “Spitfire” did for us. As are bits of “Dunkirk”...



Thank you sincerely Hans for responding. Though, in hindsight, I don't think my post was very clear. I was being somewhat tongue-in-cheek, poking fun at the post I quoted as it seemed he STILL, after all of the detailed insight already given by you and others about your input, to not be content with respect to what it had to do with you. 

I had meant it to be read as "What would it take to convince you?" rather than "Is there anything necessary to consider it Hans strings?"


----------



## Darren Durann

mikeybabes said:


>



This thread is...WOW. Talk about tangents.


----------



## Alex Fraser

Spitfire have gone to another level. This looks like an amazing library and props to all involved. 

Sort of gutted that I get to write orchestral stuff so infrequently, I’ll never find justification to purchase it. Ah well..


----------



## Christof

Alex Fraser said:


> Spitfire have gone to another level. This looks like an amazing library and props to all involved.
> 
> Sort of gutted that I get to write orchestral stuff so infrequently, I’ll never find justification to purchase it. Ah well..


Yes, can't wait for more videos to come!


----------



## woodsdenis

Darren Durann said:


> All respect, it looks like you've expended a bit of energy on this subject. Nothing against your perfectly valid reasoning, but you made your point awhile ago. Maybe start another topic on it...it seems from here that it might fly.


Sorry but Hans and Charlies take on things carry more weight in my opinion than 90 % of the posters in this thread. Pretty unreal comments from those who call them selves composers. Godwins Law anyone.


----------



## Christof

woodsdenis said:


> Sorry but Hans and Charlies take on things carry more weight in my opinion than 90 % of the posters in this thread. Pretty unreal comments from those who call them selves composers. Godwins Law anyone.


True, but actually there are things happening that shouldn't ever happen in a public forum.Sad.


----------



## Mateo Pascual

I keep reading questions about the implication of Hans Zimmer in the project and I welcome all the information we are getting about it. I understand the excitement behind those questions but what I think it matters the most is how much I like what's in the demos and videos? and would it complement well what I already have? do I like the sound, the articulations choosen, the bands concept, the number of players, the mic options? and what about the new sampler engine? I know HZ is a major selling point here, personally I love his works but I couldn't care less if I didn't like the sound of the library. So this is just a new tool, one that I'm very eager to have, and in my opinion has a great sound, generally smaller and silkier than I would have anticipated with the number of players, and I can hear a HZ signature in a similar way I did with The Dark Zebra for example. That's enough to me... but looking forward to the video showing the shorts in the different sections as Paul mentioned, and please do also one with the legatos if possible


----------



## fiestared

Rctec said:


> Actually, it is 344 players....





Rctec said:


> Actually, it is 344 players....



Great ! Thank you Hans for your fast answer. For me it was clear that this lib is the future, EMOTION is everything... And the sound, wow, what a tool ! We're all spoiled by possibilities, we don't realized what we have now in our bedroom studio, I began with a Teac 3340 and a MiniMoog for both I had to spend the price of a car, and now I can make Music with the best ever Strings orchestra recorded in the best studio, for $599, come on guys it's an incredible gift. Thanks and please go on making "crazy libs" like this...


----------



## Christof

Mateo Pascual said:


> I keep reading questions about the implication of Hans Zimmer in the project and I welcome all the information we are getting about it. I understand the excitement behind those questions but what I think it matters the most is how much I like what's in the demos and videos? and would it complement well what I already have? do I like the sound, the articulations choosen, the bands concept, the number of players, the mic options? and what about the new sampler engine? I know HZ is a major selling point here, personally I love his works but I couldn't care less if I didn't like the sound of the library. So this is just a new tool, one that I'm very eager to have, and in my opinion has a great sound, generally smaller and silkier than I would have anticipated with the number of players, and I can hear a HZ signature in a similar way I did with The Dark Zebra for example. That's enough to me... but looking forward to the video showing the shorts in the different sections as Paul mentioned, and please do also one with the legatos if possible


It's like any new product:You can't know how it really is unless you have it in your own hands, always a kind of risk since there is no option to demo it before purchase.I pre-ordered it yesterday without any concern because I believe in Spitfire's high quality standards and Hans Zimmers high perfection level.


----------



## Ashermusic

It isn't a library I need for the kind of music I am getting hired to write, but it _does_ sound really good.


----------



## PeterN

The ‘chaos’ of this thread should be accepted as a natural fact. Being 2018, and when you add the names “Spitfire Audio” and “Hans Zimmer”, under one product, it will create a h*ll a lot of fuzz. Same as when a typhoon blows over Manila, its just the way it is. Hold on a few days and it calms down. Better just accept it as a nature phenomenon.


----------



## jononotbono

So, we’re talking about HZ strings again yeah? Can anyone confirm if they have Time Machine Patches for the Shorts? That would be absolutely great.


----------



## Darren Durann

woodsdenis said:


> Sorry but Hans and Charlies take on things carry more weight in my opinion than 90 % of the posters in this thread. Pretty unreal comments from those who call them selves composers. Godwins Law anyone.



No need to apologize, bud. Any dumbass knows that.

That won't keep me from doing what I do. If someone doesn't like it, tough shit.

Just being forthright (too old for bullshit).


----------



## star.keys

I have never heard anything like this before. This sounds like a unique library. 

I would be very interested in purchasing this library just to feel the 'HZ's sound of 344 players under the keys' and hopefully getting some creative inspiration, even if my requirements out of a Strings sample library are very limited at the moment

Seriously guys, i don't understand why are some (a small portion) people complaining about the price or value of this product... Unnecessary discussions relayed the new sample player as if this is the first time Spitfire is in the business of making libraries and they don't understand the complexity. Move on people... Grow up, you don't have to contribute to conversations if you cannot add value


----------



## Ashermusic

Darren Durann said:


> No need to apologize, bud. Any dumbass knows that.
> 
> That won't keep me from doing what I do. If someone doesn't like it, tough shit.
> 
> Just being forthright (too old for bullshit).



Everyone has the right to express their opinion. Everyone else has the right to assign as much or little credibility to that opinion as they choose, by whatever criteria they choose.

Charlie and I are from a generation that trusts "been there, done that." Younger people may place less value on that.

I try not to let my ego get involved with it. I know what I know and what I do not, so I say what I say and people can agree or disagree. As long as I am getting paid to do what I do, why should I care either way?We are expressing opinions, not running for class president, right?


----------



## Mateo Pascual

Christof said:


> It's like any new product:You can't know how it really is unless you have it in your own hands, always a kind of risk since there is no option to demo it before purchase.I pre-ordered it yesterday without any concern because I believe in Spitfire's high quality standards and Hans Zimmers high perfection level.



Absolutely, many times we get high expectations on a new product, to find later it doesn't meets half of what we thought, but that's how it is if we can try them first. I don't have doubts that this project will be great. And I tend to highlight and use the best parts of any library I have. I don't expect to find one library to use in every situation by his own, I like layering and mixing a lot, so I'm usually happy with the products I get.


----------



## Darren Durann

Ashermusic said:


> Everyone has the right to express their opinion. Everyone else has the right to assign as much or little credibility to that opinion as they choose, by whatever criteria they choose.
> 
> Charlie and I are from a generation that trusts "been there, done that." Younger people may place less value on that.
> 
> I try not to let my ego get involved with it. I know what I know and what I do not, so I say what I say and people can agree or disagree. As long as I am getting paid to do what I do, why should I care either way?We are expressing opinions, not running for class president, right?



You put that really well. I guess I was being egotistical in that I wanted to feel as though I could help young composers. You brought something to my attention that I either deftly avoided or ignored for the sake of the goal. Why do I bother? Most folks here are going to go through their Zimmer phase (at least it seems apparent from the overall gist of this forum), but I can judge in no way on that point: I still borderline worship the golden and silver age composers.

And it hits me: if no one cares, why do this? I already have an extensive blog, etc.

I think you just helped me with a good reason to stay off here and actually find ALL the time I need for composition.

Cheers to you all, I hope all of your dreams come true! Out.


----------



## Christof

Darren Durann said:


> Most folks here are going to go through their Zimmer phase (at least it seems apparent from the overall gist of this forum), but I can judge in no way on that point: I still borderline worship the golden and silver age composers.


Very interesting point!
I don't think that this library was created to follow up with the Zimmer sound, (I know you didn't mean that either) I can imagine doing some Mahler like stuff with it as well.Actually anything.


----------



## Jaap

As I see this library its potential it is not about copying Hans his style, but to give us a tool to work and think out of the box as he has done so many times.


----------



## Puzzlefactory

Will be interesting to use the different sections.

You’ll be able to write for 1st, 2nd, 3rd and 4th violins and celli, as well as 1st and 2nd Violas without “cheating”.


----------



## Christof

Puzzlefactory said:


> Will be interesting to use the different sections.
> 
> You’ll be able to write for 1st, 2nd, 3rd and 4th violins and celli, as well as 1st and 2nd Violas without “cheating”.


Ha!
You are right!!
Never thought about this!


----------



## jamwerks

I totally get it that with so many players, multiple shorts wouldn't make sense. But I wouldn't be surprised if the shorts "shortened" by TM sounded great (and useful). If the new player doesn't yet have a TM, maybe SF could bounce some and add them as another artuculation?


----------



## jononotbono

jamwerks said:


> I totally get it that with so many players, multiple shorts wouldn't make sense. But I wouldn't be surprised if the shorts "shortened" by TM sounded great (and useful). If the new player doesn't yet have a TM, maybe SF could bounce some and add them as another artuculation?



Yeah I’m hopeful TM patches are in HZ String or at least can be added in a future release if not. The TM patches in SCS and SSS are so useful!


----------



## creativeforge

name pending said:


> Yes! I am against hiding behind pseudonyms like „RCTEC“ ...



Maybe you should rethink your perspectives. I have temporarily removed the clear intent to shock. Please choose another username name. Your username is pending. Please be wise and don't make your membership "pending" too. 

Andre
VIC Tech support


----------



## creativeforge

The member I renamed "name pending" was actually a false identity created to disrupt and troll. This user account no longer exists. I have removed all the content associate with that fake account as well. If you received any private communication from that ID, it is more than likely gone too. 

Good day to all, then, back to the real thing!  This is an awesome conversation, lots going on and candid exchanges. 
Grab a chair, not your neighbor... :emoji_couch:

Andre
VIC Tech


----------



## artomatic

Dang it! Just wasted reading 50% garbage, 25% trash and only 25% (+ or - 10) on-topic meaningful posts 
I wish I could speed read! I, for one, is so looking forward to this library, not because I want to necessarily sound like HZ (much respect), but to finally be able to "hire" these fantastic players with that gorgeous silky sound that I've always desired, from 9am to 9pm. 

Again, congrats and a big thank you to the superb Spitfire crew and HZ.


----------



## rottoy

creativeforge said:


> The member I renamed "name pending" was actually a false identity created to disrupt and troll. This user account no longer exists. I have removed all the content associate with that fake account as well. If you received any private communication from that ID, it is more than likely gone too.
> 
> Good day to all, then, back to the real thing!  This is an awesome conversation, lots going on and candid exchanges.
> Grab a chair, not your neighbor... :emoji_couch:
> 
> Andre
> VIC Tech


Fab work, André.
Juvenile nonsense of the sort perpetuated by that person don't have a place anywhere, least of all on this forum.


----------



## Iwanatsu

I went through all the available (so far) materials and I have to admit, it not only sounds fantastic, but also quite different - in an absolutely good way - from what I would imagine (knowing it's 344-piece strings library). Congratulations to everyone involved, no doubt it will be a very useful and worthwhile instrument.

At the same time, to me it's another confirmation that Spitfire is very focused on moving forward and creating more and more ambitious products (with the "more and more" part going for both the scale and the frequency of new releases). With all these impressive products (even just the most recent ones like the Orch. Swarm, Olafur Chamber Evos, now the HZS, and the choirs likely to follow soon), it again shows very clearly and makes perfect sense why we have to wait long years to have a critical bug fixed or receive the remaining part of a library: there is just no way to handle all of it, so choices have to be made.

Which is why for me, seeing such an exciting project of this magnitude (huge library AND a new proprietary plugin) is making me equally worried that it will come incomplete again, introducing even more issues to deal with, while the things I've been already waiting for so long will get postponed yet again and won't be coming any time soon. (yes, I'm talking about the long-overdue Symphonic-range extensions)

Adding to that, based on history I already know that if there is another serious problem with these new strings, the fact that it's "HZ branded" and very popular, will not necessarily help either, counter-intuitively - as was the case with the phasing issues in HZ03 where we had to wait years for a fix, which came in a form of a new release replacing the old one, while kicking the super-useful RR selection feature out in the process. So even though I personally don't have a problem with the 600 (or later 800) asking price (maybe not cheap, but seems reasonable given the scope of it), I am admittedly hesitant to spend this money, not knowing if it's been properly tested and ironed out this time. Could you please comment on that? Will this be a safe purchase?

I really mean no malice here. Ask anyone who knows me how much have I been praising, recommending to buy and loving to work with Spitfire instruments over the years (including the HZ range indeed!), because their sound is simply second to none. It is also Hans Zimmer and Spitfire who (indirectly but nonetheless) helped me grow as a composer, by enabling me (and surely many others) to create music of such sonic quality, out of a regular desktop setup. I still have a lot of love and emotional attachment for Spitfire, which will probably be hard to break, not to mention I'd be happy to have a beer with Christian and Paul anytime. Or my long-imagined and oh-how-controversial talk with Hans Zimmer, explaining why I actually don't like Beethoven that much (and here goes my chance, if any, to ever work with the Man. (Hans I mean, Beethoven might be even more unlikely)

Dear Paul & Christian and Everyone else at Spitfire, it's been I don't know how many years since I've written a post on a forum and I apologize it contains some criticism. I actually wanted to take a moment to truly and genuinely congratulate and thank you guys for everything you've done - for myself and the entire composing community. I love your instruments and have a lot of respect for what you do in-between all that (like paying musicians higher rates and regular royalties). The new HZS sounds amazing too and I can tell you honestly that I will probably buy it anyway at one time or the other. But on the other hand, I think I can say I've been rather patient and understanding for a long time, not to mention supportive by buying all those beautiful-but-buggy instruments, then writing so many reports to your support team they probably hate me.

So please, PLEASE do take proper care of your already released instruments, and for the love of anything that is holy, please do deliver the content that you already took the money for. Because I can't understand how such a seemingly decent and ethically upstanding company could do something so questionable. It just doesn't fit together.

I hope this is not off-topic, but I believe it's not - I really would love to hear from Spitfire's respectable founders to know where do we stand when it comes to delivering on both the outstanding, as well as on-going content, and ask if aside from some minor glitches (which can ALWAYS happen) can we expect that new releases (including this very HZS) are going to be solid.

Thank you for you time reading this.

Kind regards,
Henryk Iwan


----------



## blougui

Henryk, you really hope/think SA will tell you on a public forum
something like : well, HZS is not totally ironed out but despite the inevitable bugs spend 6 or 800. € and I can promise you that one day, in a near future we'll take care of theses bugs ?


----------



## Andrajas

sounds indeed lovely, I just wonder how the strings handles a bit faster tempos, would love to hear demos showcasing this


----------



## Iwanatsu

blougui said:


> Henryk, you really hope/think SA will tell you on a public forum
> something like : well, HZS is not totally ironed out but despite the inevitable bugs spend 6 or 800. € and I can promise you that one day, in a near future we'll take care of theses bugs ?


I believe they have grown big enough to be able to release products that are free of major, instrument-breaking bugs, and can afford to take care of their already released ones. And if I'm right that they are, then they certainly should, in which case it shouldn't be a problem to say it, because it's a good to say.


----------



## desert

Rctec said:


> Mic’ing. Engineer (look up Geoff Foster...).Turning the player in the room around by 180 degrees from the normal “Spitfire” sound (which makes it great to use - I’ve done this - with “Spitfire”’s other libraries, because you get a 360 degree perspective, you’re ‘inside’ the orchestra). “Air” reacts very differently if you play ‘away’ from the gallery - which is my preferred setup - to ‘into’ the gallery. Players. Attitude. New sample engine. The Basses in a complete stereo field, not off to one side. Working at “Air” with intimate knowledge, because I used to hang around when they actually built the place. So I know what’s behind the walls...and pretty much knowing every face of every player...do you want me to go on?
> And because we started collaborating more on a project by project basis. A lot of “Blue Planet” is an orchestral experiment that “Spitfire” did for us. As are bits of “Dunkirk”...


. Thank you, hans


----------



## Raphioli

Iwanatsu said:


> I went through all the available (so far) materials and I have to admit, it not only sounds fantastic, but also quite different - in an absolutely good way - from what I would imagine (knowing it's 344-piece strings library). Congratulations to everyone involved, no doubt it will be a very useful and worthwhile instrument.
> 
> At the same time, to me it's another confirmation that Spitfire is very focused on moving forward and creating more and more ambitious products (with the "more and more" part going for both the scale and the frequency of new releases). With all these impressive products (even just the most recent ones like the Orch. Swarm, Olafur Chamber Evos, now the HZS, and the choirs likely to follow soon), it again shows very clearly and makes perfect sense why we have to wait long years to have a critical bug fixed or receive the remaining part of a library: there is just no way to handle all of it, so choices have to be made.
> 
> Which is why for me, seeing such an exciting project of this magnitude (huge library AND a new proprietary plugin) is making me equally worried that it will come incomplete again, introducing even more issues to deal with, while the things I've been already waiting for so long will get postponed yet again and won't be coming any time soon. (yes, I'm talking about the long-overdue Symphonic-range extensions)
> 
> Adding to that, based on history I already know that if there is another serious problem with these new strings, the fact that it's "HZ branded" and very popular, will not necessarily help either, counter-intuitively - as was the case with the phasing issues in HZ03 where we had to wait years for a fix, which came in a form of a new release replacing the old one, while kicking the super-useful RR selection feature out in the process. So even though I personally don't have a problem with the 600 (or later 800) asking price (maybe not cheap, but seems reasonable given the scope of it), I am admittedly hesitant to spend this money, not knowing if it's been properly tested and ironed out this time. Could you please comment on that? Will this be a safe purchase?
> 
> I really mean no malice here. Ask anyone who knows me how much have I been praising, recommending to buy and loving to work with Spitfire instruments over the years (including the HZ range indeed!), because their sound is simply second to none. It is also Hans Zimmer and Spitfire who (indirectly but nonetheless) helped me grow as a composer, by enabling me (and surely many others) to create music of such sonic quality, out of a regular desktop setup. I still have a lot of love and emotional attachment for Spitfire, which will probably be hard to break, not to mention I'd be happy to have a beer with Christian and Paul anytime. Or my long-imagined and oh-how-controversial talk with Hans Zimmer, explaining why I actually don't like Beethoven that much (and here goes my chance, if any, to ever work with the Man. (Hans I mean, Beethoven might be even more unlikely)
> 
> Dear Paul & Christian and Everyone else at Spitfire, it's been I don't know how many years since I've written a post on a forum and I apologize it contains some criticism. I actually wanted to take a moment to truly and genuinely congratulate and thank you guys for everything you've done - for myself and the entire composing community. I love your instruments and have a lot of respect for what you do in-between all that (like paying musicians higher rates and regular royalties). The new HZS sounds amazing too and I can tell you honestly that I will probably buy it anyway at one time or the other. But on the other hand, I think I can say I've been rather patient and understanding for a long time, not to mention supportive by buying all those beautiful-but-buggy instruments, then writing so many reports to your support team they probably hate me.
> 
> So please, PLEASE do take proper care of your already released instruments, and for the love of anything that is holy, please do deliver the content that you already took the money for. Because I can't understand how such a seemingly decent and ethically upstanding company could do something so questionable. It just doesn't fit together.
> 
> I hope this is not off-topic, but I believe it's not - I really would love to hear from Spitfire's respectable founders to know where do we stand when it comes to delivering on both the outstanding, as well as on-going content, and ask if aside from some minor glitches (which can ALWAYS happen) can we expect that new releases (including this very HZS) are going to be solid.
> 
> Thank you for you time reading this.
> 
> Kind regards,
> Henryk Iwan



I understand your concerns and its a valid concern as a consumer/purchaser.
Releasing lots of products is really nice, since it gives us more diverse tools (especially when it comes to libraries from Spitfire, they're unique and diverse).
But it shouldn't be at the expense of leaving your older products unsupported, imo.
And I don't think Spitfire will take your post as a "malice".

I also posted my concerns about it in the Sample Talk section last year.
And I remember Spitfire support said they were restructuring their departments, so bug fixes should be handled more quickly.
I also remember that they mentioned on their live stream that they want to keep updating their existing products,
which you can watch here.

It starts from 10:00 (-20:32)
So regarding bug fixes, I personally have less worries atm.


----------



## Iwanatsu

Yes, I remember that too Still, thanks for pasting it here. And it's actually a good opportunity to thank their support team (or teams - both the old one and the new one), because my experience with them was usually very good and they totally deserve a shout-out Not only were they always very kind, but also surprisingly fast to respond - often the same day, and sometimes merely within minutes! Alas, there is only so much they can do to help, as they are not the ones actually fixing stuff. That's the dev team, and as amazing as they are (and they are indeed), they apparently have little time to go back to and take care of old instruments. Which is why although I was very happy back then to hear they want to change things for the better in that regard, I hope it's ok and understandable that I would like to hear something more concrete - given it's been another few months, and the fact their release schedule shows no sign of slowing down at all


----------



## procreative

jononotbono said:


> So, we’re talking about HZ strings again yeah? Can anyone confirm if they have Time Machine Patches for the Shorts? That would be absolutely great.



As its not a Kontakt library how can there be Time Machine Patches? Unless they have developed a similar feature for their sample players its very unlikely.


----------



## Kony

Iwanatsu said:


> Yes, I remember that too Still, thanks for pasting it here. And it's actually a good opportunity to thank their support team (or teams - both the old one and the new one), because my experience with them was usually very good and they totally deserve a shout-out Not only were they always very kind, but also surprisingly fast to respond - often the same day, and sometimes merely within minutes! Alas, there is only so much they can do to help, as they are not the ones actually fixing stuff. That's the dev team, and as amazing as they are (and they are indeed), they apparently have little time to go back to and take care of old instruments. Which is why although I was very happy back then to hear they want to change things for the better in that regard, I hope it's ok and understandable that I would like to hear something more concrete - given it's been another few months, and the fact their release schedule shows no sign of slowing down at all


+1 - I've had limited contact with SA support but they were extremely fast to respond and fix any issues. Especially big thanks to Joaquim!


----------



## Geoff Grace

Yes, Sandy from Spitfire support was very helpful to me a couple of months ago. Well done!

Best,

Geoff


----------



## windyweekend

blougui said:


> Henryk, you really hope/think SA will tell you on a public forum
> something like : well, HZS is not totally ironed out but despite the inevitable bugs spend 6 or 800. € and I can promise you that one day, in a near future we'll take care of theses bugs ?


There's always risk with new software, so we shouldn't expect this to be perfect. Ask Apple or Microsoft if they've ever released a bug free brand new product. There is a reason we're being offered a generous $200 discount for preordering. This is our part of the deal in return for being invited to go on the journey with them. Hopefully there's been some solid QA hardening beyond the in sprint testing. For my $200 discount I'm happy to help them discover and iron out any issues.


----------



## Kony

@windyweekend I'll see your avatar and raise you


----------



## pfmusic

Spitfire has already created a very stable plug-in called BT Phobos - runs very smoothly so I reckon the HZS will operate even better. I know its designed by a different company!

Great support team.

Good luck SA with this one


----------



## pfmusic

Now this is something for the future. Mix the Phobos engine with HZS Library - polyconvolution meets Zimmer. @*Rctec*

There's an idea?

I give you that idea for nothing. #zimmerconvolution #zimmerlution


----------



## windyweekend

pfmusic said:


> Spitfire has already created a very stable plug-in called BT Phobos - runs very smoothly so I reckon the HZS will operate even better. I know its designed by a different company!
> 
> Great support team.
> 
> Good luck SA with this one


Phobos had a few bumps out of the gate but when they fixed them it ran like a dream. Only thing I still notice with Phobos is that it takes a little time to load. Not a big issue, but with a new high res UI, and potentially a big RAM default patch loading up when we open HZS, this has the same potential for taking some time to open up. Will be interesting to see how SA have handled this. Could be one reason why Win8+ is the min OS and an i5 is needed for multi-threading, so hopefully this won't be an issue with HZS like it was initially with Phobos on Win7.


----------



## windyweekend

Kony said:


> @windyweekend I'll see your avatar and raise you


lol love it


----------



## pfmusic

windyweekend said:


> Phobos had a few bumps out of the gate but when they fixed them it ran like a dream. Only thing I still notice with Phobos is that it takes a little time to load. Not a big issue, but with a new high res UI, and potentially a big RAM default patch loading up when we open HZS, this has the same potential for taking some time to open up. Will be interesting to see how SA have handled this. Could be one reason why Win8+ is the min OS and an i5 is needed for multi-threading, so hopefully this won't be an issue with HZS like it was initially with Phobos on Win7.



I use Win10 and never had a problem with loadtime for Phobos windyweekend


----------



## windyweekend

pfmusic said:


> I use Win10 and never had a problem with loadtime for Phobos windyweekend


Good to hear. I can feel a network upgrade to Win10 coming here. Probably should have been smart enough to have upgraded when it was free....(face + palm)


----------



## pfmusic

windyweekend said:


> Good to hear. I can feel a network upgrade to Win10 coming here. Probably should have been smart enough to have upgraded when it was free....(face + palm)



Go for it windy. Win10 works well.


----------



## christianhenson

Andrajas said:


> sounds indeed lovely, I just wonder how the strings handles a bit faster tempos, would love to hear demos showcasing this



Hey Andrajas, I'm, currently doing a couple of filmed tutorials one of which tackles some action music and shows off the power of the modular system of recording. Also a fair few instances in a single session!


----------



## holywilly

Just pre-ordered mine, I believe this library is going to be great writing tool to create sophisticated string textures and soundscape. Can't wait to get hand on the "Col Legno Tratto" and "Tremolo CS Pont Waves"!


----------



## DavidY

windyweekend said:


> Good to hear. I can feel a network upgrade to Win10 coming here. Probably should have been smart enough to have upgraded when it was free....(face + palm)


Sorry this is off-topic for HZS... but you may still be able to get Win10 for free, depending on what you currently have. This article was updated only a few weeks ago: http://www.zdnet.com/article/heres-how-you-can-still-get-a-free-windows-10-upgrade/
I certainly upgraded at least one computer after the supposed end of the free period, although that's a while ago now.


----------



## Puzzlefactory

Out of interest, what’s in the book?


----------



## mac

christianhenson said:


> Hey Andrajas, I'm, currently doing a couple of filmed tutorials one of which tackles some action music and shows off the power of the modular system of recording. Also a fair few instances in a single session!



Christian, is it going to be NKS compatible?


----------



## fiestared

christianhenson said:


> Hey Andrajas, I'm, currently doing a couple of filmed tutorials one of which tackles some action music
> 
> 4:25AM I'm, currently doing a couple of filmed tutorials ! Christian, do you sometime "sleep" ?


----------



## Iwanatsu

windyweekend said:


> There's always risk with new software, so we shouldn't expect this to be perfect. Ask Apple or Microsoft if they've ever released a bug free brand new product. There is a reason we're being offered a generous $200 discount for preordering. This is our part of the deal in return for being invited to go on the journey with them. Hopefully there's been some solid QA hardening beyond the in sprint testing. For my $200 discount I'm happy to help them discover and iron out any issues.


Yes, there is always some risk, which I totally understand and I'm fine with. Which is why I asked:


Iwanatsu said:


> if *aside from some minor glitches (which can ALWAYS happen)* can we expect that new releases (including this very HZS) are going to be solid.


And besides any possible software problems, I'm probably more concerned about the content itself.


----------



## windyweekend

@Spitfire Team - 
1. is there any way to get an idea of the RAM appetite for this thing? Also, it may be me, but I'm not seeing anywhere in the manual that shows how one would unload from RAM any patches you want to switch off (dare I say it, like Kontakt). I guess the mics will switch off with the faders, but what about the techniques/arts themselves - do these only load into RAM as you switch between techniques in the Tech selector (and then unload), or do they ALL load making it quick/easy to bounce between them. Understand the advantage of both, but need to know how to plan a VEP network here (i.e. am I gonna need a bigger boat)?

2. Are the legato patches programmable like SSS where you can set the articulation from bowed to fingered to portamento - by velocity range (one of my favorite features)?

3. Is there any portamento in here at all?


----------



## rottoy

Portamento with 344 players? I shudder at the thought.


----------



## madfloyd

While I am very worried about the performance of the plugin, I do like what I hear.

The book is the icing on the cake. Apparently it smells good. I'm a sucker for good smelling books!


----------



## wayne_rowley

Great sounding library... very tempting! 

Sadly, looking at the required system specifications I don't think my MacBook will cut it. It's a 2011 2.2Ghz Quad Core i7, but this thing needs a 2.5Ghz+ by the looks of things. 

Shame.


----------



## windyweekend

rottoy said:


> Portamento with 344 players? I shudder at the thought.



I love the thought!


----------



## rottoy

windyweekend said:


> I love the thought!


The celli and basses are going to sound like Cthulhu awakening from his slumber.



I agree, that's a nice thought.


----------



## Will Wilson

Puzzlefactory said:


> Out of interest, what’s in the book?



Paul and Christian's holiday pics plus a previously unreleased collection of shots from the 2014 Spitfire nude calendar!


----------



## windyweekend

rottoy said:


> The celli and basses are going to sound like Cthulhu awakening from his slumber.



A veritable tsunami of sound..


----------



## windyweekend

DavidY said:


> Sorry this is off-topic for HZS... but you may still be able to get Win10 for free, depending on what you currently have. This article was updated only a few weeks ago: http://www.zdnet.com/article/heres-how-you-can-still-get-a-free-windows-10-upgrade/
> I certainly upgraded at least one computer after the supposed end of the free period, although that's a while ago now.


Thanks for pointing this out David. Will look into it.


----------



## Atarion Music

Lol, I'm loving this thread. Although some are rude, it makes it feel natural. Everyone left their manners at the door lol. Anyway, this works in Spitfire's and HZimmers favor regardless, for every person who attempt to publicly down play it, at least 20 who won't post a thing will buy it. Simply because they want to be the one to own what no one else "claim" to want.

Cheers!!


----------



## windyweekend

Being based in the US now I couldn't get back for the Air event but just saw the livestream. 1% of gross income to charity - way to go guys. Should be thousands flowing out just from this project! Imagine if Apple and Exxon did the same thing what kind of world we'd have. Thanks for doing that.


----------



## Sean J

woodsdenis said:


> Sorry but Hans and Charlies take on things carry more weight in my opinion than 90 % of the posters in this thread.



Everyone said "Sean, check out this HZ Masterclass!" I didn't watch it. I'd already spent a few years looking at everything he and JW said, did, moved, breathed a certain way, etc. Last year I decided to ignore what everyone does and start actually exploring music for once.

The best has yet to come and it will always be that way— but it comes by breaking the *current* rules, not following semi-new ones a guy set by breaking them yesterday. I'm just saying we shouldn't put the guy up on a pedestal. It produces copycat thinking and less creativity. Do successful people have good insight to offer? Yes. But sometimes doing the opposite leads to best ideas. Most of my life I've preferred Beethoven to anyone today. But for a couple years I did nothing but study these two film giants. It was a mistake. Now it's all I hear. I hear it in their copycats. I hear it in the stuff I've written and now can't bare to hear. I hear it everywhere, and I'm sick of it. I can enjoy some of it, sometimes, a little... But I want something new. IMHO, the way forward is going a different direction, not the same way everyone else is. Just how many other people put most of their stock in HZ's ideas?  I'm not saying he's past his prime, nor do I believe that. But for the rest of us... maybe thinking a little less like Zimmer is what we ought to be doing.

Maybe I'm wrong, but it's the kool-aid I'm going to drink. We'll see where it leads.

-Sean

P.S. Sorry for the off-topic novel. I'm just a bit worn by how much idol worship I see. It's becoming a cause I champion a bit too loudly, for better or worse.


----------



## Geoff Grace

I think it's ultimately about balance. The easiest path is to be yourself and play to your strengths. Anyone who tries to be a pure copy of another will be derivative at best.

That said, there's no need to reinvent the wheel either. If people who have recorded countless orchestral players share their methods of recording, it pays to listen. If you're lucky enough to have the budget to record an orchestra, it's not a good idea to learn the process by trial and error while hundreds of people are on the clock.

So I agree, idol worship is a bad idea; but respect for experience and the knowledge that stems from it is a wise choice.

Best,

Geoff


----------



## windyweekend

I seriously never thought I'd get into a debate on this thread of all places, but...



scoredfilms said:


> Everyone said "Sean, check out this HZ Masterclass!" I didn't watch it.


You should have. It rebooted my thinking. On my first scoring gig afterwards, the first thing I did was ditch all my VIs and sit down at a piano again and write the best character melody I've done in years. Not a VI in sight. HZ is one of the biggest proponents out there advocating uniqueness, rule breaking and simplicity. Nothing wrong with that in my book, doesn't matter who they are.



scoredfilms said:


> I did nothing but study these two film giants. It was a mistake. Now it's all I hear. I hear it in their copycats.


I hear a lot of composers out there who all sound the same for sure, but I don't hear (m)any who sound like HZ. Even he doesn't - every movie he composes is a snowflake. You can't say Black Rain sounds like The Lion King, sounds like Sherlock Holmes. Snowflakes one and all. Do lots of us fall into a trap of giving a Director/Producer what they want to hear just because they expect it (and they're paying for it), absolutely. But it should never stop us trying to sell originality to them. He happens to be better at selling than most of us (unfortunately). I recently scored an action movie with six action scenes back to back. By the third I was struggling finding a new direction to go in so leveraged some of HZ's 'rule breaking' advice and went in the opposite direction. The next fight scene with nothing but Bach-like choralling choirs was sublime (even my kids actually looked impressed). The Director hated it. Wanted the same old staccy driving action stuff as the previous scenes. By the sixth fight, he'd got exactly what he wanted but it wasn't original, and it was exhausting to watch (let alone compose). Was HZ's advice reverberating in my head to copy him with some Wagnerian brass over and over again - absolutely not. It was quite the opposite. It wasn't what the checkbook wanted at the end of the day though. My point being, there may be a lot of composers out there sounding the same because that particular style is popular, Directors want it, and its what the paying masses expect. I don't think they're copying HZ though. He's taken his own path through the woods.



scoredfilms said:


> The best has yet to come and it will always be that way— but it comes by breaking the *current* rules, not following semi-new ones a guy set by breaking them yesterday.


I think a 344 piece string band kind of breaks the rules just a little. And to be totally honest, I think he breaks the rules at every single opportunity, which is why he's been as successful as he is (and why I wouldn't let him baby sit my teenagers). What makes him stand out in this business, and in so many people's opinions, is that every score he comes up with sounds like he's not past his prime - it sounds like he's just starting. And this sets a new bar for the rest of us, which has got to be a good thing. I got into this business to live in that convergant place where art and science meet, and you get to create truly original things. There aren't many opps in life that let you do that. If someone's breaking new rules and finding new ways to do things that haven't been done before, I'm all for it. Doesn't mean I'm going to copy them though. I'ts just going to inspire me to forge my own path even more.

Vent over...


----------



## Sean J

windyweekend,

I'm not accusing Zimmer of being redundant or outdated, just identifiable. HZ and JW are clearly different from each other.

I was accused of copying Pirates after writing https://drive.google.com/open?id=1u-CbA7X7BBJk3TMgxnRjVcKgWF6HGuIP (this piece) last year. I wanted to tell the story of Castlevania. Clearly I failed. It frustrated me to hear Sherlock Holmes have such a distinct style from Crimson Tide or Interstellar and realize that while HZ can depart from himself, I struggled to even depart from him. So I decided I had to purposefully do exactly that. I'll admit, I'm the clueless one here... I've only scored one feature length film. The director loved the score cause I gave him what he wanted, but I've spent my time since trying to figure out how to improve. So I'm not pretending to be right. But my best guess is that it has to involve focusing on my own work. No? I realize this is off-topic so I'll end it there. I just mean to clarify that I'm not criticizing others, just reflecting on where I want to take my own writing.

To keep this reply _somewhat_ on topic... that file was made using Spitfire's libraries, which are clearly of the highest grade. I credit the hall and ESO. 

-Sean

[edited just for length]


----------



## Rctec

scoredfilms said:


> Everyone said "Sean, check out this HZ Masterclass!" I didn't watch it. I'd already spent a few years looking at everything he and JW said, did, moved, breathed a certain way, etc. Last year I decided to ignore what everyone does and start actually exploring music for once.
> 
> The best has yet to come and it will always be that way— but it comes by breaking the *current* rules, not following semi-new ones a guy set by breaking them yesterday. I'm just saying we shouldn't put the guy up on a pedestal. It produces copycat thinking and less creativity. Do successful people have good insight to offer? Yes. But sometimes doing the opposite leads to best ideas. Most of my life I've preferred Beethoven to anyone today. But for a couple years I did nothing but study these two film giants. It was a mistake. Now it's all I hear. I hear it in their copycats. I hear it in the stuff I've written and now can't bare to hear. I hear it everywhere, and I'm sick of it. I can enjoy some of it, sometimes, a little... But I want something new. IMHO, the way forward is going a different direction, not the same way everyone else is. Just how many other people put most of their stock in HZ's ideas?  I'm not saying he's past his prime, nor do I believe that. But for the rest of us... maybe thinking a little less like Zimmer is what we ought to be doing.
> 
> Maybe I'm wrong, but it's the kool-aid I'm going to drink. We'll see where it leads.
> 
> -Sean
> 
> P.S. Sorry for the off-topic novel. I'm just a bit worn by how much idol worship I see. It's becoming a cause I champion a bit too loudly, for better or worse.


....couldn’t agree more!


----------



## Rctec

“Can’t we all just get along?” (Rodney King)


----------



## Celestial Aeon

scoredfilms said:


> Everyone said "Sean, check out this HZ Masterclass!" I didn't watch it. I'd already spent a few years looking at everything he and JW said, did, moved, breathed a certain way, etc. Last year I decided to ignore what everyone does and start actually exploring music for once.



I definitely agree but I still think that for example HZ masterclass can be a worthwhile experience, but for different reasons. For me it is mostly about inspiration and details / ideas / concepts that allow me to find my own way more efficiently. It is not always about being a copycat or doing something that someone else is doing. Mostly it is about ideas and roadsigns which you can either follow or intentionally not follow.

In my opinion information is always valuable, the decision what to do with it is always your own choice.

As a sidenote, every time I want to listen to something totally outside anything that even *could* be copied I put on Aydin Esen or Allan Holdsworth 

And whenever I don't know what to do, I remember the words of the one and only Yngwie Malmsteen:


----------



## SpitfireSupport

Iwanatsu said:


> I went through all the available (so far) materials and I have to admit, it not only sounds fantastic, but also quite different - in an absolutely good way - from what I would imagine (knowing it's 344-piece strings library). Congratulations to everyone involved, no doubt it will be a very useful and worthwhile instrument.
> 
> At the same time, to me it's another confirmation that Spitfire is very focused on moving forward and creating more and more ambitious products (with the "more and more" part going for both the scale and the frequency of new releases). With all these impressive products (even just the most recent ones like the Orch. Swarm, Olafur Chamber Evos, now the HZS, and the choirs likely to follow soon), it again shows very clearly and makes perfect sense why we have to wait long years to have a critical bug fixed or receive the remaining part of a library: there is just no way to handle all of it, so choices have to be made.
> 
> Which is why for me, seeing such an exciting project of this magnitude (huge library AND a new proprietary plugin) is making me equally worried that it will come incomplete again, introducing even more issues to deal with, while the things I've been already waiting for so long will get postponed yet again and won't be coming any time soon. (yes, I'm talking about the long-overdue Symphonic-range extensions)
> 
> Adding to that, based on history I already know that if there is another serious problem with these new strings, the fact that it's "HZ branded" and very popular, will not necessarily help either, counter-intuitively - as was the case with the phasing issues in HZ03 where we had to wait years for a fix, which came in a form of a new release replacing the old one, while kicking the super-useful RR selection feature out in the process. So even though I personally don't have a problem with the 600 (or later 800) asking price (maybe not cheap, but seems reasonable given the scope of it), I am admittedly hesitant to spend this money, not knowing if it's been properly tested and ironed out this time. Could you please comment on that? Will this be a safe purchase?
> 
> I really mean no malice here. Ask anyone who knows me how much have I been praising, recommending to buy and loving to work with Spitfire instruments over the years (including the HZ range indeed!), because their sound is simply second to none. It is also Hans Zimmer and Spitfire who (indirectly but nonetheless) helped me grow as a composer, by enabling me (and surely many others) to create music of such sonic quality, out of a regular desktop setup. I still have a lot of love and emotional attachment for Spitfire, which will probably be hard to break, not to mention I'd be happy to have a beer with Christian and Paul anytime. Or my long-imagined and oh-how-controversial talk with Hans Zimmer, explaining why I actually don't like Beethoven that much (and here goes my chance, if any, to ever work with the Man. (Hans I mean, Beethoven might be even more unlikely)
> 
> Dear Paul & Christian and Everyone else at Spitfire, it's been I don't know how many years since I've written a post on a forum and I apologize it contains some criticism. I actually wanted to take a moment to truly and genuinely congratulate and thank you guys for everything you've done - for myself and the entire composing community. I love your instruments and have a lot of respect for what you do in-between all that (like paying musicians higher rates and regular royalties). The new HZS sounds amazing too and I can tell you honestly that I will probably buy it anyway at one time or the other. But on the other hand, I think I can say I've been rather patient and understanding for a long time, not to mention supportive by buying all those beautiful-but-buggy instruments, then writing so many reports to your support team they probably hate me.
> 
> So please, PLEASE do take proper care of your already released instruments, and for the love of anything that is holy, please do deliver the content that you already took the money for. Because I can't understand how such a seemingly decent and ethically upstanding company could do something so questionable. It just doesn't fit together.
> 
> I hope this is not off-topic, but I believe it's not - I really would love to hear from Spitfire's respectable founders to know where do we stand when it comes to delivering on both the outstanding, as well as on-going content, and ask if aside from some minor glitches (which can ALWAYS happen) can we expect that new releases (including this very HZS) are going to be solid.
> 
> Thank you for you time reading this.
> 
> Kind regards,
> Henryk Iwan



Slightly late to a reply on this, so my apologies. The expansion packs for the Symphonic range ARE still planned, in one case really quite soon, I know it's been a long time coming! Regarding issues in other libraries, we're getting much better at this although even though we have a little way to go yet. I do want to point out that in the last six months, we've done bug fix updates to the following libraries: HZ03, LCOS, SSB, Albion V, SSW, Hans Zimmer Piano, OA Toolkit and Spitfire Percussion. So while we've not got to everything I want to get to, we are making progress and are certainly committed to keeping our current products updated. I hope that sets your mind at ease a little bit, if there are specific issues that you want an update on, please get in touch with us at spitfireaudio.com/support. Ben


----------



## jamwerks

SpitfireSupport said:


> The expansion packs for the Symphonic range ARE still planned, in one case really quite soon...


Very happy about this! Hoping SSS will be brought up to the level of SCS!!


----------



## Apostate

kgdrum said:


> So Christian,
> Spitfire is finally releasing the George Clinton FU**KSTATION library!!!
> It will be great to finally have Fu*kuped Evos,George Clinton inspired Swarms,The Parliament Feathering Steam Band and Wobbles made with your FU**KSTATION bring it on!!



Dude, I live for something like this. In fact, is there any reason people here DON'T think Clinton is a great composer?


----------



## windyweekend

scoredfilms said:


> windyweekend,
> 
> I'm not accusing Zimmer of being redundant or outdated, just identifiable. HZ and JW are clearly different from each other.
> 
> I was accused of copying Pirates after writing https://drive.google.com/open?id=1u-CbA7X7BBJk3TMgxnRjVcKgWF6HGuIP (this piece) last year. I wanted to tell the story of Castlevania. Clearly I failed. It frustrates me to hear Sherlock Holmes have such a distinct style from Crimson Tide or Interstellar and realize that while HZ can depart from himself, I can't even depart from him. I love music from both composer's, admittedly JW a bit more... but how do I break the rules by continuing to study the rules other people have made for themselves? I'll admit, I'm the clueless one here... I've only scored one feature length film. The director loved the score cause I gave him what he wanted, but I've spent 2 years trying to figure out how to improve since then, still struggling to figure out how. I was the one not happy enough with it. So I'm not pretending to be right. I just suspect that holding anyone on a pedestal doesn't help... because I did for a few years. How do I move forward? All I know is the need to move, and suspect it has to be a new direction. But where? My best guess is that it has to involve not idolizing him (or even JW, dare I say it). No?
> 
> And sorry, I realize this is off-topic so I'll end it with this reply. But I at least wanted to clarify that I'm not criticizing anyone here. It was a reflection on myself and where I want to go, not a complaint about HZ fanboys. I wouldn't dare fault anyone for liking him on a thread like this. I'm not looking to get lynched.
> 
> -Sean
> 
> P.S. just so as to keep this reply _somewhat_ on topic... that file was made using Spitfire's libraries. So even though I'm not thrilled with it musically, I have to say the samples are of the highest grade. No offense to Spitfire, but I credit Lyndhurst and the E.S.O. more than the sampling. Though I'm sure they do too... lol


Don't worry. We're all on this journey up the mountain together, so I totally get where you're coming from. Some will forge their own footprints, whilst others will want to follow in the steps of others to find their way. And some companies (like Spitfire) will offer the some rather good Sherpas to help us up the tracks even faster and to greater heights. One way or another, I think we're all here to find our own path as much as we can (and maybe to escape some of the crazies in the city at the same time).

Nice piece btw. Didn't think it sounded like POTC at all. Definitely Castles, bats, and some good emotion in there. The only thing that might have given it that extra 'je ne sais quoi' would be something like, I don't know, hold on...I've got it! - a 344 piece string orchestra!


----------



## Sean J

windyweekend said:


> ...something like, I don't know, hold on...I've got it! - a 344 piece string orchestra!



Admittedly I just updated BML instead of getting HZ strings. But despite that, I still agree about the library. I heard Mahler's 8th live in an amazing hall in my very own backyard when I was 18. I'm in Utah, so such opportunities are more rare here. All I could think the entire time is "this is how I want to write". The second I heard the Spitfire Lyndhurst duo, I realized sampling could actually get closer to a living and breathing sound. A real hall being excited is deadlier to me than chocolate is to my wife.

So 344 + Lyndhurst? I can't say this wasn't a temptation.

-Sean


----------



## JT

I'd like SF to make some official statement about the resources needed to run this library. I see the minimum and recommended specs listed but what does that mean in real world usage. For a user with just the minimum specs, what kind of performance can be expected?


----------



## s_bettinzana

I wonder if this library will be as useful as the HZ Piano.


----------



## star.keys

I'm keen to understand resource requirements as well. I can run Synchron fully loaded (all mics and all presets) with 40 VI Pro instances
on my i9 7900X with 64GB RAM machine with all SSDs, running Windows 10. Synchron is 460GB. HZS is 180GB so I'm guessing streaming shouldn't be a problem. However I got 1 month return period for Synchron so I didn't hesitate to buy it to try it to begin with. Since we don't have any return window for Spitfire libraries, I would like to request some clarity of realistic resource requirements please.


----------



## christianhenson

Hi guys we're testing on a variety of different systems and scenarios and will be sure to get you these figures and bench tests before we release. I'm running a whole bunch of HZS's with 'all-in-one' presets (so multiple artics) with lots of mics on and stuff all on my macbook pro and its solid (see next vlog for me fiddling with it on my dustbin too).


----------



## Puzzlefactory

christianhenson said:


> Hi guys we're testing on a variety of different systems and scenarios and will be sure to get you these figures and bench tests before we release. I'm running a whole bunch of HZS's with 'all-in-one' presets (so multiple artics) with lots of mics on and stuff all on my macbook pro and its solid (see next vlog for me fiddling with it on my dustbin too).



Are you testing load times too, on a variety of systems (non ssd’s)?


----------



## thesteelydane

Darren Durann said:


> You put that really well. I guess I was being egotistical in that I wanted to feel as though I could help young composers. You brought something to my attention that I either deftly avoided or ignored for the sake of the goal. Why do I bother? Most folks here are going to go through their Zimmer phase (at least it seems apparent from the overall gist of this forum), but I can judge in no way on that point: I still borderline worship the golden and silver age composers.
> 
> And it hits me: if no one cares, why do this? I already have an extensive blog, etc.
> 
> I think you just helped me with a good reason to stay off here and actually find ALL the time I need for composition.
> 
> Cheers to you all, I hope all of your dreams come true! Out.


Well, I’ve always enjoyed your posts here, so I would love to read your blog. Where can I find it?


----------



## christianhenson

thanks,

its a vlog:

https://www.youtube.com/channel/UCXCXxhRVYvBOX45_gxr0iHA


----------



## 667

I really like your vlogs, Christian.

--long term SF customer (Albion 2 I think was my first purchase?)

Edit: and PT's walkthroughs too!


----------



## blougui

Actually, I believe thesteelydane was talking about @Darren Durann Durann blog - and so did I. @christianhenson vlog is well known to a lot of us - and I'm sure appreciated by a vast majority


----------



## thesteelydane

Thanks Christian, but my question was actually to Darren Durann. I’m already following your vlog, and have been since day one, and I’m tremendously grateful for it. A never ending source of inspiration, wisdom and motivation! So thanks!


----------



## christianhenson

whoops... sorry, missed the context!


----------



## husselblum

thesteelydane said:


> Thanks Christian, but my question was actually to Darren Durann. I’m already following your vlog, and have been since day one, and I’m tremendously grateful for it. A never ending source of inspiration, wisdom and motivation! So thanks!



+1


----------



## windyweekend

In addition to understanding the system resources needed on each patch (or at least the big ones), it would be good to understand:

a. What's the default RAM usage for the instrument itself?
b. Is it safe to assume you can't layer patches like you could on one instance of Kontakt - would every patch need to be loaded into a separate track in the DAW, or could one theoretically open 60 cellos with a close mic + 20 left violins in the gallery - both on the same instance, or would we need to open separate instances (hence the question about the instrument resource usage itself vs the patches)?

Am holding out a purchase decision solely on these questions right now...


----------



## emasters

windyweekend said:


> In addition to understanding the system resources needed on each patch (or at least the big ones), it would be good to understand:
> 
> a. What's the default RAM usage for the instrument itself?
> b. Is it safe to assume you can't layer patches like you could on one instance of Kontakt - would every patch need to be loaded into a separate track in the DAW, or could one theoretically open 60 cellos with a close mic + 20 left violins in the gallery - both on the same instance, or would we need to open separate instances (hence the question about the instrument resource usage itself vs the patches)?
> 
> Am holding out a purchase decision solely on these questions right now...



Similar questions here. With Kontakt, it's straight-forward to layer-up sounds in a single instance - quick and easy. I'm hoping there's something comparable with the upcoming Spitfire player.


----------



## SyMTiK

windyweekend said:


> In addition to understanding the system resources needed on each patch (or at least the big ones), it would be good to understand:
> 
> a. What's the default RAM usage for the instrument itself?
> b. Is it safe to assume you can't layer patches like you could on one instance of Kontakt - would every patch need to be loaded into a separate track in the DAW, or could one theoretically open 60 cellos with a close mic + 20 left violins in the gallery - both on the same instance, or would we need to open separate instances (hence the question about the instrument resource usage itself vs the patches)?
> 
> Am holding out a purchase decision solely on these questions right now...



I too have the same question and its the only thing holding me back from getting it at the moment too.


----------



## Red

I don't know if this was answered already.

When does the promotion price and preorder book end? March 28th?


----------



## Geoff Grace

This was in answer to "Does anybody know when the pre order price ends?"



SpitfireSupport said:


> We're not announcing that date yet but it'll be after we've released the product, we certainly won't take it off the promotional price while it's still on presale.



It seems safe to assume that the promo price will last at least until March 28. If memory serves, the book is only added to presale orders.

Best,

Geoff


----------



## Mucusman

Geoff Grace said:


> It seems safe to assume that the promo price will last at least until March 28



Spitfire has actually stated that the promo price will last beyond the release date. But yes, if you want the book, you must order while on pre-sale.


----------



## artomatic

Pulled the trigger! I have been waiting for a string library with this caliber, flexibility and most importantly, sound!
Can’t wait to incorporate this to my projects that are pending. 
Yes, very excited here, to say the least!
Bravo, Spitfire team and HZ!!
Can not wait!


----------



## Pontus Rufelt

Am I missing something, or were most of the legatos not shown in the walkthrough? Will the rest of them be showcased in detail in another video?


----------



## Spitfire Team

​​


----------



## fiestared

Spitfire Team said:


> https://www.youtube.com/watch?v=rcT5KSSniHg&utm_source=Spitfire+MASTER+List&utm_campaign=f290ddcad8-HansZimmerStrings_InDepth_08032018&utm_medium=email&utm_term=0_df4ead2b5d-f290ddcad8- (<script class="js-extraPhrases" type="application/json">
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> <div class="bbImageWrapper js-lbImage" title="j-UlkTxp3SvsnqZoBxgO3pnv84SA0uZo0836UmePUa46a0V7roKrUt05bkV1tEwldfgW3wdo452xHFiEs_GefwvtZ55wP4rLP81ogym5aS9H7Pyqjmz0bKSciNIQufLocQZONA6pusQJpzSHkVa6mAayY-UqfDkSP_9-2mI=s0-d-e1-ft"
> data-src="https://ci6.googleusercontent.com/proxy/j-UlkTxp3SvsnqZoBxgO3pnv84SA0uZo0836UmePUa46a0V7roKrUt05bkV1tEwldfgW3wdo452xHFiEs_GefwvtZ55wP4rLP81ogym5aS9H7Pyqjmz0bKSciNIQufLocQZONA6pusQJpzSHkVa6mAayY-UqfDkSP_9-2mI=s0-d-e1-ft#https://gallery.mailchimp.com/147ea0eb7d5a8ef4e35c359bd/images/bea4506f-aadb-4d31-ae73-763dbc6a4388.jpg" data-lb-sidebar-href="" data-lb-caption-extra-html="" data-single-image="1">
> <img src="https://ci6.googleusercontent.com/proxy/j-UlkTxp3SvsnqZoBxgO3pnv84SA0uZo0836UmePUa46a0V7roKrUt05bkV1tEwldfgW3wdo452xHFiEs_GefwvtZ55wP4rLP81ogym5aS9H7Pyqjmz0bKSciNIQufLocQZONA6pusQJpzSHkVa6mAayY-UqfDkSP_9-2mI=s0-d-e1-ft#https://gallery.mailchimp.com/147ea0eb7d5a8ef4e35c359bd/images/bea4506f-aadb-4d31-ae73-763dbc6a4388.jpg"
> data-url="https://ci6.googleusercontent.com/proxy/j-UlkTxp3SvsnqZoBxgO3pnv84SA0uZo0836UmePUa46a0V7roKrUt05bkV1tEwldfgW3wdo452xHFiEs_GefwvtZ55wP4rLP81ogym5aS9H7Pyqjmz0bKSciNIQufLocQZONA6pusQJpzSHkVa6mAayY-UqfDkSP_9-2mI=s0-d-e1-ft#https://gallery.mailchimp.com/147ea0eb7d5a8ef4e35c359bd/images/bea4506f-aadb-4d31-ae73-763dbc6a4388.jpg"
> class="bbImage"
> data-zoom-target="1"
> style=""
> alt="j-UlkTxp3SvsnqZoBxgO3pnv84SA0uZo0836UmePUa46a0V7roKrUt05bkV1tEwldfgW3wdo452xHFiEs_GefwvtZ55wP4rLP81ogym5aS9H7Pyqjmz0bKSciNIQufLocQZONA6pusQJpzSHkVa6mAayY-UqfDkSP_9-2mI=s0-d-e1-ft"
> title=""
> width="" height="" />
> </div>)​https://www.youtube.com/watch?v=rcT5KSSniHg&utm_source=Spitfire+MASTER+List&utm_campaign=f290ddcad8-HansZimmerStrings_InDepth_08032018&utm_medium=email&utm_term=0_df4ead2b5d-f290ddcad8-


Very powerful and emotional Music...


----------



## Daniel James

Spitfire Team said:


> https://www.youtube.com/watch?v=rcT5KSSniHg&utm_source=Spitfire+MASTER+List&utm_campaign=f290ddcad8-HansZimmerStrings_InDepth_08032018&utm_medium=email&utm_term=0_df4ead2b5d-f290ddcad8- (<div class="bbImageWrapper js-lbImage" title="j-UlkTxp3SvsnqZoBxgO3pnv84SA0uZo0836UmePUa46a0V7roKrUt05bkV1tEwldfgW3wdo452xHFiEs_GefwvtZ55wP4rLP81ogym5aS9H7Pyqjmz0bKSciNIQufLocQZONA6pusQJpzSHkVa6mAayY-UqfDkSP_9-2mI=s0-d-e1-ft"
> data-src="https://ci6.googleusercontent.com/proxy/j-UlkTxp3SvsnqZoBxgO3pnv84SA0uZo0836UmePUa46a0V7roKrUt05bkV1tEwldfgW3wdo452xHFiEs_GefwvtZ55wP4rLP81ogym5aS9H7Pyqjmz0bKSciNIQufLocQZONA6pusQJpzSHkVa6mAayY-UqfDkSP_9-2mI=s0-d-e1-ft#https://gallery.mailchimp.com/147ea0eb7d5a8ef4e35c359bd/images/bea4506f-aadb-4d31-ae73-763dbc6a4388.jpg" data-lb-sidebar-href="" data-lb-caption-extra-html="" data-single-image="1">
> <img src="https://ci6.googleusercontent.com/proxy/j-UlkTxp3SvsnqZoBxgO3pnv84SA0uZo0836UmePUa46a0V7roKrUt05bkV1tEwldfgW3wdo452xHFiEs_GefwvtZ55wP4rLP81ogym5aS9H7Pyqjmz0bKSciNIQufLocQZONA6pusQJpzSHkVa6mAayY-UqfDkSP_9-2mI=s0-d-e1-ft#https://gallery.mailchimp.com/147ea0eb7d5a8ef4e35c359bd/images/bea4506f-aadb-4d31-ae73-763dbc6a4388.jpg"
> data-url="https://ci6.googleusercontent.com/proxy/j-UlkTxp3SvsnqZoBxgO3pnv84SA0uZo0836UmePUa46a0V7roKrUt05bkV1tEwldfgW3wdo452xHFiEs_GefwvtZ55wP4rLP81ogym5aS9H7Pyqjmz0bKSciNIQufLocQZONA6pusQJpzSHkVa6mAayY-UqfDkSP_9-2mI=s0-d-e1-ft#https://gallery.mailchimp.com/147ea0eb7d5a8ef4e35c359bd/images/bea4506f-aadb-4d31-ae73-763dbc6a4388.jpg"
> class="bbImage"
> data-zoom-target="1"
> style=""
> alt="j-UlkTxp3SvsnqZoBxgO3pnv84SA0uZo0836UmePUa46a0V7roKrUt05bkV1tEwldfgW3wdo452xHFiEs_GefwvtZ55wP4rLP81ogym5aS9H7Pyqjmz0bKSciNIQufLocQZONA6pusQJpzSHkVa6mAayY-UqfDkSP_9-2mI=s0-d-e1-ft"
> title=""
> width="" height="" />
> </div>)​https://www.youtube.com/watch?v=rcT5KSSniHg&utm_source=Spitfire+MASTER+List&utm_campaign=f290ddcad8-HansZimmerStrings_InDepth_08032018&utm_medium=email&utm_term=0_df4ead2b5d-f290ddcad8-



Great vid and sounds awesome. Will we get a video or more demos for more uptempo pieces? So far we have only really heard it doing long sustains. Would love to see it tackle an action cue. Maybe something like Pirates or Gladiator, defining Hans Zimmer action style. 

Looking forward to the 28th!

-DJ


----------



## Jack Weaver

Have to agree with Daniel.
It was a foregone conclusion that HZS would be great at the slower stuff. 
Indeed if that's what it mainly is good for I'm still all in. 
However, finding out how to integrate it into fast pieces is important. 

.


----------



## quantum7

Jack Weaver said:


> Have to agree with Daniel.
> It was a foregone conclusion that HZS would be great at the slower stuff.
> Indeed if that's what it mainly is good for I'm still all in.
> However, finding out how to integrate it into fast pieces is important.
> 
> .



"Great for the slower stuff"....the stuff I typically write. When will these infernal temptations to spend more money stop?!?!


----------



## JohnG

wow. that's a lotta basses...


----------



## Paul Thomson

Hey all I just popped a demo together in which I only allowed myself to use shorts.. check out on the product page - 4th one down “gigue”

All best!

Paul


----------



## Dave Connor

Gorgeous sounding strings. What's interesting is how natural they sound as opposed to sounding like a colossal, overblown experiment. Very musical and useful it seems, at least in the Henson video. A lot of composers would kill for a sound like that - Gus Mahler for one.


----------



## PaulBrimstone

Paul Thomson said:


> Hey all I just popped a demo together in which I only allowed myself to use shorts.. check out on the product page - 4th one down “gigue”
> 
> All best!
> 
> Paul


That's a real cracker. My ears are still ringing!


----------



## fiestared

Paul Thomson said:


> Hey all I just popped a demo together in which I only allowed myself to use shorts.. check out on the product page - 4th one down “gigue”
> 
> All best!
> 
> Paul


This is a "FANTASTIC" piece of Music, I love it ! Congrats Paul !


----------



## D Halgren

Paul Thomson said:


> Hey all I just popped a demo together in which I only allowed myself to use shorts.. check out on the product page - 4th one down “gigue”
> 
> All best!
> 
> Paul


Sounds great Paul!


----------



## SyMTiK

Paul Thomson said:


> Hey all I just popped a demo together in which I only allowed myself to use shorts.. check out on the product page - 4th one down “gigue”
> 
> All best!
> 
> Paul



Alright, you convinced me, placed my preorder  

Can't wait till the 28th, would love to throw something together that is hopefully good enough to be used as a demo track for you guys!


----------



## christianhenson

Jack Weaver said:


> Have to agree with Daniel.
> It was a foregone conclusion that HZS would be great at the slower stuff.
> Indeed if that's what it mainly is good for I'm still all in.
> However, finding out how to integrate it into fast pieces is important.
> 
> .



Did you watch the video to the end? i've time stamped below!


----------



## Marcio Lobato

Paul Thomson said:


> Hey all I just popped a demo together in which I only allowed myself to use shorts.. check out on the product page - 4th one down “gigue”
> 
> All best!
> 
> Paul


I was still thinking about buying this library, but your demo convinced me, Paul. Great track!


----------



## zolhof

Hi @christianhenson just watched your in depth video, great stuff as usual! I have two questions:

1) every plugin instance shows 1.49GB of RAM being used. The manual says this number is per instance, so in your video 16 instances with one mic position loaded (outriggers) eats around 24GB of RAM. Can we purge samples?

2) is it possible to go under the hood and edit the mapping or samples ADSR like in Kontakt?

If not, are you planning on adding these features? (purge and editing)

Kind regards,
César.


----------



## christianhenson

Hi Cesar.... please ignore all of that 'til full release version, these are old betas we're working with which haven't been optimised in this respect. We will do some hardcore bench tests for you.... I even heard our head of Customer experience has just ordered a bunch of 72rpm steam drives to test on!


----------



## Ryan

christianhenson said:


> Did you watch the video to the end? i've time stamped below!



So this was Typhon Christian? I remember you said it was a code name for something else Spitfire were working on.. Cool!


----------



## christianhenson

this was / is typhon!!!


----------



## Ryan

christianhenson said:


> this was / is typhon!!!



so cool. Remember the yellow box with the writings "Typhon".  If I knew!


----------



## zolhof

christianhenson said:


> Hi Cesar.... please ignore all of that 'til full release version, these are old betas we're working with which haven't been optimised in this respect. We will do some hardcore bench tests for you.... I even heard our head of Customer experience has just ordered a bunch of 72rpm steam drives to test on!



Awesome, thanks buddy! I’m looking forward to it.  If you can also cover the under the hood features, if any, please do so. The new engine looks so yummy, it would be killer if we could edit samples like in Kontakt.


----------



## rpaillot

Apart from the sound , i'm also quite impressed by the quality of the photography of that overview video.


----------



## christianhenson

thanks... I lit, shot and edited this one myself, so very grateful it is noticed.

**EDIT with awesome advice from the London team and a fine set of LUTs from Ben K.


----------



## rpaillot

christianhenson said:


> thanks... I lit, shot and edited this one myself, so very grateful it is noticed.
> 
> **EDIT with awesome advice from the London team and a fine set of LUTs from Ben K.


I really thought you had hired a DOP for this video!


----------



## Daniel James

Paul Thomson said:


> Hey all I just popped a demo together in which I only allowed myself to use shorts.. check out on the product page - 4th one down “gigue”
> 
> All best!
> 
> Paul



Legend. Fun composition too!

I am hearing a build up in the low mids (nothing eq couldn't help) Is that more a build up from the samples being layered or the room? I have never recorded 300+ string players so am curious to how the sound built up in the room on this harder articulations 

-DJ


----------



## colony nofi

Daniel James said:


> Legend. Fun composition too!
> 
> I am hearing a build up in the low mids (nothing eq couldn't help) Is that more a build up from the samples being layered or the room? I have never recorded 300+ string players so am curious to how the sound built up in the room on this harder articulations
> 
> -DJ


What? You *don't* record 300 string player sessions every week? Amateur!  
Now where's my quartet run off to?


----------



## germancomponist

SOUNDDDDDDD! I like this very much! Absolutely great!


----------



## Jack Weaver

christianhenson said:


> Did you watch the video to the end? i've time stamped below!


Yeah, have to say I didn't quite get that far. 

Thanks for the very handy time stamp on the vid - and for doing the 'Gigue' demo to give us some idea of how the shorts will work. 

I'm sure your team spent quite a bit of time deciding on the editing parameters of the shorts. There were a lot of different sessions of large ensembles and it must having been time consuming figuring out the best combination of editing the front end of attacks to allow for both realistic sound and tight adherence to the beat. 

Looking forward to having at it. 

.


----------



## quantum7

christianhenson said:


> Did you watch the video to the end? i've time stamped below!





This video has convinced me also. Couldn’t you guys have released this a few months ago before I spent good money on another library from one of your competitors???


----------



## muziksculp

Hi,

It would also be interesting to hear a demo using some of the HZ-Strings Long articulations, with some of the short-articulations from SSS, or SCS, to hear them together to see if HZ-S has a complementary function when used with more traditional string section size libraries. 

The demo showing HZ-Strings Shorts by Paul sounds interesting, although lacks the bite of the smaller string sections that SSS, and SCS offer. Which is something I was expecting from such a large number of players, although there are no Staccato Articulations, but rather Spiccato, which is more of a bouncing bow, rather than a scraping bow, that stays longer on the bow before changing bow direction. Which would have been interesting if it was sampled. I wonder why Staccato was not sampled ? 

Thanks,
Muziksculp


----------



## Pontus Rufelt

I'd be interested to hear more of the legatos. Other than Andy's demo and the Celli legato in Paul's walkthrough we haven't really seen much of them.


----------



## prodigalson

I'm honestly quite surprised to hear the definition on the pizzs and shorts in Andy's demo considering how many players were recorded in such an ambient space. hats off, there's some serious recording and engineering chops at play here.


----------



## rap_ferr

@SpitfireSupport or @Spitfire Team

How many licenses do we get when we buy?

I’m sorry but I coudn’t find this information on the website.

I have one main mac and 2 pc slaves. Lately I prefer to load everything on the main computer, but I’m only able to get it working with kontakt libraries. Somehow I feel they’re more eficient. Whenever I want to use play, engine or uvi I load them in my slaves.

I just don’t have any frame of reference with the new spitfire player. So it would be nice if I could install in my main rig as well as in at least one slave.

* EDIT: nervermind, I just found on the FAQ


----------



## christianhenson

prodigalson said:


> I'm honestly quite surprised to hear the definition on the pizzs and shorts in Andy's demo considering how many players were recorded in such an ambient space. hats off, there's some serious recording and engineering chops at play here.



I'm currently recording a tutorial that shows the mic positions are more important on this than any of our libs. The reason Geoff uses loads of mics on HZ's scores is the shorts passages are often works of extreme precision. If you listen to the Dark Knight score the cellos are very defined and tight sounding. This is by really honing in on the close and spot mics, also the mid range. So when picking how cutting and tight the shorts you want there is not only band size to consider but also mic sets.


----------



## christianhenson

Has anyone seen this: made me spit my morning coffee into my child's muesli.


----------



## Oliver

christianhenson said:


> Has anyone seen this: made me spit my morning coffee into my child's muesli.




*@christianhenson*
Saw it yesterday and made me think of preordering immediatley...
well ASAP...
well...soon
or???
heeeeeeeeeeeeeeeeeeeeelp....


----------



## Spitfire Team

​


----------



## nulautre

I noticed in Oliver's demo (and he mentioned it in passing) that there is an "All Scandi" patch, what articulations are included in that? Is is things like the Col Legno Tratto and Trem harmonics? I'd love to know


----------



## Lionel Schmitt

I think those are both really great, actually even better than the previous ones IMO.


----------



## Craig Sharmat

I think this library sounds very good from what I am initially hearing. Almost all the demos which have longs and shorts in the midrange to lower midrange suffer from midrange build up making the library sound mushy at times. I don't think that's the fault of the library but users have to be aware there can be massive buildup of those frequencies because of the nature of the library.


----------



## windyweekend

DarkestShadow said:


> I think those are both really great, actually even better than the previous ones IMO.



First piece from Blake in a while. Love it!


----------



## VinRice

Oliver is the master of the ominous build. Loved that track. Jesus, those basses through a sub are terrifying. I imagine there was some sine wave on that but blimey. As we hear more examples I'm beginning to feel this is going to be an influential and significant library. Damn you Spitfire.


----------



## dhlkid

I wish Spitfire can make a 10 players on each section some day, although this one is very good already.


----------



## Lionel Schmitt

windyweekend said:


> First piece from Blake in a while. Love it!


That's another Blake Robinson actually not Blake @Blakus Robinson. 
Here his soundcloud feed. 
This Blake Robinson is also doing some scripting for Spitfire.


----------



## muziksculp

dhlkid said:


> I wish Spitfire can make a 10 players on each section some day, although this one is very good already.



That would be quite interesting, and I think will add a lot more flexibility in how HZ-Strings can be used/integrated with other libraries.


----------



## dhlkid

muziksculp said:


> That would be quite interesting, and I think will add a lot more flexibility in how HZ-Strings can be used/integrated with other libraries.


Looks like some of HZ strings session are 10x10x10x10x4


----------



## Craig Sharmat

Maybe this has been answered but are there plans for full ensemble patches?


----------



## JonAdamich

Wow, this is incredible to see. Glad to see spitfire is pushing the boundaries of virtual instruments. Can't wait for this.


----------



## ghandizilla

I really like the Blake Robinson's demo. The last "new" work I heard from him was like one year ago, so I missed listening to this guy


----------



## Parsifal666

I haven't bought barely anything (well, the on sale Waves H-EQ and SSL) since the Bernard Herrmann Toolkit (which I love). I already have so many good libraries, but this might be nice for a quick burst of inspiration.


----------



## muziksculp

Hi,

Is HZ-Strings available for download at this time ? or will it only be available for download on March 28th ? and what about the Pricing after March 28th, until when is the Pre-Order price valid ? 

Thanks,
Muziksculp


----------



## SpitfireSupport

muziksculp said:


> Hi,
> 
> Is HZ-Strings available for download at this time ? or will it only be available for download on March 28th ? and what about the Pricing after March 28th, until when is the Pre-Order price valid ?
> 
> Thanks,
> Muziksculp



Hans Zimmer Strings will only be available for download after we release it on March 28th. The promotional price will remain after we release the product - end date to be announced. Ben


----------



## muziksculp

SpitfireSupport said:


> Hans Zimmer Strings will only be available for download after we release it on March 28th. The promotional price will remain after we release the product - end date to be announced. Ben



Thanks for the feedback.


----------



## Will Wilson

Just dropped £1200 on SSO-CS edition, so will be passing on this for now :(


----------



## star.keys

So this is $599 vs. £549 and for buying from UK, it just feels feels odd. It is possible to buy libraries from other developers (e.g. VSL, CH) from US based online shops using a UK card but not Spitfire (and Orchestral Tools) For a UK/EU based company that's selling in the US, isn't it an export scenario and hence US prices should actually be higher than local prices? Same is the situation with other developers but UK folks can simply buy libraries from US stores rather than being forced to buy these from a single website. Or is there some kind of tax exemption in case of software export and that the developers can pass it on to US based customers? Just curious.


----------



## Michael Antrum

UK price includes 20% VAT which when removed brings the UK price down to £ 457.50 which is $ 635 USD. SO not so different when you take into account a bit of wriggle room for currency fluctuations.

US Sellers selling into the EU are obliged to add VAT @ 20% to their prices (Uaudio do this), but some still do not - as I believe there is a transition period to allow them to comply.

You can't blame Spitfire Audio for taxes levied by the government I'm afraid. You can claim back VAT if you are VAT registered.

https://www.vatglobal.com/industry-specific-vat-guides/charging-sales-tax-in-europe


----------



## star.keys

mikeybabes said:


> UK price includes 20% VAT which when removed brings the UK price down to £ 457.50 which is $ 635 USD. SO not so different when you take into account a bit of wriggle room for currency fluctuations.
> 
> US Sellers selling into the EU are obliged to add VAT @ 20% to their prices (Uaudio do this), but some still do not - as I believe there is a transition period to allow them to comply.
> 
> You can't blame Spitfire Audio for taxes levied by the government I'm afraid. You can claim back VAT if you are VAT registered.
> 
> https://www.vatglobal.com/industry-specific-vat-guides/charging-sales-tax-in-europe



UK companies selling their software in the US don't have to pay any taxes in the US is it?


----------



## D Halgren

star.keys said:


> UK companies selling their software in the US don't have to pay any taxes in the US is it?


Correct, sales tax is by state in the US, and not yet imposed on internet sales...yet.


----------



## star.keys

D Halgren said:


> Correct, sales tax is by state in the US, and not yet imposed on internet sales...yet.



Thanks... That explains it


----------



## Spitfire Team

​


----------



## Pontus Rufelt

Hate to be repetitive, but can we have a video demonstrating all legatos in detail please?


----------



## lucky909091

I pre-ordered some days ago and now I am curious, what will be the "Hans Zimmer Strings Book" ?
I cannot find any informations.

Is this a software e-book or something real that the early-birds will get delivered from a parcel service?

To be honest:
I would appreciate a "hardware" book and I would even pay an extra charge to hold such a fan article in my hands.

_(And I would like to buy a "Spitfire Audio - Hans Zimmer Strings" poster in 80 X 60 centimeters or more. But I think there will be no chance....)_


----------



## MaxOctane

lucky909091 said:


> I pre-ordered some days ago and now I am curious, what will be the "Hans Zimmer Strings Book" ?
> I cannot find any informations.
> 
> Is this a software e-book or something real that the early-birds will get delivered from a parcel service?
> 
> To be honest:
> I would appreciate a "hardware" book and I would even pay an extra charge to hold such a fan article in my hands.
> 
> _(And I would like to buy a "Spitfire Audio - Hans Zimmer Strings" poster in 80 X 60 centimeters or more. But I think there will be no chance....)_



It's a real book. Apparently, it smells good.


----------



## MaxOctane

"147 techniques" is misleading. To me it implies unique articulations, but that's not so. It counts, e.g., Short Tight left-hand-side and center as two different techniques. 20 Violas Short Tight is now a third technique. Really, I would think of that as a single technique "Short Tight".

The unique *articulations*:


FX1 (Cluster Slides): 24 Basses
FX2 (Chatter): 24 Basses
FX: 60 Violins, 20 Violins RHS, 20 Violas CTR, 60 Cellos, 20 Cellos RHS
Legato: 60 Violins, 20 Violins LHS, 20 Violins RHS, 20 Violas WIDE, 60 Cellos, 20 Cellos RHS, 20 Cellos LHS, 24 Basses
Long CS: 20 Violins LHS, 20 Violins CTR, 20 Violins RHS, Violins Galleries, 20 Violas CTR, 20 Violas WIDE, 20 Cellos RHS, 20 Cellos LHS, Cellos Galleries
Long Col Legno Tratto: 60 Violins, 20 Violins CTR, 20 Violins RHS, Violins Galleries, 20 Violas CTR, 60 Cellos, 20 Cellos RHS, 24 Basses
Long Harmonics: 20 Violins CTR, 20 Violins RHS, 20 Violas WIDE, 20 Cellos RHS, 20 Cellos LHS, 20 Cellos CTR, 24 Basses
Long Soft CS: 60 Violins, 60 Cellos
Long Sul Pont: 20 Violins CTR, Violins Galleries, 20 Cellos LHS, 20 Cellos CTR, Cellos Galleries, 24 Basses
Long Sul Tasto: 20 Violins LHS, 20 Violins CTR
Long Super Flautando: 60 Violins, 20 Violins LHS, 20 Violins CTR, 20 Violins RHS, Violins Galleries, 20 Violas CTR, 20 Violas WIDE, 60 Cellos, 20 Cellos RHS, 20 Cellos LHS, 20 Cellos CTR, Cellos Galleries, 24 Basses
Long Super Sul Pont: 60 Violins, 20 Violins LHS, 20 Violins CTR, 20 Violins RHS, 20 Violas WIDE, 60 Cellos, 20 Cellos RHS, 20 Cellos LHS, 20 Cellos CTR, 24 Basses
Long Super Sul Tasto: 24 Basses
Long Tremolo Harmonic Waves: 20 Violins RHS
Long: 60 Violins, 20 Violins LHS, 20 Violins CTR, 20 Violins RHS, Violins Galleries, 20 Violas CTR, 20 Violas WIDE, 60 Cellos, 20 Cellos RHS, 20 Cellos LHS, 20 Cellos CTR, Cellos Galleries, 24 Basses
Short Col Legno: 20 Violins LHS, 20 Violins CTR, 20 Violins RHS, Violins Galleries, 20 Violas WIDE, 20 Cellos RHS, 20 Cellos LHS, Cellos Galleries, 24 Basses
Short Pizzicato Bartok: 60 Violins, 20 Violins RHS, Violins Galleries, 20 Violas WIDE, 60 Cellos, 20 Cellos RHS, 20 Cellos LHS, Cellos Galleries, 24 Basses
Short Pizzicato: 20 Violins LHS, Violins Galleries, 20 Violas WIDE, 20 Cellos LHS, Cellos Galleries, 24 Basses
Short Soft Col Legno: 60 Violins, 60 Cellos
Short Strummed Pizzicato: 20 Violins CTR, 20 Violins RHS, 20 Violas CTR
Short Tight: 20 Violins LHS, 20 Violins CTR, 20 Violas CTR
Short: 60 Violins, 20 Violas WIDE, 60 Cellos, 20 Cellos RHS, 20 Cellos LHS, 24 Basses
Tremolo CS Pont Waves: 60 Cellos, 20 Cellos RHS, 20 Cellos CTR, 24 Basses
Tremolo CS Sul Pont: 20 Cellos RHS
Tremolo CS: 20 Violins CTR, 20 Violins RHS, Violins Galleries, 20 Cellos RHS, 20 Cellos LHS, Cellos Galleries
Tremolo Harmonic Waves: 20 Violas WIDE, 20 Cellos RHS
Tremolo Harmonics: 20 Violins CTR, 20 Violins RHS, 20 Violas WIDE
Tremolo Sul Pont: 20 Cellos RHS
Tremolo: 20 Violins CTR, 20 Violas WIDE, 20 Cellos LHS, 24 Basses


----------



## Fry777

Pontus Rufelt said:


> Hate to be repetitive, but can we have a video demonstrating all legatos in detail please?



+1


----------



## C.R. Rivera

star.keys said:


> Thanks... That explains it


Not every state in the union has sales tax, like 5 or 6. And we have no national sales tax like the VAT. Who could enforce such a process? If you live in Washington state, you can cross to Oregon which has no sales tax. Can the EU/UK require the US/states to collect VAT on their behalf, and could the US require the UK/EU to collect states taxes on their behalf? If so, I suspect Spitfire may be trying to figure out 45 jurisdictions instead of VAT in Europe. My suggestion: every American purchaser acquire an address in a state tax-free state, right "Mom"!.


----------



## Jack Weaver

Hey Paul,

How about showing us a picture of your Modular rack that you continually tease on the HZ Strings walk thru?

Thanks. 

.


----------



## Celestial Aeon

Preordered. It was the perfect excuse of getting rid of my last traditional hard drive which I replaced with 500gb SSD. I'm ready for this  So glad to see that high quality SSDs are reasonably priced finally!


----------



## Craig Sharmat

MaxOctane said:


> "147 techniques" is misleading. To me it implies unique articulations, but that's not so. It counts, e.g., Short Tight left-hand-side and center as two different techniques. 20 Violas Short Tight is now a third technique. Really, I would think of that as a single technique "Short Tight".
> 
> The unique *articulations*:
> 
> 
> FX1 (Cluster Slides): 24 Basses
> FX2 (Chatter): 24 Basses
> FX: 60 Violins, 20 Violins RHS, 20 Violas CTR, 60 Cellos, 20 Cellos RHS
> Legato: 60 Violins, 20 Violins LHS, 20 Violins RHS, 20 Violas WIDE, 60 Cellos, 20 Cellos RHS, 20 Cellos LHS, 24 Basses
> Long CS: 20 Violins LHS, 20 Violins CTR, 20 Violins RHS, Violins Galleries, 20 Violas CTR, 20 Violas WIDE, 20 Cellos RHS, 20 Cellos LHS, Cellos Galleries
> Long Col Legno Tratto: 60 Violins, 20 Violins CTR, 20 Violins RHS, Violins Galleries, 20 Violas CTR, 60 Cellos, 20 Cellos RHS, 24 Basses
> Long Harmonics: 20 Violins CTR, 20 Violins RHS, 20 Violas WIDE, 20 Cellos RHS, 20 Cellos LHS, 20 Cellos CTR, 24 Basses
> Long Soft CS: 60 Violins, 60 Cellos
> Long Sul Pont: 20 Violins CTR, Violins Galleries, 20 Cellos LHS, 20 Cellos CTR, Cellos Galleries, 24 Basses
> Long Sul Tasto: 20 Violins LHS, 20 Violins CTR
> Long Super Flautando: 60 Violins, 20 Violins LHS, 20 Violins CTR, 20 Violins RHS, Violins Galleries, 20 Violas CTR, 20 Violas WIDE, 60 Cellos, 20 Cellos RHS, 20 Cellos LHS, 20 Cellos CTR, Cellos Galleries, 24 Basses
> Long Super Sul Pont: 60 Violins, 20 Violins LHS, 20 Violins CTR, 20 Violins RHS, 20 Violas WIDE, 60 Cellos, 20 Cellos RHS, 20 Cellos LHS, 20 Cellos CTR, 24 Basses
> Long Super Sul Tasto: 24 Basses
> Long Tremolo Harmonic Waves: 20 Violins RHS
> Long: 60 Violins, 20 Violins LHS, 20 Violins CTR, 20 Violins RHS, Violins Galleries, 20 Violas CTR, 20 Violas WIDE, 60 Cellos, 20 Cellos RHS, 20 Cellos LHS, 20 Cellos CTR, Cellos Galleries, 24 Basses
> Short Col Legno: 20 Violins LHS, 20 Violins CTR, 20 Violins RHS, Violins Galleries, 20 Violas WIDE, 20 Cellos RHS, 20 Cellos LHS, Cellos Galleries, 24 Basses
> Short Pizzicato Bartok: 60 Violins, 20 Violins RHS, Violins Galleries, 20 Violas WIDE, 60 Cellos, 20 Cellos RHS, 20 Cellos LHS, Cellos Galleries, 24 Basses
> Short Pizzicato: 20 Violins LHS, Violins Galleries, 20 Violas WIDE, 20 Cellos LHS, Cellos Galleries, 24 Basses
> Short Soft Col Legno: 60 Violins, 60 Cellos
> Short Strummed Pizzicato: 20 Violins CTR, 20 Violins RHS, 20 Violas CTR
> Short Tight: 20 Violins LHS, 20 Violins CTR, 20 Violas CTR
> Short: 60 Violins, 20 Violas WIDE, 60 Cellos, 20 Cellos RHS, 20 Cellos LHS, 24 Basses
> Tremolo CS Pont Waves: 60 Cellos, 20 Cellos RHS, 20 Cellos CTR, 24 Basses
> Tremolo CS Sul Pont: 20 Cellos RHS
> Tremolo CS: 20 Violins CTR, 20 Violins RHS, Violins Galleries, 20 Cellos RHS, 20 Cellos LHS, Cellos Galleries
> Tremolo Harmonic Waves: 20 Violas WIDE, 20 Cellos RHS
> Tremolo Harmonics: 20 Violins CTR, 20 Violins RHS, 20 Violas WIDE
> Tremolo Sul Pont: 20 Cellos RHS
> Tremolo: 20 Violins CTR, 20 Violas WIDE, 20 Cellos LHS, 24 Basses



I think this is a very useful list...Tundra has most of these arts or reasonable facsimiles of them. That said the sound is quite thicker in Zimmer. For most people who have Tundra the arts there will work well and well enough. Zimmer though adds lushness that you won't get anywhere else so it's not just about the arts.


----------



## simmo75

Hi Spitfire,
Will you be releasing a demo version as it's a VST instrument?
$599 is too much for me not to pay and not test it first.
Cheers!


----------



## fiestared

simmo75 said:


> Hi Spitfire,
> Will you be releasing a demo version as it's a VST instrument?
> $599 is too much for me not to pay and not test it first.
> Cheers!


Good idea... but, can you imagine 190 GO to download for a demo, you'll tell me, only a small part of the lib ? Maybe, but in that case difficult to really appreciate the "beast"... The best thing, is probably to wait for independent testers.


----------



## simmo75

fiestared said:


> Good idea... but, can you imagine 190 GO to download for a demo, you'll tell me, only a small part of the lib ? Maybe, but in that case difficult to really appreciate the "beast"... The best thing, is probably to wait for independent testers.



Obviously it would have to be a cut down demo, like other reputable companies offer when its such a huge product.


----------



## artomatic

I'm very satisfied with what I've heard so far. Can't wait to start using HZS on my upcoming projects.... But I wouldn't mind a demo featuring more legato arts.


----------



## MaxOctane

simmo75 said:


> Hi Spitfire,
> Will you be releasing a demo version as it's a VST instrument?
> $599 is too much for me not to pay and not test it first.
> Cheers!



No different than other spitfire offerings.


----------



## windyweekend

Pre-ordering this seemed like an easy decision. 

The harder part I didn't expect was trying to upgrade some of my outdated win7 studio to support this. I've spent the best part of the last week overwhelmed in a tsunami of choice, unsupported Asian knock offs, dodgey reviews and endless wrong information trying to buy what I thought was going to be a simple computer. Have so far managed to shortlist down to about 14....

(Head spinning)


----------



## kais0038

I regret buying the Zimmer piano for the price and abundance of practically unusable mic positions to beef up the "size" of the library... fearing the same on this.
If they are going to use his name, wouldn't it be nice to hear him composing a demo? putting your name on something should matter right?
If we are going to stop using our ears and be 'fanboys' ... not asking for a demo... not creating your own IR that reproduces the space... well, how many Hans Zimmer wannabes does this world need?


----------



## AlexanderSchiborr

kais0038 said:


> I regret buying the Zimmer piano for the price and abundance of practically unusable mic positions to beef up the "size" of the library... fearing the same on this.
> If they are going to use his name, wouldn't it be nice to hear him composing a demo? putting your name on something should matter right?
> If we are going to stop using our ears and be 'fanboys' ... not asking for a demo... not creating your own IR that reproduces the space... well, how many Hans Zimmer wannabes does this world need?



To answer a bit of that: The whole Zimmer Branding makes at least for me total sense as his music is popular and _approachable_ and the learning curve to feature a couple of typical Zimmer idiomatics is much easier for beginners to learn and having a good feel and succes with. It creates a kind of self security because a film composer these days needs not to be the studying papers locked room guy anymore.

You don´t have to spent years studying filmscores of Korngold, Silvestri, Williams and transcribe a shitload of their music in order to write a half-descent tune in their style. So of course there is a business behind that because also rookies who start of can have some good quick results.

I see that with a closer friend who just starts of and he told me the other day: "Oh well,Alex, that is not that difficult as I thought." You cannot say the same of Korngold / williams music therefore there is (apart from the success of Hans Zimmer) no big market because to write idiomatic Williams will scare away most people, because it is not really approachable for beginners to just start with.

So of course those HZ Piano, Strings and probably the brass & Choirs will come one day too I think. It is an excellent showcase how perfect marketing is done these days because this is the times.

And again: No disrespect towards the library or HZ (I already mentioned it sounds cool), it is just the way how things make sense to me, just my opinion of course. And this name branding is nothing new of course, it is an old marketing strategy, but it is still very effective and therefore HZ Strings is a prime example of how its perfectly done.


----------



## Rctec

kais0038 said:


> I regret buying the Zimmer piano for the price and abundance of practically unusable mic positions to beef up the "size" of the library... fearing the same on this.
> If they are going to use his name, wouldn't it be nice to hear him composing a demo? putting your name on something should matter right?
> If we are going to stop using our ears and be 'fanboys' ... not asking for a demo... not creating your own IR that reproduces the space... well, how many Hans Zimmer wannabes does this world need?




...there is a demo called “Dunkirk” that uses the Celli and Basses. I hope AIR will never let anyone do a IR of their space. The sound of their room is their livelihood. 
The mic’s on the piano (or any other library I’ve done with Geoff Foster) are not there to “beef up” the size of the library. It’s to give you a choice. You just have to know how to use it. ...And even then it might not be what you are looking for. It’s a damn subjective and elusive thing, that music. Same with the percussion library. It was interesting - since I wanted to see how versatile the Same room and musicians can be - to have my favorite engineers specify their microphone choices and do their own mixes. (They all had different mic choices and where quite opinionated about them). But if you think that’s a pointless exercise, just do your own experiments and samples. I agree with you. The world doesn’t need any more HZ wannabes. Even I try to do something different on each project to re-invent myself. Sometimes it works out, sometimes it doesn’t.


----------



## SpitfireSupport

windyweekend said:


> Pre-ordering this seemed like an easy decision.
> 
> The harder part I didn't expect was trying to upgrade some of my outdated win7 studio to support this. I've spent the best part of the last week overwhelmed in a tsunami of choice, unsupported Asian knock offs, dodgey reviews and endless wrong information trying to buy what I thought was going to be a simple computer. Have so far managed to shortlist down to about 14....
> 
> (Head spinning)



Hi WW. We are working on Win7 compatibility if that's the only thing making you upgrade. I'd hate for us to force you into an upgrade if you ultimately didn't need to do it... Ben


----------



## kais0038

Maybe someone at Bleeding Fingers should weigh in on how often they get notes from Hans?


----------



## Rctec

kais0038 said:


> Maybe someone at Bleeding Fingers should weigh in on how often they get notes from Hans?


I think Jacob and Dave Fleming had enough notes from me to last them a life-time... i try not to interrupt anyone at BF unless it’s an emergency. And I certainly don’t want to influence their style. 
...and kais0038, why don’t you ask me yourself?


----------



## kais0038

AlexanderSchiborr said:


> To answer a bit of that: The whole Zimmer Branding makes at least for me total sense as his music is popular and _approachable_ and the learning curve to feature a couple of typical Zimmer idiomatics is much easier for beginners to learn and having a good feel and succes with. It creates a kind of self security because a film composer these days needs not to be the studying papers locked room guy anymore.
> 
> You don´t have to spent years studying filmscores of Korngold, Silvestri, Williams and transcribe a shitload of their music in order to write a half-descent tune in their style. So of course there is a business behind that because also rookies who start of can have some good quick results.
> 
> I see that with a closer friend who just starts of and he told me the other day: "Oh well,Alex, that is not that difficult as I thought." You cannot say the same of Korngold / williams music therefore there is (apart from the success of Hans Zimmer) no big market because to write idiomatic Williams will scare away most people, because it is not really approachable for beginners to just start with.
> 
> So of course those HZ Piano, Strings and probably the brass & Choirs will come one day too I think. It is an excellent showcase how perfect marketing is done these days because this is the times.
> 
> And again: No disrespect towards the library or HZ (I already mentioned it sounds cool), it is just the way how things make sense to me, just my opinion of course. And this name branding is nothing new of course, it is an old marketing strategy, but it is still very effective and therefore HZ Strings is a prime example of how its perfectly done.



I can understand where you are coming from, but the sounds from the sample library don’t make it easier to recreate Zimmer in a compositional sense.
Yes Williams ripped off Korngold, but who’s going to be looking for a Williams or Zimmer now? There are so many people that can easily reproduce both (yes Williams is more difficult but I know at least 2 professionals that can compose, write counter point and orchestrate on the same level and there isn’t enough work for them).

Instead, try to reproduce a Carter Burrell score or Jon Brion if you don’t have your own voice,,, if your friend just wants to get into the industry you’d be doing him a favor to let him know that it’s oversaturated as opposed to recommending overpriced libraries.

Even Zimmer complains about the lack of creativity in the composition competitions he judges in interviews.
You could view this as “the times” but Zimmer-posers are overpopulated and none of them have anything close to his talent... most of them are just ripping off ‘Inception’ etc. 
The marketing is not your friend- do you think the libraries with the Zimmer name are somehow better?
They are overwrought and you’d be better off using the other Spitfire libraries if you have a hard-on for Spifire.

Zimmer defined an era of creativity and he deserves the praise. But if you feel like you need to compose like him, just contact an Eastern European composer to do it for you because they can do it better and faster. 

Are we artists here? 
Or are we craftsmen that can emulate Zimmer and Williams?
I realize the ‘craftsmen’ quote is popular, but I just see it as an excuse to create quantity over quality. 
If you need that crutch of sounding like an iconic film composer, I think you are part of the problem with film composition in this day and age. Huge respect to the composers out there that think for themselves!!

Your choice in libraries can make your voice unique - don’t follow name endorsements.


----------



## kais0038

Rctec said:


> I think Jacob and Dave Fleming had enough notes from me to last them a life-time... i try not to interrupt anyone at BF unless it’s an emergency. And I certainly don’t want to influence their style.
> ...and kais0038, why don’t you ask me yourself?


I don’t religiously follow this forum - but are you saying you get direct notes from Hans?
BF is just another library that falls under what some people might consider the “remote control” philosophy. I know several people that work and/or have worked for Hans over the years. Please tell me your role and I’d be more than happy to ask you instead of calling BF.


----------



## Alex Fraser

kais0038 said:


> I don’t religiously follow this forum - but are you saying you get direct notes from Hans?


I kinda don't want to spoil it.


----------



## nulautre

Alex Fraser said:


> I kinda don't want to spoil it.


haha right?


----------



## kais0038

I’m just trying to keep composers from getting ripped off by a semi-usable library. My point is that this libarary is likely not being used by them when Hans has his own higher quality libraries.


----------



## kais0038

Spoil it please


----------



## Parsifal666

AlexanderSchiborr said:


> To answer a bit of that: The whole Zimmer Branding makes at least for me total sense as his music is popular and _approachable_ and the learning curve to feature a couple of typical Zimmer idiomatics is much easier for beginners to learn and having a good feel and succes with. It creates a kind of self security because a film composer these days needs not to be the studying papers locked room guy anymore.
> 
> You don´t have to spent years studying filmscores of Korngold, Silvestri, Williams and transcribe a shitload of their music in order to write a half-descent tune in their style. So of course there is a business behind that because also rookies who start of can have some good quick results.
> 
> I see that with a closer friend who just starts of and he told me the other day: "Oh well,Alex, that is not that difficult as I thought." You cannot say the same of Korngold / williams music therefore there is (apart from the success of Hans Zimmer) no big market because to write idiomatic Williams will scare away most people, because it is not really approachable for beginners to just start with.



This is an interesting post! Reminds me of back when I started playing guitar, everyone was into these classically influenced players like Uli Roth and Malmsteen. I appreciated what they did, but was more into Tony Iommi...not just because he was great, but because his level of playing was a realistic goal for me in the beginning. I loved the old Sabbath songs and guitar, so it worked for me...like a gateway drug into more advanced music (not to take away from Iommi, I mean, how epic is "War Pigs"?).

As far as film composers not getting locked into a room with Korngold and Williams, et al...see, to me it's not a great idea to be alone in that room with film composers. Film scoring in the Golden and Silver years of the cinema was often (and not always necessarily) more advanced compositionally than today; which was at least in part because those men were pioneering the genre and thus didn't have a whole lot of film music to study. Most of them started out (and continued) studying the scholastically-measured greats (no judgements here btw). That's why listening to...oh, say HZ's Gladiator in full and then Ben Hur can be quite an educative experience. And btw, I'm a fan of both scores. I'm just suggesting that the differences are interesting, imo.

But I don't know much anyway, so I apologize for the hot air.


----------



## Rctec

Who do you know that has worked for me?
-Hz-


----------



## Rctec

...and this might be my German misunderstanding of semantics... but “endorsement” to me feels like a passive gesture. Spitfire and I actually work with each other on these ideas...
-Hz-


----------



## Rctec

kais0038 said:


> I’m just trying to keep composers from getting ripped off by a semi-usable library. My point is that this libarary is likely not being used by them when Hans has his own higher quality libraries.


Sorry, only just saw this. No, I am using this library. That’s why I pointed you in the direction of “Dunkirk”. But one other small point... Christian Henson or Paul Thompson or Andy Blaney - to just name a few of the “Spitfire”chaps - don’t sound anything like me when they use the same library. Shit! I wished I could sound as good compositionally, not sonically as those guys do a lot of the times...


----------



## rpaillot

kais0038 said:


> I don’t religiously follow this forum - but are you saying you get direct notes from Hans?
> BF is just another library that falls under what some people might consider the “remote control” philosophy. I know several people that work and/or have worked for Hans over the years. Please tell me your role and I’d be more than happy to ask you instead of calling BF.



This is so funny. Didn't you notice that you're actually speaking to HZ himself ? ( Rctec )


----------



## Craig Sharmat

most likely a sock puppet but for who?


----------



## windyweekend

If the Percussion libraries are anything to go by, unless everyone uses the same default mic position I don't think everyone will sound the same with this. I'm still creating new stuff with HZ1 mixing new mics together and detuning, that I never come up with the same stuff each time. It actually encouraged me to intimately sample my son's Walmart drum kit. Combining the two has created an insane level of choice (and sounds I never thought I could do). I might ask Air and Christian-Paul if they want to borrow the kit for a few days....


----------



## AlexanderSchiborr

Parsifal666 said:


> This is an interesting post! Reminds me of back when I started playing guitar, everyone was into these classically influenced players like Uli Roth and Malmsteen. I appreciated what they did, but was more into Tony Iommi...not just because he was great, but because his level of playing was a realistic goal for me in the beginning. I loved the old Sabbath songs and guitar, so it worked for me...like a gateway drug into more advanced music (not to take away from Iommi, I mean, how epic is "War Pigs"?).
> 
> As far as film composers not getting locked into a room with Korngold and Williams, et al...see, to me it's not a great idea to be alone in that room with film composers. Film scoring in the Golden and Silver years of the cinema was often (and not always necessarily) more advanced compositionally than today; which was at least in part because those men were pioneering the genre and thus didn't have a whole lot of film music to study. Most of them started out (and continued) studying the scholastically-measured greats (no judgements here btw). That's why listening to...oh, say HZ's Gladiator in full and then Ben Hur can be quite an educative experience. And btw, I'm a fan of both scores. I'm just suggesting that the differences are interesting, imo.
> 
> But I don't know much anyway, so I apologize for the hot air.



Where is the hot air? I like the Gladiator Soundtrack too. It is all fine.


kais0038 said:


> I can understand where you are coming from, but the sounds from the sample library don’t make it easier to recreate Zimmer in a compositional sense.
> Yes Williams ripped off Korngold, but who’s going to be looking for a Williams or Zimmer now? There are so many people that can easily reproduce both (yes Williams is more difficult but I know at least 2 professionals that can compose, write counter point and orchestrate on the same level and there isn’t enough work for them).
> 
> Instead, try to reproduce a Carter Burrell score or Jon Brion if you don’t have your own voice,,, if your friend just wants to get into the industry you’d be doing him a favor to let him know that it’s oversaturated as opposed to recommending overpriced libraries.
> 
> Even Zimmer complains about the lack of creativity in the composition competitions he judges in interviews.
> You could view this as “the times” but Zimmer-posers are overpopulated and none of them have anything close to his talent... most of them are just ripping off ‘Inception’ etc.
> The marketing is not your friend- do you think the libraries with the Zimmer name are somehow better?
> They are overwrought and you’d be better off using the other Spitfire libraries if you have a hard-on for Spifire.
> 
> Zimmer defined an era of creativity and he deserves the praise. But if you feel like you need to compose like him, just contact an Eastern European composer to do it for you because they can do it better and faster.
> 
> Are we artists here?
> Or are we craftsmen that can emulate Zimmer and Williams?
> I realize the ‘craftsmen’ quote is popular, but I just see it as an excuse to create quantity over quality.
> If you need that crutch of sounding like an iconic film composer, I think you are part of the problem with film composition in this day and age. Huge respect to the composers out there that think for themselves!!
> 
> Your choice in libraries can make your voice unique - don’t follow name endorsements.



Well, not sure if you got the point of my post, but thank you for the reply.
Hope your next purchase will be more pleasing.


----------



## kais0038

Rctec said:


> Sorry, only just saw this. No, I am using this library. That’s why I pointed you in the direction of “Dunkirk”. But one other small point... Christian Henson or Paul Thompson or Andy Blaney - to just name a few of the “Spitfire”chaps - don’t sound anything like me when they use the same library. Shit! I wished I could sound as good compositionally, not sonically as those guys do a lot of the times...


OK - so I see why the other guys were teasing me about the reveal of your handle on this post. I’ve learned a lot from your posts and Alan Meyerson’s posts on Gearslutz. I know the approach I need to take in this situation is basically hail to the king, because as I previously mentioned how much I respect you in this thread. Of course you understand why I won’t reveal who I know on your team or people who’ve been black-listed in the past from their involvement, but honestly I thought I was talking to just the devs and reviewers I wanted to weigh in with my 2 cents regarding the last library because it is a hefty sum you are asking for this new library considering how limited the usage is like the piano library. The limitation is part of the library, though, inherent in the key mistake any great or bad composer would make: you treat the hall like you want it to sound and it usually results in a library that can only be used for the specific composer’s sound (obviously film in your case). I imagine that it’s because people involved, including the sample makers, are scared of making you angry because they realize the power you have in this town (thank Klaus for that). We’ve even had music on the same shows in the past. I have no desire to bad mouth you and I know a tremendous amount about you, although we’ve never met. Still, I maintain my thoughts on the libraries and their cost based on my own experience. I don’t have anything to lose from an interchange with you, but you are an idol of mine so I don’t want to make this into something than a polite “bowing out.” Also, though, please think of the composers that can hardly afford libraries often get fooled into thinking a library with your name on it will be essential and they will buy it. It was the first case I soured on your ‘brand’ personally and I in turn took it personally. I believed in your music and hence trusted your namesake on a product. I won’t go on to talk about your personal set-up and how that makes it worse, but please realize your name means more than you know.


----------



## Parsifal666

Rctec said:


> Sorry, only just saw this. No, I am using this library. That’s why I pointed you in the direction of “Dunkirk”. But one other small point... Christian Henson or Paul Thompson or Andy Blaney - to just name a few of the “Spitfire”chaps - don’t sound anything like me when they use the same library. Shit! I wished I could sound as good compositionally, not sonically as those guys do a lot of the times...



This is awesomely humble. It only raises my estimation of HZ more (and it's pretty darn high to begin with).

To the member who said Williams ripped off Korngold. I don't think he "ripped off" anyone...that's in the same league of argument as the people who claimed Goldsmith ripped off Williams for "Star Trek", or Newman ripped off Barber for "Greatest Story Ever Told".

Let's say John Williams' music at times bears the influence of Bernard Herrmann ("The Fury" is perhaps the best example of this, though "Family Plot" arguably bears it as well). Both filmmakers wanted Herrmann for those movies (DePalma lost out because of the composer's horribly early death, while apparently Herrmann told the Hitchcock people to...uhhh, take a walk when approached for the latter). The same filmmakers asked Williams to write somewhat _*in that idiom*_ for their movies. Other filmmakers might have asked him to write in a Korngold-ian idiom. I imagine that kind of thing happens more than a little in filmmaking today.

In all the above instances, the composers took what had been done and ultimately, resolutely did their own thing with it, remolding the clay in their own image.

HZ 's most reknown style echoes Carpenter and Morricone and maybe Vangelis (whenever I'm asked what that HZ style "sounds like", I just mention the "Thing" and original "Blade Runner"). However, he took those influences (I might be wrong in regard to those exact influences, forgive me if so) and created a style that has had an inarguably huge influence on this century's film scores.

Au fond, he (and the others) "ripped off" nobody. Everyone has their influences, and everyone is more than capable of assimilating, pulling on and pushing against, and ultimately morphing them as he or she grows into an uncontestably individual style.

Wow, wotta rant. Sorry.


----------



## kais0038

Parsifal666 said:


> This is awesomely humble. It only raises my estimation of HZ more (and it's pretty darn high to begin with).
> 
> To the member who said Williams ripped off Korngold. I don't think he "ripped off" anyone...that's in the same league of argument as the people who claimed Goldsmith ripped off Williams for "Star Trek", or Newman ripped off Barber for "Greatest Story Ever Told".
> 
> Let's say John Williams' music at times bears the influence of Bernard Herrmann ("The Fury" is perhaps the best example of this, though "Family Plot" arguably bears it as well). Both filmmakers wanted Herrmann for those movies (DePalma lost out because of the composer's horribly early death, while apparently Herrmann told the Hitchcock people to...uhhh, take a walk when approached for the latter). The same filmmakers asked Williams to write somewhat in that idiom for their movies.
> 
> In all the above instances, the composers took what had been done and ultimately, resolutely did their own things with it, remaking the style in their own image.
> 
> HZ 's most reknown style echoes Carpenter and Morricone and maybe Vangelis (whenever I'm asked what that HZ style "sounds like", I just mention the "Thing" and original "Blade Runner"). However, he took that and created a style that has had an inarguably huge influence on this century's film scores. He (and the others) "ripped off" nobody. Everyone has their influences, and everyone is more than capable of assimilating, pulling and pushing against, and ultimately morphing them as he or she grows into an uncontestably individual style.
> 
> Whew! Anyone need a No-Doz yet?




I appreciate the thoughts on this, but my point about Williams came from an observation directly made by comparing Korngold’s score from Robin Hood to Star Wars and Indiana Jones and if you do score study the familiarity is undeniable (taught at USC still). ‘The Fury’ bears more resemblance to a Goldsmith score than Herrman which is largely attributed to their similar styles of composing (Herrmann and tone row composition? I don’t think so... look at the scores please) .... Williams composing techniques including his love of suspensions just isn’t similar to Herrman at all. They asked John Williams to do many things back when he was known as Johnny Williams as they called him in Hollywood at the time of composing scores like the Fury. 
Look at the counterpoint in Korngold’s score for ‘Robin Hood’ and then try to deny the similarity. I sense that there is a lot of ‘smoke screen’ going on to pass over my posts. If you need to eliminate my posts so they don’t hurt the sale of the library, just do it... but please don’t try to defraud my score analysis because I know(knew) these guys and I spent a long time studying them. So reading a simplified analysis by someone who clearly hasn’t done the work is just insulting.


----------



## Rctec

The piano was a killer. We tried so hard to get it right. All those impossibly quiet velocities played as evenly as possible by Simon Chamberlain... Just for me to realize only I sound the way I sound on that piano. Not better. Just different. That was weeks of work. Paul and Christian where ready to kill me...and yes, it’s turned out a bit odd. I know what it’s strength are, but that doesn’t help you. I have another piano idea, but I can’t bring myself to even mention it to Paul or Christian. There is a true magic sitting in that hall with that piano (“Interstellar” was recoded in there with 4 pianos playing simultaneously, and it was allway that piano that was the best sounding one -no doubt). One note takes about three minutes to record. Multiply that by 88 x 8 velocities... there goes the budget....
Yes, my own library can do things other libraries can’t. Mainly due to Mark Wherry’s custom sampler and Claudius Brüse’s impeccable programming. But we are trying to get closer by having the same players as much as possible in the section, using the same microphone techniques, roof at same height...and slowly, I suspect we’ll be incorporating some of Mark’s inventions and discoveries into “Spitfire”s sampler. But it will take time. We can’t just port across, because our sampler is written for very specific machines, while a “commercial”library needs to function on even win 7 machines.... as we just found out.
Just to put it into some perspective, we have literally spend millions on my personal library over a twenty year period. Each project has new technical requirements that Mark implements....so it just seemed to be reasonable to start working with other composers who’s work I admired. Because they are in it for the same reason as me: making the best tools for the music we want to write...the only “outside” Remote person to have my samples is James Newton Howard. And he writes - even when we work on the same project - stylistically quite differently to me. It’s not to impress directors or producers, it strictly about coming to the studio and spending all Day and night with beautiful and inspiring instruments...But I do love pushing the envelope. There is a sound that you just can’t get in a normally sized section. Not the Big Stuff. The quiet, silky stuff...


----------



## Parsifal666

Nobody's denying the influence...however, most of that sound came from somebody(s) before Korngold. It certainly wasn't invented by him...and no, I won't even mention where that sound came from, it's more educating if you find out for yourself. Check the late Classical and Romantic eras (though you probably already have at least some ideas).

See where this model of thinking leads? Straight up oneself. No offense intended.

This entire "ripped off/influenced by" thing could go on and on, the proper hat getting more and more suffocating with continued diggings.


----------



## kais0038

OK - well you are clearly more brilliant than both the staff at NYU and USC (which had Goldsmith as a guest professor) staff that still demonstrates the near exact melodic and harmonic treatment in the scores to this very day. But hey, it’s all neoclassical, which you would call classic and romantic eras... where the hell did you get a degree in theory? No agenda at all on your end? A flawed model of thinking leads to a flawed result. Stop embarrassing yourself. If you really feel you are correct, quote ANYTHING


----------



## Alex Fraser

kais0038 said:


> OK - well you are clearly more brilliant than both the staff at NYU and USC (which had Goldsmith as a guest professor) staff that still demonstrates the near exact melodic and harmonic treatment in the scores to this very day. But hey, it’s all neoclassical, which you would call classic and romantic eras... where the hell did you get a degree in theory? No agenda at all on your end? A flawed model of thinking leads to a flawed result. Stop embarrassing yourself. If you really feel you are correct, quote ANYTHING


Jees, does it really matter?


----------



## kais0038

If an idiot picks a fight in a forum that’s supposed to be educated, would you recommend just letting it slide? Aren’t forums supposed to educated... or are they supposed to just be selling arenas?


----------



## kais0038

i’ll do you guys a favor, I’ll back down and you can spam with all the falsified info you want.


----------



## Alex Fraser

kais0038 said:


> ... or are they supposed to just be selling arenas?


You're posting in a (paid for) commercial thread.


----------



## kais0038

Alex Fraser said:


> Jees, does it really matter?


Only if you are here to post information right?


----------



## windyweekend

SpitfireSupport said:


> Hi WW. We are working on Win7 compatibility if that's the only thing making you upgrade. I'd hate for us to force you into an upgrade if you ultimately didn't need to do it... Ben


Thanks Ben. I fear I may have delayed bringing some of my gear into the 21st century for too long as it is, so this was probably a good kick in the right direction i needed. I could have asked if this was going to work on my Akai S900 but thought better of it..


----------



## Parsifal666

kais0038 said:


> If an idiot picks a fight in a forum that’s supposed to be educated, would you recommend just letting it slide? Aren’t forums supposed to educated... or are they supposed to just be selling arenas?



Did I pick a fight? I didn't mean to, and apologize if it seemed that way.



kais0038 said:


> i’ll do you guys a favor, I’ll back down and you can spam with all the falsified info you want.



What falsified info? Couldn't someone accuse you of the same? My Master's is from University of Florida btw.

Nobody's intentionally challenging you, dude. I just wanted to (politely) point out the fallacies in your reasoning, not to mention how dismissive and ignorant it is to accuse perhaps the greatest living film composer (well, there is Morricone) of being a loser plagiarist. I'd be surprised if a smart person like you couldn't see that.



Alex Fraser said:


> Jees, does it really matter?



Nope. With all respect to everyone, I'm out on the subject!

Anyhoo geez, wouldn't mind trying out HZ Strings!


----------



## jononotbono

Rctec said:


> I have another piano idea, but I can’t bring myself to even mention it to Paul or Christian.



I'm sure I'm not alone when I say this but, can you please bring yourself to mention this to Paul and Christian!! The HZ Piano is incredible so anything more from Spitfire and yourself (and that Piano) is very welcome. It's such an inspiring sounding instrument. 

Would also love to see CH Vlog on the psychological aftermath after a HZ sampling session! haha!


----------



## kais0038

Alex Fraser said:


> You're posting in a (paid for) commercial thread.


So no contrary opinions to who paid for the thread?


----------



## kais0038

Parsifal666 said:


> Did I pick a fight? I didn't mean to, and apologize if it seemed that way.
> 
> 
> 
> What falsified info? Couldn't someone accuse you of the same? My Master's is from University of Florida btw.
> 
> Nobody's intentionally challenging you, dude. I just wanted to (politely) point out the fallacies in your reasoning. I'd be surprised if a smart person like you couldn't see that.
> 
> There were no fallacies - you incorrectly quoted periods of music as they are considered in a collegiate point of view.
> Trying to make an arguement that music is all influenced by music but always unique defies copyright law.
> 
> Nope. With all respect to everyone, I'm out on the subject!
> 
> Good move.
> 
> Anyhoo geez, wouldn't mind trying out HZ Strings!


----------



## Alex Fraser

kais0038 said:


> So no contrary opinions to who paid for the thread?


Not what I was going for, only that in a commercial thread you can (rightly) expect a lot of positive comments promoting the product. Anyway, love to all. The coffee machine is calling.


----------



## Parsifal666

@kais0038 You win.


----------



## Vik

Rctec said:


> I have another piano idea, but I can’t bring myself to even mention it to Paul or Christian.


I guess that's what you just did.


----------



## Parsifal666

Somebody went buh-byes.

Getting more curious about HZ Piano. I'm not the biggest fan of the instrument (outside of Beethoven's late era sonatas and select Chopin and Lizst). But I have and use the Gentleman a lot. May I ask what I'd be gaining from the HZ piano?

Again, honest curiousity.


----------



## Vik

Parsifal666 said:


> Getting more curious about HZ Piano.


Sure - and I also wish there will be a demo version of the HZ (and other) new string librarie/s. 

I generally think that threads like these are very interesting. A major sample library company teams up with a major film composer, and discuss their product with potential users in a public forum, with the option to ask questions to those involved in making it before it's released. 

There's a lot of questionable things going on on this planet currently (environment and leadership issues, for instance), but in a thread like this: nothing to fight about, really. Nada. Just a useful discussion that one may or may not be interested in being a part of.


----------



## Parsifal666

Oh, since this is Spitfire, I must mention my delight at what is probably a relatively little known patch in their libraries: Albion Legacy's muted piano patches! I've had a great time getting my Goldsmith on with that sucker! Think Capricorn One, First Blood, etc.


----------



## blougui

kais0038 said:


> So no contrary opinions to who paid for the thread?


Here are the rules for the Commercial announcement forums :

Also, note that Commercial Announcements are a “safe zone” for the companies who post. Negative comments or discussion about competing libraries are not allowed. Sample Talk and all other areas of the forum are free game, of course, but in this section, we ask that the companies not have to deal with any conflict.​It usually is not that "straight upon the button" but you got the idea. Hope that helps...


----------



## Loïc D

Parsifal666 said:


> Oh, since this is Spitfire, I must mention my delight at what is probably a relatively little known patch in their libraries: Albion Legacy's muted piano patches! I've had a great time getting my Goldsmith on with that sucker! Think Capricorn One, First Blood, etc.


Now that you mention it, the legacy directory has a lot of hidden gems 

To stick back to the previous feud, I do think that some people are mistaking the collaboration of Spitfire & HZS, the composer itself (which I like a lot BTW), and the library as a tool.

Buying HZS doesn't mean necessarily that you're a fan-boy or trying to mimic Hans Zimmer.
You're just buying a composition tool, no ? (which I sadly won't since I'm just amateur composer without any music income haha).
After all, I've got a Stratocaster and never tried to sound like Jimi Hendrix or Eric Clapton (though I confess for David Gilmour  ).

Then it's up to the composer to be creative by writing skills or further processing of sample.
...Or not creative at all, if your director urges you to sound like Hans.


----------



## Alex Fraser

LowweeK said:


> Now that you mention it, the legacy directory has a lot of hidden gems


Too right. One of my regrets is that I came to SF a bit too late and missed out on the original Albion I.


----------



## Parsifal666

LowweeK said:


> Now that you mention it, the legacy directory has a lot of hidden gems
> 
> To stick back to the previous feud, I do think that some people are mistaking the collaboration of Spitfire & HZS, the composer itself (which I like a lot BTW), and the library as a tool.
> 
> Buying HZS doesn't mean necessarily that you're a fan-boy or trying to mimic Hans Zimmer.
> You're just buying a composition tool, no ? (which I sadly won't since I'm just amateur composer without any music income haha).
> After all, I've got a Stratocaster and never tried to sound like Jimi Hendrix or Eric Clapton (though I confess for David Gilmour  ).
> 
> Then it's up to the composer to be creative by writing skills or further processing of sample.
> ...Or not creative at all, if your director urges you to sound like Hans.



I remember when I first bought Zebra HZ...at first I had a ball just trying to emulate the sounds from Dark Knight and Man of Steel. And I still love that side of it. The cool thing for me was, I saw where I was using the synth too much like some toy and not getting any real, personally expressive use out of it. So I started studying sound design and Zebra off places like ADSR and learned how to make these sounds more personal.

HZ remains my favorite synth, but just as much for the patches I created as for the "HZ experience". It, like so many other things in music, can be a terrifically inspiring launch pad for future self-expression.

Caffeine pills given out on the line to the left...


----------



## Parsifal666

Alex Fraser said:


> Too right. One of my regrets is that I came to SF a bit too late and missed out on the original Albion I.



I'm SUPER grateful I bought Legacy right before ONE. It's definitely paid off.


----------



## Mateo Pascual

LowweeK said:


> Buying HZS doesn't mean necessarily that you're a fan-boy or trying to mimic Hans Zimmer.
> You're just buying a composition tool, no ?



This is also what I think. Two different composers using the exact same tools will create different music. And this library is no exception. I don't think 99% of people interested in HZS will use it as their only string library anyway, so it is more about adding new options to an already existing/always expanding template.


----------



## Soundhound

That's certainly how I'm planning on using it. Mostly those unusual gigantic yet incredibly soft sounds. 

That and scaring the shit out of the cats.




Mateo Pascual said:


> This is also what I think. Two different composers using the exact same tools will create different music. And this library is no exception. I don't think 99% of people interested in HZS will use it as their only string library anyway, so it is more about adding new options to an already existing/always expanding template.


----------



## windyweekend

Mateo Pascual said:


> This is also what I think. Two different composers using the exact same tools will create different music. And this library is no exception. I don't think 99% of people interested in HZS will use it as their only string library anyway, so it is more about adding new options to an already existing/always expanding template.


It's just a tool at the end of the day, but a nice one. Just because you have a gold plated, bespoke pencil won't make you Shakespeare though. It all comes down to how you use it. The only similarity we're all buying into here though is that we all get that beautiful airy Air 'air' - which you simply can't reproduce any other way.


----------



## Parsifal666

windyweekend said:


> It's just a tool at the end of the day, but a nice one. Just because you have a gold plated, bespoke pencil won't make you Shakespeare though. It all comes down to how you use it. The only similarity we're all buying into here though is that we all get that beautiful airy Air 'air' - which you simply can't reproduce any other way.



The last of which makes things sooo tricky during the mixdown...I can't count how many times I'd finish a composition, listen back, and every time the Albion "Air-baked" reverb would make those specific instruments sound like they were further away than the other, non-roomy instruments.

I'd rather NOT have that AIR sound and have the choice to add the IR I want, but that's just me. Granted, I do think sketches made solely with the abovementioned Air-y instruments sound really good.


----------



## JohnG

windyweekend said:


> Just because you have a gold plated, bespoke pencil won't make you Shakespeare though



I've seen this sentiment expressed over and over and I totally disagree with it. Not picking on you in particular, but I keep reading it "Composer X can make a bucket of nails sound like great music." If that's the case, why do many of the most widely admired composers in Hollywood buy new samples?

When I started, electronic music sounded awful -- samples were terrible, really; extremely limited in the articulations they could produce, and many of the sounds themselves are / were thin or soulless. No matter how much time you lavished on them they could only execute a limited number of ideas, and those poorly.

And the thing is -- if you work in media, the approval process means that you're stuck with the limits of your mockups to a great extent. Unless you're John Williams.

Nearly every cue I write has to be auditioned by someone, often a lot of someones, and if it sounds unconvincing, it gets the "I just don't know..." "not sure...." and I have to rewrite it. 

And it's not just that, feeble samples affect my creative side too. Listening to work I did 10 years ago or more, I hear myself constantly disguising it with orchestration tricks to mask the shortcomings of the samples or synths. Still do it, really, though things sound infinitely better. I'm working on something right now and even with the 10,000 samples I have I still can't execute what a 26 person orchestra can do.

Why buy anything new at all? 

What I'd love is a REALLY compelling set of samples so that I can actually write a solo line that is even 40% as good as the real thing. A good cellist or oboe player or anything, really, can make you feel something valid and non-trivial, whereas most solo samples just can't quite get there.

Simplicity and boldness with a single idea sometimes says more than a full orchestra, but weak samples can't execute that.

Great samples won't make you Beethoven or Eliot Goldenthal, no, but they can open doors, creatively and professionally.


----------



## Parsifal666

JohnG said:


> Great samples won't make you Beethoven or Eliot Goldenthal, no, but they can open doors, creatively and professionally.



They can also be profoundly inspiring. I actually sketched an entire symphony with just Bernard Herrmann Orchestral Toolkit, the Summer it came out. It was that impactful on me.

I mean, the symphony sucked, but that's another story I (lucky for everyone) won't tell.


----------



## windyweekend

JohnG said:


> I keep reading it "Composer X can make a bucket of nails sound like great music." If that's the case, why do many of the most widely admired composers in Hollywood buy new samples?
> 
> And the thing is -- if you work in media, the approval process means that you're stuck with the limits of your mockups to a great extent. Unless you're John Williams.



I totally agree with you that the quality of the samples makes a huge difference (otherwise I wouldn't be here and bought this), but at the end of the day if you're not extracting/creating the right emotion from the music with a decent melody then it doesn't matter how good the samples or instruments are. I sat through a symphony recently and even though the players were fantastic performers, the whole thing felt like an emotional clusterf to me. Didn't resonate, sounded cacophonous, and actually drained me (I'm not going to mention the composer else I'll be inviting arrows from every direction). Conversely I recently heard Max Richter's taboo theme, which I (and even my kids) found infinitely more emotive. Nothing but a single (very simple) melody on a piano. The closer to reality we can get the better we'll sound and the happier our Directors will be, but you can't beat a good simple melody if you ask me.


----------



## Mateo Pascual

windyweekend said:


> It's just a tool at the end of the day, but a nice one. Just because you have a gold plated, bespoke pencil won't make you Shakespeare though. It all comes down to how you use it. The only similarity we're all buying into here though is that we all get that beautiful airy Air 'air' - which you simply can't reproduce any other way.



Yes  that's for sure, and the reason Tundra was an insta-buy for me. That was taking into account I don't have much use for those softer articulations, but I really love that library and brings something new to the table. The soft patches in HZS demos sound lovely as well, but again, not something I would use all the time. So I'm waiting for more walkthroughs that showcase other areas of the library, especially one with the legatos and very curious also about the different mic positions because I hear a lot of room in the demos. I know, when you have a great room you want the sound of it, but there is probably a bit too much for my taste. Would be great to know how much of it can be fine tuned with the mics options.


----------



## procreative

Off topic slightly, but I think we have already landed in the realm of "almost the real thing". We have just got so much more picky and spoilt. I remember firing up my JX3P and playing the String pad and being blown away back in 1983, then my jaw dropping at the Strings my JV880 could muster.

But none of these had much more than "Strings Arco" or "String Shorts". And mic positions...?

Sure there is a long way to go to get the vibrancy of a [good] real orchestra, but its definitely enough to get your ideas across, if not good enough for the final cut.

Listen to some 1970s orchestral recordings, especially those Pop cover discs, the production was pretty ropey and some of the playing rather mushy. Some of them even sound like bad samples.

If you have ever tried recording a demo on a 4 track cassette recorder, using a cheap mixer, one rack FX unit, a couple of stomp boxes and your mums hifi speakers. Anything else is pure gold!

By the way this is a very bold product, not for me, but thats only because I have to try to put a lid on the GBs of sample data I have accrued and I just cannot fit any more drives!!


----------



## windyweekend

procreative said:


> Off topic slightly, but I think we have already landed in the realm of "almost the real thing". We have just got so much more picky and spoilt. I remember firing up my JX3P and playing the String pad and being blown away back in 1983, then my jaw dropping at the Strings my JV880 could muster.
> 
> But none of these had much more than "Strings Arco" or "String Shorts". And mic positions...?
> 
> Sure there is a long way to go to get the vibrancy of a [good] real orchestra, but its definitely enough to get your ideas across, if not good enough for the final cut.
> 
> Listen to some 1970s orchestral recordings, especially those Pop cover discs, the production was pretty ropey and some of the playing rather mushy. Some of them even sound like bad samples.
> 
> If you have ever tried recording a demo on a 4 track cassette recorder, using a cheap mixer, one rack FX unit, a couple of stomp boxes and your mums hifi speakers. Anything else is pure gold!
> 
> By the way this is a very bold product, not for me, but thats only because I have to try to put a lid on the GBs of sample data I have accrued and I just cannot fit any more drives!!



So spot on. The 4 track thing always comes back to my mind. I remember spending weeks bouncing and rebouncing just to get to 16 tracks. When I got my hands on Steinberg Pro 24 and an Atari ST I thought I'd been given the keys to the kingdom. Got to be so grateful for what we have to play with nowadays.


----------



## procreative

windyweekend said:


> So spot on. The 4 track thing always comes back to my mind. I remember spending weeks bouncing and rebouncing just to get to 16 tracks. When I got my hands on Steinberg Pro 24 and an Atari ST I thought I'd been given the keys to the kingdom. Got to be so grateful for what we have to play with nowadays.



My first 4 track was a crappy Vestax thing, then I thought I had arrived when I got a Yamaha one that ran double speed for better quality. Using studios with 8, 16 then 24 tracks seemed great, then came the messing with SMPTE and Tape Stripes to get the Midi gear to sync (half the time it didn't sync right buggering the mixdown).


----------



## Parsifal666

I started out with Finale Notepad, and then GPO. I still have fond memories of watching "Amadeus" then getting turned onto Wagner...shortly after I discovered the (FREE!) Notepad and was impressed by the sound.

These days, after EW, SF and CH...doesn't sound so good lol! But it was an inspired, hopeful, fun time.


----------



## artomatic

I don't see any portamento arts listed. I'm sure it's because recording portamento with 60 violins, etc. would render it useless! 
I do wish it was available for the smaller (20 section) sizes.


----------



## MaxOctane

artomatic said:


> I don't see any portamento arts listed. I'm sure it's because recording portamento with 60 violins, etc. would render it useless!



That would actually be a great reason to have portamento... it's so crazy, it's bound to sound unique.


----------



## Parsifal666

Mateo Pascual said:


> Yes  that's for sure, and the reason Tundra was an insta-buy for me. That was taking into account I don't have much use for those softer articulations, but I really love that library and brings something new to the table. The soft patches in HZS demos sound lovely as well, but again, not something I would use all the time. So I'm waiting for more walkthroughs that showcase other areas of the library, especially one with the legatos and very curious also about the different mic positions because I hear a lot of room in the demos. I know, when you have a great room you want the sound of it, but there is probably a bit too much for my taste. Would be great to know how much of it can be fine tuned with the mics options.



Have you checked out EVO III? You might like it.


----------



## Mateo Pascual

Parsifal666 said:


> Have you checked out EVO III? You might like it.



Yes, I haven't got any of the EVO series yet, but Evo III looks very interesting indeed. Thanks for the suggestion.


----------



## windyweekend

artomatic said:


> I don't see any portamento arts listed. I'm sure it's because recording portamento with 60 violins, etc. would render it useless!
> I do wish it was available for the smaller (20 section) sizes.


Wish it was there for the big sections as well. Think it would have sounded immense if they could have pulled it off.


----------



## fiestared

Spitfire Team said:


> View attachment 12369
> 
> 
> ​
> https://www.youtube.com/watch?v=rcT5KSSniHg&utm_source=Spitfire+MASTER+List&utm_campaign=f290ddcad8-HansZimmerStrings_InDepth_08032018&utm_medium=email&utm_term=0_df4ead2b5d-f290ddcad8-



Anything new ? No more videos ? Maybe about the shorts, the legatos, etc ... I know at Spitfire audio you're all very busy, launching a lib that huge and major, anyway, we are all waiting for news. Thanks


----------



## Parsifal666

Mateo Pascual said:


> Yes, I haven't got any of the EVO series yet, but Evo III looks very interesting indeed. Thanks for the suggestion.



Whatever you do, don't get stuck with both Evo 1 AND 2, one or the other is fine. I bought both and now feel it was a bit overkill.

They're really good libraries...but I'd mostly recommend 3 because of the evolutions. Plus, 4 is all woodwinds and gives a writer something different (in an inspiring way) to work with, so that's one to consider as well.


----------



## naosato

Has this been shared?? Thought was pretty funny!


----------



## blougui

yes it has been, thanx to Mr Henson.But hey, the more the merrier...


----------



## Jeremy Gillam

Will this library cure my insomnia?


----------



## AllanH

jrgillam said:


> Will this library cure my insomnia?


Absolutely - you'll not have time to suffer from insomnia.


----------



## Rctec




----------



## Jeremy Gillam

Minimoog sales are really on the rise thanks to Uber.


----------



## Vastman

jononotbono said:


> I'm sure I'm not alone when I say this but, can you please bring yourself to mention this to Paul and Christian!! The HZ Piano is incredible so anything more from Spitfire and yourself (and that Piano) is very welcome. It's such an inspiring sounding instrument.
> 
> Would also love to see CH Vlog on the psychological aftermath after a HZ sampling session! haha!



I own several dozen piano libraries and just recently acquired HZP in the last big sale... Coveted it for a long time. By far the most beautiful sounding instrument of the bunch... can meander all night long with bliss flowing thru my veins... I avidly read all the posts associated with it and all the technical whining about this or that after it's release and as I was financially challenged at the time I decided to skip it... Fortunately I decided to revisit HZP during the recent sale and I am SOOOOO glad I did... for me, what it comes down to is "the sound"... it is gorgeous, lovely, captivating and absolutely heavenly... don't give a shit about other issues... it is simply wonderful...and begs to be played, like NO OTHER piano library I own and that is a very special gift... I thank you, Hans and the Spitfire boys...

Sad that a few self righteous egomaniacs splatter intelligent sounding garbage...in a realm... "composing" or, as I see it, songwriting... that in itself is an amalgamation of soooo many variables... that there is an ever expanding vista of beautiful creations that are possible, which is exactly why it is so awe inspiring to listen to as well as create. That was a mouthful, clumsily conveyed... but putting people in boxes is just plain dumb...


----------



## Pontus Rufelt

Still nothing more on the legatos?


----------



## prodigalson

Vastman said:


> Sad that a few self righteous egomaniacs splatter intelligent sounding garbage.



Sad that well-meaning buyers expressing concerns about the playability and overwhelming technical requirements of a library that Hans himself described as turning out a bit "odd" get labeled as self-righteous egomaniacs splattering garbage for simply expressing a contrary view.

I myself am a fan of the HZ Piano and use it a lot in certain contexts but certainly understood where those took issue with it were coming from.


----------



## Jetzer

Very cool library. Demo's sound great. Now I finally know where that Blue Planet sound came from.


----------



## Vastman

prodigalson said:


> Sad that well-meaning buyers expressing concerns about the playability and overwhelming technical requirements of a library that Hans himself described as turning out a bit "odd" get labeled as self-righteous egomaniacs splattering garbage for simply expressing a contrary view.
> 
> I myself am a fan of the HZ Piano and use it a lot in certain contexts but certainly understood where those took issue with it were coming from.


Did not mean to imply all those for whom HZP did not meet their needs (ie, half peddling et al) were as described... if some have particular needs, fine... and no library is going to please everyone... my comment was more directed at the one mysteriously unnamed but sanctimonious individual who appeared on the forum spewing a bit of trollish venom in several directions and engaged the zman... sorry for my lack of clarity.


----------



## blougui

Vastman said:


> I own several dozen piano libraries and just recently acquired HZP in the last big sale... Coveted it for a long time. By far the most beautiful sounding instrument of the bunch... can meander all night long with bliss flowing thru my veins... I avidly read all the posts associated with it and all the technical whining about this or that after it's release and as I was financially challenged at the time I decided to skip it... Fortunately I decided to revisit HZP during the recent sale and I am SOOOOO glad I did... for me, what it comes down to is "the sound"... it is gorgeous, lovely, captivating and absolutely heavenly... don't give a shit about other issues... it is simply wonderful...and begs to be played, like NO OTHER piano library I own and that is a very special gift... I thank you, Hans and the Spitfire boys...
> 
> Sad that a few self righteous egomaniacs splatter intelligent sounding garbage...in a realm... "composing" or, as I see it, songwriting... that in itself is an amalgamation of soooo many variables... that there is an ever expanding vista of beautiful creations that are possible, which is exactly why it is so awe inspiring to listen to as well as create. That was a mouthful, clumsily conveyed... but putting people in boxes is just plain dumb...


Vastman !!!
No news since january, I began to wonder genuinely if younwere not ok. 
Glad to see you back


----------



## maestro2be

Pontus Rufelt said:


> Still nothing more on the legatos?


I am also waiting on this hopeful showing prior to the date ending. Back to hibernation mode until then .


----------



## Fry777

Also waiting on a walkthrough/demo primarily based on legatos


----------



## Pontus Rufelt

@Spitfire Team @SpitfireSupport can any of you address whether we'll be seeing more demos, videos showing aspects of the library that have not really been demonstrated much, such as the legatos? Or is the current array of demos and videos what we have to go on for the pre-order phase?


----------



## muziksculp

Yes, Please SA, give us more demos & videos of HZ-Strings. 

Thanks.


----------



## N.Caffrey

Pontus Rufelt said:


> @Spitfire Team @SpitfireSupport can any of you address whether we'll be seeing more demos, videos showing aspects of the library that have not really been demonstrated much, such as the legatos? Or is the current array of demos and videos what we have to go on for the pre-order phase?


+1


----------



## Spitfire Team

​​


----------



## BL

Ever since the first day that the percussion and the piano was released, I long hoped for Hans Zimmer Strings. Was Alan Meyerson involved with this project?


----------



## Cinebient

A thing i hope would be possible in the future would be microtuning (best via importing .tun files).
Not sure if that would be even possible with such huge libraries but in general i wonder often about the lack of options for easy microtuning, especially if a tool is about experimentation and breaking rules.
I learned the hard way that all the live midi tuners are worthless here and there is really no better way as .tun file or .scl and kbm file import (but .tun files seems the best for me).
I mean i find it even hard to use within Kontakt but the own engine seems not even offer tuning options beside inside the western scale. But maybe it´s too niche inside a niche to be worth the afford for developers?


----------



## prodigalson

Curious about when the books are set to go out? Preordered over a week ago.


----------



## SpitfireSupport

prodigalson said:


> Curious about when the books are set to go out? Preordered over a week ago.


The books will be posted from the 28th.

Luke


----------



## prodigalson

SpitfireSupport said:


> The books will be posted from the 28th.
> 
> Luke



Aah i see. Thanks!


----------



## tmm

The adverts are pretty short on details about what’s in the book? Can’t find anywhere... how can I know if I care to get the book if I don’t know what it contains?


----------



## N.Caffrey

tmm said:


> The adverts are pretty short on details about what’s in the book? Can’t find anywhere... how can I know if I care to get the book if I don’t know what it contains?


I received a free copy at the event. Inside there are mostly pictures of the recording session.


----------



## Spitfire Team

WATCH! The full Hans Zimmer round table discussion here:

​


----------



## quantum7

They should show another video about an hour later after drinking all the wine and eating all the cheese- They’re all snoring, asleep...still on the couches. That’s going to be me in two weeks on my 49th birthday. LOL


----------



## quantum7

I’m extremely blessed to be living in a very nice house in a very nice neighborhood, but even so, I would bet that Hans’ studio is worth more than my entire house. LOL


----------



## C.R. Rivera

As talented as this pool is and will remain, I wondered: are there no female composers of note today?


----------



## Raphioli

I'm still in the middle of watching the video, but would like to say thanks for sharing this publicly.
I wouldn't be surprised if this was exclusively included in the HZS preorder book.


----------



## PaulBrimstone

C.R. Rivera said:


> As talented as this pool is and will remain, I wondered: are there no female composers of note today?


Anne Dudley. Lesley Barber. And more, I'm sure. But I guess you mean A+++ list, right?


----------



## Geoff Grace

Speaking of Anne Dudley, this interview by @christianhenson is worth a watch:



Best,

Geoff


----------



## fiestared

C.R. Rivera said:


> As talented as this pool is and will remain, I wondered: are there no female composers of note today?


And no black, no French, no Italian, no Portuguese, no transsexuel, maybe no vegetarian etc... I'm sorry, but I'm tired of this...


----------



## procreative

PaulBrimstone said:


> Anne Dudley. Lesley Barber. And more, I'm sure. But I guess you mean A+++ list, right?



Don't forget Debbie Wiseman eg Haunted, Wolf Hall etc.

One does have to wonder why so few A List projects go to female composers. Is it due to:

1. Less in the field

2. Less able to commit long-term to the treadmill due to family life (yes despite equality many still biologically feel the urge or social pressure to place more importance on other things)

3. Barriers such as being female in a very male dominated hierarchy

A certain Mr Wein***n tells you all you need to know about the powerbrokers in the film world, still...


----------



## prodigalson

fiestared said:


> And no black, no French, no Italian, no Portuguese, no transsexuel, maybe no vegetarian etc... I'm sorry, but I'm tired of this...



It's disingenuous to equate gender inequality with representation of nationality and dietary preferences. In the US in 2017 there were technically MORE women than men so it's legitimate to note that in a sampling of 6 composers there is no female.


----------



## fiestared

prodigalson said:


> It's disingenuous to equate gender inequality with representation of nationality and dietary preferences. In the US in 2017 there were technically MORE women than men so it's legitimate to note that in a sampling of 6 composers there is no female.


As far as I know HZ does what he wants. I don't see any prob, In this forum probably 90 % are men, and in a forum of my wife there are 100 % of women, What do you recommand to do ? Did you notice that almost everything if not everything you use in your modern life was invented by... Men, stop using them, no more car, tv, phone, computer, camera, etc... ! I'm sorry for you...


----------



## Lionel Schmitt

Well, since (my estimation) no more than 2% of composers doing the kind of music we are concerned with (no matter a-list films, productionmusic or unbiased robot administered sites like soundcloud- just type _composer_ and behold...) it would be far stranger if there would be equal representation on the table. No clue why that is... Odd and unexplainable as far as I'm concerned.


----------



## ghandizilla

Men talking about women rights. What about women talking about women rights? Or even better: get back to topic.


----------



## Lionel Schmitt

ghandizilla said:


> Men talking about women rights. What about women talking about women rights? Or even better: get back to topic.


Hach, it's about what you say ot what gender you have. And noone prevents women from joining in. Chime in - feel free.


----------



## MaxOctane

It is *impossible *to stay on topic in this thread. Someone please PM me when spitfire posts a new walkthrough. Otherwise see you all on the 28th.


----------



## prodigalson

fiestared said:


> Did you notice that almost everything if not everything you use in your modern life was invented by... Men, stop using them, no more car, tv, phone, computer, camera, etc... ! I'm sorry for you...



Jesus, that's cuckoo. I'm not even gonna touch it other than to say that going from a question about female representation directly "men have to stop using things men invented!" is quite the leap and is just bizarre. Besides, I wasn't assigning blame to HZ or referencing the round table at all, I was merely arguing the validity of equating representation of women with representation of portuguese people and vegetarians. 

And also to leave these here to fuel your anger...

http://www.bbc.com/news/world-40923649

http://mentalfloss.com/article/53164/19-things-you-might-not-know-were-invented-women

https://www.buzzfeed.com/hannahjewe...nged-the-world?utm_term=.kmBmAZWaR#.cyjn8YLMa


----------



## fiestared

prodigalson said:


> Jesus, that's cuckoo. I'm not even gonna touch it other than to say that going from a question about female representation directly "men have to stop using things men invented!" is quite the leap and is just bizarre. Besides, I wasn't assigning blame to HZ or referencing the round table at all, I was merely arguing the validity of equating representation of women with representation of portuguese people and vegetarians.
> 
> And also to leave these here to fuel your anger...
> 
> http://www.bbc.com/news/world-40923649
> 
> http://mentalfloss.com/article/53164/19-things-you-might-not-know-were-invented-women
> 
> https://www.buzzfeed.com/hannahjewe...nged-the-world?utm_term=.kmBmAZWaR#.cyjn8YLMa


You want the last word, You've got it, I'm here for music not to argument with people, I have no time for that.


----------



## pfmusic

Spitfire Team said:


> WATCH! The full Hans Zimmer round table discussion here:
> 
> ​




Enjoyed this discussion. Thanks for sharing Spitfire Audio!


----------



## procreative

Women were in many societies banned from careers or pursuing "mens" fields.

So to say its men that invented this or that, well of course they are going to be in the majority as women were denied access until probably way into the 20th century.

They are still playing catch up.

No wonder there are not many female contributors here. There sure are some dinsosaurs in this community with some repulsive opinions on the other sex. Your mothers must be proud...

It might be off topic but it is still interesting that just like "Chefs" the elite that get the plaudits are... men

I am sure HZ did not go out of his way to exclude females from his discussion, but its rather symbolic that they were all men, surely?


----------



## NoamL

Great conversation. I would _kill_ for "Theory Time with Henry Jackman." I have been studying one of his cues from Jumanji recently and trying to transcribe it. His music is so accomplished.

@Rctec, regarding what you said about John Williams's recording dynamics at 1:36:09, I agree entirely... I discovered the same notion when trying to mock up one of his works. He often has the instruments do a crescendo from _mf_ without putting _any_ dynamic at the end, and then later has an additional crescendo to _f _or decrescendo to _mf_. So, it's as if there really is a phantom "_mf+_" layer and he expects his musicians to understand that nuance. The wonderful finale at the end of the piece is only written at this implied "_mf+_" dynamic. Initially I tried to mock it up more intensely, and it just wasn't working. Then I looked at the score really closely and it was like, aha. The reason it sounds so rich is because every instrument's proper "colors" are coming through and nothing is getting lost. Because everyone is using their "big sound, but not overdriven" playing technique. It wouldn't have that wonderful warm feeling if it was any louder.

ps for that German saying about getting extra intensity from seeing the music - you know how your nose helps you taste food? Well, maybe in English we can say "the eye is the nose of the ear."


----------



## Jay Panikkar

Are there any more video walkthroughs of HZS showcasing legatos and shorts? The new demos don't do much to alleviate my concerns about the lack of short articulations in this library.

Difficult to keep track of HZS information with all this meaningless drivel.



procreative said:


> Women were in many societies banned from careers or pursuing "mens" fields.
> 
> So to say its men that invented this or that, well of course they are going to be in the majority as women were denied access until probably way into the 20th century.
> 
> They are still playing catch up.


Utter nonsense. Your whole argument is based on the false premise of 'gender quality': the foolish notion that the more a society is "freed up," the less stratified the sexes become and somehow we will magically achieve proportional representation. What happens in reality is the exact opposite: the more egalitarian the society, the _more_ stratified the sexes become and the more disproportionate the resulting representation. This is known as the Gender Equality Paradox (but actually it's not paradoxical at all to anyone who has a functional brain). Differences in aptitude and personality traits more than sufficiently explain sex-typical occupational choices/preferences in society. There is no need to invoke stories about discrimination to make yourself out to be morally superior to everyone else. No need to bring about conspiracies and mysteries where none exist.


----------



## Daniel James

Pre-Ordered! Looking forward to seeing what its all about.

-DJ


----------



## jononotbono

NoamL said:


> I would _kill_ for "Theory Time with Henry Jackman."



He's such a monster with music isn't he. He's amazing. I love that he is this living encyclopaedia of Musical theory and knowledge (and ex Choir Boy from the most prestigious Choir in England) but loves dirty EDM and stuff like Bristol based Electronic bands such as Portishead and Massive Attack. A snob he is not! 

This Hans Zimmer Composer Round Table video is wicked and hearing everyone's stories is inspiring to say the least. What a room of talent. I can only imagine how creative it must be at RCP.


----------



## NoamL

Regarding Jay's post, all I'll say is that the proportion of women in professional orchestras went through the roof specifically when orchestras began doing auditions behind a screen. Since we're going to cite science at each other, please look up the paper *"Orchestrating Impartiality"* in the American Economic Review authored by C. Goldin & C. Rouse. In a world without screened auditions, there would doubtless be many well-meaning people running around saying things like "Well women just don't _want_ to play the trombone professionally..."


----------



## jononotbono

Something relating to sampling that I found really interesting in this round table video was that HZ says he likes to record samples using a conductor (and no click) and not with a conductor and a click. It makes total sense in regards to making things more human.

And yeah, Retrospective Record in Cubase is absolutely one of the many reasons why Cubase is so killer! Total life saver. Not that I'm asking for some kind of DAW war now.


----------



## nulautre

Today i learned: If I ever hang our with Henry Jackman - BUY MORE WINE


----------



## AR

I liked the Video. And ordered HZS today after rewatching Paul's walkthrough again. At first I was little sceptical about 344 strings & oversampling when playing divisi. But that LR button kinda convinced me having 16 RR for stacc if you just regular L and R patches. Also those gallery positions are totally unique. Why didn't they sample it earlier up there? The tratto and gallery patches are worth the price alone (probably)


----------



## MaxOctane

AR said:


> Also those gallery positions are totally unique. Why didn't they sample it earlier up there?



The next library will be *Spitfire: Control*. "We fit an entire orchestra in the control room, while the engineers gave directions from the outside."


----------



## muziksculp

Hopefully more audio and video demos will be posted soon. I still can't decide/evaluate this library based on the current demos and videos.


----------



## Andrew Aversa

Jay Panikkar said:


> Are there any more video walkthroughs of HZS showcasing legatos and shorts? The new demos don't do much to alleviate my concerns about the lack of short articulations in this library.
> 
> Difficult to keep track of HZS information with all this meaningless drivel.
> 
> 
> Utter nonsense. Your whole argument is based on the false premise of 'gender quality': the foolish notion that the more a society is "freed up," the less stratified the sexes become and somehow we will magically achieve proportional representation. What happens in reality is the exact opposite: the more egalitarian the society, the _more_ stratified the sexes become and the more disproportionate the resulting representation. This is known as the Gender Equality Paradox (but actually it's not paradoxical at all to anyone who has a functional brain). Differences in aptitude and personality traits more than sufficiently explain sex-typical occupational choices/preferences in society. There is no need to invoke stories about discrimination to make yourself out to be morally superior to everyone else. No need to bring about conspiracies and mysteries where none exist.



With utmost respect to Spitfire for derailment here...

The "Gender Equality Paradox" typically refers to STEM, not music composition, which is what we're talking about here and decidedly the opposite of STEM. As others have pointed out, after orchestras started doing blind auditions in the U.S., the proportion of women in top orchestras increased from <5% to upwards of 25%. Gee, I wonder why.


----------



## artomatic

Less than 2 days left, folks!


----------



## musicjunk

artomatic said:


> Less than 2 days left, folks!


Yeah icant wait


----------



## AR

Forgive me for not reading through 50 pages...but did Spitfire mention what kinda reverb the Ustwo plugin uses? Is it a stock algorithmic, is it a IR or what?


----------



## Pontus Rufelt

Seems like we won't get to see much of the legatos before release, very bummed about that.


----------



## N.Caffrey

Pontus Rufelt said:


> Seems like we won't get to see much of the legatos before release, very bummed about that.


I'm a bit surprised by the lack of videos about the new player as well


----------



## Simon Ravn

jononotbono said:


> And yeah, Retrospective Record in Cubase is absolutely one of the many reasons why Cubase is so killer! Total life saver. Not that I'm asking for some kind of DAW war now.



You do realize that Logic has had that for years, right? Probably before Cubase...


----------



## jononotbono

Simon Ravn said:


> You do realize that Logic has had that for years, right? Probably before Cubase...



In Cubase you can set (in preferences) to have a track auto arm when you select it but in Logic you must do that manually and if you forget, Logic's "Capture Recording" feature doesn't work. It's certainly a great time to be alive. Especially if you're a Cubase user


----------



## Saxer

jononotbono said:


> In Cubase you can set (in preferences) to have a track auto arm when you select it but in Logic you must do that manually...


Um... well... no.


----------



## jononotbono

Saxer said:


> Um... well... no.



Oh has Logic been updated then? Interesting. Either way, it really doesn't affect me in any way for obvious reasons. All fantastic DAWs to use and spoilt for choice these days.


----------



## Saxer

jononotbono said:


> Oh has Logic been updated then? Interesting.


I use Logic since Atari days and tracks were always armed when selected. I didn't even know you could switch that behavior off...


----------



## VinRice

Background capture works exactly how you would expect in Logic. Use it all the time. Don't know what y'all talking about...


----------



## MisteR

Just bought Logic and haven't figured out how to get background capture to work yet. It only works in play mode, which still requires me to remember to press something. If not in play mode, it gives me a single quick midi mush of all the notes I've pressed on bar one. I must be doing something wrong. I'm off to google...

So Cubase retrospective is a bit more user friendly for me so far...

EDIT: This seems to be the way it works? Which means it's not designed for those of us who may be working on an idea before hitting record and want to capture it after the fact--which is what everyone really wants. Logic seems more designed to capture a rehearsal take if you forgot to hit record but were playing to other tracks? I hope to be corrected . I really hate the Cubase usb key now that I've invested in a Macbook Pro (which of course, to add more annoyance, requires a USB-to-USB-C adapter).


----------



## MillsMixx

On the website it says "Hans Zimmer Strings will be a promotional offer for a limited time." 
Not totally clear on an actual expiration date of the discount. Do we know if this will expire upon release tomorrow?


----------



## muziksculp

Any reason to order before March 28th, besides the book ? I'm guessing the intro price will remain as is for a little while after March 28th.

Anyways.. I'm still unable to evaluate HZ-Strings from the posted videos & audio demos so far. So, I'm surely not rushing to buy it before more videos and audio demos are posted. (Hopefully Soon !)


----------



## Vik

VinRice said:


> Background capture works exactly how you would expect in Logic. Use it all the time. Don't know what y'all talking about...




No, it never works how I would expect it to work. Unlike Cubase (and maybe other DAWs as well?), you have to press play to make it work. "The Retrospective MIDI Record setting allows you to capture any MIDI notes that you play in Stop mode or during playback and turn them into a MIDI part after the fact. This is possible because Cubase can capture MIDI input in buffer memory, even when not recording."


----------



## musicjunk

wow hans zimmer strings on hdd with book comes tomorrow. thats fast. cheers spitfire


----------



## musicjunk

muziksculp said:


> Any reason to order before March 28th, besides the book ? I'm guessing the intro price will remain as is for a little while after March 28th.
> 
> Anyways.. I'm still unable to evaluate HZ-Strings from the posted videos & audio demos so far. So, I'm surely not rushing to buy it before more videos and audio demos are posted. (Hopefully Soon !)



hm i am not sure if the intro price still will be avalible after march 28th but i think you could be right and its still introprice after official release.
normally i would never preorder a plugin when i am not sure if its the right for me. I wait a bit and study the videos or take a look at some early review on yt.
but in this case i preordered after listening the first 3 videos. But its only my 3rd preorder after omnisphere 2 and sd3 
i am sure some more videos will be released in a couple of hours.


----------



## lucky909091

I am totally keen on the "HZ-fan-book". 
Will this be a printed book sent to all the Spitfire early-bird-users around the world?
Or will this be only a PDF document?
I am so excited......


----------



## musicjunk

lucky909091 said:


> I am totally keen on the "HZ-fan-book".
> Will this be a printed book sent to all the Spitfire early-bird-users around the world?
> Or will this be only a PDF document?
> I am so excited......


Yes every preorder gets a printed book


----------



## Geoff Grace

In case this helps:



SpitfireSupport said:


> Hans Zimmer Strings will only be available for download after we release it on March 28th. The promotional price will remain after we release the product - end date to be announced. Ben



Best,

Geoff


----------



## lucky909091

musicjunk said:


> Yes every preorder gets a printed book


Wow. 
Yes, I am so excited about this book.....


----------



## bvaughn0402

In the video, there is mention of some old unavailable samples ... an oboe ... and a cello.

Anyone know anything about these?


----------



## MillsMixx

For those wondering about windows 7 compatibility like myself I asked support and got this info...
_
"Windows 7 isn't 'officially' confirmed yet as we want to be absolutely certain of it's compatibility, however I can tell you that it is absolutely our intention for HZ Strings to work with Windows 7 upon release."
_
I'll be upgrading to Windows 10 in a month or so anyway, so what I really need to know know is if the discount is still available after tomorrow.


----------



## Geoff Grace

*Ben* from @SpitfireSupport wrote that the promotional price will remain after they release the product, with an end date TBA. (See my quote of him four posts above.)

Best,

Geoff


----------



## SpitfireSupport

lucky909091 said:


> Will this be only a PDF document?


No, it is very much a real book!

In regards to the promotional price, as mentioned above there is currently no announced end date. We will of course keep you updated!

Luke


----------



## Saxer

SpitfireSupport said:


> No, it is very much a real book!



Great!


----------



## MillsMixx

SpitfireSupport said:


> No, it is very much a real book!
> 
> In regards to the promotional price, as mentioned above there is currently no announced end date. We will of course keep you updated!
> 
> Luke



Good to know. thank you Luke! I may wait a few days longer to see how things pan out with Windows 7. Not really a deal breaker as I know I'll be upgrading to 10 but good to have a little extra time. 
I'll miss out on the book though. Thanks!


----------



## Inductance

MillsMixx said:


> For those wondering about windows 7 compatibility like myself I asked support and got this info...
> _
> "Windows 7 isn't 'officially' confirmed yet as we want to be absolutely certain of it's compatibility, however I can tell you that it is absolutely our intention for HZ Strings to work with Windows 7 upon release."_



Upon release, huh? Hmm... I might just get HZ Strings tonight, and upgrade to Win 10 later... Thanks for the info!


----------



## VinRice

Vik said:


> No, it never works how I would expect it to work. Unlike Cubase (and maybe other DAWs as well?), you have to press play to make it work. "The Retrospective MIDI Record setting allows you to capture any MIDI notes that you play in Stop mode or during playback and turn them into a MIDI part after the fact. This is possible because Cubase can capture MIDI input in buffer memory, even when not recording."



Our expectations are clearly different. I can't imagine using it without needing to hear a click or another track.


----------



## Rey

sorry if this is a wrong place to ask. how long is introductory price of $599 will be after march 28? or is it only until march 28?


----------



## ranaprathap

Watched the composer's roundtable. It was refreshing to hear Ramin talk extensively about Game of Throne's score. I believe the score was so underappreciated. And Hans was talking a lot about GOT score too. That is the kind of mentor I want in my life - someone who is genuinely interested and happy about the mentee's work.


----------



## jononotbono

ranaprathap said:


> I believe the score was so underappreciated.



I really don't think it is under appreciated. I have seen countless conversations on Facebook from friends (and many other people) over past years that don't write a note of music and have spoken many times about the music. They even noticed the sudden use of Piano in the last season. Millions of people love GOT and I think coupled with Westworld, Ramin's music is without doubt appreciated across the world. Ramin is a sickening talent (in my opinion)!


----------



## babylonwaves

jononotbono said:


> In Cubase you can set (in preferences) to have a track auto arm when you select it but in Logic you must do that manually and if you forget, Logic's "Capture Recording" feature doesn't work.


that was never the case for me.


----------



## jononotbono

babylonwaves said:


> that was never the case for me.



Happy days!


----------



## Tatu

Is there a layout for all those different mic positions?


----------



## AR

Today is the day... 
...I'm gonna be like Zimmeeeer


----------



## Vik

VinRice said:


> Our expectations are clearly different. I can't imagine using it without needing to hear a click or another track.


Sure. I often use my DAW as an instrument; open up an empty project and start to play, just like I'd do with a piano. I often get my best musical ideas when I'm not trying to get any ideas - for instance when I'm checking out some orchestral presets. So I often play without pressing play first. And even when I purposely sit down and try to come up with something, I prefer to do it without a click - there are several ways to add that click later. I prefer to let the playing define which tempo I should end up with, and sometimes, small changes in tempo can make an important difference. So since I don't need a click, I don't need to press play or record. 
Don't get me wrong, I'm glad Logic has it's capture function -it has helped me several times. But it would be lot better if it had the option Cubase (and other DAWs?) have.


----------



## musicjunk

yaeh 2 minutes ago fedex had something for me...


----------



## musicjunk




----------



## Cinebient

You lucky man....i doubt i get my preorder before easter here.
Enjoy it!


----------



## musicjunk

thank you.  i was very surprised to get it that early


----------



## musicjunk

AR said:


> Today is the day...
> ...I'm gonna be like Zimmeeeer




haha  so have fun later with your new instrument.

i like hans zimmers body of work much but no one should sound or be like zimmer.
have your own style/preference and make your own music 

greetings


----------



## AR

That was totally ironical


----------



## musicjunk

Luckily


----------



## SyMTiK

Any estimate on when downloads will go live for those of us that pre-ordered the downloadable version? I'm hoping before my 11am class today so I can start downloading and ~hopefully~ get to play with it sometime tomorrow, god willing that my download speed doesn't get completely restricted down to 10kbps by my school 

I pre ordered fairly early, a few days after it was announced


----------



## musicjunk

sadly i dunno. still wait for serial. i think spitfire actually works on it. i think the shipping hz strings hdd was almost too fast ^^


----------



## SpitfireSupport

For those wondering, the product isn't actually officially released yet which is why you cannot see it in your library manager. This will be available a little later today.

Luke


----------



## musicjunk

thanx Luke and much success for you guys


----------



## Raphioli

musicjunk said:


> yaeh 2 minutes ago fedex had something for me...



That looks beautiful.
The book of course, but even the cardboard box and envelope look like its premium quality xD


----------



## musicjunk

yes spitfire did a good job
i first thought i make 1,2 fotos from inside the book but i dont wanna do that until spitfire has the product official released. (spoiler...feels not right) i can do that in a couple of days if anyone is interessted.

but like you said . they did a nice personal presentaion

and even fedex was VERY fast with shipping i stil have to wait until i get my serial like everyone else has to wait.
but i can install it right now. i hope i can play with this instrument today and share my first impressions later.


----------



## madfloyd

Can you tell us what the book is like? How many pages? I think this is the only thing that you miss out on if you don't pre-order so I'm very interested.


----------



## windyweekend

AR said:


> I liked the Video. And ordered HZS today after rewatching Paul's walkthrough again. At first I was little sceptical about 344 strings & oversampling when playing divisi. But that LR button kinda convinced me having 16 RR for stacc if you just regular L and R patches. Also those gallery positions are totally unique. Why didn't they sample it earlier up there? The tratto and gallery patches are worth the price alone (probably)


Those galleries combined with the various hall mics are what convinced me into pre-ordering too. They capture that Air sound better than anything I've heard.

Slightly off topic, but related to that - would be great to know if the SSB Expansion Pack includes galleries. Any original owners of BML happen to know?


----------



## fretti

madfloyd said:


> Can you tell us what the book is like? How many pages? I think this is the only thing that you miss out on if you don't pre-order so I'm very interested.



The book is hardcover, the words on the front are embossed (if thats the right english word). It has a two page introduction written by Paul Thompson. There are 25 photos (if I counted correctly); most of them are double page, some are only on one page. 19 photos are from the recording sessions displaying the players and AIR Studios. 6 photos are from Hans' studio (e.g one Oscar, a rack with hardware, his Bösendorfer with picture frames on top and a book shelf in the background). Hope that helps


----------



## madfloyd

fretti said:


> The book is hardcover, the words on the front are embossed (if thats the right english word). It has a two page introduction written by Paul Thompson. There are 25 photos (if I counted correctly); most of them are double page, some are only on one page. 19 photos are from the recording sessions displaying the players and AIR Studios. 6 photos are from Hans' studio (e.g one Oscar, a rack with hardware, his Bösendorfer with picture frames on top and a book shelf in the background). Hope that helps



Thanks!


----------



## SpitfireSupport

musicjunk said:


> 2 minutes ago fedex had something for me



Glad it's arrived! When we release later today, you'll need to finish the install using the new Spitfire Audio App. Here's a video showing how it's done (also available in the "user manual" page of the Hans Zimmer Strings page:


----------



## SpitfireSupport

And for anyone wondering about installing via download, there's another video here:


----------



## musicjunk

cool thanx i will watch it right now


----------



## Raphioli

Looks like the Manager App received a complete overhaul. It seems to look much like the Spitfire sampler UI.
Looks quite nice.


----------



## Musicam

I havent this version of the download manager on mac. How can I get it? I download now the last zip and I have the same.


SpitfireSupport said:


> Glad it's arrived! When we release later today, you'll need to finish the install using the new Spitfire Audio App. Here's a video showing how it's done (also available in the "user manual" page of the Hans Zimmer Strings page:


----------



## SyMTiK

Musicam said:


> I havent this version of the download manager on mac. How can I get it? I download now the last zip and I have the same.



same question here, I too dont have this new version of the app, and I installed the latest zip and it still appears to be the older one. Im assuming this new app is releasing today along with HZ strings?


----------



## SpitfireSupport

Musicam said:


> I havent this version of the download manager on mac. How can I get it? I download now the last zip and I have the same.



It's being released just before Hans Zimmer Strings and will be downloadable from the same place.


----------



## Musicam

SpitfireSupport said:


> It's being released just before Hans Zimmer Strings and will be downloadable from the same place.



Can you provide the link of the new download manager please? Congratulations for this spectacular library. I said always that Spitfire is the best. I wait the choir!


----------



## SyMTiK

SpitfireSupport said:


> It's being released just before Hans Zimmer Strings and will be downloadable from the same place.



Ahh I see. Way too excited! Can't wait to get it all installed and to play around with it.


----------



## Musicam

The new download manager is spectacular, a new era of Spitfire! Wow!


----------



## SpitfireSupport

Another thing - I can confirm that Windows 7 is supported. I'll update the product page and manual shortly. Ben


----------



## jonathanwright

Good job I checked on this myself, I've a whole heap of software updates that I didn't know were there.


----------



## Inductance

SpitfireSupport said:


> Another thing - I can confirm that Windows 7 is supported. I'll update the product page and manual shortly. Ben



SpitfireSupport, you just made my day. Thank you!


----------



## Jim Martin

Who else is dreading updating their template? I still haven't finished adding everything to my template :/


----------



## musicjunk

@SpitfireSupport

i unzipped hans zimmer strings to my content location but if i understand you right i have to do it WITH the manager.
so when the manager and the serial will be avalible. coz when it takes some time spitfire makes it avalible i move on and take care later bout the installation prozess. greetings


----------



## SpitfireSupport

musicjunk said:


> @SpitfireSupport
> 
> i unzipped hans zimmer strings to my content location but if i understand you right i have to do it WITH the manager.
> so when the manager and the serial will be avalible. coz when it takes some time spitfire makes it avalible i move on and take care later bout the installation prozess. greetings


You shouldn't have received a .zip file on your hard drive, it would be a folder containing .part files. I wouldn't recommend touching these until the library is released and you're up to date on the latest version of the library manager.

Luke


----------



## star.keys

The new app looks nice. Great work here by Spitfire customer experience team.


----------



## musicjunk

SpitfireSupport said:


> You shouldn't have received a .zip file on your hard drive, it would be a folder containing .part files. I wouldn't recommend touching these until the library is released and you're up-to-date on the latest version of the library manager.
> 
> Luke




then it would be the best thing to clear the files on my computer that i had unzipped.
i have everything on hdd and wait until the manager and serial is avalible. thanx !


----------



## Musicam

musicjunk said:


> then it would be the best thing to clear the files on my computer that i had unzipped.
> i have everything on hdd and waiut until the manager and serial is avalible. thanx !



Amazing! Today is the best day for all the community! Congratulations musicjunk!


----------



## Cinebient

Is that normal that my preorder from HZS some days ago isn´t even proceeded (just a part of it).
Not that i´m nervous but......i just can´t wait 
And for dumb people like me.....where do i get the latest Library Manager app?


----------



## Adam Takacs

Cinebient said:


> Is that normal that my preorder from HZS some days ago isn´t even proceeded (just a part of it).
> Not that i´m nervous but......i just can´t wait
> And for dumb people like me.....where do i get the latest Library Manager app?



https://www.spitfireaudio.com/info/library-manager/


----------



## AlexanderSchiborr

windyweekend said:


> Those galleries combined with the various hall mics are what convinced me into pre-ordering too. They capture that Air sound better than anything I've heard.
> 
> Slightly off topic, but related to that - would be great to know if the SSB Expansion Pack includes galleries. Any original owners of BML happen to know?


Yepp, it does


----------



## Cinebient

Thx!! Like i said....i´m dumb.


----------



## SpitfireSupport

tadam said:


> https://www.spitfireaudio.com/info/library-manager/


Please note that the app is not available yet. We'll notify you when it is!

Luke


----------



## Musicam

SpitfireSupport said:


> Please note that the app is not available yet. We'll notify you when it is!
> 
> Luke


LOL!


----------



## Cinebient

SpitfireSupport said:


> Please note that the app is not available yet. We'll notify you when it is!
> 
> Luke



That explains it


----------



## musicjunk

Musicam said:


> Amazing! Today is the best day for all the community! Congratulations musicjunk!



hm? sorry what?


----------



## Musicam

musicjunk said:


> hm? sorry what?


Oh! sorry ! I read your post and I am very happy to read your comments. I am waiting the library! Happy Day for all the users of Spitfire!


----------



## musicjunk

Cinebient said:


> Thx!! Like i said....i´m dumb.



well i tried to unzipp the hz string files on my computer....THAT was dumb lol
and now isee i need this new manager and well i should also have the serial first....


----------



## musicjunk

madfloyd said:


> Can you tell us what the book is like? How many pages? I think this is the only thing that you miss out on if you don't pre-order so I'm very interested.



its a hardcover book (40 pages or a bit more) with a foreword and mostly pictures from the recording session for hz strings. yeah looks like thats the only thing you miss out. looks like they still will have the intro price after release. greetings


----------



## madfloyd

musicjunk said:


> its a small hardcover book (40 pages or a bit more) with a foreword and mostly pictures from the recording session for hz strings. yeah looks like thats the only thing you miss out. looks like they still will have the intro price after release. greetings



Thank you!


----------



## MaxOctane

SpitfireSupport said:


> Please note that the app is not available yet. We'll notify you when it is!



Everyone: if you visit that page and see "Version 2.1.8", that's NOT the new app.


----------



## davidgary73

@SpitfireSupport 

Am interested in buying HZ String but i do have a question.

Was mentioned on the FAQ that we can install HZ Strings on another computer. Can you kindly share with us the how to. Thanks


----------



## artomatic

And what is the typical release time in US of A?


----------



## musicjunk

artomatic said:


> And what is the typical release time in US of A?



well i would love to know that too.
^^


----------



## SpitfireSupport

musicjunk said:


> serial will be avalible



Be aware that this is not a Kontakt library and isn't authorised or registered using a serial number. The Spitfire Audio App will authorise Hans Zimmer Strings and you should then load it as a plugin directly in your DAW.


----------



## D Halgren

musicjunk said:


> well i would love to know that too.
> ^^


Are you in the US? If so, how did you receive that book so fast?


----------



## D Halgren

artomatic said:


> And what is the typical release time in US of A?


Usually 9am Pacific.


----------



## Musicam

I understand then that first download the new download manager and then download the library and regster teh serial number into the new download manager. True?


----------



## artomatic

D Halgren said:


> Usually 9am Pacific.



Many thanks!


----------



## SpitfireSupport

Musicam said:


> I understand then that first download the new download manager and then download the library and regster teh serial number into the new download manager. True?


No serial number will be needed or provided. The Spitfire Audio App will authorise Hans Zimmer Strings to your machine.

Luke


----------



## rlw

SpitfireSupport said:


> No serial number will be needed or provided. The Spitfire Audio App will authorise Hans Zimmer Strings to your machine.
> 
> Luke


 @SpitfireSupport 
I preordered last night and I forgot one important question. Can I install on 2 machines (my slave) and (my DAW)


----------



## SpitfireSupport

Spitfire Audio app is now available for download here:
https://www.spitfireaudio.com/info/library-manager/

Luke


----------



## Adam Takacs

rlw said:


> @SpitfireSupport
> I preordered last night and I forgot one important question. Can I install on 2 machines (my slave) and (my DAW)


*CAN I USE THIS LIBRARY ON MORE THAN ONE COMPUTER?*
Yes, this is a single user license but our EULA allows for installation on two computers.


----------



## SpitfireSupport

davidgary73 said:


> How do you authorise the plugin (via serial or Library manager) and was mentioned that we can install it on another computer. Can you kindly share with us the how to. Thanks



It's authorised using the Spitfire Audio App. If you order a hard drive, you can repeat the process on a second machine. If you've downloaded, you can move the "Spitfire Audio - Hans Zimmer Strings" folder onto the second machine and then use the "reauthorise" and "relocate" functionality in the Spitfire Audio App. Ben


----------



## davidgary73

SpitfireSupport said:


> It's authorised using the Spitfire Audio App. If you order a hard drive, you can repeat the process on a second machine. If you've downloaded, you can move the "Spitfire Audio - Hans Zimmer Strings" folder onto the second machine and then use the "reauthorise" and "relocate" functionality in the Spitfire Audio App. Ben



Thank you so much Ben. Appreciate the help and reply. Cheers


----------



## Cinebient

The new app looks nice! But i still don´t see my preordered HZ Strings there.....still pending.
I guess i was late for preorder and have to wait a few days more?


----------



## D Halgren

SpitfireSupport said:


> Spitfire Audio app is now available for download here:
> https://www.spitfireaudio.com/info/library-manager/
> 
> Luke


So, can we remove the old Library Manager? If so is there anything to look for that is hidden?


----------



## Musicam

Its possible that he download manager indicates the version of the library and whe I access rememeber the password to not write again?


----------



## Christof

The new Library manager sounds great!
I dare to say that it sounds better than any Library manager I ever used.


----------



## SpitfireSupport

Musicam said:


> Its possible that he download manager indicates the version of the library


It does:








Musicam said:


> whe I access rememeber the password to not write again



We're working on this, I think it's one of those things that sounds easy but isn't (if you're a developer, which I'm not)

Ben


----------



## Pontus Rufelt

When the library is available, I’d hugely appreciate if someone, who bought it, would extensively showcase the legatos, I feel like that’s one of the least showcased aspects of the library.


----------



## Fry777

Pontus Rufelt said:


> When the library is available, I’d hugely appreciate if someone, who bought it, would extensively showcase the legatos, I feel like that’s one of the least showcased aspects of the library.



I second that. @Daniel James maybe ?


----------



## star.keys

So "release date" is always aligned with US business hours then, given thend so far


----------



## D Halgren

Oliver's new HZS track is gorgeous! Bravo!


----------



## D Halgren

And we're live! Just got the email for download!


----------



## artomatic

And we're off to the races!

Edit: Okay, to the turtle race...


----------



## D Halgren

D Halgren said:


> So, can we remove the old Library Manager? If so is there anything to look for that is hidden?


? @SpitfireSupport


----------



## emasters

Downloading... Yeah!


----------



## D Halgren

christianhenson said:


> I just added something to my cart...
> 
> https://www.spitfireaudio.com/shop/a-z/hans-zimmer-strings/


Is it a scotch to celebrate?


----------



## Spitfire Team

​


----------



## SpitfireSupport

You won't need the old Library Manager any longer, the new Spitfire Audio App should cater for all of your downloading needs!

Ben


----------



## Øivind

just wanted to give a heads up that the font is wonky on the new library manager.
At least on my computer (win10)


----------



## D Halgren

SpitfireSupport said:


> You won't need the old Library Manager any longer, the new Spitfire Audio App should cater for all of your downloading needs!
> 
> Ben


Thanks Ben


----------



## SpitfireSupport

oivind_rosvold said:


> just wanted to give a heads up that the font is wonky on the new library manager.
> At least on my computer (win10)


Thanks, looking into it now


----------



## SyMTiK

Downloading now! seems to be downloading very quickly too, 2gb already downloaded in about 2 minutes! hopefully it stays like that


----------



## Dale Turner

Quick one:
Is there no PROGRESS BAR in the new LIB MGR (I'm using MAC 10.10.5)?

Can't see the status/progress of this radical download... just curious...


----------



## D Halgren

Dale Turner said:


> Quick one:
> Is there no PROGRESS BAR in the new LIB MGR (I'm using MAC 10.10.5)?
> 
> Can't see the status/progress of this radical download... just curious...


Hit the button that says downloads, top left.


----------



## Dale Turner

Dale Turner said:


> Quick one:
> Is there no PROGRESS BAR in the new LIB MGR (I'm using MAC 10.10.5)?
> 
> Can't see the status/progress of this radical download... just curious...


Ow wait... I see a "%" indicator on the bottom right... I just thought it'd say how many GB have cruised by. Sorry to bug.


----------



## Dale Turner

D Halgren said:


> Hit the button that says downloads, top left.


Thanks D Halgren!!!


----------



## muziksculp

Hi,

I just noticed this info. posted on HZ-Strings Product Site :


*INTRODUCTORY OFFER*
Hans Zimmer Strings will be a promotional offer until 11:59 (BST) Wed 11th April 2018.

Which is a good amount of time to better evaluate it, provided more videos and audio demos are posted soon.


----------



## muziksculp

Hi,

I watched the video by Oliver titled 'Quick Look - Hans Zimmer Strings', and he seems to focus on the more exotic articulations, rather than the legatos, shorts, and more standard articulations. I would appreciate another video that focuses more on the more standard articulations of HZ-Strings, and that also shows them in various mic/ensemble size settings. 

Thanks,
Muziksculp


----------



## Daniel James

Downloading! 

For those who havn't read it elsewhere its a 183.18GB download.

-DJ


----------



## Jazzy_Joe

Daniel James said:


> Downloading!
> 
> For those who havn't read it elsewhere its a 183.18GB download.
> 
> -DJ




Holy Crap!


----------



## SyMTiK

Daniel James said:


> Downloading!
> 
> For those who havn't read it elsewhere its a 183.18GB download.
> 
> -DJ



Mine is 170.61? Is there something wrong with mine?


----------



## Daniel James

SyMTiK said:


> Mine is 170.61? Is there something wrong with mine?


----------



## muziksculp

Daniel James said:


> Downloading!
> 
> For those who havn't read it elsewhere its a 183.18GB download.
> 
> -DJ



Hi Daniel,

Thanks for the feedback. Yes, it's a hefty download ! 

Are you planning to do a review of HZ-Strings before the promo-deadline of April 11th. ? If yes, that would be wonderful, and very helpful to better evaluate HZ-Strings. 

Cheers,
Muziksculp


----------



## SyMTiK

Daniel James said:


>



Yeah mine says 170.60, what could be missing?


----------



## musicjunk

SyMTiK said:


> Yeah mine says 170.60, what could be missing?


 mine too


----------



## muziksculp

Maybe a Mac vs PC download thing ?


----------



## SyMTiK

muziksculp said:


> Maybe a Mac vs PC download thing ?


Thats my thought, I am downloading on PC


----------



## musicjunk

muziksculp said:


> Maybe a Mac vs PC download thing ?



hm i hope so

i had 170.6 gb on my hdd and install now. i hope nothing is missed and everything is okey. i use a pc /windows 10


----------



## muziksculp

SyMTiK said:


> Thats my thought, I am downloading on PC



Yes, PC downloads are usually smaller than Mac. 13 GB less on PC is quite a big difference !


----------



## D Halgren

Is it the difference between what is reported as a GB between Mac and PC? 1024 vs 1000.


----------



## fretti

musicjunk said:


> hm i hope so
> 
> i had 170.6 gb on my hdd and install now. i hope nothing is missed and everything is okey. i use a pc /windows 10



Using mac and my HDD showed 183.11, maybe it's a system thing as Mac and Windows handle storage differently...


----------



## musicjunk

well its installed...studio one founds it and i will play it now )
i will take a look later. mayby spitfire support can give us later the info why there is such a great difference...i mean amost 13 gb...hope nothing is missed


----------



## SpitfireSupport

fretti said:


> Using mac and my HDD showed 183.11, maybe it's a system thing as Mac and Windows handle storage differently...


 This is exactly it.

Ben


----------



## musicjunk

fretti said:


> Using mac and my HDD showed 183.11, maybe it's a system thing as Mac and Windows handle storage differently...



yeah i hope so. for now it looks okay...playd just 1 minute and well...i am impressed cant believe how good it sounds.
now i will eat something and after it i think i will play 5-6 hours haha.


----------



## musicjunk

SpitfireSupport said:


> This is exactly it.
> 
> Ben


ahhhh thanx...then i am happy :D


----------



## SyMTiK

SpitfireSupport said:


> This is exactly it.
> 
> Ben



That's a relief. Thank you for the response!

Also, I don't know what sort of magic you put into this new installer or perhaps its how you arranged the packages for HZ strings, but this is installing lightning fast for me! Normally my school catches large downloads and immediately puts a 1mbps buffer on the download so as not to slow down the whole network, but my install speeds right now are around 200mbps! Probably trashing the internet connection for everyone around me though xD Thought id be waiting for days to install as is typically the case with large downloads.


----------



## JohnG

installing...


----------



## Will Wilson

Money? Check!
200gb HDD space? Ah.......problem. Looks like it's gonna cost me a new SSD to get this .


----------



## JohnG

Will Wilson said:


> Looks like it's gonna cost me a new SSD to get this .



Ditto. Bought an Optane to see how it does. It's fast.


----------



## Daniel James

muziksculp said:


> Hi Daniel,
> 
> Thanks for the feedback. Yes, it's a hefty download !
> 
> Are you planning to do a review of HZ-Strings before the promo-deadline of April 11th. ? If yes, that would be wonderful, and very helpful to better evaluate HZ-Strings.
> 
> Cheers,
> Muziksculp



Yeah man, i'll give it a good 'no holds barred' look. Same as always 

-DJ


----------



## Cinebient

I really wonder how it sound if you just use 1 or a few of the mic/mic positions (and turn off the close, tree, amb and out).


----------



## muziksculp

Looking forward to hear from the new


Daniel James said:


> Yeah man, i'll give it a good 'no holds barred' look. Same as always
> 
> -DJ



Awesome ! 

Thanks,
Muziksculp


----------



## Fry777

Daniel James said:


> Yeah man, i'll give it a good 'no holds barred' look. Same as always
> 
> -DJ



Thanks James, looking forward to hearing those legatos


----------



## Cinebient

It looks also that the specs changed. The number of samples is bigger now. But did you mixed up something?
There was something like 400+GB uncompressed wav and 183 compressed where it now says 183 uncompressed wav.
Whatever, i watched the tutorials and i love the GUI.
I saw there is a little triangle at the right bottom.....can we resize the window too? That would be even better.


----------



## star.keys

The installer is getting 'stuck' regularly after some time, from nearly 60 mbps down to 1.5 mbps
Any suggestions?


----------



## Musicam

The new download manager is simply amazing! More concept like this please. Congratulations!


----------



## fish_hoof

Musicam said:


> The new download manager is simply amazing! More concept like this please. Congratulations!



Im on OSX 10.9.5 and getting an error sayings its having issues opening the installer and to contact their support. Anyone else having troubles? Still waiting to hear back.


----------



## Alex Fraser

musicjunk said:


> yaeh 2 minutes ago fedex had something for me...


Me too!


----------



## Christof

star.keys said:


> The installer is getting 'stuck' regularly after some time, from nearly 60 mbps down to 1.5 mbps
> Any suggestions?


Patience is the key.


----------



## CT

I won't be able to afford this for years probably, but I think it's pretty cool that the relatively unknown but genius Maurice Duruflé inspired a Spitfire demo.


----------



## nulautre

Alex Fraser said:


> Me too!


I see the Spitfire art department really upped their game!


----------



## The Darris

SyMTiK said:


> Mine is 170.61? Is there something wrong with mine?


No, mine is the same as yours, probably the difference between MAC and PC.


----------



## iMovieShout

Loving Spitfire's new Library Download Manager... downloading the new HZ Strings library


----------



## JohnG

I can't seem to find the actual player thing -- is it supposed to be on the Spitfire Audio Library Manager?

I got the disk drive this morning and copied it over but it's just a bunch of files. Boo hoo!

[edit: you have to download the new installer from Spitfire's website -- my old version did not update itself. The location is: https://www.spitfireaudio.com/info/library-manager/

best of luck!]


----------



## iMovieShout

Does anyone know if the HZ Strings can be run or loaded in to Vienna Ensemble Pro 6 (VEP6) ?


----------



## D Halgren

JohnG said:


> I can't seem to find the actual player thing -- is it supposed to be on the Spitfire Audio Library Manager?
> 
> I got the disk drive this morning and copied it over but it's just a bunch of files. Boo hoo!


John, yes you have to do the manager to finish the install. There is a video from a couple pages back, and on the new app page, about it.


----------



## jononotbono

Where is the Daniel James 15hr walkthrough? Come on man.


----------



## jononotbono

jpb007.uk said:


> Does anyone know if the HZ Strings can be run or loaded in to Vienna Ensemble Pro 6 (VEP6) ?



I really hope it can! Is there a manual to HZS?


----------



## Soundhound

This is what fame does to the work ethic.



jononotbono said:


> Where is the Daniel James 15hr walkthrough? Come on man.


----------



## D Halgren

I'm currently downloading HZS, and don't want to disturb anything, so I can't refresh the Spitfire app, but it looks like Labs is happening too. Epic Piano Pads is showing up in my order history on Spifire's site. Can anyone confirm?


----------



## Musicam

jononotbono said:


> I really hope it can! Is there a manual to HZS?



I vote for a walktrough of Daniel James. Pleaseeee!


----------



## Musicam

D Halgren said:


> I'm currently downloading HZS, and don't want to disturb anything, so I can't refresh the Spitfire app, but it looks like Labs is happening too. Epic Piano Pads is showing up in my order history on Spifire's site. Can anyone confirm?


Epic Piano Pads?


----------



## JohnG

D Halgren said:


> John, yes you have to do the manager to finish the install. There is a video from a couple pages back, and on the new app page, about it.



Note: you have to download the new installer from Spitfire's website -- my old version did not update itself. The location is: https://www.spitfireaudio.com/info/library-manager/

best of luck!


----------



## D Halgren

jononotbono said:


> I really hope it can! Is there a manual to HZS?


Jono, the manual is on the product page. I don't remember it saying anything about VEP though.


----------



## JohnG

jononotbono said:


> I really hope it can! Is there a manual to HZS?



Manual can be viewed or downloaded here: https://www.spitfireaudio.com/manuals-archive/hans-zimmer-strings/


----------



## D Halgren

Musicam said:


> Epic Piano Pads?


Yep, and I never had any Labs stuff.


----------



## jononotbono

Thanks I’ll check it out. Been avoiding it because I have to wait for bit before buying this and reading it is going frustrate me.


----------



## DavidY

D Halgren said:


> it looks like Labs is happening too. Epic Piano Pads is showing up in my order history on Spifire's site. Can anyone confirm?


I think Epic Piano Pads was not quite a 'normal' Labs product, but was a freebie promotion. 
So you may have it even if you never bought/made a donation for a Labs product?

From a post on the Labs thread:



SpitfireSupport said:


> The Moon Guitar, Epic Piano Pads and Keyed Glock are all free downloads linked to promotional features. Here's a link to the videos:
> 
> Epic Piano Pads: https://www.spitfireaudio.com/editorial/quick-tips/unconventional-uses-of-reverb/
> Keyed Glock:
> Moon Guitar:
> 
> Ben


----------



## Daniel James

jononotbono said:


> Where is the Daniel James 15hr walkthrough? Come on man.



Heh yeah usually I aim to have something around launch. I didn't get any access to an early version so i'll get a vid out when I can.



Soundhound said:


> This is what fame does to the work ethic.



Wut? I don't have it even downloaded yet. No amount of work ethic or lack there of will get you a video of something I don't have yet. xD

-DJ


----------



## Daniel James

Musicam said:


> I vote for a walktrough of Daniel James. Pleaseeee!



Sounds a bit personal 0_o

-DJ


----------



## jononotbono

Daniel James said:


> Heh yeah usually I aim to have something around launch. I didn't get any access to an early version so i'll get a vid out when I can.
> 
> 
> 
> Wut? I don't have it even downloaded yet. No amount of work ethic or lack there of will get you a video of something I don't have yet. xD
> 
> -DJ



It was a bit of humour Dan. Edit. Sorry, was on iPad and didn't see the top response haha!


----------



## Soundhound

I was completely kidding DJ! Sorry, my sense of humor has gotten me into more trouble than I can remember. Dry is a polite word for it. 

I'm a total fan of your walk throughs. 

[QUOTE="Daniel James, post: 4208339, member: 2602"

Wut? I don't have it even downloaded yet. No amount of work ethic or lack there of will get you a video of something I don't have yet. xD

-DJ[/QUOTE]


----------



## D Halgren

DavidY said:


> I think Epic Piano Pads was not quite a 'normal' Labs product, but was a freebie promotion.
> So you may have it even if you never bought/made a donation for a Labs product?
> 
> From a post on the Labs thread:


Ah, thanks. I just got so excited about Labs being available too.


----------



## fish_hoof

fish_hoof said:


> Im on OSX 10.9.5 and getting an error sayings its having issues opening the installer and to contact their support. Anyone else having troubles? Still waiting to hear back.



Anyone?! Im downloading on another computer but looks as though i still need to launch the downloder to install it... i really hope this isnt the case as there wasn’t anything listed anywhere at the time of pre-sale about OS requirments.


----------



## musicjunk

Alex Fraser said:


> Me too!




lol 



I did not want to show of with the pic (shitty english? ^^). I was just proud and happy. ^^


----------



## dbudde

fish_hoof said:


> Anyone?! Im downloading on another computer but looks as though i still need to launch the downloder to install it... i really hope this isnt the case as there wasn’t anything listed anywhere at the time of pre-sale about OS requirments.



Product page says macOS 10.10 or higher.


----------



## fish_hoof

dbudde said:


> Product page says macOS 10.10 or higher.



I pre bought this weeks ago and certain it wasnt there because i always check. It was just CPU and Ram requirments... well... time to get creative.


----------



## Musicam

Daniel James said:


> Heh yeah usually I aim to have something around launch. I didn't get any access to an early version so i'll get a vid out when I can.
> 
> 
> 
> Wut? I don't have it even downloaded yet. No amount of work ethic or lack there of will get you a video of something I don't have yet. xD
> 
> -DJ


Sorry. I am big fan of your music. I like a lot your videos on youtube.


----------



## JohnG

miket said:


> the relatively unknown but genius Maurice Duruflé



Duruflé's Requiem is one of the all-time great pieces of music. My favourite piece of liturgical music for sure.


----------



## JohnG

jpb007.uk said:


> Does anyone know if the HZ Strings can be run or loaded in to Vienna Ensemble Pro 6 (VEP6) ?



Yes; at least I've loaded it on a PC with Windows 10 and VE Pro 6.


----------



## Alex Fraser

musicjunk said:


> I did not want to show of with the pic (shitty english? ^^). I was just proud and happy. ^^


Haha! That’s how I took your post, don’t worry! Just my warped humour. Enjoy your new library!


----------



## Daniel James

My download has been sat at 71% for about 2/3 hours now.

Anyone else struggling?

-DJ


----------



## The Darris

Daniel James said:


> My download has been sat at 71% for about 2/3 hours now.
> 
> Anyone else struggling?
> 
> -DJ


Nope. Just passed 70% a few minutes ago and still seems to be working good. I'm liking the download speeds with this new download app. I'm actually getting the speeds that I pay my ISP for. Should be done in a few more hours.


----------



## JohnG

Spitfire's new player -- am I wrong or can you only load one instrument at a time? I understand that you can load the entire cello patch with many articulations, but it doesn't appear that you can load, say, short violins and short violas in the same instance within VE Pro.

Can anyone clarify?


----------



## rlw

Daniel James said:


> My download has been sat at 71% for about 2/3 hours now.
> 
> Anyone else struggling?
> 
> -DJ


It took about 4 hours to download on my DAW (imac pro) and then when I tried to copy to my pc I got an error about 2/3s thru that said there was a corrupt file. Trying to copy to my slave again. If that fails again I am going to do a full download to my PC directly


----------



## Jack Weaver

Everything went quite swimmingly here. 

Would've liked to seen an adjustable attack parameter - especially on the shorts. The tightness knob is there but doesn't give me what I'm looking for in this case. 

A lot of material to got thru today. Glad I bought it. Good stuff.

.


----------



## jononotbono

Can anyone tell me whether there is a feature like the Time Machine Shorts in Kontakt Spitfire Libraries? Obviously Time Machine is a Kontakt thing but I'm curious if something similar has been implemented in the new plugin.


----------



## Daniel James

Yup mine is definitely stalled at 71%.

Any advice support?

Time for the conspiracy? Spitfire don't want me to do a video? xD

-DJ


----------



## shakuman

Hello..What about the microtuning option!?


----------



## n9n9n9

shakuman said:


> Hello..What about the microtuning option!?


that’s my worry. i hack up my spitfire libs for MPE, microtuning, etc all the time. we hall see i suppose.


----------



## quantum7

Daniel James said:


> Yup mine is definitely stalled at 71%.
> 
> Any advice support?
> 
> Time for the conspiracy? Spitfire don't want me to do a video? xD
> 
> -DJ



You need to first promise them that you will do a very positive review of HZ Strings....THEN, and ONLY THEN they will allow you to grab the remaining 29%.  I hope you get it fixed soon, as that would be VERY frustrating.


----------



## Daniel James

Daniel James said:


> Yup mine is definitely stalled at 71%.
> 
> Any advice support?
> 
> Time for the conspiracy? Spitfire don't want me to do a video? xD
> 
> -DJ



Looks like its moving again (slowly) it took like, what, 4-5 hours for 20megs. I'm gunna be here a while.

-DJ


----------



## quantum7

To those who've played with HZ Strings for a while already- I generally like my strings smaller and more intimate, but I do like the basic tone of it, so can HZ Strings used in more intimate music such as New Age or Ethereal?


----------



## n9n9n9

Mine has stalled at about 65% and it doesn't seem like there is much to be done. I was getting more than 80Mbps for several hours and now it is getting 1-2 as if it has been capped. I wonder if Spitfire has angered the ISP gods today and had their throughput capped. Speed tests show that I have a consistent 100Mbps of throughput available.


----------



## Daniel James

I'm still at 71% It looks like it keeps trying to download the same file over and over. Guess i'll have to start again.

Not a great first impression for me :(

-DJ


----------



## rlw

Daniel James said:


> I'm still at 71% It looks like it keeps trying to download the same file over and over. Guess i'll have to start again.
> 
> Not a great first impression for me :(
> 
> -DJ


Based on the install video, the install app will pick up where it left off so you should be able to stop and restart. I had not issues downloading.


----------



## Christof

Legato works fine in all sections except violins, there seems to be a bug when playing small intervals, it sounds like not all samples have been loaded properly...
Example
Nevertheless this library sounds amazing, the interface is top notch and it is very flexible and adjustable, the installation was super easy, actually I was sleeping during the whole process


----------



## Daniel James

rlw said:


> Based on the install video, the install app will pick up where it left off so you should be able to stop and restart. I had not issues downloading.



Tried that, tried rebooting the app, and the system and it would 'resume' but keep installing a file, then deleting it, then installing it again. 

My only option was to reinstall.....after downloading 130gig already. Kinda pissed at that.

Currently at 28% again. Lets hope it doesnt happen again.

-DJ


----------



## The Darris

Alright, I'm up and running. I had one little glitch where it stopped unpacking after the download with about 3 gigs left to unpack. I simply paused it. Closed the app and reopened it. I redirected it to "re-install" and it started to download again but showing I needed to download that 3 gb. After that re-downloaded, it took about 5 minutes to unpack the files and install it. All in all, it took me about 10 hours to download with an internet speed of 50 mb/s. The speed of the download fluctuated around 25-49 mb/s for each individual file. 

I loaded up Cubase and HZ Strings showed up under "Synths" in the VST list. Everything seems to be working as advertised. I haven't noticed any weird hiccups in performance by just playing around but holy shit, the Mid X Mic position mixed with Tree and Close with the stereo image of the close set to mono and panned makes this sound like I'm sitting right in front of the section. There is a lot of life in the sound that I haven't heard in a lot of string libraries lately. The "epic" size is definitely there but the dynamic contrast makes up for it giving this a soft side that is pretty damn good in my opinion. I need to write a bit with it and see how it does with instances of Kontakt running as well as VEPro but directly in the box, it loads pretty quickly and the best part....no batch re-saves needed. Hahaha. 

I know most are curious about the Legatos. It's nothing special by itself. The response isn't sluggish or abrupt. By default as I don't know how much I can tweak on it yet, it seems tailored for average or downbeat tempos. Definitely can't play runs as the stereo image collapses pretty quickly and it starts to sound like a quirky synth lead with a short release time. In all fairness, I don't think they wanted to create a super versatile legato patch like they did with their Chamber and Symphonic Strings. They kept is simple with the some new and interesting articulations whilst giving us a modular approach to room configurations for the sections. So far, it succeeds at that in my opinion but as always, I will continue to dive deeper. A review is coming of this one in the future. 

Best,

Chris


----------



## christianhenson

I'm glad Darris you've already delved into the mic cupboard. With most spitfire libraries I'm a straight up "Tree" man but I have found that in order to get the best out of HZS you really need to embrace Geoff's mic cupboard and shape each technique / articulation with fine and subtle mic adjustments. I've made a video regarding this which I'm really looking forward to you all seeing. I use a camera analogy, as for me its like string libs I've used thus far have been 'point and click' where this is like a monster pro-end camera with lenses and flare filters and stuff which require just a little more thinking about. It's teaching me lots about HZ's technique and that is a very elegant and microscopic approach not just a bunch of patches that let you slam stuff out with. These are definitely craftsman's tools so make sure you hit the mic cupboard, that tightness dial and you'll also have to slam up that volume boost for the super quiet stuff as it is all mixed in unity!


----------



## Christof

Anyone managed to activate velocity range dynamics in any all in one patch?
It works when loading a single patch, let's say shorts:
When I choose the short's patch in the all in one menu I can't trigger the dynamics with the keyboard (how hard or soft I play), it is only possible through the mod wheel.
When I load the short's patch as single articulation I can play the dynamics I want depending how hard or soft I hit my keyboard.


----------



## Christof

Christof said:


> Anyone managed to activate velocity range dynamics in any all in one patch?
> It works when loading a single patch, let's say shorts:
> When I choose the short's patch in the all in one menu I can't trigger the dynamics with the keyboard (how hard or soft I play), it is only possible through the mod wheel.
> When I load the short's patch as single articulation I can play the dynamics I want depending how hard or soft I hit my keyboard.


EDIT:I found the solution:Moving midi CC 1 to zero activates the keyboard velocity dynamics, very smart!!


----------



## midiman

Downloading at 12 Mbps. Only have 31GBs downloaded after about 12 hours downloading. Slowest download I ever did of any library. This is looking like something that will take about 3 to 5 days to download. My internet connection allows for 100Mbps, so it really should not take more than 24 hours to download. I believe the library is going to be good, but this is a bit of a downer.


----------



## star.keys

Daniel James said:


> Tried that, tried rebooting the app, and the system and it would 'resume' but keep installing a file, then deleting it, then installing it again.
> 
> My only option was to reinstall.....after downloading 130gig already. Kinda pissed at that.
> 
> Currently at 28% again. Lets hope it doesnt happen again.
> 
> -DJ



Hit the pause button, then hit then play button and see it if it helps. The installer was getting stuck in my case and doing that helped me.


----------



## Sovereign

Just started giving it a go. But some of the legatos don't seem to be right, there's a horrible sucking/cutoff effect on the 20 Violas wide legato patch when you turn the vibrato up. There are also volume inconsistencies. Anyone else experience this?


----------



## Christof

Sovereign said:


> Just started giving it a go. But some of the legatos don't seem to be right, there's a horrible sucking/cutoff effect on the 20 Violas wide legato patch when you turn the vibrato up. There are also volume inconsistencies. Anyone else experience this?


Totally agree, violins and violas legatos are very buggy.


----------



## SpitfireSupport

Daniel James said:


> Tried that, tried rebooting the app, and the system and it would 'resume' but keep installing a file, then deleting it, then installing it again.
> 
> My only option was to reinstall.....after downloading 130gig already. Kinda pissed at that.
> 
> Currently at 28% again. Lets hope it doesnt happen again.
> 
> -DJ



Hey Daniel, unfortunately we weren't around to help as it was the middle of our night. For the future, and for anyone else reading this, there is almost never anything to be gained by deleting everything and starting again. It's likely that your problem was just a server load issue and it would have sped up eventually, if not, contacting support would have meant that we could advise and get you started again most of the time without downloading everything again. Ben


----------



## Sovereign

Christof said:


> Totally agree, violins and violas legatos are very buggy.


I'm assuming that this will be fixed. Problems aside, I really like the sound of it all. The shorts and longs IMO are great.


----------



## Christof

Sovereign said:


> I'm assuming that this will be fixed. Problems aside, I really like the sound of it all. The shorts and longs IMO are great.


Absolutely!The sound is fantastic.
As a side note, I would love to have a separate browser window, it would be cool to have more overview through all patches.


----------



## jonathanwright

Are the shorts appropriate for quick spiccato passages?


----------



## fiestared

Christof said:


> Absolutely!The sound is fantastic.
> As a side note, I would love to have a separate browser window, it would be cool to have more overview through all patches.


Hi, because you're a player what is your opinion about the cellos ? I've got the feeling they sound "fabulous"


----------



## Christof

fiestared said:


> Hi, because you're a player what is your opinion about the cellos ? I've got the feeling they sound "fabulous"


Yes they do!


----------



## iMovieShout

jpb007.uk said:


> Does anyone know if the HZ Strings can be run or loaded in to Vienna Ensemble Pro 6 (VEP6) ?



Ok, its downloaded and, YES, it can be loaded up as a plugin on VEP6 (just load it the same as with Kontakt, PLAY etc).
Interestingly, looking around the interface it is basically a snazzy version of Kontakt, as it seems to have the same functionality as Kontakt, and the same functionality as the traditional Spitfire interfaces (such as Symphonic Strings, Chamber Strings, etc). So its pretty straightforward to use and you can map key switches, MIDI channels etc to controllers such as Avid and NI Keyboards etc. Its a bit like comparing a Land Rover (traditional interface) to a custom built Range Rover, in that (as far as I can tell) they both do the same, but the looks are nicer (just my opinion).


----------



## SpitfireSupport

Sovereign said:


> I'm assuming that this will be fixed.



Yes, we are working on an update that addresses some legato issues. Watch this space!


----------



## star.keys

Look forward to receive updates for performance and legato fixes, thanks


----------



## Christof

SpitfireSupport said:


> Yes, we are working on an update that addresses some legato issues. Watch this space!


As we have a brand new player here we have to ask some questions of course:
Is it possible to load the player as empty instance or a patch of my choice?By default it loads the 60 cello all in one patch which eats about 1.4 gig RAM, not very practical when you launch the player in a full and big template.


----------



## JohnG

christianhenson said:


> I have found that in order to get the best out of HZS you really need to embrace Geoff's mic cupboard and shape each technique / articulation with fine and subtle mic adjustments.



100%, though I would't confine this advice to HZ Strings. It's amazing what a difference the mic positions make to many Spitfire (and other) libraries.


----------



## AR

SpitfireSupport said:


> It's authorised using the Spitfire Audio App. If you order a hard drive, you can repeat the process on a second machine. If you've downloaded, you can move the "Spitfire Audio - Hans Zimmer Strings" folder onto the second machine and then use the "reauthorise" and "relocate" functionality in the Spitfire Audio App. Ben


I somehow can't find the reauthorise function. I moved the samples on my slave machine. Though, after relocating and saving the folder path it says "relocated succesfully" but prompt going back to default path C:\Users\...\Spitfire :(( any help??


----------



## Celestial Aeon

I might be stupid, but I received the hard drive and the folder contains just .part files. How do I install it? Also I can't see the library listed on my account nor my spitfire audio library tool...

EDIT: Ah my bad, didn't realize there is new version of the library manager.


----------



## quantum7

JohnG said:


> 100%, though I would't confine this advice to HZ Strings. It's amazing what a difference the mic positions make to many Spitfire (and other) libraries.



Yeah, years ago when multiple mics started becoming standard, I found it a bit annoying with all the extra HD space needed, but in recent years I’ve really come to appreciate the multiple mics, as they really do make a difference in many occasions.


----------



## SpitfireSupport

AR said:


> I somehow can't find the reauthorise function. I moved the samples on my slave machine. Though, after relocating and saving the folder path it says "relocated succesfully" but prompt going back to default path C:\Users\...\Spitfire :(( any help??


I'd contact us at spitfireaudio.com/support. This will most likely be because the library needs to be reset for the reauthorise option to appear.

Luke


----------



## musicjunk

@Spitfire Team impressed by the sound of hz strings so far. the different mic positions are awsome and also like the new download manager alot.


----------



## Celestial Aeon

I'm still at loss that after installing the library via the latest spitfire manager, how does the library work on DAW end - usually they are loaded via Kontakt, or they are installed as an actual .dll file under VST instruments, but in this case neither seem to work. Should I find some kind of serial number I will use in Native Instruments manager?

EDIT: Ah nevermind, Cubase for some reason linked the instrument under Synth subfolder :D


----------



## Dale Turner

These Mic Position options--and the ease in which they can be accessed/tweaked--are AMAZING! Cranking up the Ambient mics on sustained "waves" patches.... Good golly....


----------



## Daniel James

SpitfireSupport said:


> Hey Daniel, unfortunately we weren't around to help as it was the middle of our night. For the future, and for anyone else reading this, there is almost never anything to be gained by deleting everything and starting again. It's likely that your problem was just a server load issue and it would have sped up eventually, if not, contacting support would have meant that we could advise and get you started again most of the time without downloading everything again. Ben



Starting again worked. The download was bugged for me first time round, in the end it was on 71% for 6 ish hours. So I don't think waiting would have helped this one. Like I say once I got that far in I tried all the usual download glitch fixes like pause resume, restart app, restart machine, remove last downloaded file then restart. Nothing worked except restarting the download unfortunatly.

Anyways I have it down now, now to put it through its paces.

-DJ


----------



## Pontus Rufelt

Daniel James said:


> Starting again worked. The download was bugged for me first time round, in the end it was on 71% for 6 ish hours. So I don't think waiting would have helped this one. Like I say once I got that far in I tried all the usual download glitch fixes like pause resume, restart app, restart machine, remove last downloaded file then restart. Nothing worked except restarting the download unfortunatly.
> 
> Anyways I have it down now, now to put it through its paces.
> 
> -DJ


 
Will we get a live stream with your first impressions by chance? (Would be fantastic)


----------



## Celestial Aeon

I managed to fiddle around with it for 25 minutes and so far I can say that I absolutely love it   

Here are my first chaotic impressions, mainly cellos. Sorry for the hassle, I didn't have any idea what to do in the start


----------



## quantum7

Celestial Aeon said:


> I managed to fiddle around with it for 25 minutes and so far I can say that I absolutely love it   here are my first chaotic impressions, mainly cellos




Thanks for doing that. Watching now.


----------



## Rap-sody

Celestial Aeon said:


> I managed to fiddle around with it for 25 minutes and so far I can say that I absolutely love it   here are my first chaotic impressions, mainly cellos



There's great sounds in your video. If only my wallet would allow me to spend for this...


----------



## CT

Celestial Aeon said:


> I managed to fiddle around with it for 25 minutes and so far I can say that I absolutely love it   here are my first chaotic impressions, mainly cellos




Sounds incredibly immersive. The purist in me that only ever expects 10 cellos can't argue with what sounds great.


----------



## quantum7

Rap-sody said:


> If only my wallet would allow me to spend for this...



Just go without food for 30 days and your wallet will be much fuller....thereby making your stomach VERY jealous! LOL


----------



## muziksculp

The more I hear demos of HZ-Strings, the more tempted I am to purchase this library. Keep those demos rolling  

Hopefully Spitfire will be able to fix the legato issues, or any other related issues with the new player to make it sound right, and optimize it before April 11th.


----------



## ka00

Celestial Aeon said:


> I can say that I absolutely love it



The sound is huge, soft and detailed at the same time. Quite lovely. Like a distant, glittering sandstorm on the horizon.


----------



## Celestial Aeon

Sorry for the chaotic mess that was the first stream, I had a sleeping child on manduka and the ending was sort of abrupt  Also I didn't have slightest idea what I was doing.

But hopefully it offered some viewpoint to the library not yet seen. I was especially impressed by the ease with which you can just fiddle around with the really wide mic options and mixes, the out of the box reverb seems very useable as well and the amount of articulations seems more vast than I hoped for. It seems to combine best ideas spanning the albion series, swarm and throwing in lots of stuff not there yet.


----------



## Puzzlefactory

So watching Daniel James Live twitch first looks. Everything seems very quiet. 

He turns the main volume up to 400% and the modwheel and expression to max and the levels are still really low.

What’s that all about?


----------



## muziksculp

Puzzlefactory said:


> So watching Daniel James Live twitch first looks. Everything seems very quiet.
> 
> He turns the main volume up to 400% and the modwheel and expression to max and the levels are still really low.
> 
> What’s that all about?



Is he playing the library while he is downloading it ?


----------



## Celestial Aeon

my second take, cellos continued, basses and some violins


----------



## Celestial Aeon

Question to Spitfire: 

I noticed that with some articulations if I put dynamics to 100% and play, the output volume bar goes to red. I didn't check is it actually clipping, but is it by design that you can clip articulations "within normal gui parameters"?


----------



## Puzzlefactory

muziksculp said:


> Is he playing the library while he is downloading it ?



No, looks like he’s got everything downloaded. 

It’s just all very quiet playing the 60 celli patch.


----------



## John Busby

Daniel James live stream now:


----------



## quantum7

Puzzlefactory said:


> So watching Daniel James Live twitch first looks. Everything seems very quiet.
> 
> He turns the main volume up to 400% and the modwheel and expression to max and the levels are still really low.
> 
> What’s that all about?



Where is that at? I don't see it on his YT channel.

EDIT: NEVER MIND! I see it above.


----------



## Puzzlefactory

It’s on his twitch channel, Hybrid two.


----------



## quantum7

Strangely enough, I've never even heard of Twitch until now. D'oh!!!


----------



## Puzzlefactory

He just did another articulation with the 20 cello patch and the levels are barely registering in the Cubase mixer channel.

Seems very odd that such a large section is recorded and plays back so low when everything in the sampler is set to max.


----------



## John Busby

Puzzlefactory said:


> He just did another articulation with the 20 cello patch and the levels are barely registering in the Cubase mixer channel.
> 
> Seems very odd that such a large section is recorded and plays back so low when everything in the sampler is set to max.


gotta be a bug...
doesn't make sense


----------



## Puzzlefactory

Maybe you have to turn on every mic position to get the volume out of the patches (and not just the tree mic)...?


----------



## Geoff Grace

This should be relevant to the volume issue:



christianhenson said:


> (snip)
> 
> These are definitely craftsman's tools so make sure you hit the mic cupboard, that tightness dial and you'll also have to slam up that volume boost for the super quiet stuff as it is all mixed in unity!



Best,

Geoff


----------



## Paul Thomson

You can also boost the master vol control top right.

Some arts are just that quiet in the room!

Thanks,

Paul


----------



## Killiard

Puzzlefactory said:


> Maybe you have to turn in every mic position to get the volume out of the patches (and not just the tree mic)...?



I agree. That’s generally the spitfire way I think. And it actually makes perfect sense. 

Now if there was a clever way to raise or lower the master volume as you raised/lowered the multiple mics, then that would be clever!


----------



## Zhao Shen

Hmmmm... interesting. Putting side sampler bugs and volume issues, there seems to be a lot of good stuff in this library. I think people are being harsher on it because of its $800 base price. Many aren't willing to shell out that much for a niche non-workhorse library with merely decent legato and a few really cool articulations. Yeah, there's an absurd amount of mics and the patch organization is intriguing (if a bit inconsistent), but those features don't sell libraries on their own.

Just my two cents. Will be interested to see how this all pans out.


----------



## Puzzlefactory

Paul Thomson said:


> You can also boost the master vol control top right.
> 
> Some arts are just that quiet in the room!
> 
> Thanks,
> 
> Paul



Yeah, like I mentioned, Daniel has already turned the master volume up to 400%.


----------



## Dale Turner

Puzzlefactory said:


> Yeah, like I mentioned, Daniel has already turned the master volume up to 400%.



For whatever this is worth.... there's a bit in the recent roundtable where Ben Wallfisch, HZ, and Henry Jackman talk about capturing a super quiet orchestra performance... which is what many of the patches in HZ Strings seem too--thankfully--be geared towards:


----------



## rmoat

For one who has been a little jaded, as well as frustrated with many other string libraries (they all do something good, and lack something else), I'd give Hans Zimmer and the whole Spitfire Team a standing ovation. This is one of the most beautiful sounding libraries and best available. To me it's a new standard and nothing pales in comparison to this depth of articulations, easiness, and the beautiful sound. It really is so flexible and easy, and yet it can be deeply customized (very easily). There may be minor bugs upon first release, which of course will most certainly be fixed, but I'd say this library is definitely worth every penny.

Thanks Spitfire and Hans!


----------



## SyMTiK

Zhao Shen said:


> Hmmmm... interesting. Putting side sampler bugs and volume issues, there seems to be a lot of good stuff in this library. I think people are being harsher on it because of its $800 base price. Many aren't willing to shell out that much for a niche non-workhorse library with merely decent legato and a few really cool articulations. Yeah, there's an absurd amount of mics and the patch organization is intriguing (if a bit inconsistent), but those features don't sell libraries on their own.
> 
> Just my two cents. Will be interested to see how this all pans out.



I personally think the patch layout is excellent, easy to navigate, and I LOVE that they put the option to demo the patch to hear what it sounds like. Since there are a lot of different patches its helpful to remember what each one sounds like. I thought that was pretty cool and I wish more libraries would do that, would save time especially in libraries with TONS of different sounds, like Heavyocity Gravity for example. 

I think once they fix some of the legato bugs and some little issues with samples getting cutoff when using modulation (which are all simple fixes I'd imagine), this library has a lot of excellent and inspiring content. I'm glad it isn't just the normal articulations you'd expect in a high end library. At this point, I think the hyper sampled high end string library has been done so many times and there are so many excellent options already on the market for a bread and butter string library, its refreshing to see a high end string library that features unorthodox articulations and use of a unique ensemble, while still maintaining normal articulations to add versatility. 

If you are looking for a library to replace every other string library you already use or to be your first and last string library, I don't think this is it. But if you are looking for something that makes you approach string writing differently and giving you a new set of colors to add to your writing, then its definitely worth it imo.


----------



## Lionel Schmitt

Daniel James is live with HZ strings!


----------



## Dale Turner

SyMTiK said:


> I think the hyper sampled high end string library has been done so many times and there are so many excellent options already on the market for a bread and butter string library, its refreshing to see a high end string library that features unorthodox articulations and use of a unique ensemble, while still maintaining normal articulations to add versatility.



WELL SAID!!!!!!!!


----------



## AdamKmusic

Interesting views from Daniel, I think I’ll hold off on this one for now and see how it’s updates over the next few months


----------



## BradHoyt

DarkestShadow said:


> Daniel James is live with HZ strings!



I think Daniel misses the point a little with the purpose of the library... it's is a super specialized library and not comparable to Jager. By it's very nature, HZ Strings is not for everyone.

Update: He's also a little upset because the library is not loud enough for that "Zimmer sound". However, if you listen to the Interstellar and Dunkirk soundtracks, it's easy to hear how HZ Strings fits in well with his more recent work...


----------



## Lionel Schmitt

BradHoyt said:


> I think Daniel misses the point a little with the purpose of the library... it's is a super specialized library and not comparable to Jager. By it's very nature, HZ Strings is not for everyone.


I'm not watching, just got the mail and wanted to share here - my internet connection can't handle it (on the road). But the bit I've seen seemed like the shorts are kinda out of time when they play fast, and that wasn't the midi programming since it was quantized I believe. I'm not a fan of comparig libraries that are for different purposes but... the shortz gotta be in time. Minimum requirement regardless whether you specialize on chamber music or epic hybrid scoring.

But a lot of the long notes I've heard are great and the low end is really special.


----------



## Andrajas

BradHoyt said:


> Update: He's also a little upset because the library is not loud enough for that "Zimmer sound". However, if you listen to the Interstellar and Dunkirk soundtracks, it's easy to hear how HZ Strings fits in well with his more recent work...


Yes but is it really the type of style you think of firstly?


----------



## ism

Curiously, most of Daniel's attacks make me want this library more.


----------



## Saxer

The style of the library was well communicated. Demos and walkthroughs show slow and quiet stuff. Probably useless to try to record shorts and spiccs with 60 people in a verby environment. If I want really tight shorts I don't use Spitfire stuff anyway. But some overpowered marcatos or ff-multo vibrato longs from this armada of players might have been cool too.


----------



## Lionel Schmitt

Saxer said:


> The style of the library was well communicated. Demos and walkthroughs show slow and quiet stuff. Probably useless to try to record shorts and spiccs with 60 people in a verby environment. If I want really tight shorts I don't use Spitfire stuff anyway. But some overpowered marcatos or ff-multo vibrato longs from this armada of players might have been cool too.


Well, when it is advertised as *Hans Zimmer* strings... people have a certain expectation (and it's not super feathered sul pont tremelandi) And if that isn't fullfilled... RWQERDFGTHKJL
I understand that.


----------



## Cinebient

I´m no pro but from the walktroughs it was clear to me which kind of string library this is.
And in terms of Interstellar, Inception and a few others i also have more the softer but really wide and large atmospheres in mind rather than the hard hitting stuff.
So say not nobody 
I never bought a Spitfire or other HZ brand tool yet but that was exact what i wanted but i´m more into ambient, sci-fi soundscapes and emotive stuff rather than the epic.
Of course every meaning is legit and i feel bad for people which expected the opposite....even if he said that about 1000 times by now. 
I do appreciate the live stream and thank´s for saying just what you think (that often took me to trouble).


----------



## BradHoyt

Andrajas said:


> Yes but is it really the type of style you think of firstly?


No... In retrospect, I think it may have been a good idea to have a title that's a little more specific.


----------



## muziksculp

I missed the DJ's Live stream on Twitch, but will watch it once it is uploaded on Youtube.

I just caught the last two minutes of his live stream, I got the impression that he wasn't very fond of the library, or something didn't work well for him. Is that the case ? or ... ?

Update : 

Oh.. I didn't realize that I could still watch the Twitch video (not live).


----------



## JohnG

Wow.

The library is excellent from what I've used so far. I'm writing and I wish I'd had this at the start of this project. I like the huge selection of mic positions and the SOUND.

If it's too soft for you, there's a volume slider (upper right). Some of the patches are very quiet, but from what I've heard they don't have a lot of (any?) noise, so you can turn them up if necessary.

Controls are easy to figure out even if you don't ever look at a manual.

Shorts sound absolutely killer; like the mod wheel for intensity, though there is also some interaction with velocity that might send me actually to the manual to understand better (you can hear it).

I could play the long soft CS cellos all day long. 

I don't use legato articulations all that much and haven't spent much time with them. I read they're working on them a bit.

really fun!


----------



## Lionel Schmitt

muziksculp said:


> I missed the DJ's Live stream on Twitch, but will watch it once it is uploaded on Youtube.
> 
> I just caught the last two minutes of his live stream, I got the impression that he wasn't very fond of the library, or something didn't work well for him. Is that the case ? or ... ?


You can watch it on twitchin retrospective - not sure if its gonna go on YouTube.


----------



## muziksculp

DarkestShadow said:


> You can watch it on twitchin retrospective - not sure if its gonna go on YouTube.




Yes, just figured that out, but Thanks anyway.


----------



## emasters

JohnG said:


> I could play the long soft CS cellos all day long.



The gallery long CS Cellos are amazing -- such a great sound. Very inspiring to play.


----------



## JohnG

emasters said:


> The gallery long CS Cellos are amazing -- such a great sound. Very inspiring to play.



Xlnt. I hadn't tried the gallery mics on that patch yet -- thanks!


----------



## D Halgren

The shorts seem fine to me. You just have to find the right mic combo, use the tighten feature, and work the track delay. Pretty reasonable considering the size of the sections.


----------



## jononotbono

JohnG said:


> Wow.
> 
> The library is excellent from what I've used so far. I'm writing and I wish I'd had this at the start of this project. I like the huge selection of mic positions and the SOUND.
> 
> If it's too soft for you, there's a volume slider (upper right). Some of the patches are very quiet, but from what I've heard they don't have a lot of (any?) noise, so you can turn them up if necessary.
> 
> Controls are easy to figure out even if you don't ever look at a manual.
> 
> Shorts sound absolutely killer; like the mod wheel for intensity, though there is also some interaction with velocity that might send me actually to the manual to understand better (you can hear it).
> 
> I could play the long soft CS cellos all day long.
> 
> I don't use legato articulations all that much and haven't spent much time with them. I read they're working on them a bit.
> 
> really fun!



Excellent news. Out of interest, is it possible to assign the Mic Positions to CCs of our choosing? Thinking my Kenton Control Freak will appreciate so many of them.


----------



## cjbrett22

Am I the only one having a serious problem with the library? Even basic notes it's popping, stopping or not playing at all. Even been getting feedback noises. Pretty much every patch this is happening with. It's practically unplayable. 
I'm running it on a 3tb iMac with 32gb of RAM and have never had any issues with other sample libraries so this is really frustrating...


----------



## Yowakeem

jononotbono said:


> Excellent news. Out of interest, is it possible to assign the Mic Positions to CCs of our choosing? Thinking my Kenton Control Freak will appreciate so many of them.


if i remebere correct from Daniels stream, you could assign the mic positions.


----------



## jononotbono

Yowakeem said:


> if i remebere correct from Daniels stream, you could assign the mic positions.



That's great. Thanks.


----------



## quantum7

I had a feeling that there might be a small problem or two with the new Spitfire playback engine due to the nature of computers, etc., just as PLAY had major problems originally. That said though, I trust Christian and Paul sooo much more than the folks at EastWest luckily. I truly believe that both Christian and Paul would both be heartbroken if their software was frustrating some users.... at least that is the impression I get from hearing them speak on videos. They both seem very passionate I’m just and seem to convey a strong belief in what they are trying to accomplish. When EastWest users were in distress with PLAY many years ago, myself included, a lot us us felt both ignored and ostracized by them for daring to voice our concerns. I have zero doubts that Spitfire would do the same and believe that they will indeed take care of the early issues that some are having.


----------



## prodigalson

well, for me other than the legato issues I haven't had any problems with the playback engine so far. If anything I've been impressed with it's performance from my limited road testing so far


----------



## JohnG

cjbrett22 said:


> Am I the only one having a serious problem with the library? Even basic notes it's popping, stopping or not playing at all. Even been getting feedback noises. Pretty much every patch this is happening with. It's practically unplayable.
> I'm running it on a 3tb iMac with 32gb of RAM and have never had any issues with other sample libraries so this is really frustrating...



That does indeed sound frustrating. I am offering sympathy, rather than any suggestions. With a computer like that it should work, I would think. I can't even suggest reinstalling or something as I don't know if there's any way to do that.


----------



## The Darris

quantum7 said:


> I had a feeling that there might be a small problem or two with the new Spitfire playback engine due to the nature of computers, etc., just as PLAY had major problems originally. That said though, I trust Christian and Paul sooo much more than the folks at EastWest luckily. I truly believe that both Christian and Paul would both be heartbroken if their software was frustrating some users.... at least that is the impression I get from hearing them speak on videos. They both seem very passionate I’m just and seem to convey a strong belief in what they are trying to accomplish. When EastWest users were in distress with PLAY many years ago, myself included, a lot us us felt both ignored and ostracized by them for daring to voice our concerns. I have zero doubts that Spitfire would do the same and believe that they will indeed take care of the early issues that some are having.


Having reached out to there support earlier today (a few hours before they closed shop for the night) I got immediate support. They are working my issues and quickly responding to my emails with them. This isn't a new sampler with a scripted instrument you can load in. This is a standalone piece of software. I haven't used any software in the last decade that didn't come with issues so I give them the benefit of the doubt, more so considering how they've handled my issues via the support line. Best interaction I've had with a developer in a while.

With that said, whether or not you want to wait on things getting fixed, I will say that when things work correctly which they have for me for the most part, it's pretty damn solid. Again, the mic "cupboard" Christian has talked about is where it's at. I haven't heard a library I can play that makes me feel like I'm sitting with the orchestra the way this one does. That, to me, is inspiring and a solid win for me.

As for the quiet articulations, don't listen to those who are upset because they are quiet. That's the fucking point. A super flautando pianissimo is fucking quiet in comparison to a Normale Arco pianissimo. This library, in their approach, offers proper orchestral balance from section to section and articulation to articulation within the library. The 60 players versus 20 is naturally louder sounding in comparison which is nice. If you need more volume, you pump your volume knobs within the library or your DAW. I will say, it's awesome to properly get to a near niente without having to use expression for once. There is a pretty big dynamic contrast between what this can do at it's quietest compared to the loudest, add in your own mixing flavors and you can create quite a diverse range of music. That's my defense of what I've watched and read from the community so far.

If you were wanting to create Zimmer music, then you need to look at what Zimmer is writing nowadays which isn't so much of the fucking bombastic stuff, but far more nuanced and interesting textures. If there is anything you should be upset that didn't make this palette is some awesome marcatos. The shorts are great but damn, some longer marcato shorts would have been the icing on the cake for me.

Cheers,

C


----------



## Lionel Schmitt

D Halgren said:


> The shorts seem fine to me. You just have to find the right mic combo, use the tighten feature, and work the track delay. Pretty reasonable considering the size of the sections.


Yea, true actually. Might also be a bad idea to tighten them up. You might have to cut into the samples, which I hate. The sound is great to me!


----------



## marcodistefano

@Spitfire Team i bought it and I love it

But

Where is UACC?

My template is hardly relying on cc change on my tablet and expression maps in cubase

Is it correct I don't see this in the library?

How can I workaround?

I don't want to have one track per articulation nor using keyswitch, not my workflow

Thanks


----------



## mouse

In regards to the big knob being a waste of space maybe just adding a drop down menu to below it allowing you to choose what it controls is a simple fix?


----------



## Paul Thomson

mouse said:


> In regards to the big knob being a waste of space maybe just adding a drop down menu to below it allowing you to choose what it controls is a simple fix?



Hi Mouse - if you click on the middle of the knob a menu appears to select what it is controlling.

Thanks!

Paul


----------



## mouse

Paul Thomson said:


> Hi Mouse - if you click on the middle of the knob a menu appears to select what it is controlling.
> 
> Thanks!
> 
> Paul



I don't have it so just assumed it wasn't controllable. Seems like it's not exactly a waste of space so and is a good design I would have thought


----------



## Paul Thomson

mouse said:


> I don't have it so just assumed it wasn't controllable. Seems like it's not exactly a waste of space so and is a good design I would have thought



Thanks!

Extensive user testing for 5 months by UsTwo with groups of all ages, backgrounds, abilities, sexes. 

We wanted this to be truly simple to use and inclusive. 

All best!

Paul


----------



## mouse

Paul Thomson said:


> Thanks!
> 
> Extensive user testing for 5 months by UsTwo with groups of all ages, backgrounds, abilities, sexes.
> 
> We wanted this to be truly simple to use and inclusive.
> 
> All best!
> 
> Paul



That makes sense. Honestly, even though I haven't used it, I would assume having a big knob like that which you can assign to different things give you more control than 10 tiny knobs, so I'm not sure why people think its not a good design. Hope the launch is going well for you, congrats on completing such a monumental project


----------



## marcodistefano

Paul Thomson said:


> Thanks!
> 
> Extensive user testing for 5 months by UsTwo with groups of all ages, backgrounds, abilities, sexes.
> 
> We wanted this to be truly simple to use and inclusive.
> 
> All best!
> 
> Paul


Hi Paul,

I see there is no more UACC integrated, can you share your vision of how to have easily a similar feature?

I have a template 100% spitfire audio libraries and use UACC both from a tablet to remote control and from cubase with expression maps

I played with the library only a few hours so far, it is amazing and already working on a project for it.

Thanks for this awesome product!


----------



## blougui

There goes the budget...



Paul Thomson said:


> Thanks!
> 
> Extensive user testing for 5 months by UsTwo with groups of all ages, backgrounds, abilities, sexes.
> 
> We wanted this to be truly simple to use and inclusive.
> 
> All best!
> 
> Paul


----------



## Paul Thomson

marcodistefano said:


> Hi Paul,
> 
> I see there is no more UACC integrated, can you share your vision of how to have easily a similar feature?
> 
> I have a template 100% spitfire audio libraries and use UACC both from a tablet to remote control and from cubase with expression maps
> 
> I played with the library only a few hours so far, it is amazing and already working on a project for it.
> 
> Thanks for this awesome product!



Thanks!

There are quite a few ways to set up articulation changes. Manual has every possible current way. 

UACC didn’t really make sense for this as it’s so complex - it’s a bit of an outlier with all the sections!

Let us know which way you end up using it, all feedback very useful as it will help us refine. 

All the best!

Paul


----------



## Rey

anyone has this problem?. I'm trying to install hans zimmer strings on other drive than C: because C is only 100gb
so I try to install using the new spitfire app in my hdd as I: drive.
when I try to install on I: and locate it said already installed? but downloads didn't even start. I'm not sure what to do now? should I ask for reset? or uninstall the app?


----------



## SpitfireSupport

Rey said:


> anyone has this problem?. I'm trying to install hans zimmer strings on other drive than C: because C is only 100gb
> so I try to install using the new spitfire app in my hdd as I: drive.
> when I try to install on I: and locate it said already installed? but downloads didn't even start. I'm not sure what to do now? should I ask for reset? or uninstall the app?


Hi Rey, you're welcome to contact us at support and we'll be able to help you out here. www.spitfireaudio.com/support 

Luke


----------



## Rey

SpitfireSupport said:


> Hi Rey, you're welcome to contact us at support and we'll be able to help you out here. www.spitfireaudio.com/support
> 
> Luke



Thank you Luke. I think I just pressed the reset button and did the whole thing again. It seems to be downloading for now finally. Just waiting to complete. I hope I don't need to reauthorise or anything. Wish me luck!


----------



## procreative

Paul Thomson said:


> Thanks!
> 
> Extensive user testing for 5 months by UsTwo with groups of all ages, backgrounds, abilities, sexes.
> 
> We wanted this to be truly simple to use and inclusive.
> 
> All best!
> 
> Paul



What was the thinking in making the articulations require scrolling? Your standard GUIs make them all visible and I think this is a backwards step usability wise.

There is a fine balance between aesthetic and function.

Having to scroll to hidden slots is in my opinion rather counter intuitive and given the amount of GUI space unused does not make sense.

I only mention this as I hope future updates to other titles do not go this route.


----------



## marcodistefano

Paul Thomson said:


> Thanks!
> 
> There are quite a few ways to set up articulation changes. Manual has every possible current way.
> 
> UACC didn’t really make sense for this as it’s so complex - it’s a bit of an outlier with all the sections!
> 
> Let us know which way you end up using it, all feedback very useful as it will help us refine.
> 
> All the best!
> 
> Paul



Paul, thanks for the answer!

I will first compose a couple of pieces to fully discover it and then will look at the best way to integrate into my orchestral template

will share the results with the community on youtube, I think I am not the only one thinking about how to fix this

Kind Regards
Marco


----------



## Christof

procreative said:


> What was the thinking in making the articulations require scrolling? Your standard GUIs make them all visible and I think this is a backwards step usability wise.
> 
> There is a fine balance between aesthetic and function.
> 
> Having to scroll to hidden slots is in my opinion rather counter intuitive and given the amount of GUI space unused does not make sense.
> 
> I only mention this as I hope future updates to other titles do not go this route.


This is what I mentioned earlier, a floating window maybe would be useful.The scrolling isn’t helpful fot the workflow.


----------



## star.keys

Yes ifh


Paul Thomson said:


> Thanks!
> 
> Extensive user testing for 5 months by UsTwo with groups of all ages, backgrounds, abilities, sexes.
> 
> We wanted this to be truly simple to use and inclusive.
> 
> All best!
> 
> Paul



Simple things that don't work?

Load more than 3-4 mics at once and I get clicks and pops with Sustains on my monster PC with endless power. Infinite issues with legato. Tuning issues. Panning issues. Inconsistent dynamics. Notes getting cut off. Issues and defects all over. Sorry guys but I'm extremely disappointed with the quality of software. Wonder why these issues couldn't be identified over 5 months of extentive testing cycle, which took me hardly 2 hours to play around and discover. MS used to release software with known bugs back in year 2000, which was a better approach than releasing software with bugs and not telling users about it, if these were known bugs at the time of release. If these werent known bugs, I wonder what was all that testing about.


----------



## Paul Thomson

procreative said:


> What was the thinking in making the articulations require scrolling? Your standard GUIs make them all visible and I think this is a backwards step usability wise.
> 
> There is a fine balance between aesthetic and function.
> 
> Having to scroll to hidden slots is in my opinion rather counter intuitive and given the amount of GUI space unused does not make sense.
> 
> I only mention this as I hope future updates to other titles do not go this route.



No - previously you’d have to load multiple instances or patches to see all the articulations. 

Now in one patch you have access to many more articulations than is possible in a Kontakt. 

In my opinion this is an improvement. 

Thanks,

Paul


----------



## Paul Thomson

star.keys said:


> Yes ifh
> 
> 
> Simple things that don't work?
> 
> Load more than 3-4 mics at once and I get clicks and pops with Sustains on my monster PC with endless power. Infinite issues with legato. Tuning issues. Panning issues. Inconsistent dynamics. Notes getting cut off. Issues and defects all over. Sorry guys but I'm extremely disappointed with the quality of software. Wonder why these issues couldn't be identified over 5 months of extentive testing cycle, which took me hardly 2 hours to play around and discover. MS used to release software with known bugs back in year 2000, which was a better approach than releasing software with bugs and not telling users about it, if these were known bugs at the time of release. If these werent known bugs, I wonder what was all that testing about.



Not getting that here - as you can see on many walkthrus we’ve uploaded - please contact support so we can help you. 

This has been tested for months. There are a few issues that have appeared and that are being fixed. But I don’t recognise what you are describing above. 

Obviously we want you to be able to use all the mics so please get in touch so we can help. 

Thanks,

Paul


----------



## VinRice

The Darris said:


> As for the quiet articulations, don't listen to those who are upset because they are quiet. That's the fucking point. A super flautando pianissimo is fucking quiet in comparison to a Normale Arco pianissimo. This library, in their approach, offers proper orchestral balance from section to section and articulation to articulation within the library



I have the library and it sounds fantastic. I understand the reasons for the use of 'true' dynamics, however it is completely impractical to use that range of dynamics in any sort of media project. This means that separating out the quiet articulations onto different channels becomes necessary which negates the whole point of articulation switching. I'm not asking for a re-balance of the different artics - the balance is correct, I'm asking for the ability to alter the output volume on an artic by artic basis to make multi-articulation instruments useable in the real world.


----------



## star.keys

Paul Thomson said:


> Not getting that here - as you can see on many walkthrus we’ve uploaded - please contact support so we can help you.
> 
> This has been tested for months. There are a few issues that have appeared and that are being fixed. But I don’t recognise what you are describing above.
> 
> Obviously we want you to be able to use all the mics so please get in touch so we can help.
> 
> Thanks,
> 
> Paul



I've been in touch over chat and emails but haven't got a response or ETA. I'm not referring to few issues but quite a few.

I will post some examples later today. Watch this space.


----------



## cjbrett22

star.keys said:


> I've been in touch over chat and emails but haven't got a response or ETA. I'm not referring to few issues but quite a few.
> 
> I will post some examples later today. Watch this space.



Yeah I've had loads of issues, was in contact with support yesterday who suggested a reinstall. Did that but still having the same problems. Haven't heard back from them yet so will see.


----------



## SpitfireSupport

star.keys said:


> I've been in touch over chat and emails but haven't got a response or ETA. I'm not referring to few issues but quite a few.
> 
> I will post some examples later today. Watch this space.


Hi there,

We're actually up to date with all open support cases today so you should have received a response to anything you've sent in. Whatever issues you may find you're having, we'll be happy to help.

Luke


----------



## VinRice

Paul Thomson said:


> Thanks!
> 
> Extensive user testing for 5 months by UsTwo with groups of all ages, backgrounds, abilities, sexes.
> 
> We wanted this to be truly simple to use and inclusive.
> 
> All best!
> 
> Paul



Except that an $800 specialist string library is pretty self-selecting and if the UX testing groups were not in that sub-set of individuals for whom this is a likely purchase then the results are not particularly helpful. I'm sure there is a Grand Plan to introduce more accessible libraries but in this case the concept of the collapse button, which nobody will ever use ever; the Big Knob, which adds another completely unnecessary level of abstraction; and the constant scrolling and paging required when so much UI space in unused, just seems perverse.


----------



## JohnG

VinRice said:


> I'm asking for the ability to alter the output volume on an artic by artic basis to make multi-articulation instruments useable in the real world.



Hi there -- your post made me wonder if you've discovered the slider in the upper right, which really helped me with balance.

Kind regards,

John


----------



## Dale Turner

The "knob" and "scrolling" to grab an articulation is so fast and painless, it doesn't bother me at all. Perplexed over how peeved some peeps are!

I saw on Daniel James' live vid that the close mics (l, c and r) did have a page break between them.... That'd be a bother, I understand. The rest though....?


----------



## VinRice

JohnG said:


> Hi there -- your post made me wonder if you've discovered the slider in the upper right, which really helped me with balance.
> 
> Kind regards,
> 
> John



Except it resets to unity every time a new art. is selected


----------



## star.keys

SpitfireSupport said:


> Hi there,
> 
> We're actually up to date with all open support cases today so you should have received a response to anything you've sent in. Whatever issues you may find you're having, we'll be happy to help.
> 
> Luke


It seems I had replied to the sales email and it went to do-not-reply ID. Have sent it to Support now.


----------



## Spitfire Team

​


----------



## VinRice

Dale Turner said:


> The "knob" and "scrolling" to grab an articulation is so fast and painless, it doesn't bother me at all. Perplexed over how peeved some peeps are!
> 
> I saw on Daniel James' live vid that the close mics (l, c and r) did have a page break between them.... That'd be a bother, I understand. The rest though....?



I'm peeved because I care. I love Spitfire and I have paid to 'license' pretty much their entire output and this library sounds excellent, and far more flexible than I had anticipated. I was also a designer in a previous career. The interface looks beautiful and probably cost an insane amount of money, but that's not the primary concern of the CORE user base, and I can't help feeling that an attack of 'expensive designer bollocks' has added unnecessary levels of abstraction and user interactions. The paging of mic signals should indeed be more logical - an easy fix.


----------



## VinRice

Nice video from Christian. You'll notice how all the 'quiet' artics are wacked up by 12dB in the master volume.

I'll shut up now.


----------



## Garry

(also just posted same request on YouTube):

Amazing as always Christian. You're no doubt aware of the debate on VI-C, and this was a very convincing demonstrations of the fast shorts. However, *I have a challenge*: I don't have the musical skill you have to get the juice you get out of this library and few will, so the question is, would HZS sound the same in my/our hands. So here's the challenge: would you be prepared to release the midi data for this, so that I can use it with my current (Spitfire) libraries, and compare what I get with, for example, Albion One/Tundra, compared to what I hear in your demo here using HZS? If HZS is truly worth the considerable price tag, then without it (given my lack of mic positions, lack of 344 players, and specific articulations) I should hear that my version is far inferior to yours. I hope you see this as a reasonable request: it is something done by some of your competitors (particularly those who shall remain nameless, but make twitter rants about marketing!), and is consistent with the Spitfire transparency. It could really make the difference of the library shine, and help your customer base make a meaningful comparison. What'd ya say?


----------



## fiestared

I use an iMac late 2013 with 32 GB of ram, intel 3.5 GHZ i7, the lib is on a SSD, and I must say I have no prob at all with drop out, spike, or else, I was a bit afraid by this, but it's cpu friendly for me. The sound is... HUGE, wide, clear and airy, I think we'll have to learn how to musically use this lib, "no more full hands of notes", for me it will be the release point of my tracks, a kind of cherry on the cake. I feel ok with the interface, my only small prob is I would prefer to have all the mics together(maybe in a floating window), for the mics, I prefer the non "advanced" and use the close and far slider, very useful and easy. After one hour of pleasure, I've got the feeling, I'll have to learn a lot to use this "baby" as it deserves, this is probably where our friends at Spitfire will have to help us...


----------



## Garry

fiestared said:


> I use an iMac late 2013 with 32 GB of ram, intel 3.5 GHZ i7, the lib is on a SSD, and I must say I have no prob at all with drop out, spike, or else, I was a bit afraid by this, but it's cpu friendly for me. The sound is... HUGE, wide, clear and airy, I think we'll have to learn how to musically use this lib, "no more full hands of notes", for me it will be the release point of my tracks, a kind of cherry on the cake. I feel ok with the interface, my only small prob is I would prefer to have all the mics together(maybe in a floating window), for the mics, I prefer the non "advanced" and use the close and far slider, very useful and easy. After one hour of pleasure, I've got the feeling, I'll have to learn a lot to use this "baby" as it deserves, this is probably where our friends at Spitfire will have to help us...


Christian's midi file from his demo would go a long way to helping you learn this library, no? I hope he'll agree to my request/challenge...


----------



## Garry

Garry said:


> (also just posted same request on YouTube):
> 
> Amazing as always Christian. You're no doubt aware of the debate on VI-C, and this was a very convincing demonstrations of the fast shorts. However, *I have a challenge*: I don't have the musical skill you have to get the juice you get out of this library and few will, so the question is, would HZS sound the same in my/our hands. So here's the challenge: would you be prepared to release the midi data for this, so that I can use it with my current (Spitfire) libraries, and compare what I get with, for example, Albion One/Tundra, compared to what I hear in your demo here using HZS? If HZS is truly worth the considerable price tag, then without it (given my lack of mic positions, lack of 344 players, and specific articulations) I should hear that my version is far inferior to yours. I hope you see this as a reasonable request: it is something done by some of your competitors (particularly those who shall remain nameless, but make twitter rants about marketing!), and is consistent with the Spitfire transparency. It could really make the difference of the library shine, and help your customer base make a meaningful comparison. What'd ya say?



*Additional suggestion*: if there are restrictions that would prevent releasing this one, how about any/all of those already on the website by you, Paul and Oliver as demos? I can think of no better way to get to understand this library than having the Logic file, or failing that, the midi file, that would enable us to see in a very practical way, how you guys caress this library into getting the sounds you do.


----------



## lucky909091

star.keys said:


> Yes ifh
> 
> 
> Simple things that don't work?
> 
> Load more than 3-4 mics at once and I get clicks and pops with Sustains on my monster PC with endless power. Infinite issues with legato. Tuning issues. Panning issues. Inconsistent dynamics. Notes getting cut off. Issues and defects all over. Sorry guys but I'm extremely disappointed with the quality of software. Wonder why these issues couldn't be identified over 5 months of extentive testing cycle, which took me hardly 2 hours to play around and discover. MS used to release software with known bugs back in year 2000, which was a better approach than releasing software with bugs and not telling users about it, if these were known bugs at the time of release. If these werent known bugs, I wonder what was all that testing about.



I have a (small) clue what has happened to you - and to me, too.

I have a very fast PC with endless power, too.
When I load more than 3 mics and play harmony chords with the longs, I also get these issues, clicks and pops.

When I press 6-10 notes at the same time, the "CPU" and the "Disk" signal in the GUI show something over 80 %. The indicators gets red.
Sometimes the "CPU"-signal even goes to 90 and over, sometimes it is the "Disk" signal that overloads.

Because I know my PC very well, I assume that this is an issue generated by the harddisc, where I saved the library.
I will change the storage location to an internal SSD and will see what happens.
Perhaps this will solve the issue...


----------



## star.keys

lucky909091 said:


> I have a (small) clue what has happened to you - and to me, too.
> 
> I have a very fast PC with endless power, too.
> When I load more than 3 mics and play harmony chords with the longs, I also get these issues, clicks and pops.
> 
> When I press 6-10 notes at the same time, the "CPU" and the "Disk" signal in the GUI show something over 80 %. The indicators gets red.
> Sometimes the "CPU"-signal even goes to 90 and over, sometimes it is the "Disk" signal that overloads.
> 
> Because I know my PC very well, I assume that this is an issue generated by the harddisc, I had put the library on.
> I will change the storage location to an internal SSD and will see what happens.
> Perhaps this will solvew the issue...



My samples are on a brand new Crucial MX500 2TB SSD... Let's see if it helps you

It seems this issue is prominent on Windows 10 PC because Mac users seem to be fine


----------



## christianhenson

Yes, or get in touch with service. CPU / Ram / Drive problems have never been an issue with alpha and beta versions of this library. It is leaner than being sampler based so should reflect on your systems thus.

As mentioned in my video above this lib has a slightly steeper learning curve than other 'out of the box' style libs, it is a pro piece of kit. So it has taken me a good couple of weeks to really draw the best out. What disappoints me about the sweeping statements being made is that with it only being 24 hours old and at least an 8 hour DL is this fair enough time to draw a well considered conclusion about the lib? Particularly the really trolly ones about this being some kind of cynical marketing stunt. Cos that is what Spitfire has always been about for the last 10 years?? Paul and Christian ripping off and pulling fast ones on our friends, colleagues and heroes?

We've had some really foul comments here which is sad because we have amassed a team of over 40 individuals to deliver 6 years work, 2 years production, our biggest budget by far, and 6 months of intense UX research and design with UsTwo. Is it going to be perfect, of course not which is why it is on discount, and which is why I'm loving the brilliant and constructive feedback that we're getting.

Did we release it with a bug? Yes, the legato thing, and we're a bit red faced about it but it crept into the release version without us knowing, and it will be fixed in the best way that doesn't cause too much of a headache for you all. But again this is why we release v1.0s with a discount, to get your feedback, iron out the creases and work with you to get you what you need.

I also want to take this op to thank the dozens of amazing emails of support and congrats we've received from people from all over, including some of my childhood heroes. Its these words of encouragement that really buoy our hard working team.

Thanks as always for everyone's support here.

I'll check with Paul re. MIDI files, don't see why this would be a problem and its a great suggestionm. I don't think the MIDI programming in the video above is anything special. Maybe the only thing you missed is when playing it in I tend to wind the tightness knob way in so it is synth-style responsive before dialling it back, and adjusting the pre-delay accordingly. This is when I carefully address the mic mixes too. Thats the workflow I've established by really putting this bad boy through its paces.

CH x


----------



## lucky909091

star.keys said:


> My samples are on a brand new Crucial MX500 2TB SSD... Let's see if it helps you
> 
> It seems this issue is prominent on Windows 10 PC because Mac users seem to be fine



Ok - I have put it on a internal SSD - same issues.
You are right.


----------



## Garry

christianhenson said:


> Yes, or get in touch with service. CPU / Ram / Drive problems have never been an issue with alpha and beta versions of this library. It is leaner than being sampler based so should reflect on your systems thus.
> 
> As mentioned in my video above this lib has a slightly steeper learning curve than other 'out of the box' style libs, it is a pro piece of kit. So it has taken me a good couple of weeks to really draw the best out. What disappoints me about the sweeping statements being made is that with it only being 24 hours old and at least an 8 hour DL is this fair enough time to draw a well considered conclusion about the lib? Particularly the really trolly ones about this being some kind of cynical marketing stunt. Cos that is what Spitfire has always been about for the last 10 years?? Paul and Christian ripping off and pulling fast ones on our friends, colleagues and heroes?
> 
> We've had some really foul comments here which is sad because we have amassed a team of over 40 individuals to deliver 6 years work, 2 years production, our biggest budget by far, and 6 months of intense UX research and design with UsTwo. Is it going to be perfect, of course not which is why it is on discount, and which is why I'm loving the brilliant and constructive feedback that we're getting.
> 
> Did we release it with a bug? Yes, the legato thing, and we're a bit red faced about it but it crept into the release version without us knowing, and it will be fixed in the best way that doesn't cause too much of a headache for you all. But again this is why we release v1.0s with a discount, to get your feedback, iron out the creases and work with you to get you what you need.
> 
> I also want to take this op to thank the dozens of amazing emails of support and congrats we've received from people from all over, including some of my childhood heroes. Its these words of encouragement that really buoy our hard working team.
> 
> Thanks as always for everyone's support here.
> 
> I'll check with Paul re. MIDI files, don't see why this would be a problem and its a great suggestionm. I don't think the MIDI programming in the video above is anything special. Maybe the only thing you missed is when playing it in I tend to wind the tightness knob way in so it is synth-style responsive before dialling it back, and adjusting the pre-delay accordingly. This is when I carefully address the mic mixes too. Thats the workflow I've established by really putting this bad boy through its paces.
> 
> CH x



Thanks Christian. I am a huge Spitfire fan, and made the suggestion out of all sincerity, and only because I feel your company is equally sincere. I have defended you and Spitfire many times here on VI-C. Since you gave my request credibility, please allow me to refine: if the MIDI file is all that can be released, that itself would be great, but if you release the Logic file, that would help even more, because we can then get a much better hands on sense of how you use this library, and because you are (quite rightly) encouraging people to reserve judgement until they have more fully understood its capabilities, which require a different approach than with other libraries, then any resources Spitfire can provide in this regard, will be of great mutual benefit.

*Thank you* for considering this - thoroughly appreciate the transparency of Spitfire, and the community you're building - which isn't always appreciated by all, but it truly is by some of us who get great pleasure from your products.


----------



## fretti

lucky909091 said:


> Ok - I have put it on a internal SSD - same issues.
> You are right.


I have the same problem on mac (but I can't blame the engine or anything else, as my computer isn't the greatest), but for me it helped a lot to change the settings for "Preload Size" and "Stream Buffer Size" in the audio tab (if you haven't tried that already?).


----------



## Puzzlefactory

Spitfire Team said:


> ​




Love the scratchy sound of the shorts. 

Not many libraries (that I own) have that. The gypsy shorts in Tundra is the closest I have.


----------



## zimm83

Hy, one question please : can we do multis with this gui ?? Like the ones in kontakt ?
To stack sounds and split/zones ? Not like 2 or 3 instances. A real multi option... Thanks.


----------



## JohnG

VinRice said:


> Except it resets to unity every time a new art. is selected



yes it does; I'm of two minds on it. I don't like having to fiddle with it (pun intended) but I also don't want my ears blown out switching from a pppp artic. to a regular one.


----------



## Rey

Garry said:


> Thanks Christian. I am a huge Spitfire fan, and made the suggestion out of all sincerity, and only because I feel your company is equally sincere. I have defended you and Spitfire many times here on VI-C. Since you gave my request credibility, please allow me to refine: if the MIDI file is all that can be released, that itself would be great, but if you release the Logic file, that would help even more, because we can then get a much better hands on sense of how you use this library, and because you are (quite rightly) encouraging people to reserve judgement until they have more fully understood its capabilities, which require a different approach than with other libraries, then any resources Spitfire can provide in this regard, will be of great mutual benefit.
> 
> *Thank you* for considering this - thoroughly appreciate the transparency of Spitfire, and the community you're building - which isn't always appreciated by all, but it truly is by some of us who get great pleasure from your products.



Lovely Idea Garry. I also would like to see how the pros do it via the midi file. But since I'm not using Logic, just Cubase and ableton, the midi file as well is really welcomed.


----------



## bvaughn0402

I wish all of the HZ String videos would release the MIDI data too. I would love to not only learn the techniques to make it sound the best, but also learn better orchestration in general.


----------



## Rey

bvaughn0402 said:


> I wish all of the HZ String videos would release the MIDI data too. I would love to not only learn the techniques to make it sound the best, but also learn better orchestration in general.



Yes that is definitely a great a suggestion and I agree if its possible.


----------



## procreative

Paul Thomson said:


> No - previously you’d have to load multiple instances or patches to see all the articulations.
> 
> Now in one patch you have access to many more articulations than is possible in a Kontakt.
> 
> In my opinion this is an improvement.
> 
> Thanks,
> 
> Paul



I accept there may be many more articulations available in one instance, but it still seems illogical to necessitate scrolling to access them given the large interface with a lot of unused screen estate.

Its just a critique and observation, I am a graphic designer by day and this type of thing is a challenge to get right, only aiming to provide feedback.

While your existing GUIs may not have as many articulations in an instance, many like SCS have about 10-12 slots visible in an instance in a much smaller interface.


----------



## prodigalson

Just found a little gem in this library that I wasn't expecting: the strummed pizzicatos. A charming articulation that I've been looking for for a while. playing it while imagining 60 violinists happily strumming away brought a smile to my face.


----------



## Garry

Rey said:


> Lovely Idea Garry. I also would like to see how the pros do it via the midi file. But since I'm not using Logic, just Cubase and ableton, the midi file as well is really welcomed.



Yes, exactly - sorry, I meant to say both, otherwise a bit biased towards us Logic users! (who look envying over the fence at your articulation maps and PLE!).


----------



## Raphioli

Spitfire Team said:


> ​



This demo/composition is amazing. 
It shows how diverse (tight/loose, etc) the shorts can be.

I really hope Spitfire sorts out the legatos.
Not just the glitches, but from other peoples demos, I don't think I'm hearing the legato transitions.
It would be cool if you gave the user the option to manually set the legato transition volume to their taste.


----------



## N.Caffrey

Spitfire Team said:


> ​



Loved the piece and the library. A question, some have found an inconsistency in the articulations between sections (e.g 20 cellos right have some articulations 20 cellos left don't etc). Could I know the reason behind it? Is it because there's a left/right button so we can achieve that result by using that button?


----------



## stonzthro

Here's my not-5-hour review:
1. HZ strings sound gorgeous, and I REALLY do mean that!
2. Room build-up in some patches is insane - at some points the low end is completely overwhelming. This may have to do with me trying to play the library like a regular library - you know - 2-3 voices at a time, which would equal a ridiculous number of players... but it sounds so good until that low end wave rolls in and washes away your bliss. I'll have to try and work with this one more. 
3. Sample player needs work - when surfing for sounds, you cannot easily see everything available for you without having to scroll (and in some cases scroll, and scroll, and scroll).


----------



## Parsifal666

OT, but how about women conductors? Try beating the rush of Laurie Johnson's conducting of "North By Northwest"..._*riveting*_!


----------



## novaburst

N.Caffrey said:


> Loved the piece and the library. A question, some have found an inconsistency in the articulations between sections (e.g 20 cellos right have some articulations 20 cellos left don't etc). Could I know the reason behind it? Is it because there's a left/right button so we can achieve that result by using that button?



No tricks here, simply done, massive sound, totally honest, very atmospheric, I think would be very difficult to do on basic string section.


----------



## star.keys

christianhenson said:


> // What disappoints me about the sweeping statements being made
> 
> // Particularly the really trolly ones about this being some kind of cynical marketing stunt
> 
> // We've had some really foul comments here
> 
> CH x



I'm amazed with this response. So many things have been said here. First things first, it is inappropriate to blame people for complaining and start tagging them as trolls in order to deflect people away from facts.

The fact is that I can't load more than 2-3 mic positions without clicks/pops/distorted sound. The whole point of this library is these mic positions. Everything else including fully loaded VSL Synchron Strings VE Pro project works on my PC perfectly fine without any issues and since day-1. The machine can't get better than this - 10 core 4.3 GHz, 64GB 2666 DRAM, SSDs, RME UFX II interfacing Deeper LMK4+, running PT 2018 and Cubase 9.5 Pro, networking/ indexing/ defender/ anti-virus etc, unwanted background services etc. disabled.

I sincerely want to believe that it was a joke about setting an expectation with people to live with show-stoppers like that as a compromise for discounted price. Years of experience with a company is the reason people decide to pre-order, and that is also the reason people complain about quality. I don't think anyone who's spending money on a library like that worries about £200 discount in the first place. Most of the people do understand that no software is ever perfect (even after 100 years of continuous development & testing) and they can happily live with 'some' defects, however in this case, we have a number of critical and show-stoppes that are preventing the use of this product. We are far off from an acceptable margin of error.

What's the ETA for delivery of a release without any show-stopper and critical defects please?

Happy to take this offline if the previous poster prefers.


----------



## Karma

stonzthro said:


> 3. Sample player needs work - when surfing for sounds, you cannot easily see everything available for you without having to scroll (and in some cases scroll, and scroll, and scroll).


This is very much where the filters on the left will work their magic.


----------



## christianhenson

Heya Star

Well I would start by saying that you’re clearly having difficulties and I’m sorry for that. But you’re experience is not ominipident it is local and I’m certain that our service support will help you with that. As you can see in my demo above I’m caning multiple instances multiple mics, no frozen tracks no smoke and mirrors. Judging by the countless emails of congrats this is working well for everyone bar the ... yes legato big... whoops.

My ‘troll’ comment if you read my post above is directly aimed at people who have stated HZS as some form of marketing stunt. It is unfair ridiculous and trolly in my mind. As it is dissonant with the way that HZ, PT myself and the whole Spitfire team work, how our parents brought us up... it’s a core criticism that just hurts too much to be ignored.


----------



## nulautre

I'm gonna add this here, because it struck me as the most "Zimmer-like demo" that i've heard of this library... Others may enjoy it as well


----------



## bvaughn0402

Christian, would it be possible to get your and Oliver's MIDI file for the demos you did with HZ strings?


----------



## axb312

Spitfire Team said:


> ​




In short, I guess the answer is no, HZS can't handle fast stuff?

Not without a shit ton of work, multiple patches and wonky panning effects anyway...

Good attempt though...


----------



## star.keys

christianhenson said:


> Heya Star
> 
> My ‘troll’ comment if you read my post above is directly aimed at people who have stated HZS as some form of marketing stunt. It is unfair ridiculous and trolly in my mind. As it is dissonant with the way that HZ, PT myself and the whole Spitfire team work, how our parents brought us up... it’s a core criticism that just hurts too much to be ignored.



Ahh... ok thanks for clarifying, I didn't notice anyone saying that, maybe that has been deleted


----------



## SyMTiK

christianhenson said:


> Yes, or get in touch with service. CPU / Ram / Drive problems have never been an issue with alpha and beta versions of this library. It is leaner than being sampler based so should reflect on your systems thus.
> 
> As mentioned in my video above this lib has a slightly steeper learning curve than other 'out of the box' style libs, it is a pro piece of kit. So it has taken me a good couple of weeks to really draw the best out. What disappoints me about the sweeping statements being made is that with it only being 24 hours old and at least an 8 hour DL is this fair enough time to draw a well considered conclusion about the lib? Particularly the really trolly ones about this being some kind of cynical marketing stunt. Cos that is what Spitfire has always been about for the last 10 years?? Paul and Christian ripping off and pulling fast ones on our friends, colleagues and heroes?
> 
> We've had some really foul comments here which is sad because we have amassed a team of over 40 individuals to deliver 6 years work, 2 years production, our biggest budget by far, and 6 months of intense UX research and design with UsTwo. Is it going to be perfect, of course not which is why it is on discount, and which is why I'm loving the brilliant and constructive feedback that we're getting.
> 
> Did we release it with a bug? Yes, the legato thing, and we're a bit red faced about it but it crept into the release version without us knowing, and it will be fixed in the best way that doesn't cause too much of a headache for you all. But again this is why we release v1.0s with a discount, to get your feedback, iron out the creases and work with you to get you what you need.
> 
> I also want to take this op to thank the dozens of amazing emails of support and congrats we've received from people from all over, including some of my childhood heroes. Its these words of encouragement that really buoy our hard working team.
> 
> Thanks as always for everyone's support here.
> 
> I'll check with Paul re. MIDI files, don't see why this would be a problem and its a great suggestionm. I don't think the MIDI programming in the video above is anything special. Maybe the only thing you missed is when playing it in I tend to wind the tightness knob way in so it is synth-style responsive before dialling it back, and adjusting the pre-delay accordingly. This is when I carefully address the mic mixes too. Thats the workflow I've established by really putting this bad boy through its paces.
> 
> CH x



Greatly appreciate the honesty from you guys and I can tell a great deal of work went into this. Loving it so far, but I’ve run into a few issues of minor pops and dropouts in playback. Also on Windows 10, 6 core i7 machine with 3 samsung 1tb SSD’s and 64gb of ram. Assuming its an issue stemming from windows 10, since windows 10 loves to fuck up their operating system more and more with each subsequent update. Perhaps its not utilizing multicore processing properly (common issue which always seems to be windows fault, which is always lovely, we spend all this money building a superior multicore machine just to have windows restrict programs to using single core processing for absolutely no good reason) or there is an issue with the route in which the samples are being streamed from the hard drive? I have faith you guys will look into it. Hasnt been a deal breaker for me, just have to make more use of Cubases freeze function than usual but its not the worst thing in the world. But for me it hasnt been as bad as others are claiming.

Also think itd be a good feature to add to keep individual gain settings for the articulations as others have said. I personally dont run my template that way (i open individual instances for each articulation rather than using articulation switches) but i can see why its important for others who will be jumping from articulation to articulation within the same instance. 

Glad to hear the legato will be fixed, sound is good but the issues in volume and transitions do need to be fixed. 

Other than that I think it sounds incredible!


----------



## Paul Thomson

star.keys said:


> Ahh... ok thanks for clarifying, I didn't notice anyone saying that, maybe that has been deleted



Hi Star. 

We’ve been accused among other things of “paying to use HZ name” and so on. 

Hans used these samples in Dunkirk. 

We want to make this killer and fabulous for everyone. Feedback via support will help us. 

It’s a very unique library - 2-3 mics should be easy so please contact support!

All the best. 

Paul


----------



## kimarnesen

christianhenson said:


> My ‘troll’ comment if you read my post above is directly aimed at people who have stated HZS as some form of marketing stunt. It is unfair ridiculous and trolly in my mind. As it is dissonant with the way that HZ, PT myself and the whole Spitfire team work, how our parents brought us up... it’s a core criticism that just hurts too much to be ignored.



I think it's just something you will need to expect when having success and working with well-known people. It's something about that that makes some people skeptical in general, no matter how good the product is. But if you look at the criticism towards EastWest for their Hollywood Choir, VSL for their Synchron Strings, 8Dio in general, this is nothing, and I hope developers don't give up because of it. Sometimes this forum reminds me of church organists: You'll never find more than two who agree 

It's easier said than done, but I hope you remember all the positive things being said more than the negative. Thank you for coloring a part of the world with enthusiasm, passion, art, knowledge, and humor.


----------



## DavidY

SyMTiK said:


> Assuming its an issue stemming from windows 10, since windows 10 loves to fuck up their operating system more and more with each subsequent update. Perhaps its not utilizing multicore processing properly (common issue which always seems to be windows fault, which is always lovely, we spend all this money building a superior multicore machine just to have windows restrict programs to using single core processing for absolutely no good reason) or there is an issue with the route in which the samples are being streamed from the hard drive?


In my experience (not with music-making software though) a lot of bad behaviour in Windows 10 is down to hardware/ software drivers.
This can make issues a pig to find though, as 2 ostensibly equivalent computers can behave quite differently.
I guess the hope is that the issue affects a reasonably wide number of computers so that the SF folks can find it more easily.


----------



## DavidY

I'm a newbie hobbyist as far as computer music-making goes. I posted elsewhere that I'd got some other products recently and I need to spend time learning them before I'm in the market for HZ Strings.

However I've also sung in choirs a fair bit, and I wonder if there is an analogy between HZ Strings and the first choir entry in Mahler 2 (Resurrection). Generally you have a big choir, but everyone is trying to sing as quietly as possible. However quietly you do it in rehearsal, the conductor will always ask you to sing more quietly.

Obviously in terms of pure decibels, a smaller choir would be quieter, but when it works, the sound of a really big choir singing that Mahler 2 entry really quietly can be quite something. I'm wondering if HZ Strings (or at least some patches/articulations) is going after the same idea?


----------



## star.keys

Paul Thomson said:


> Hi Star.
> 
> We’ve been accused among other things of “paying to use HZ name” and so on.
> 
> Hans used these samples in Dunkirk.
> 
> We want to make this killer and fabulous for everyone. Feedback via support will help us.
> 
> It’s a very unique library - 2-3 mics should be easy so please contact support!
> 
> All the best.
> 
> Paul



Absolutely Paul and I remember I had chimed into that conversation as well defending you guys, search for my comment sayijg something like "I would buy this library for it's gorgeous sound alone" and am glad I did. I had also praised your effort to bring focus around customer experience, praised your IT guys for setting up servers with blazing fast download speeds when I bought Tundra. All the best and look forward to the next release. Cheers... Please allow me to provide some occassional nevative feedback but that still means I do have high respect for you guys.

Do you people at Spitfire ever speel? It's 9:50 pm on a long holiday weekend!


----------



## Paul Thomson

star.keys said:


> Absolutely Paul and I remember I had chimed into that conversation as well defending you guys, search for my comment sayijg something like "I would buy this library for it's gorgeous sound alone" and am glad I did. I had also praised your effort to bring focus around customer experience, praised your IT guys for setting up servers with blazing fast download speeds when I bought Tundra. All the best and look forward to the next release. Cheers... Please allow me to provide some occassional nevative feedback but that still means I do have high respect for you guys.
> 
> Do you people at Spitfire ever speel? It's 9:50 pm on a long holiday weekend!




Do you know what?

Passion is a hard taskmaster!!

Thanks for your thoughts. 

Best,

P


----------



## alexklingle

Paul Thomson said:


> Do you know what?
> 
> Passion is a hard taskmaster!!
> 
> Thanks for your thoughts.
> 
> Best,
> 
> P



Just wanted to stop in to say I've really been enjoying the library! Was getting nervous while it was downloading with all of the controversial reviews, but was pleasantly surprised. Such a gorgeous sound, already using it on things! 

Stellar job Spitfire.


----------



## Daniel James

christianhenson said:


> Particularly the really trolly ones about this being some kind of cynical marketing stunt



If this is aimed at me I never called this a marketing stunt. More the branding doesn't match the library I got. This sounds more like a Christian Henson library than a Hans Zimmer library to me. Its leans heavily more in your aesthetic than it does in what most people would attribute to the Hans Zimmer brands aesthetic. You can read my justifications in the other thread, or my over 5 hour live un edited live stream of the library. I never say something you would like without showing it or it happening live.

You can't just disregard someones opinion as trolling if its firstly not being done with mal-intent and secondly if its based in over 5 hours worth of live justification. Its a decent string library (minus the inconsistency of articulations even in the same section but different seating) but nothing about the library is distinctly Zimmer. Hans himself has said it, you can give anyone a fender and it will sound different, so you having Hans' players and mics and team isnt enough to make it distinctly Zimmer (is anyone seriously thinking fuck I really need that distinct Zimmer Col Legno Tratto?). If you make another Spitfire string library using his tools you are still just making another Spitfire library. Had you come out with unique articulations and combinations that are distinctly Zimmer esq I would have been much happier. Instead its a quite articulation focused Spitfire strings with Hans team. Not bad by any stretch, but also not what I would call brand Zimmer.

Also I keep seeing the people who are refuting my opinion saying that the library has a steep learning curve. Which I really can't see at all. Different mic positions bring out different textures, mod wheel and expression, keyswitches, release reverb and tightness controls....all things we have all experienced many times before. The only thing thats going to take time to learn is what number of players and what seating arrangement has which articulation because there is no consistency to it. And sure it will take time and i'm sure it will be possible to squeeze the zimmer sound out of the library....but you can do that with any string library given enough time....but if its called Hans Zimmer strings, you would expect that out the box. Otherwise its just Spitfire strings with more players.

Again I won't comment about this again here, if you wish to argue or debate this please do so on the other thread. I just had to assume the troll comment was aimed at my opinion and I think that was unfair given everything I said was explained live, while I experienced this library.

-DJ


----------



## chillbot

Daniel James said:


> If this is aimed at me


I would guess no, somebody else.

Possibly this thread.


----------



## Ron Kords

CH comments may not be about you, Dan


----------



## Dale Turner

chillbot said:


> I would guess no, somebody else.
> 
> Possibly this thread.



Oh wow! Totally missed that one! Nuttiness! I'm askeeered to read it...


----------



## Daniel James

Ron Kords said:


> CH comments may not be about you, Dan



Ok, in which case I take it back. I had someone point me to the thread to tell me Christian called me a troll. My misunderstanding.

-DJ


----------



## PaulBrimstone

Not you, Daniel. There were some nasty earlier comments elsewhere.
Edit: late to the party—others have stepped in first ahead of my sloooow interweb...


----------



## VinRice

JohnG said:


> yes it does; I'm of two minds on it. I don't like having to fiddle with it (pun intended) but I also don't want my ears blown out switching from a pppp artic. to a regular one.



Exactly my point. That's why I would like it tied on a per articulation basis. When you have twenty-odd mics there needs to be a per art master volume control as well.


----------



## Ron Kords

Daniel James said:


> Ok, in which case I take it back. I had someone point me to the thread to tell me Christian called me a troll. My misunderstanding.
> 
> -DJ


I watched all of your review in the end Dan and it was probably unfair of me to say it was completely negative based on a few hours of the stream.

I don't disagree with any of the issues that you highlighted and you had good things to say too. In fact, now and again you seemed pleasantly surprised  I hope the 'fixable' problems you highlighted will get sorted.

I think the main issue/argument seems to be around what each of us thinks a HZ library should be. That one will run forever, particularly if Hans next Oscar is for a quartet!!!

You photoshopped GUI deserves some kind of recognition though. Id pay extra for that  awesome...


----------



## CT

Ron Kords said:


> I think the main issue/argument seems to be around what each of us thinks a HZ library should be. That one will run forever, particularly if Hans next Oscar is for a quartet!!!



This is exactly it, and this library seems to encompass exactly what I think "Hans Zimmer Strings" are in 2018.

Even as far back as Inception, he was doing stuff that was in this realm. That one is hardly all bombast and aggressive shorts. And you can trace it back to some of his scores that are much earlier still.

I think it's a somewhat surface-level read (at least for those of us who really think about this stuff, not general listeners) of Hans' music to say that choppy ostinatos are what define it.

Besides, there are plenty of libraries that can do that already. Would people really be jazzed if we got another one of those with Hans' name on it? I have a feeling there'd be the same general sentiment of "why did they need him to do this again?" that's floating around here now with the library they did give us.


----------



## jesus100

Hello everyone, I am Spanish and I will write with the translator, I hope it is understood:

I think Daniel is right in what he says about the library, although trying things with it I think you can also leave an aggressive sound, for example:

20 cellos RHS all shorts

shorts

close: 100

amb: 20

out: 100

808fr: 20

spot R1: 25

spot R2: 25

spot R3: 100

spot R4: 18

reverb: 3


----------



## christianhenson

That's gonna sound rich!


----------



## jononotbono

Spitfire Team said:


> ​




Great piece of music! Can't wait till I can afford HZS. Sounds wonderful.


----------



## Dr Belasco

That is a good piece Christian. I like the minimalism effect and the tension created. Good work.


----------



## Sovereign

Is it possible to implement some sort of solo button for the mic positions? it's a chore to turn them all of again just to see how a specific one sounds.


----------



## Christof

Sovereign said:


> Is it possible to implement some sort of solo button for the mic positions? it's a chore to turn them all of again just to see how a specific one sounds.


That would be very useful as the mic settings are obviously the core element of the whole thing.


----------



## christianhenson

Yes I agree! Great idea!


----------



## Jeff Almloff

christianhenson said:


> Yes I agree! Great idea!


In addition to a mic Solo button, how about user presets to save a favorite mix of mics and volumes that can be easily applied to an articulation.


----------



## fretti

Jeff Almloff said:


> In addition to a mic Solo button, how about user presets to save a favorite mix of mics and volumes that can be easily applied to an articulation.


Isn't that already done with the "Save Mixer Preset" button on the left (these two smaller buttons with the arrows)


----------



## Jeff Almloff

fretti said:


> Isn't that already done with the "Save Mixer Preset" button on the left (these two smaller buttons with the arrows)


Ah! It is. Wonderful.


----------



## prodigalson

Daniel James said:


> Had you come out with unique articulations and combinations that are distinctly Zimmer esq I would have been much happier.



Curious Daniel, what would you consider to have been unique articulations and combinations that are distinctly Zimmer-esque that Spitfire could have included that would have made you happier? Not being argumentative, just genuinely curious.


----------



## marcodistefano

Hi guys,

just made a rendering of the same composition with 4 spitfire audio string libraries

alternative solo
chamber strings
symphonic strings
hans zimmer strings

Below is the video, you can take your conclusions. I am sure that with the time I will be able to do even better than this (I just played with the library less than 5 hours)

My first impression is that is worth buying it, since its sound is very complementary to the other ones and after a few hours I started to use it comfortably. I had no issue loading mics or others, I actually was positively impressed of performances, you can see in the video it works very well.

only point is that since UACC is missing need to find a new way to integrate it into my cubase template, will post a new video when I will find it out

--WARNING this is the fourth movement of Hypnosis, an atonal composition, be ready to hear dissonances, link to the full track in the video description ---



original post here
https://vi-control.net/community/th...ive-solo-chamber-and-symphonic-strings.70260/


----------



## VinRice

christianhenson said:


> What disappoints me about the sweeping statements being made is that with it only being 24 hours old and at least an 8 hour DL is this fair enough time to draw a well considered conclusion about the lib? Particularly the really trolly ones about this being some kind of cynical marketing stunt. Cos that is what Spitfire has always been about for the last 10 years?? Paul and Christian ripping off and pulling fast ones on our friends, colleagues and heroes?



Don't take it personally Christian. There will always be those with their own personal issues that will lash out irrationally. Since you are the No.1 company in this game you are the natural target. However, with this release you have certainly given the trolls something to feed on with a marketing campaign more akin to the launch of a Bentley rather than a composer's tool.

There's an unease here that's understandable. Remember that these libraries have no intrinsic value whatsoever. I could have bought a decent car with what I've spent with Spitfire, and a decent guitar with the cost of HZ Strings. Those items would still be assets and could be re-sold. The only value that these libraries provide is when they are IN USE as music-making tools. 

The primary function therefore is usability (not approachability, or accessibility) and yet when there is an opportunity to re-define the interface for a professional orchestral sample library by the premier company in the business, we get at interface where usability has so clearly been sacrificed for aesthetic quality in a myriad of ways. It looks beautiful, but the balance between aesthetics and usability, the balance between Professional Tool and _Objet d'Art_, is seriously out of kilter. I'm writing a critique of the interface that I'll send to Spitfire support privately so there is no need to discuss further.

Having said all that, the library sounds gorgeous, unique and surprisingly useful.


----------



## JohnG

VinRice said:


> the library sounds gorgeous, unique and surprisingly useful



Ditto. I am in love with the cellos -- worth it just for that alone, but all these mic positions give really endless sonic choices.

I don't mind about the interface one way or another. At least I've been able to bumble through and locate everything without resorting to the manual!


----------



## VinRice

The Cellos are extraordinary, like a full ensemble all on their own.


----------



## marcodistefano

JohnG said:


> Ditto. I am in love with the cellos -- worth it just for that alone, but all these mic positions give really endless sonic choices.
> 
> I don't mind about the interface one way or another. At least I've been able to bumble through and locate everything without resorting to the manual!



I have used it for something like 6 hours so far and can resume my experience:

- dynamic/expression is very powerful, much more realistic than any other spitfire audio library so far. The impression is that is like directing a real orchestra and automations have to be programmed very carefully to get some good results
- I have a PC 6 years old with 32 gb or ram, had no issue with 13 patches loaded and 4 mics each (about 1,5 gb in ram)
- I like the design, very to the point and easy to use
- I love some of the sounds, cellos and basses are amazing for example
- it is very complementary to the other string libraries from spitfire audio

my constructive critics
- don't understand why certain articulations are missing like the legato in strings center or harmonics in 60 violins
- missing UACC is a bit a surprise, need to find another way to use it with my template
- I am experiencing some issues with legato when notes overlap, if they do not then it works perfectly

So far, I think investment is worth, and happy with it!


----------



## Vik

Paul Thomson said:


> ...previously you’d have to load multiple instances or patches to see all the articulations.
> 
> Now in one patch you have access to many more articulations than is possible in a Kontakt.
> 
> In my opinion this is an improvement.



Agree, this is a very important improvement! And who knows, maybe it will allow future versions of SSS and SCS to have the Performance Legatos and the other articulations inside one single patch(?) - that would be terrific. 

If it would also be possible - in a future update - to allow users to choose between the current UI and a more compact UI for those who want (everything on one page), your new player would definitely have some clear advantages over Kontakt. (Maybe there are some advantages already that I'm not aware of.)


----------



## bvaughn0402

marcodistefano said:


> Hi guys,
> 
> just made a rendering of the same composition with 4 spitfire audio string libraries



Thanks for this! 

I liked them all, but especially drawn to SSS and HZ. There is definitely something "huge" sounding with HZ, for obvious reasons.


----------



## marcodistefano

bvaughn0402 said:


> Thanks for this!
> 
> I liked them all, but especially drawn to SSS and HZ. There is definitely something "huge" sounding with HZ, for obvious reasons.



yes its sound is huge

let me share some experience doing this.

for the other three libraries I have used almost the same automations, really copying them from one track to the other.
For HZ it did not work, I had to rewrite them from zero. Reason? because they are much more realistic and huge change in dynamics for example will result not realistic.

It is a positive comment, since this provides definitely lot of realism


----------



## windyweekend

Anyone else having problems installing off the HDD with the new installer? It looks like it insists on downloading the product even though I've copied it onto the destination HD, which means if this is going where I think it's going, I'm going to run out of space when the download can't complete because the HDD copy has occupied the space, resulting in me having to delete both versions, and download all over again.

Anyone else seeing this forcing a download with the new Library Manager even when you select 'HDD Install'?

Was so hoping to use this on a score I'm finishing up now, but this looks like it's gonna take a few attempts to get installed.


----------



## midiman

Does anyone know where the vst DLL file of the Hans Zimmer Strings Instrument is located? I am on windows 10, and Cubase shows HZstrings under the synth foder. I can load the library inside cubase, but On VE Pro it does not show up so I have not been yet able to load it on VE Pro. I did a search on the C drive and I cannot find the DLL file anywhere. It is not on the VST folder, not in the common files, and not in the downloaded folder of the Hans Zimmer Strings either. Please can anyone share this information. I wrote to support yesterday but I did not hear back as they probably don't reply on weekends. Basically I want to put DLL vst file of the library in the folder that VE PRO scans so I can also load it on VE pro.


----------



## rmoat

midiman said:


> Does anyone know where the vst DLL file of the Hans Zimmer Strings Instrument is located? I am on windows 10, and Cubase shows HZstrings under the synth foder. I can load the library inside cubase, but On VE Pro it does not show up so I have not been yet able to load it on VE Pro. I did a search on the C drive and I cannot find the DLL file anywhere. It is not on the VST folder, not in the common files, and not in the downloaded folder of the Hans Zimmer Strings either. Please can anyone share this information. I wrote to support yesterday but I did not hear back as they probably don't reply on weekends. Basically I want to put DLL vst file of the library in the folder that VE PRO scans so I can also load it on VE pro.



I have my VE Pro pointing to many different folder locations (including Pro Tools AAX plugin file paths), and it does appear in mine. Unfortunately, I won't be back to my studio computer until tomorrow so I'm not 100% sure at the moment, but have you checked any of the "Steinberg" named folders in Program Files?

VST3
C:\Program Files\Common Files\VST3
32-bit VST3 plug-ins on 64-bit Windows: C:\Program Files (x86)\Common Files\VST3

VST2
C:\Program Files\VSTPlugins
C:\Program Files\Steinberg\VSTPlugins
C:\Program Files\Common Files\VST2
C:\Program Files\Common Files\Steinberg\VST2
32-bit plug-ins on 64-bit Windows: C:\Program Files (x86)\Steinberg\VstPlugins


----------



## midiman

rmoat said:


> I have my VE Pro pointing to many different folder locations (including Pro Tools AAX plugin file paths), and it does appear in mine. Unfortunately, I won't be back to my studio computer until tomorrow so I'm not 100% sure at the moment, but have you checked any of the "Steinberg" named folders in Program Files?
> 
> VST3
> C:\Program Files\Common Files\VST3
> 32-bit VST3 plug-ins on 64-bit Windows: C:\Program Files (x86)\Common Files\VST3
> 
> VST2
> C:\Program Files\VSTPlugins
> C:\Program Files\Steinberg\VSTPlugins
> C:\Program Files\Common Files\VST2
> C:\Program Files\Common Files\Steinberg\VST2
> 32-bit plug-ins on 64-bit Windows: C:\Program Files (x86)\Steinberg\VstPlugins




Thank you so much for your message! I found it on
C:\Program Files\Common Files\VST3. The other folders don't have it.
The problem was that there is an inconsistency between the name of the library as it appears on the cubase vst instruments menu (HZstrings) and the name of the actual file on the drive which is "Hans Zimmer Strings (64 Bit).vst3". I was doing a search on the C Drive with the name that shows up inside cubase on the menu to load VST instruments.
The problem is that Vienna Ensemble is still not "seeing" the Hans Zimmer Strings, even though I added that folder to VE PRO to scan for plug ins. I believe VE PRO does not read .vst files. So I am still looking for a .DLL version of the vst for Vienna to be able to "see it".


----------



## rmoat

midiman said:


> Thank you so much for your message! I found it on
> C:\Program Files\Common Files\VST3. The other folders don't have it.
> The problem was that there is an inconsistency between the name of the library as it appears on the cubase vst instruments menu (HZstrings) and the name of the actual file on the drive which is "Hans Zimmer Strings (64 Bit).vst3". I was doing a search on the C Drive with the name that shows up inside cubase on the menu to load VST instruments.
> The problem is that Vienna Ensemble is still not "seeing" the Hans Zimmer Strings, even though I added that folder to VE PRO to scan for plug ins. I believe VE PRO does not read .vst files. So I am still looking for a .DLL version of the vst for Vienna to be able to "see it".



You're welcome! That's right, yes, in watching Daniel's review video, I saw that it was HZStrings in Cubase. And VE Pro 6 shows the name as Spitfire Audio -> HZStrings. It's easy just to add the VST3 path to VE Pro in case you have future VST3 plugin installs as well so you don't have to move the .vst3 file(s).


----------



## Rctec

DavidY said:


> I'm a newbie hobbyist as far as computer music-making goes. I posted elsewhere that I'd got some other products recently and I need to spend time learning them before I'm in the market for HZ Strings.
> 
> However I've also sung in choirs a fair bit, and I wonder if there is an analogy between HZ Strings and the first choir entry in Mahler 2 (Resurrection). Generally you have a big choir, but everyone is trying to sing as quietly as possible. However quietly you do it in rehearsal, the conductor will always ask you to sing more quietly.
> 
> Obviously in terms of pure decibels, a smaller choir would be quieter, but when it works, the sound of a really big choir singing that Mahler 2 entry really quietly can be quite something. I'm wondering if HZ Strings (or at least some patches/articulations) is going after the same idea?



I’ve always gone after that idea! Well spotted!


----------



## Rctec

Daniel James said:


> Ok, in which case I take it back. I had someone point me to the thread to tell me Christian called me a troll. My misunderstanding.
> 
> -DJ


No, Daniel, a twit! ...just kidding. But - why so serious?


----------



## Jay Panikkar

Rctec said:


> (...) But - why so serious?


*OKAY, THAT IS F*CKING EPIC!*


----------



## fiestared

The "FAMOUS BOTTLES" very big ! Did you change the size according to the size of instruments ?


----------



## fiestared

I found an interresting feature in the HZStrings, in the 60 cellos "long" there is a tune prob at the D2, so I changed the "options" from none to LAYER +2 and voila.


----------



## Cinebient

I really liked some of the videos i saw on you-tube where someone performs the shorts live and that very very fast.
It might still not get the "punch" some people like to have but that can totally be changed by the mic settings and also i really like that it sound just large and epic which does not mean in your face but you really hear those much players.
I see it a bit like with synthesizers. If you want a hard hitting cut trough sound you better go with a massive mono synth but for not so super fast but more epic stuff you might use unison voices.
HZ Strings seems to be a great thing to combine huge sounds which can be still very fast.
And if you really want it much faster i see no trouble with layering instances to "fake" that. I know it will cost resources of course.
It´s about experimentation and sometimes you need workarounds but if i also get things i feel i can´t do with other tools i´m happy.
We have things like MPE midi controllers or even software which let you easy send/split a midi channel per note (even chords per midi channel) so you can really tight up the speed if one instance can´t handle it.
I like the experiment feel of this and why not just use a different mic setting for each midi channel and whatever you can imagine. I wonder how fast things get rated these days and mostly it seems a love or hate thing.
I think this tools needs a lot time to really explore before you really can judge it.
Like mentioned it seems to be a tool which needs to be explored and is not a plug´n play thingie.
I could use some things i really miss.....especially microtuning for further experimentation and things outside of the western scale.


----------



## windyweekend

Initial thoughts:

1. INSTALL - Was forced to download, even with the HDD copied locally. Not a prob, but don't bother getting the HDD.

2. USABILITY - Got notes cutting out everywhere. Every art gives me half a second and then cut-out, disk goes from 0-100%. Every note, every art, every time. Can anyone point me to which setting I'm missing? This is dead in the water out of the box without some hw tweaking from the looks of things.

After investing a small fortune on some new hardware to support this lib I'm really hoping there's something malfunctioning with the user, not the machine. 

3. USABILITY - Assuming I can get the library working, the UI does this some serious disservice from what I'm experiencing. Great looks, terrible ergonomics. The Kontakt libs gave you a lot at your fingertips without taking up much real estate, as did Phobos. This one looks like its got scrollers for the sake of it, overlarge buttons, and too much space taken up with, well, emptiness. Same with the mics as well as the arts. There's tons of space on the screen to play with as well, which isn't the smartest decision in my book. Not a lot puts the user in mind. If all the SA libs are going with this UX moving forwards, this one might be my last.


----------



## Paul Thomson

hey chaps - someone just messaged me to ask what memory the 60 Celli shorts takes and to let y'all know - 

I'm doing Hols with the kids so not going to go back and search for the specific question but hopefully this answers it! 

All the best

Paul


----------



## muziksculp

Hi,

I didn't purchase HZ-Strings yet, I'm still trying to decide if I need it or not. Also waiting for some fixes to be released, i.e. legatos. etc.

reading some of the comments regarding the new HZ-Strings Player GUI, and design details, I would guess that it wouldn't be that difficult for Spitfire Audio to imrove it by re-designing it slightly to improve the GUI, better utilize the GUI's space, make it more logical to find what one needs, and make using it more fun, and snappy, less scrolling, ..etc. I'm confident that Spirfire Audio listens to their user's requests, and suggestions for improvements, and delivers.

I'm also curious to know what will be the next Spitfire Library that will use their new nameless player. 

Cheers,
Muziksculp


----------



## Pontus Rufelt

windyweekend said:


> Initial thoughts:
> 
> 1. INSTALL - Was forced to download, even with the HDD copied locally. Not a prob, but don't bother getting the HDD.
> 
> 2. USABILITY - Got notes cutting out everywhere. Every art gives me half a second and then cut-out, disk goes from 0-100%. Every note, every art, every time. Can anyone point me to which setting I'm missing? This is dead in the water out of the box without some hw tweaking from the looks of things.
> 
> After investing a small fortune on some new hardware to support this lib I'm really hoping there's something malfunctioning with the user, not the machine.
> 
> 3. USABILITY - Assuming I can get the library working, the UI does this some serious disservice from what I'm experiencing. Great looks, terrible ergonomics. The Kontakt libs gave you a lot at your fingertips without taking up much real estate, as did Phobos. This one looks like its got scrollers for the sake of it, overlarge buttons, and too much space taken up with, well, emptiness. Same with the mics as well as the arts. There's tons of space on the screen to play with as well, which isn't the smartest decision in my book. Not a lot puts the user in mind. If all the SA libs are going with this UX moving forwards, this one might be my last.



I'm really loving the library and sounds itself, but unfortunately my experience with the new plugin is like your experience. Endless CPU/Disk Freakouts, despite a very capable computer.


----------



## Tatu




----------



## windyweekend

Pontus Rufelt said:


> I'm really loving the library and sounds itself, but unfortunately my experience with the new plugin is like your experience. Endless CPU/Disk Freakouts, despite a very capable computer.


Seriously hoping the choir doesn't have this UI now or I might be looking at EW/Metropolis Ark instead :O(


----------



## Pontus Rufelt

windyweekend said:


> Seriously hoping the choir doesn't have this UI now or I might be looking at EW/Metropolis Ark instead :O(



Well, hopefully it can be sorted out somehow. I’ve filed a support ticket. What kind of computer are you running it on?


----------



## Paul Thomson

Hey all -

99% of users not having these issues. However of course we will work out the problem and whichever end it’s in - ours or yours - we will resolve it. 

Thanks!


Paul


----------



## Pontus Rufelt

Paul Thomson said:


> Hey all -
> 
> 99% of users not having these issues. However of course we will work out the problem and whichever end it’s in - ours or yours - we will resolve it.
> 
> Thanks!
> 
> 
> Paul



Paul, I’m genuinely trying to figure out what kind of performance I should expect out of HZ Strings. I have an intel i7 5820k hexacore, 64GB of RAM, 850 Samsung SSDs. How are 4+ mics of the Long articulations running on your rig?


----------



## Cinebient

I see in some Spitfire demos running it from a macbook pro which we all know can´t be a really powerful machine (compared to desktop or even some windows notebooks).
I also remember someone from Spitfire said they had it running pretty smooth with several instances on a macbook pro. Would like to hear more about this.....since i´m going to run this mainly from a macbook pro as well.


----------



## windyweekend

Pontus Rufelt said:


> I'm really loving the library and sounds itself, but unfortunately my experience with the new plugin is like your experience. Endless CPU/Disk Freakouts, despite a very capable computer.


I haven't got one single note to play completely yet. $600 for <1 second of satisfaction is starting to look less value for money than my last trip to Vegas. So hoping support have some decent ideas or this thing's going in the trash.


----------



## marcodistefano

Pontus Rufelt said:


> Paul, I’m genuinely trying to figure out what kind of performance I should expect out of HZ Strings. I have an intel i7 5820k hexacore, 64GB of RAM, 850 Samsung SSDs. How are 4+ mics of the Long articulations running on your rig?



Hey,

I posted a video up in the thread where I am using 13 different articulations from HZ each with 4 mics in a template together with spitfire chamber strings, alternative solo and symphonic strings and woodwinds.
I have 32 gb ram, and 4 core running at 4,2 Ghz.

Not a single issue.
You should be able to find the video up in the list, I posted it yesterday.

Marco


----------



## Rick Horrocks

star.keys said:


> Load more than 3-4 mics at once and I get clicks and pops with Sustains on my monster PC with endless power.
> 
> It seems this issue is prominent on Windows 10 PC because Mac users seem to be fine





lucky909091 said:


> Ok - I have put it on a internal SSD - same issues.
> You are right.





Pontus Rufelt said:


> I'm really loving the library and sounds itself, but unfortunately my experience with the new plugin is like your experience. Endless CPU/Disk Freakouts, despite a very capable computer.



Absolutely love the sound but I'm seeing similar issues with the longs and multiple mic positions causing CPU spikes on Windows 10. Notes sticking occasionally as well  I'm on a pretty good rig and host all my samples on MX500 1Tb SSDS. I have faith Spitfire will get these issues sorted as it seems quite a few Windows users have seen this problem.


----------



## Pontus Rufelt

RickH said:


> Absolutely love the sound but I'm seeing similar issues with the longs and multiple mic positions causing CPU spikes on Windows 10. Notes sticking occasionally as well  I'm on a pretty good rig and host all my samples on MX500 1Tb SSDS. I have faith Spitfire will get these issues sorted as it seems quite a few Windows users have seen this problem.



I'm glad to hear that I'm not the only one. Just like you're saying, it's long articulations in particular that seem to persistently have issues. With four instances of HZ Strings, each with 4 mics loaded on long articulations, I get cut off notes, spikes etc.


----------



## Rick Horrocks

Pontus Rufelt said:


> I'm glad to hear that I'm not the only one. Just like you're saying, it's long articulations in particular that seem to persistently have issues. With four instances of HZ Strings, each with 4 mics loaded on long articulations, I get cut off notes, spikes etc.



Even on just a single instance I'm seeing spikes with the longs. I'm not seeing this with other articulations but i have had the occasional note stick.


----------



## SpitfireSupport

To anyone having issues with disk peaks, I'd encourage going into your settings under 'Audio' and roughly doubling these values.


----------



## Paul Thomson

Weird..

My demo (check out the product page) runs live and that’s 3 mics mostly, tons of arts - on my MacBook Pro. 

Don’t worry - we will sort whatever is going on. 

All best,

Paul


----------



## Cinebient

Paul Thomson said:


> Weird..
> 
> My demo (check out the product page) runs live and that’s 3 mics mostly, tons of arts - on my MacBook Pro.
> 
> Don’t worry - we will sort whatever is going on.
> 
> All best,
> 
> Paul



Good to know. Might i ask you at which buffer setting it was.


----------



## windyweekend

RickH said:


> Even on just a single instance I'm seeing spikes with the longs. I'm not seeing this with other articulations but i have had the occasional note stick.


This is where we I'm seeing the biggest cutouts. This is on an i7-7700, win 10, 16GB RAM, 7200RPM HDD with windows running on an SSD. I'm going to install this as a slave in a Win7 machine shortly to see if it's an improvement. Will have to go through the download again no doubt, but will try the HDD install with some optimistic hope.


----------



## SpitfireSupport

windyweekend said:


> 1. INSTALL - Was forced to download, even with the HDD copied locally. Not a prob, but don't bother getting the HDD.


Did you select the "Download" option rather than "HDD Install"? The hard drives would not require you to download the whole library.



Luke


----------



## Pontus Rufelt

SpitfireSupport said:


> To anyone having issues with disk peaks, I'd encourage going into your settings under 'Audio' and roughly doubling these values.



I've tried everything. Curiously enough, changing these settings don't seem to impact performance at all on my end - don't think I noticed even the slightest performance increase. In fact, even though I increased it so that it would load more into memory, technically giving it headroom, it started having all sorts of audio artifacts. Very odd and strikes me as a software error rather than hardware limitation? Like previously mentioned, all it takes is 4+ mics on 4 instances with a long articulation loaded and it starts spiking and dropping. Tried a reinstall, same thing. Tried it in VEPro, Reaper, Cubase. Same in all of them. Tried it on a regular Samsung 850 and an m2 Samsung 960 EVO, same thing. Tried it with the Steinberg/Yamaha drivers, tried with generic ASIO - same thing. I've exempted the files from Windows Defender scans to prevent it from interfering, still same issues. As you might imagine I'm at a bit of a loss.


----------



## SpitfireSupport

Pontus Rufelt said:


> I've tried everything. Curiously enough, changing these settings don't seem to impact performance at all on my end - don't think I noticed even the slightest performance increase. In fact, even though I increased it so that it would load more into memory, technically giving it headroom, it started having all sorts of audio artifacts. Very odd and strikes me as a software error rather than hardware limitation? Like previously mentioned, all it takes is 4+ mics on 4 instances with a long articulation loaded and it starts spiking and dropping. Tried a reinstall, same thing. Tried it in VEPro, Reaper, Cubase. Same in all of them. Tried it on a regular Samsung 850 and an m2 Samsung 960 EVO, same thing. Tried it with the Steinberg/Yamaha drivers, tried with generic ASIO - same thing. I've exempted the files from Windows Defender scans to prevent it from interfering, still same issues. As you might imagine I'm at a bit of a loss.


Thanks for the info. We'll certainly be having a look into this.

Luke


----------



## windyweekend

SpitfireSupport said:


> Did you select the "Download" option rather than "HDD Install"? The hard drives would not require you to download the whole library.
> 
> 
> 
> Luke



I selected the 'HDD Install' option. The downloads Window indicated it was downloading, but also merging at the same time. After about two hours it was at about 20% so I figured it was safe to assume it probably was downloading. Can't see an install from a HDD taking this long, but please correct me if it was supposed to. It installed correctly one way or another, but I'm thinking either the HDD option doesn't actually do anything (i.e. redirects to the download option by default), or the text is incorrect during the install as it stated it was downloading. Restarted three times just to be absolutely sure I hadn't selected the wrong option, but it did exactly the same thing each time.

It was comforting to see it actually complete correctly in the end. The performance and
UI might be a bit sub par so far on this, but the installs you guys always nail perfectly, which is one of the trickiest bits of software engineering.


----------



## Pontus Rufelt

SpitfireSupport said:


> Thanks for the info. We'll certainly be having a look into this.
> 
> Luke



Really appreciate it! I'm absolutely loving the sounds and library itself!


----------



## windyweekend

SpitfireSupport said:


> To anyone having issues with disk peaks, I'd encourage going into your settings under 'Audio' and roughly doubling these values.


This helped me a bit, but not a lot. I quadrupled these, and can now play a long note for 6-8 secs (but not the Violin Longs, which die still every time). As soon as I change notes/chords then it clips out back to silence again. Disk and CPU are only peaking at ~20% (except the Violins which predictably die at 100%), so there's something else going on here. Definitely a step in the right direction, but a far cry from usable yet. Will let you know how Win7 (the most stable OS ever) behaves shortly.


----------



## windyweekend

SpitfireSupport said:


> Thanks for the info. We'll certainly be having a look into this.
> 
> Luke


Not sure if it's relevant but I'm also using Cubase (not tested with VEP yet).


----------



## Jay Panikkar

FYI: Different versions of Windows 10 seem to be having different problems with different audio software/hardware. It's probably a good idea to provide precise build information to the Spitfire support guys. 

Go to Settings (Hit Windows Key + I) -> System -> About, under "Windows Specifications," you should be looking for Edition, Version and OS Build details.


----------



## star.keys

SpitfireSupport said:


> To anyone having issues with disk peaks, I'd encourage going into your settings under 'Audio' and roughly doubling these values.



Hi,

This suggedtion was provided to me on 28th March on chat sesion and had advised that it didn't help fox these issues. When can we expect ETA with a fix please?

Thanks


----------



## christianhenson

Hi Star, Our service dept will be open again on Tuesday when they will be able to look at your case again. We're a family oriented company so observe the Easter hols. Sorry you're having problems on your rig.

Best

CH


----------



## Tatu

I bought these after watching Daniels first impressions stream and after reading quite a bit of discussion that surrounds this release, so I was well aware of what I was getting. It took ages to download it, but I finally managed to dive in to it a bit.

First of all, I think that these are the best sounding string samples I've come across and they suit my needs and preferences perfectly; the sound is both upclose and surprisingly intimate, yet wonderfully diffuse and massive. Included unusual articulations - especially when combined with fx - expand the sonic opportunities this library offers tremendously, ie. when writing more atmospheric background elements to your work.

The engine has some work to do, as I (and others as well) experienced some unexpected dropouts after loading more than 3 to 4 microphones, even though there were no apparent spikes in CPU or polyphony. Some of the legatos need some work and, for example, I think it would be a nice feature to have if my selected microphones would appear on the first "slide" of microphones, so it'd be easier to fool around with the balance (but that's just me). Gallery Cellos had some really nasty phasing issues and one odd bug was, that a long note would only play what seemed to be a release sample, when there was a tempo point at the very same grid position as the note start... (didn't look in to it, just moved the tempo point) But as a whole, I'd say this was a solid release of a whole new sample engine; very lean and responsive and I didn't see it neither heavy to handle nor resourse hungry (CPU & RAM) albeit those weird dropouts.

Here's some sordinos and some of the less usual articulations, such as col legno tratto and traveling tremolos.


PS: Sits well with Mural (SSS)!


----------



## Puzzlefactory

Tatu said:


> I bought these after watching Daniels first impressions stream and after reading quite a bit of discussion that surrounds this release, so I was well aware of what I was getting. It took ages to download it, but I finally managed to dive in to it a bit.
> 
> First of all, I think that these are the best sounding strings samples I've come across and they suit my needs and preferences perfectly; the sound is both upclose and surprisingly intimate, yet wonderfully diffuse and massive. Included unusual articulations - especially when combined with fx - expand the sonic opportunities this library offers tremendously, ie. when writing more atmospheric background elements to your work.
> 
> The engine has some work to do, as I (and others as well) experienced some unexpected dropouts after loading more than 3 to 4 microphones, even though there were no apparent spikes in CPU or polyphony. Some of the legatos need some work and, for example, I think it would be a nice feature to have if my selected microphones would appear on the first "slide" of microphones, so it'd be easier to fool around with the balance (but that's just me). Gallery Cellos had some really nasty phasing issues and one odd bug was, that a long note would only play what seemed to be a release sample, when there was a tempo point at the very same grid position as the note start... (didn't look in to it, just moved the tempo point) But as a whole, I'd say this was a solid release of a whole new sample engine; very lean and responsive and I didn't see it neither heavy to handle nor resourse hungry (CPU & RAM) albeit those weird dropouts.
> 
> Here's some sordinos and some of the less usual articulations, such as col legno tratto and traveling tremolos.
> 
> 
> PS: Sits well with Mural (SSS)!




Nice. That swell sounded really lush. 

That piano part almost sounded like “close encounters” at the beginning.


----------



## Pontus Rufelt

Tatu said:


> I bought these after watching Daniels first impressions stream and after reading quite a bit of discussion that surrounds this release, so I was well aware of what I was getting. It took ages to download it, but I finally managed to dive in to it a bit.
> 
> First of all, I think that these are the best sounding string samples I've come across and they suit my needs and preferences perfectly; the sound is both upclose and surprisingly intimate, yet wonderfully diffuse and massive. Included unusual articulations - especially when combined with fx - expand the sonic opportunities this library offers tremendously, ie. when writing more atmospheric background elements to your work.
> 
> The engine has some work to do, as I (and others as well) experienced some unexpected dropouts after loading more than 3 to 4 microphones, even though there were no apparent spikes in CPU or polyphony. Some of the legatos need some work and, for example, I think it would be a nice feature to have if my selected microphones would appear on the first "slide" of microphones, so it'd be easier to fool around with the balance (but that's just me). Gallery Cellos had some really nasty phasing issues and one odd bug was, that a long note would only play what seemed to be a release sample, when there was a tempo point at the very same grid position as the note start... (didn't look in to it, just moved the tempo point) But as a whole, I'd say this was a solid release of a whole new sample engine; very lean and responsive and I didn't see it neither heavy to handle nor resourse hungry (CPU & RAM) albeit those weird dropouts.
> 
> Here's some sordinos and some of the less usual articulations, such as col legno tratto and traveling tremolos.
> 
> 
> PS: Sits well with Mural (SSS)!




Wonderful demo! You mention some dropped notes. How is performance for you when playing chords and alternating between chords using the normal long articulation on 3-4 sections, with 3-4 mics loaded? And what kind of rig are you running?


----------



## Tatu

Pontus Rufelt said:


> Wonderful demo! You mention some dropped notes. How is performance for you when playing chords and alternating between chords using the normal long articulation on 3-4 sections, with 3-4 mics loaded? And what kind of rig are you running?



I didn't notice any spikes, only some unexplainable random dropouts. I used 4-5 mics / section:
- 20 Violins LEFT
- 20 Violins CENTER
- 20 Cellos LEFT
- 20 Cellos RIGHT
- 20 Violas CENTER
- 24 Basses 
+ some additional patches.

Playing back (soloed), my CPU won't go over 30% and voice count / instance seems to be maxing at around 120-130, which seems quite economical. Note that there are reverbs and other stuff (EQ's etc) running as well.

That piece is mostly chords divided and spread between the whole section.

Oh and I'm binge wathcing youtube videos while at it.

The important specs:
i7-6700K @4.00GHz
64GB RAM
Running HZS from a dedicated SSD (Had to throw some samples out of its way...)


----------



## Pontus Rufelt

Tatu said:


> I didn't notice any spikes, only some unexplainable random dropouts. I used 4-5 mics / section:
> - 20 Violins LEFT
> - 20 Violins CENTER
> - 20 Cellos LEFT
> - 20 Cellos RIGHT
> - 20 Violas CENTER
> - 24 Basses
> + some additional patches.
> 
> Playing back (soloed), my CPU won't go over 30% and voice count / instance seems to be maxing at around 120-130, which seems quite economical. Note that there are reverbs and other stuff (EQ's etc) running as well.
> 
> That piece is mostly chords divided and spread between the whole section.
> 
> Oh and I'm binge wathcing youtube videos while at it.
> 
> The important specs:
> i7-6700K @4.00GHz
> 64GB RAM
> Running HZS from a dedicated SSD (Had to throw some samples out of its way...)



That’s quite the different experience than mine. I’ve got the 5280k and Samsung SSDs and can get cpu/disk spikes with two or three instances of longs. Hmmm, can’t for the life of me figure out the problem.


----------



## Tatu

@Pontus Rufelt did you ad HZS's filetypes or folders to exceptions within you antimalvare software(s)?


----------



## Pontus Rufelt

Tatu said:


> @Pontus Rufelt did you ad HZS's filetypes or folders to exceptions within you antimalvare software(s)?



Yes! No luck so far.


----------



## rmoat

After traveling for a few days, I wanted to do a demo on my Win 10 machine for doing shorts and longs combined, and to get a better taste into the sound, as well as performance. Using a mixture of 4 HZS instances: Bass, Cello, Violas, and Violins, I'm using about 4 mics each. Using 2 HZS instances for Cello Longs (All in ones) and Bass Longs (All in ones) using 5 mics each.

Also using Ólafur Arnalds Chamber Strings in the first 4 - 17 seconds (so you'll know those strings aren't coming from HZS), and then Spitfire Orchestral Swarm (High Woodwinds) when the longs play. The percussion is also Hans Zimmer Percussion.

I wasn't really receiving any pops or clicks, but also my Windows 10 machine has been optimized using AVID's Pro Tools Windows 10 optimization guide. I can get pops and clicks if I have too many mics enabled and hold down several chords, press the sustain pedal, and switch to another set of chords.

Here is a little demo of fast staccato transitioning into slow longs. I may not be the greatest at composing compared to most of you, but Hans Zimmer Strings has a beautiful sound.

EDIT: I was a bit bothered by a couple things in the first version I bounced earlier today. With a couple changes in Ozone 8, and some panning of the other instruments, I am posting a new version here--YouTube video.


----------



## christianhenson

Amazing stuff rmoat, I'll pass this optimization guide onto service so they can hone down on what problems some people seem to be having with Win10.

Best

CH


----------



## MaxOctane

@SpitfireSupport Does the new player


Tatu said:


> Here's some sordinos and some of the less usual articulations, such as col legno tratto and traveling tremolos.
> 
> 
> PS: Sits well with Mural (SSS)!




Love it!

Can you share what all went into it? The piano, reverb, other instruments? (did I hear a faint choir or that reverberation from HZ Strings?)


----------



## zimm83

OH MAN......I just listened to the Andy Blaney Montaigne demo on the HZS spitfire site. 
Those legatos are wonderful ......really... So why has nobody been able to play them in a review like they sound in this song ???
They really are beautiful.......


----------



## rmoat

ka00 said:


> Sounds beautiful. Thanks for sharing. I could be wrong, but on the ostinato strings there seems to be some pumping compressor artifacts. Is that possible?



Thanks so much @christianhenson and @ka00!

ka00, there is some most likely. I should have mentioned that I have a pretty bad cold, so my ears just feel completely off right now. Even though I was using iZotope's Ozone before bouncing, it's very hard for me to hear (most likely was the Maximizer).

EDIT: This evening I ended up bouncing a new version with some panning to some of the instruments, and better adjustments in Ozone 8. It's now a YouTube link, and the Soundcloud version has been removed from the post.


----------



## SyMTiK

Paul Thomson said:


> hey chaps - someone just messaged me to ask what memory the 60 Celli shorts takes and to let y'all know -
> 
> I'm doing Hols with the kids so not going to go back and search for the specific question but hopefully this answers it!
> 
> All the best
> 
> Paul



For me its taking 615 mb of ram, it seems most of the patches are taking around this much memory with only the tree mic loaded. How are you getting it down to 60ish mb of memory??


----------



## windyweekend

christianhenson said:


> Amazing stuff rmoat, I'll pass this optimization guide onto service so they can hone down on what problems some people seem to be having with Win10.
> 
> Best
> 
> CH


My first install was on a pretty beefy Win10 machine with an 7th gen i7 and I had all the same unusable cutouts as everyone else (couldn't even play a single long note on one mic). As an experiment, I today installed on a second fairly old, low powered machine with an i5, 7200 HDD - but with Win7 and using it as a VEP slave - and the performance was orders of magnitude better than the Win10 machine. Still experiencing dropouts if I try to go to 3+mics, but at least I can play long chords now on a single track, which is a massive improvement. Multiple tracks (Vb, Vc, Va etc) is still a distant pipe dream though.

This will be usable as a nice single track layered instrument on top of SSS, but can't see this as a standalone, even with my new upgraded hardware (!).


----------



## Pontus Rufelt

windyweekend said:


> My first install was on a pretty beefy Win10 machine with an 7th gen i7 and I had all the same unusable cutouts as everyone else (couldn't even play a single long note on one mic). As an experiment, I today installed on a second fairly old, low powered machine with an i5, 7200 HDD - but with Win7 and using it as a VEP slave - and the performance was orders of magnitude better than the Win10 machine. Still experiencing dropouts if I try to go to 3+mics, but at least I can play long chords now, which is a massive improvement.
> 
> Win10 definitely sounds the culprit here.



Interesting! Increasingly feels like something about the player potentially isn’t working properly on Windows 10.


----------



## Steve Martin

zimm83 said:


> OH MAN......I just listened to the Andy Blaney Montaigne demo on the HZS spitfire site.
> Those legatos are wonderful ......really... So why has nobody been able to play them in a review like they sound in this song ???
> They really are beautiful.......


Thanks for mentioning that demo. It is awesome - absolutely awesome. Love the sound of these strings. So expressive - I can't believe what I'm hearing in this demo. Fantastic!


----------



## Steve Martin

zimm83 said:


> OH MAN......I just listened to the Andy Blaney Montaigne demo on the HZS spitfire site.
> Those legatos are wonderful ......really... So why has nobody been able to play them in a review like they sound in this song ???
> They really are beautiful.......


Thanks for mentioning that demo. It is awesome - absolutely awesome. Love the sound of these strings. So expressive - Fantastic!


----------



## Steve Martin

zimm83 said:


> OH MAN......I just listened to the Andy Blaney Montaigne demo on the HZS spitfire site.
> Those legatos are wonderful ......really... So why has nobody been able to play them in a review like they sound in this song ???
> They really are beautiful.......


Thanks for mentioning that demo. It is awesome - absolutely awesome. Love the sound of these strings. So expressive - Fantastic!


----------



## Steve Martin

zimm83 said:


> OH MAN......I just listened to the Andy Blaney Montaigne demo on the HZS spitfire site.
> Those legatos are wonderful ......really... So why has nobody been able to play them in a review like they sound in this song ???
> They really are beautiful.......


Thanks for mentioning that demo. It is awesome - absolutely awesome. Love the sound of these strings. So expressive - Fantastic!


----------



## Geoff Grace

rmoat said:


> my Windows 10 machine has been optimized using AVID's Pro Tools Windows 10 optimization guide. I can get pops and clicks if I have too many mics enabled and hold down several chords, press the sustain pedal, and switch to another set of chords.[/MEDIA]


Yes, I set up my Mac system according to Avid's guidelines as well. I'm going to link to it below because parts of it could be helpful to any DAW user, not just for those of us on Pro Tools:

Computer Optimization Guides – Mac and Windows

I enjoyed your track, @rmoat!

Best,

Geoff


----------



## Jay Panikkar

Jay Panikkar said:


> FYI: Different versions of Windows 10 seem to be having different problems with different audio software/hardware. It's probably a good idea to provide precise build information to the Spitfire support guys.
> 
> Go to Settings (Hit Windows Key + I) -> System -> About, under "Windows Specifications," you should be looking for Edition, Version and OS Build details.


Just wanted to add: Windows Defender has an adverse effect on VST performance, and this doesn't always go away even if you whitelist the relevant files and folders. You'll have to manually turn off Windows Defender altogether, but then W10 updates might silently turn it back on without notification. I've had this problem with EastWest PLAY many times and it is incredibly frustrating.

Anyone experiencing performance problems with Spitfire's plugin might want to double-check Windows Defender settings just in case before reaching out to Spitfire for assistance.

(Whatever chump is in charge of W10 development has a minor case of serious brain damage. )


----------



## rmoat

Jay Panikkar said:


> Just wanted to add: Windows Defender has an adverse effect on VST performance, and this doesn't always go away even if you whitelist the relevant files and folders. You'll have to manually turn off Windows Defender altogether, but then W10 updates might silently turn it back on without notification. I've had this problem with EastWest PLAY many times and it is incredibly frustrating.
> 
> Anyone experiencing performance problems with Spitfire's plugin might want to double-check Windows Defender settings just in case before reaching out to Spitfire for assistance.
> 
> (Whatever chump is in charge of W10 development has a minor case of serious brain damage. )



You're absolutely right! I forgot that in Windows 10 I have all of my sample folders on my SSD drives excluded from Windows Defender. Last year, at first I couldn't figure out why it took Kontakt forever to load instruments, especially Omnisphere 1.5 and upgrading to Omnisphere 2. It was so painfully slow when trying to load instruments, I didn't fully connect the Windows 10 upgrade and Windows Defender as being the culprit of slowness, until I read it on a forum somewhere. I also excluded file types such as .nki, .nkm, .nkr, and .wav. It seemed to work without turning it off for Kontakt and Omnisphere.

However, that's good to note with Hans Zimmer Strings as well. Windows Defender definitely affects samples. Great point, thanks for bringing that up @Jay Panikkar!


----------



## Tatu

MaxOctane said:


> Love it!
> 
> Can you share what all went into it? The piano, reverb, other instruments? (did I hear a faint choir or that reverberation from HZ Strings?)


Thanks!

Piano is Felt Piano from Spitfire LABS as is Light Cimbalom. There's one random pad from Albion ONE, Liberis Childrens Choir (8Dio) and those ethnic winds are from QL Silk. There's also some brass stuff from BML/Albion range (horns, trombones, low brass) mixed to the background.

Reverbs are Waves IR-L (Disney Hall, if my memory serves me well.. just a touch of it on each group bus) and one instance of Valhalla Room as send and one extra long for some fx.


----------



## Cinebient

HZ Strings was delivered today but i won´t have time to install until the weekend but after i had a short look there was a description which said i cannot install it on a second computer. I that the case with the new player?


----------



## windyweekend

Cinebient said:


> HZ Strings was delivered today but i won´t have time to install until the weekend but after i had a short look there was a description which said i cannot install it on a second computer. I that the case with the new player?


You can install it on a second one, provided you copy the files from the bespoke HDD first and put them in your destination directory.

On the 2nd one you'll need to use the small cog in their new lib manager (which is a lot nicer than the old one) to 'reset', 'reauthorize' and install. Make sure you select the whole lib, not just the updates version.


----------



## windyweekend

Jay Panikkar said:


> Just wanted to add: Windows Defender has an adverse effect on VST performance, and this doesn't always go away even if you whitelist the relevant files and folders. You'll have to manually turn off Windows Defender altogether, but then W10 updates might silently turn it back on without notification. I've had this problem with EastWest PLAY many times and it is incredibly frustrating.
> 
> Anyone experiencing performance problems with Spitfire's plugin might want to double-check Windows Defender settings just in case before reaching out to Spitfire for assistance.
> 
> (Whatever chump is in charge of W10 development has a minor case of serious brain damage. )


I'll look into, but I have about 20 other Spitfire libraries plus some others all running on the same win 10 machine, including Phobos. All work fine - except HZS.


----------



## Cinebient

windyweekend said:


> You can install it on a second one, provided you copy the files from the bespoke HDD first and put them in your destination directory.
> 
> On the 2nd one you'll need to use the small cog in their new lib manager (which is a lot nicer than the old one) to 'reset', 'reauthorize' and install. Make sure you select the whole lib, not just the updates version.



Thx!!


----------



## Pontus Rufelt

windyweekend said:


> I'll look into, but I have about 20 other Spitfire libraries plus some others all running on the same win 10 machine, including Phobos. All work fine - except HZS.



Yeah, was just about to say. Same thing for me, running tons of other spitfire stuff on the same Windows 10 machine - no issues. And I might add, HZS is the only plugin causing this much trouble.


----------



## Musicam

THe new download manager rocks! Amazing how it works! The downloading process is gratefull!


----------



## cjbrett22

Pontus Rufelt said:


> Interesting! Increasingly feels like something about the player potentially isn’t working properly on Windows 10.



I'd just add that I've been pretty much having the same issues, although I'm running on an iMac. 
Late 2015, 3TB with a 4 GHz Intel Core i7 processor and 32 gb of RAM on OSX 10.11.6

Constant cutouts, feedback noises etc.
By upping the preload and stream buffer sizes quite drastically (300,000 and 900,000 respectively) I've managed to get it to a point that I can open about two or three articulations, but I don't dare have more than two or three mic positions in use for them. 

I've ordered an SSD so hoping that by installing it on there as opposed to the standard hard drive it will run a lot better.


----------



## Pontus Rufelt

cjbrett22 said:


> I'd just add that I've been pretty much having the same issues, although I'm running on an iMac.
> Late 2015, 3TB with a 4 GHz Intel Core i7 processor and 32 gb of RAM on OSX 10.11.6
> 
> Constant cutouts, feedback noises etc.
> By upping the preload and stream buffer sizes quite drastically (300,000 and 900,000 respectively) I've managed to get it to a point that I can open about two or three articulations, but I don't dare have more than two or three mic positions in use for them.
> 
> I've ordered an SSD so hoping that by installing it on there as opposed to the standard hard drive it will run a lot better.



Ouch! I thought Mac users were spared these issues. Have you opened a support case with Spitfire? Might be important for them to be aware of.


----------



## cjbrett22

Pontus Rufelt said:


> Ouch! I thought Mac users were spared these issues. Have you opened a support case with Spitfire? Might be important for them to be aware of.



I have indeed. We tried a reinstall (which didn't work) and then by gradually upping the preload and stream buffer sizes. Now waiting on the SSD to be delivered. Hopefully that'll work as the actually library sounds fantastic! Just a shame about these issues haha


----------



## Pontus Rufelt

cjbrett22 said:


> I have indeed. We tried a reinstall (which didn't work) and then by gradually upping the preload and stream buffer sizes. Now waiting on the SSD to be delivered. Hopefully that'll work as the actually library sounds fantastic! Just a shame about these issues haha


 
Agreed, the sound of the library is brilliant! Hopefully all issues will be resolved! Can’t wait to start writing with it.


----------



## christianhenson

Andy Gray (I don't think he's a member of VI-C) has been beta-ing the lib for a while and thought these may be useful as comparisons of size and bite... for me I can't wait to try SCS on top of HZS.... hmmm a new vid maybe? But these are very interesting, I do think there is a real sense of scale with HZS (which is a relief 'cos I saw the cheques Paul was cuttin'!):

Hans Zimmer 20 Cello Shorts Sound Comparison (Cello vs Cello)


Hans Zimmer 60 Cello Shorts Sound Comparison (Cello vs Cello)


...and probably the most surprising:

Hans Zimmer 60 Cello Shorts Sound Comparison (Cello vs Ensemble)


**EDIT** As I understand a bit of error on CineStrings above, Prodigalson has provided a more accurate comparison below....


----------



## blougui

Wow,Cinestrings and NI are a total mess !
Fav ones would be SSS, CinematicStrings and HZS : these have the bite. Though the different room or mics adds a bit of confusion. HZS has a roar to it...


----------



## prodigalson

My only quibble with those videos is that it's super unfair to cinesamples to do it that way. they're designed so that those velocities give you longer notes, their shortest, most aggressive notes are activated by the lowest velocities.


----------



## prodigalson

blougui said:


> Wow,Cinestrings and NI are a total mess !
> Fav ones would be SSS, CinematicStrings and HZS : these have the bite. Though the different room or mics adds a bit of confusion. HZS has a roar to it...



we posted at the same time but FYI, CineStrings is NOT supposed to be played that way. in the patch he's using, mod wheel controls dynamics but VELOCITY controls length of notes. so he's actually triggering STACCATO samples here NOT their shortest spiccatos.


----------



## blougui

Well, Mr Henson just opened up another can of greasy worms, then


----------



## christianhenson

Andy did these, I think they all have their merits, but its nice to hear proof of concept for a seriously big cello band... and I've never heard SSS sound so small, its like eating an apple after having a seriously sweet ice cream!


----------



## SyMTiK

blougui said:


> Wow,Cinestrings and NI are a total mess !
> Fav ones would be SSS, CinematicStrings and HZS : these have the bite. Though the different room or mics adds a bit of confusion. HZS has a roar to it...



It seems too that the smaller cello section within hans zimmer strings works better for the short notes, theres more clarity, while the large sections work better for sustained notes. I'll have to play around some more, I think the thing with HZ Strings is it is capable of so much, but you really have to take the time to learn all of the different sections and how they sound, and how the different mics shape the sound. Reminds me of learning to use EW Hollywood Strings, out of the box I was rather dissapointed, the shorts were so sloppy and the sound just wasn't nearly as good as I was expecting. But after *hint hint* reading the manual, I learned how to use it properly and wow what I difference! Seems to be the same experience with HZ Strings and with any pro level product really, for something with such a wide range of possibilities you really have to sit down and learn the product in order to get the sound youre looking for out of it! 

Also, excited to hear in one of the other threads that the legato fix may be coming this week! Great job spitfire for the quick fix!


----------



## prodigalson

this is what that CineStrings patch sounds like out of the box when played as designed

[AUDIOPLUS=https://vi-control.net/community/attachments/cinestrings-cellos-mp3.12657/][/AUDIOPLUS]


----------



## christianhenson

Thanks Prodigalson.... bit of pilot error on the vids above... Again, a good sound IMHO.... all so different!


----------



## The Darris

Just got some news from SF Support about my issue (Win 10 Cubase User here). So far, I'm not entirely sure if it's resolved yet but the little guerrilla style quick fix we tried is working for me. However, it will still need an update for sure and due to what I did to get things working smoothly for now, it appears they've honed in on the main cause of the issue. 

If you are a Windows 10 Cubase user and you haven't sent a support ticket in for the issues you may have, I highly encourage you to do so. It will certainly help by giving them the important data they need to address these issues and get an update out quickly.

-C


----------



## Lassi Tani

christianhenson said:


> Andy Gray (I don't think he's a member of VI-C) has been beta-ing the lib for a while and thought these may be useful as comparisons of size and bite... for me I can't wait to try SCS on top of HZS.... hmmm a new vid maybe? But these are very interesting, I do think there is a real sense of scale with HZS (which is a relief 'cos I saw the cheques Paul was cuttin'!):
> 
> Hans Zimmer 20 Cello Shorts Sound Comparison (Cello vs Cello)
> 
> 
> Hans Zimmer 60 Cello Shorts Sound Comparison (Cello vs Cello)
> 
> 
> ...and probably the most surprising:
> 
> Hans Zimmer 60 Cello Shorts Sound Comparison (Cello vs Ensemble)
> 
> 
> **EDIT** As I understand a bit of error on CineStrings above, Prodigalson has provided a more accurate comparison below....




Yes they're different and not very surprising, because of the size of the string sections and how he used those libraries out of the box. More interesting comparison would be layering strings libraries vs HZS. E.g. how close to HZS sound could layering get.


----------



## AlexanderSchiborr

christianhenson said:


> Andy Gray (I don't think he's a member of VI-C) has been beta-ing the lib for a while and thought these may be useful as comparisons of size and bite... for me I can't wait to try SCS on top of HZS.... hmmm a new vid maybe? But these are very interesting, I do think there is a real sense of scale with HZS (which is a relief 'cos I saw the cheques Paul was cuttin'!):
> 
> Hans Zimmer 20 Cello Shorts Sound Comparison (Cello vs Cello)
> 
> 
> Hans Zimmer 60 Cello Shorts Sound Comparison (Cello vs Cello)
> 
> 
> ...and probably the most surprising:
> 
> Hans Zimmer 60 Cello Shorts Sound Comparison (Cello vs Ensemble)
> 
> 
> **EDIT** As I understand a bit of error on CineStrings above, Prodigalson has provided a more accurate comparison below....



midi available?


----------



## marcodistefano

Hi all

I just published my latest composition with all spitfire string libraries:
Hans Zimmer, chamber, symphonic, alternative solo

Hans Zimmer strings enters at 3:23 and grows till the end.
She seriously take the scene and deliver what the other libraries cannot do.

I confirm this library is a great complement to the other spitfire string libraries.

@christianhenson it took me a few days to get into them but finally I am really enjoying, thanks for your tutorial videos.



original post here

https://vi-control.net/community/th...symphonic-alternative-solo-chamber-evo.70368/


----------



## Cinebient

marcodistefano said:


> Hi all
> 
> I just published my latest composition with all spitfire string libraries:
> Hans Zimmer, chamber, symphonic, alternative solo
> 
> Hans Zimmer strings enters at 3:23 and grows till the end.
> She seriously take the scene and deliver what the other libraries cannot do.
> 
> I confirm this library is a great complement to the other spitfire string libraries.
> 
> @christianhenson it took me a few days to get into them but finally I am really enjoying, thanks for your tutorial videos.
> 
> 
> 
> original post here
> 
> https://vi-control.net/community/th...symphonic-alternative-solo-chamber-evo.70368/




That´s a wonderful piece with lots of changes and very catchy to hear until the end. It already sounds kind of wide and open from the beginning but when the HZ came in it really gives an immersive feeling of something really much bigger like you would go from a room, open the door and you enter inside something really giant.
Thank´s for sharing.


----------



## SyMTiK

Made a short comparison test at 140 BPM (16th notes) with the cello shorts in HZ Strings to Hollywood Strings and Albion One.

The order in playback is

HZ Strings
Hollywood Strings
HZ Strings Again
Albion One
HZ Strings Layered with Albion One

I used the HZ Strings left and right sections together (40 players total), and I tried my best to try and level them so they all play back at the same perceived volume

No external FX or anything, HZ Strings I added in 30% close mics, no added reverb

Hollywood Strings using Mid mic and Close mic set to 50%, with stock factory reverb set on

Albion One set up out of box with default mic and reverb settings

Same MIDI File used for all


----------



## marcodistefano

Cinebient said:


> That´s a wonderful piece with lots of changes and very catchy to hear until the end. It already sounds kind of wide and open from the beginning but when the HZ came in it really gives an immersive feeling of something really much bigger like you would go from a room, open the door and you enter inside something really giant.
> Thank´s for sharing.


Thanks!
yes is gigantic!


----------



## Rey

zimm83 said:


> OH MAN......I just listened to the Andy Blaney Montaigne demo on the HZS spitfire site.
> Those legatos are wonderful ......really... So why has nobody been able to play them in a review like they sound in this song ???
> They really are beautiful.......



those low sounding and mid range cellos have beautiful legatos and longs. so are the violins. Nobody plays because most think hans zimmer means only do loud and fast mostly


----------



## zimm83

Rey said:


> those low sounding and mid range cellos have beautiful legatos and longs. so are the violins. Nobody plays because most think hans zimmer means only do loud and fast mostly




You are right. But even in the official Spitfire walkthroughs, the legatos are really not as good as in the demo...... Don't understand.....


----------



## bvaughn0402

@christianhenson Any potential updates of providing MIDI for your or Oliver's composition using HZ Strings?

Also, is it possible with the GUI that you could enable a "slim" (current) vs "advanced" view (with more stuff on the screen)? That would be cool to choose the view of the GUI around complexity/simplicity.


----------



## NoamL

SyMTiK said:


> Made a short comparison test at 140 BPM (16th notes) with the cello shorts in HZ Strings to Hollywood Strings and Albion One.
> 
> The order in playback is
> 
> HZ Strings
> Hollywood Strings
> HZ Strings Again
> Albion One
> HZ Strings Layered with Albion One
> 
> I used the HZ Strings left and right sections together (40 players total), and I tried my best to try and level them so they all play back at the same perceived volume
> 
> No external FX or anything, HZ Strings I added in 30% close mics, no added reverb
> 
> Hollywood Strings using Mid mic and Close mic set to 50%, with stock factory reverb set on
> 
> Albion One set up out of box with default mic and reverb settings
> 
> Same MIDI File used for all




Ok for the record (and I swear this will be my last post about HZS)

I am a cellist. The first example is closest to how actual musicians would render this passage. A certain amount of blur and imprecision is inescapable.

I totally understand that for SOME styles of music people may prefer the precision and "sharp bite on every single note" effect that can be done with samples. Because trailer and production music is no longer about sounding real but sounding impactful.

Even the first example with HZS is probably a little unrealistically "boosted" in energy compared to what real musicians can accomplish, especially the downbeat accents. Keep in mind that the intensity of a bow stroke is a matter of _*physical momentum*_... how hard can you throw a bowling ball if you "load up" and swing your whole body into it? Now how hard can you throw it after shaking it four times from one side of your body to the other? Probably not as hard. Why not? because the momentum of each move is counterproductive to the next.

If you tried to record this live with 20 cellos, I think you'd be lucky if you got a sound like this in the end:



Actually, giving it another listen after 10 minutes, _even this_ is probably too precise and accented on every note.

Hans Zimmer achieves "better" results than this, i.e. if "better" means feeling tighter and more energetic.

But (I'll only summarize to the best of my knowledge) he uses several production tricks.

First he records with small sections and then backs them with large sections or samples. In both Pirates and Holmes, there are solo strings either overdubbing the sections or given a prominent solo role when energy is needed. The solo cello in Pirates is recorded to bring out the finger hammer-downs on the neck... adds energy... this would be a difficult sound to bring out of a 20piece cello section!

Second, he often adds synth bass to the bottom of his ostinatos. *https://www.youtube.com/watch?v=iNZ2y13aXRE (See this Alan Meyerson video!)*

Third, (he talked about this at the roundtable) he gets his people to sit there for months and music-edit the recordings note by note to be "smack on" the click.

Fourth, for strings it's often better to to write ostinatos with repeated notes. AABBCCDD not ABCDABCD. The energy comes from the right hand not the left hand, so giving the left hand an Olympics routine at this tempo isn't adding anything useful.  Think about the violins just banging away at the high D *https://www.youtube.com/watch?v=Pd8HAy9WAYs&t=256 (during the finale of Jack's Theme.)*

For the same reason, I question the utility of this tempo, LOL. Consider:

He's A Pirate - 150 bpm
Mombasa from Inception - 145 bpm
Bane's Theme - 145 bpm
Discombobulate - 142 bpm

yes definitely some crazy energy there. But also:

TIME - 127 bpm
Jack's Theme - 120bpm
Supermarine (Dunkirk) - 120 bpm
the "Docking" scene from Interstellar - 120 bpm
Chevaliers de Sangreal - 108 bpm
I'm Not A Hero (Batman) - 96 bpm
Why So Serious? - 95 bpm
Flight (Man of Steel) - 80 bpm (possibly 160 but I hear it in 80)

Your musical material seems firmly in "Dark Knight / I'm Not A Hero" territory. Slow it down and you'll get more of that dark Gothic feel.


----------



## SyMTiK

NoamL said:


> Ok for the record (and I swear this will be my last post about HZS)
> 
> I am a cellist. The first example is closest to how actual musicians would render this passage. A certain amount of blur and imprecision is inescapable.
> 
> I totally understand that for SOME styles of music people may prefer the precision and "sharp bite on every single note" effect that can be done with samples. Because trailer and production music is no longer about sounding real but sounding impactful.
> 
> Even the first example with HZS is probably a little unrealistically "boosted" in energy compared to what real musicians can accomplish, especially the downbeat accents. Keep in mind that the intensity of a bow stroke is a matter of _*physical momentum*_... how hard can you throw a bowling ball if you "load up" and swing your whole body into it? Now how hard can you throw it after shaking it four times from one side of your body to the other? Probably not as hard. Why not? because the momentum of each move is counterproductive to the next.
> 
> If you tried to record this live with 20 cellos, I think you'd be lucky if you got a sound like this in the end:
> 
> 
> 
> Actually, giving it another listen after 10 minutes, _even this_ is probably too precise and accented on every note.
> 
> Hans Zimmer achieves "better" results than this, i.e. if "better" means feeling tighter and more energetic.
> 
> But (I'll only summarize to the best of my knowledge) he uses several production tricks.
> 
> First he records with small sections and then backs them with large sections or samples. In both Pirates and Holmes, there are solo strings either overdubbing the sections or given a prominent solo role when energy is needed. The solo cello in Pirates is recorded to bring out the finger hammer-downs on the neck... adds energy... this would be a difficult sound to bring out of a 20piece cello section!
> 
> Second, he often adds synth bass to the bottom of his ostinatos. *https://www.youtube.com/watch?v=iNZ2y13aXRE (See this Alan Meyerson video!)*
> 
> Third, (he talked about this at the roundtable) he gets his people to sit there for months and music-edit the recordings note by note to be "smack on" the click.
> 
> Fourth, for strings it's often better to to write ostinatos with repeated notes. AABBCCDD not ABCDABCD. The energy comes from the right hand not the left hand, so giving the left hand an Olympics routine at this tempo isn't adding anything useful.  Think about the violins just banging away at the high D *https://www.youtube.com/watch?v=Pd8HAy9WAYs&t=256 (during the finale of Jack's Theme.)*
> 
> For the same reason, I question the utility of this tempo, LOL. Consider:
> 
> He's A Pirate - 150 bpm
> Mombasa from Inception - 145 bpm
> Bane's Theme - 145 bpm
> Discombobulate - 142 bpm
> 
> yes definitely some crazy energy there. But also:
> 
> TIME - 127 bpm
> Jack's Theme - 120bpm
> Supermarine (Dunkirk) - 120 bpm
> the "Docking" scene from Interstellar - 120 bpm
> Chevaliers de Sangreal - 108 bpm
> I'm Not A Hero (Batman) - 96 bpm
> Why So Serious? - 95 bpm
> Flight (Man of Steel) - 80 bpm (possibly 160 but I hear it in 80)
> 
> Your musical material seems firmly in "Dark Knight / I'm Not A Hero" territory. Slow it down and you'll get more of that dark Gothic feel.




Appreciate the in depth response! I used 140 bpm in this example since that was around the tempo that DJ addressed in his video if i recall as having trouble getting a good sound out of with 16th notes, so thats why I used 140 to try and see if I could get a decent sound by playing with the different mic positions, tightness, and sections. it is a bit of an extreme example, but its more of a test of how fast the strings can still hold up. To my ears I thought HZ Strings sounded the best, I personally like the blur effect and I too think it sounds more realistic because of that. Albion One definitely has good definition but it is approaching "synth" sounding territory. My problem too with Hollywood Strings and Albion One is that though they sound certainly punchy, they lack some of the space around them (HS more so than Albion, Albion to me sounds close to HZ Strings just with less players) The space is what makes them sound huge imo. 

Good suggestion too about writing ostinatos!


----------



## Jay Panikkar

SyMTiK said:


> Appreciate the in depth response! I used 140 bpm in this example since that was around the tempo that DJ addressed in his video if i recall as having trouble getting a good sound out of with 16th notes, so thats why I used 140 to try and see if I could get a decent sound by playing with the different mic positions, tightness, and sections. it is a bit of an extreme example, but its more of a test of how fast the strings can still hold up. To my ears I thought HZ Strings sounded the best, I personally like the blur effect and I too think it sounds more realistic because of that. Albion One definitely has good definition but it is approaching "synth" sounding territory. My problem too with Hollywood Strings and Albion One is that though they sound certainly punchy, they lack some of the space around them (HS more so than Albion, Albion to me sounds close to HZ Strings just with less players) The space is what makes them sound huge imo.
> 
> Good suggestion too about writing ostinatos!


Your comparison is flawed.

You have 40 cellos spread out across the stereo field against sections with less than half that number of players in their specific stereo space. It would have been more accurate to use the 20 Cellos RHS from HZS.
The mics are not matched sonically and technically across the libraries you've used. You've used the Close mics with the brittle Mid mics for HS instead of the Main decca tree. Also these libraries are not recorded the same way, so you'd have to load additional mics in Albion and HS to sonically match the width of HZS.
If you're comparing dry libraries with wet libraries, you'll have to match the reverb applied to the dry libraries to the room in the wet libraries. In this case, HS is the driest of the three.
The dynamics are not matched across the libraries. If you use the same MIDI for libraries with vastly different specifications, you will trigger mismatched velocity layers. In this case, HS has 4 dynamic layers, which is definitely more than in Albion and HSZ. I'm doubtful if your choice of articulations are mismatched too.


----------



## SyMTiK

Jay Panikkar said:


> Your comparison is flawed.
> 
> You have 40 cellos spread out across the stereo field against sections with less than half that number of players in their specific stereo space. It would have been more accurate to use the 20 Cellos RHS from HZS.
> The mics are not matched sonically and technically across the libraries you've used. You've used the Close mics with the brittle Mid mics for HS instead of the Main decca tree. Also these libraries are not recorded the same way, so you'd have to load additional mics in Albion and HS to sonically match the width of HZS.
> If you're comparing dry libraries with wet libraries, you'll have to match the reverb applied to the dry libraries to the room in the wet libraries. In this case, HS is the driest of the three.
> The dynamics are not matched across the libraries. If you use the same MIDI for libraries with vastly different specifications, you will trigger mismatched velocity layers. In this case, HS has 4 dynamic layers, which is definitely more than in Albion and HSZ. I'm doubtful if your choice of articulations are mismatched too.



Valid points. Ill edit it when i get the chance. 

Sadly though i am using the Gold X version of HS so i only have the mid and close mics.


----------



## Daniel James

christianhenson said:


> Andy Gray (I don't think he's a member of VI-C) has been beta-ing the lib for a while and thought these may be useful as comparisons of size and bite... for me I can't wait to try SCS on top of HZS.... hmmm a new vid maybe? But these are very interesting, I do think there is a real sense of scale with HZS (which is a relief 'cos I saw the cheques Paul was cuttin'!):
> 
> Hans Zimmer 20 Cello Shorts Sound Comparison (Cello vs Cello)
> 
> 
> Hans Zimmer 60 Cello Shorts Sound Comparison (Cello vs Cello)
> 
> 
> ...and probably the most surprising:
> 
> Hans Zimmer 60 Cello Shorts Sound Comparison (Cello vs Ensemble)
> 
> 
> **EDIT** As I understand a bit of error on CineStrings above, Prodigalson has provided a more accurate comparison below....




Haha these kinds of comparisons are usually flawed because to be honest all string libraries sound kind of shit without messing with them for a bit. The cellos do stack up quite nicely against the others but of course they sound much wider, you recorded more of them. I did a similar vid showing the violins for you. I think out of them I like CSS Ark1 and maybe HZS 60 but you really have to be careful going fast (like others I hope for a short note expansion!) 

I tried to gain match a bit but I gave every library the same midi data and if they had it close and tree mics. (libraries all have different mic positions, there is no way to accurately compare that)



-DJ


----------



## Cinebient

I found that here and nice to see it can be played live also fast.
Of course it might sound not super tight but that is the nature of this library.


----------



## Rey

zimm83 said:


> You are right. But even in the official Spitfire walkthroughs, the legatos are really not as good as in the demo...... Don't understand.....



for me its still acceptable and still beautiful. Of course if they can share the demo id love to see how they do it. Slightly less impressive than SCS legatos. But hey I'm getting a versatile library.


----------



## Rey

Hi. I have 2 questions.
1) can we load the HZ strings sections to become ensemble-like. like say use the selection on the left(I know its for filter) but to load cellos+base. or violins and violas. or just the all the ensemble all-in one and play it all on the same keyboard in one instance/track? or do I need to open several instances of HZ Strings to do that?

2)what is the current latest version of HZ strings? mine is showing 1.0.3.

Thank you!


----------



## Sovereign

Rey said:


> 2)what is the current latest version of HZ strings? mine is showing 1.0.3.


1.0.3. is the latest, I'm wondering when the update is coming.


----------



## Paul Thomson

Smoke testing it now. (I learnt some new nomenclature this week! lol)

We'll push it most likely on Friday once we're sure we haven't broken anything else with the fix.

Thanks,

Paul


----------



## blougui

What about sharing the midi data Daniel ? Would like to put SSS and SCS to test.
Erik


----------



## Jaap

Cinebient said:


> I found that here and nice to see it can be played live also fast.
> Of course it might sound not super tight but that is the nature of this library.




Thank you for this and checked out also your other vids about this library (maybe you posted them, but then I missed them in all those threads), but very helpful to get a good idea! Thank you once again!


----------



## Cinebient

Jaap said:


> Thank you for this and checked out also your other vids about this library (maybe you posted them, but then I missed them in all those threads), but very helpful to get a good idea! Thank you once again!



These are not my videos. I just stumbled over this guy in you-tube and saw all his videos about HZ Strings.
I like to see someone use it live and see how it performs. And from what i see and hear it´s great so far.
I guess he must have a very powerful machine...


----------



## Jaap

Cinebient said:


> These are not my videos. I just stumbled over this guy in you-tube and saw all his videos about HZ Strings.
> I like to see someone use it live and see how it performs. And from what i see and hear it´s great so far.
> I guess he must have a very powerful machine...



Ah ok, but good find. I also liked it for the same reasons


----------



## Dale Turner

Goofy question:
Anyone else get the *BOOK*? I've only seen one person mention it, waaaay back, the date the library was released (he got it via FedEX, a week ago). I've not rec'd it (in Los Angeles). Just wondering.... It's the main reason I bought the library (*cough*).


----------



## D Halgren

Dale Turner said:


> Goofy question:
> Anyone else get the *BOOK*? I've only seen one person mention it, waaaay back, the date the library was released (he got it via FedEX, a week ago). I've not rec'd it (in Los Angeles). Just wondering.... It's the main reason I bought the library (*cough*).


I received FedEx confirmation that mine will be here tomorrow. I'm in Portland. I pre-ordered before the announcement was even done, if that matters.


----------



## Dale Turner

D Halgren said:


> I received FedEx confirmation that mine will be here tomorrow. I'm in Portland. I pre-ordered before the announcement was even done, if that matters.



Aaaah, cool  Thank you! Yes, I too ordered mine... 1st week of March, so I (hopefully) am in a similar boat. And all hail the great NW! (I'm originally from Seattle!)


----------



## Sovereign

Haven't received the book yet either. Do you get a shipping number from Spitfire?


----------



## Dale Turner

Sovereign said:


> Haven't received the book yet either. Do you get a shipping number from Spitfire?


Wild! Literally just got confirmation of "scheduled delivery." Supposed to roll in tomorrow. Hope you rec'd your notice as well, Sovereign!


----------



## SyMTiK

Paul Thomson said:


> Smoke testing it now. (I learnt some new nomenclature this week! lol)
> 
> We'll push it most likely on Friday once we're sure we haven't broken anything else with the fix.
> 
> Thanks,
> 
> Paul


Super excited for this! Bet its gonna sound great


----------



## Simon Ravn

Why do Spitfire libraries always download so insanely slow? I thought maybe with the new software it would improve, but no. Seems the servers are not up to it. Getting around 800 kb/sec - my connection is good for 10 mb/sec.


----------



## Daniel James

Paul Thomson said:


> Smoke testing it now. (I learnt some new nomenclature this week! lol)
> 
> We'll push it most likely on Friday once we're sure we haven't broken anything else with the fix.
> 
> Thanks,
> 
> Paul



Awesome thanks! is it just going to be legato fixes or will there be a patch notes going up with the release?

Regardless of all the drama, I am actually looking forward to putting the library to use.

-DJ


----------



## rlw

Tatu said:


> I bought these after watching Daniels first impressions stream and after reading quite a bit of discussion that surrounds this release, so I was well aware of what I was getting. It took ages to download it, but I finally managed to dive in to it a bit.
> 
> First of all, I think that these are the best sounding string samples I've come across and they suit my needs and preferences perfectly; the sound is both upclose and surprisingly intimate, yet wonderfully diffuse and massive. Included unusual articulations - especially when combined with fx - expand the sonic opportunities this library offers tremendously, ie. when writing more atmospheric background elements to your work.
> 
> The engine has some work to do, as I (and others as well) experienced some unexpected dropouts after loading more than 3 to 4 microphones, even though there were no apparent spikes in CPU or polyphony. Some of the legatos need some work and, for example, I think it would be a nice feature to have if my selected microphones would appear on the first "slide" of microphones, so it'd be easier to fool around with the balance (but that's just me). Gallery Cellos had some really nasty phasing issues and one odd bug was, that a long note would only play what seemed to be a release sample, when there was a tempo point at the very same grid position as the note start... (didn't look in to it, just moved the tempo point) But as a whole, I'd say this was a solid release of a whole new sample engine; very lean and responsive and I didn't see it neither heavy to handle nor resourse hungry (CPU & RAM) albeit those weird dropouts.
> 
> Here's some sordinos and some of the less usual articulations, such as col legno tratto and traveling tremolos.
> 
> 
> PS: Sits well with Mural (SSS)!



Very nicely done.


----------



## Pontus Rufelt

Paul Thomson said:


> Smoke testing it now. (I learnt some new nomenclature this week! lol)
> 
> We'll push it most likely on Friday once we're sure we haven't broken anything else with the fix.
> 
> Thanks,
> 
> Paul



Does this patch also address some of the performance issues on Windows 10?


----------



## rlw

Dale Turner said:


> Wild! Literally just got confirmation of "scheduled delivery." Supposed to roll in tomorrow. Hope you rec'd your notice as well, Sovereign!


I ordered my just the night before the release so not sure if I will get one or not but hoping since Spitfire showed the Book offer and my order was still handled as pre order.


----------



## Cinebient

I installed HZ Strings now on my mobile machine (MacBook Pro late 2013 with i7 quad 2.0GHz).
I had not much time yet but could test it a bit. First it sound glorious. Especially if you start to layer sections.
They glue so great together.
The performance seems good for my lame machine. I was able to play chords changes with 5 different mic on (i was on 256 buffer here) without dropouts and modulated the mic volumes via midi FX in Logic at the same time. Making them swelling in/out at different speeds.
At about 6-8 mic i had some drop outs but i could still record non live sessions if needed.
I also could load 4 instances with longs (and yes the legato is not good yet) and 2-3 mic on each and perform them live with some chords without a dropouts.
If the legatos get fixed and maybe some other minor things i will be quite happy with this.
A thing i find is that the dynamic layers slider and/or the transitions are not really smooth sometimes. I mean i´m a kind of purist for smooth transitions and if i hear the slightest volume jump or stepping in modulations etc. i go mad 
But it might be user fault.
First impression is really great and it´s an endless playground with all those mic settings to explore and experiment with them.
Indeed the install was very easy and fast (via HDD) and the new app is great.


----------



## windyweekend

I'm working on a pitch at the mo and I can at least get some of the shorts working on this even if not the longs. The Vb pizz bartoks were cruising at a substantial 300+MB, so I thought I'd load up the SSS Bartoks instead as these are pretty meaty and only a tenth of the size. I never thought I'd ever say SSS sounds 'small' until now. 300MB or not, it's staying in!


----------



## wbacer

rlw said:


> I ordered my just the night before the release so not sure if I will get one or not but hoping since Spitfire showed the Book offer and my order was still handled as pre order.


I also ordered mine the day before the release. Yesterday I emailed support on when to expect the book and this was their response, "The books are currently being shipped over the course of the next 2 weeks."


----------



## rlw

wbacer said:


> I also ordered mine the day before the release. Yesterday I emailed support on when to expect the book and this was their response, "The books are currently being shipped over the course of the next 2 weeks."


Thanks for letting me know. Look forward to the book also.


----------



## Dale Turner

rlw said:


> I ordered my just the night before the release so not sure if I will get one or not but hoping since Spitfire showed the Book offer and my order was still handled as pre order.



I see by the more recent messages that it looks like all is well--awesome! Just under the wire  I wonder if they're sending out FedEx confirmations in the order received? I guess we'll see! I iwll try to resist the urge to show my joy when mine arrives tomorrow, haha!


----------



## Will Wilson

star.keys said:


> Where is the fix for mic positions? I can't stand this nonsense anymore. I haven't been able to use this library for a single day because of a number of show stoppers that have been reported by a number or people including me. Please exhibit some responsibility and accountability.


----------



## Pontus Rufelt

star.keys said:


> Where is the fix for mic positions? I can't stand this nonsense anymore. I haven't been able to use this library for a single day because of a number of show stoppers that have been reported by a number or people including me. Please exhibit some responsibility and accountability.



One week later, still can’t use the library. Spitfire Support says there’s no ETA for an update.


----------



## madfloyd

Spitfire marketing just brought out Homay, been waiting for this...


----------



## blougui

Love Homay's writing.She never disapoints.


----------



## Jaap

@Spitfire Team - will the promotional offer period be extended as there is not an ETA yet as I understood on a patch/fix solving the performance and legato issues?
I have interest in this product, but seeing some of the issues addressed and with me running a similar system by those who reported it, it is holding me back at the moment.


----------



## SpitfireSupport

Hi all,

A quick update on progress for you. We'll be releasing an update on Monday 9th April that will contain some improvements to the legato performance along with a fix to the way automation data is displayed. We have further improvements to the legato that we expect to be able to release in due course. Improvements to the performance for Windows 10 users are also planned in a future update. Ben


----------



## windyweekend

SpitfireSupport said:


> Hi all,
> 
> A quick update on progress for you. We'll be releasing an update on Monday 9th April that will contain some improvements to the legato performance along with a fix to the way automation data is displayed. We have further improvements to the legato that we expect to be able to release in due course. Improvements to the performance for Windows 10 users are also planned in a future update. Ben


Fast movement for a company of your size. Really appreciate it! The sound of this library is really making everything else I own sound rather lame. Once you get through these teething problems it'll be a new bar tough for others to match.


----------



## Dale Turner

BOOK just arrived! And SMELLS GOOD, hahaha!


----------



## Craig Sharmat

Used HZS as my full strings on this as well as SF Brass, only OA chamber for 2 swells at the beginning. I generally don't do the "Zimmer" ostinato thing much but after all the uproar I thought I'd write a piece that shows the shorts can work well, and then there is the rest of the library...

https://www.dropbox.com/s/9ki9ybi2k65k2h5/On Edge.m4a?dl=0

btw on my Mac Pro I ran many instances no issues, computer ran extremely clean, that does not happen often in my studio.


----------



## quantum7

Craig Sharmat said:


> Used HZS as my full strings on this as well as SF Brass, only OA chamber for 2 swells at the beginning. I generally don't do the "Zimmer" ostinato thing much but after all the uproar I thought I'd write a piece that shows the shorts can work well, and then there is the rest of the library...
> 
> https://www.dropbox.com/s/9ki9ybi2k65k2h5/On Edge.m4a?dl=0
> 
> btw on my Mac Pro I ran many instances no issues, computer ran extremely clean, that does not happen often in my studio.



Cool track! It kind of reminds me of what a modern day Jean-Luc Ponty would write.


----------



## axb312

INTRO PRICE ENDS BEFORE ALL BUGS ARE FIXED?


----------



## yhomas

axb312 said:


> INTRO PRICE ENDS BEFORE ALL BUGS ARE FIXED?



I think it is pretty reasonable for the price to go up prior to the product getting appreciably better. Intro prices are very reasonably cheaper due to getting the v1.0 product. If you want the v2.0 product at the v1.0 price, buy before price increase, and hope for the best.


----------



## axb312

yhomas said:


> I think it is pretty reasonable for the price to go up prior to the product getting appreciably better. Intro prices are very reasonably cheaper due to getting the v1.0 product. If you want the v2.0 product at the v1.0 price, buy before price increase, and hope for the best.



If we were talking about a few minor bugs yes I'd agree. Mainly bothered with the legato myself. Spitfire will do what it wants regardless I guess.


----------



## MaxOctane

yhomas said:


> I think it is pretty reasonable for the price to go up prior to the product getting appreciably better. Intro prices are very reasonably cheaper due to getting the v1.0 product. If you want the v2.0 product at the v1.0 price, buy before price increase, and hope for the best.



Spitfire's early-bird pricing has never been about getting something cheaper because it may still have problems. It's an "Act now and save 25%!" deal. 

Put simply: the Spitfire brand is all about quality. It would be an act of good faith for them to extend the intro pricing by a week or whatever until these issues are resolved (even if it cuts into their next product cycle, the Los Angeles event in two weeks)


----------



## Craig Sharmat

On my Mac it is working great, yeah some patches can be tweaked but SF has been good about that. My slave is another Mac so I cannot vouch for Windows 10 performance.


----------



## Puzzlefactory

MaxOctane said:


> Spitfire's early-bird pricing has never been about getting something cheaper because it may still have problems. It's an "Act now and save 25%!" deal.
> 
> Put simply: the Spitfire brand is all about quality. It would be an act of good faith for them to extend the intro pricing by a week or whatever until these issues are resolved (even if it cuts into their next product cycle, the Los Angeles event in two weeks)



Christian said earlier in the thread (or another thread) that the early bird pricing WAS because of the possibilities of bugs in the first release.


----------



## procreative

Puzzlefactory said:


> Christian said earlier in the thread (or another thread) that the early bird pricing WAS because of the possibilities of bugs in the first release.



But they always offer an intro offer of a similar amount, this product is uniquely more risky as its using a new sample player. Ive got many of their libraries most bought on intro and dont remember this amount of heat.

It does remind me of the Play saga, some of the user base had no problems at all (mostly the ones with high spec systems and curiously opposed to the situation here, those using Macs had the most issues).

I am sure it will all come good, but after my experience with Hollywood Orchestral Woodwinds, never again will I buy on intro if I have any doubts over either the product or its performance.


----------



## Will Wilson

Bought it, even though I told myself I didn't really need to it, downloaded it, installed it, played it. Happy with it. Yeah some bugs to fix as have been mentioned with Legatos, but performance size I seem to be fine. Several instances with lots of mics and no issues. (i7 4770, 32GB RAM, Win 10 and Studio One 3)


----------



## Cinebient

After a few days i can say it‘s wonderful.
Would i buy it for 800?
Not with the broken legatos maybe.
Minor bugs are O.K. as long as they get fixed pretty fast. The legatos are just broken.
It‘s a major bug.
I‘m still happy to bought it at intro and think they will solve it.
But that they said there will be a fix for the lagatos and more fixes will follow seems that it‘s something which could take way beyond the intro phase.
But so far the legatos are the only thing i would call a major bug for me.


----------



## Cinebient

To add something to this....i just played with HZ a bit and tried to see what happens when i go trough all single mic with the 60 cellos legato f.e.
I wonder that a lot mic doesn´t even make a sound, also if they are not grayed out.
Maybe the volume/dynamic jumps are because of missing samples?
Strange is that the only the close at low dynamics seems to work fine so far f.e.
I hope it´s nothing with the samples itself since i doubt they record them new for a bug fix


----------



## zimm83

Cinebient said:


> After a few days i can say it‘s wonderful.
> Would i buy it for 800?
> Not with the broken legatos maybe.
> Minor bugs are O.K. as long as they get fixed pretty fast. The legatos are just broken.
> It‘s a major bug.
> I‘m still happy to bought it at intro and think they will solve it.
> But that they said there will be a fix for the lagatos and more fixes will follow seems that it‘s something which could take way beyond the intro phase.
> But so far the legatos are the only thing i would call a major bug for me.



Such a great product with invisible legatos......not for me...no sluring legato lines....


----------



## Cinebient

I also see with some (not grayed out mics) it seems to load something into the RAM but it doesn´t trigger any sound/sample.
Like i said i really love it but it seems a bit more beta testing would be needed.
Sorry if that sounds harsh (i´m totally unbiased here) but it looks it´s more than a "slipped in" minor bug in this case.
Might be user fault or it is supposed to not trigger samples in all mics, even if they are not grayed out for certain articulations. If that is really a bug i wonder since it´s easy to hear (or not hear) if you go trough all mic one by one which is something you sure do when testing...or?
I still love it, so it´s just my 2 worthless cents here from a non-pro.


----------



## Cinebient

O.k. did someone tried the same yet?
Like i said f.e. the 60 cellos i can use all of the 26 single mic in all articulations. Only when i use the legato it seems really that about half of the mic doesn´t do anything. So here might be something wrong for sure.
So f.e. these mics are not working here: close L, close C, close R, spot L1, spot L2, spot L3, spot L4, spot C1, spot C2 and spot C3. They all work in the other articulations but not with the legato.
The other mics seems to works also with the legato.
So if the first mics use a combination of the other single mics it would explain the jumps, drop outs. I might be wrong here.


----------



## windyweekend

I just finished up the last scenes on a score I've been working last week, but after layering in a couple of the 'Tense' arts just for the hell of it I've now spent the whole weekend replacing all of my Symphonic strings with HZ strings throughout. I thought it sounded good before, but now it's in a different league. This was so worth the money, legatos or no legatos. Even with the bugs as shipped, it's an insanely awesome sounding library. I keep reminding myself that if Spitfire had released this with the old Mural pricing model with all these mics, it would have cost three times this price (and probably still been worth it). 

I never thought I'd see the day that I only used SSS as an Ensemble patching tool, but this might be it...


----------



## YFM

Here is a practical high-end demo of Hans Zimmer Strings when used within the context of an iconic or "epic" Hans Zimmer composition. I've found endless posts of people claiming that creating that "epic" feel is not possible and to look elsewhere. That is wrong. I have every single flagship strings library, none of them can do what this library can.



I'm going to be posting another demo, this time of "Stretcher Carry" from dunkirk, using this library in the coming days.


----------



## Puzzlefactory

YFM said:


> Here is a practical high-end demo of Hans Zimmer Strings when used within the context of an iconic or "epic" Hans Zimmer composition. I've found endless posts of people claiming that creating that "epic" feel is not possible and to look elsewhere. That is wrong. I have every single flagship strings library, none of them can do what this library can.
> 
> 
> 
> I'm going to be posting another demo, this time of "Stretcher Carry" from dunkirk, using this library in the coming days.





Would love to see a walkthrough video of this piece.


----------



## ism

Puzzlefactory said:


> Would love to see a walkthrough video of this piece.


+1


----------



## windyweekend

YFM said:


> Here is a practical high-end demo of Hans Zimmer Strings when used within the context of an iconic or "epic" Hans Zimmer composition. I've found endless posts of people claiming that creating that "epic" feel is not possible and to look elsewhere. That is wrong. I have every single flagship strings library, none of them can do what this library can.
> 
> I'm going to be posting another demo, this time of "Stretcher Carry" from dunkirk, using this library in the coming days.


Beautifully done. Kind of settles that argument.


----------



## muziksculp

YFM said:


> Here is a practical high-end demo of Hans Zimmer Strings when used within the context of an iconic or "epic" Hans Zimmer composition. I've found endless posts of people claiming that creating that "epic" feel is not possible and to look elsewhere. That is wrong. I have every single flagship strings library, none of them can do what this library can.
> 
> 
> 
> I'm going to be posting another demo, this time of "Stretcher Carry" from dunkirk, using this library in the coming days.




Sounds Very Epic to me !

Very nicely done. The best HZ-String demo I heard so far. Would love to hear more demos like this of HZ-Strings.


----------



## Saxer

Great work! Sounds really impressive!


----------



## ism

YFM said:


> Here is a practical high-end demo of Hans Zimmer Strings when used within the context of an iconic or "epic" Hans Zimmer composition. I've found endless posts of people claiming that creating that "epic" feel is not possible and to look elsewhere. That is wrong. I have every single flagship strings library, none of them can do what this library can.
> 
> 
> 
> I'm going to be posting another demo, this time of "Stretcher Carry" from dunkirk, using this library in the coming days.





Fabulous demo. Fits with my gut reaction, from hearing the first notes made with the library, that it’s a library that was more about bringing a sense of enormity, or emotional depth to the ‘epic’ as opposed to simple cranking up the bombast dial (although I think I hear unrealized potential for bombast latent in the library also), although it’s taken a while to find the right words to describe that gut feeling.

Can’t wait to hear your Dunkirk demo.


----------



## Daniel James

YFM said:


> Here is a practical high-end demo of Hans Zimmer Strings when used within the context of an iconic or "epic" Hans Zimmer composition. I've found endless posts of people claiming that creating that "epic" feel is not possible and to look elsewhere. That is wrong. I have every single flagship strings library, none of them can do what this library can.
> 
> 
> 
> I'm going to be posting another demo, this time of "Stretcher Carry" from dunkirk, using this library in the coming days.




I get what you are trying to say there but no one claimed it _cant_ go big and Zimmery. Just that its not any moreso than any other string library. Its a great sounding library for sure and can go places. Just be careful when you state that someone is saying something when they are not. Thats how the loop repeats.



YFM said:


> That is wrong. I have every single flagship strings library, none of them can do what this library can.



Yes they can (including many other SF Strings!), but alas a discussion for another day.


Nice recreation though

-DJ


----------



## robgb

YFM said:


> Here is a practical high-end demo of Hans Zimmer Strings when used within the context of an iconic or "epic" Hans Zimmer composition. I've found endless posts of people claiming that creating that "epic" feel is not possible and to look elsewhere. That is wrong. I have every single flagship strings library, none of them can do what this library can.
> 
> I'm going to be posting another demo, this time of "Stretcher Carry" from dunkirk, using this library in the coming days.



First, I have to say this is a wonderful demo. Great job. But I also have to say that you could get this kind of thing from a lot of different libraries. I didn't hear anything spectacularly must-have in that piece. I look forward to hearing more.


----------



## Puzzlefactory

The point of the piece is to show the library doing epic. 

So of course there are other libraries that can do the same.


----------



## procreative

Firstly superb mockup. It does prove HZS can sound excellent. But epic?

Depends on the definition, I would agree this piece has an "epic" nature as it creates a wide soundscape much like Jean Michel Jarre did in Oxygene 1-4.

But the ostinatos playing in this are very feathery (as in the original).

Most of those complaining (that own it and I don't so cannot really do so) are saying you cannot get the more vigorous shorts SOME of HZ's work used. This piece does not dispel that feeling, even though it does "feel" epic.


----------



## Daniel James

Puzzlefactory said:


> The point of the piece is to show the library doing epic.
> 
> So of course there are other libraries that can do the same.



Well.... "I have every single flagship strings library, none of them can do what this library can." suggests that he was saying that is untrue. But again thats what I was saying about making statements like that which are worth talking about risk starting the loop again.

-DJ


----------



## ism

There’s an interesting question at play here. 

So, It’s probably true to a point, for instance, that anything that you can do with Tundra strings you can also do perfectly well with the SSS (via the flautandos and such). But as someone who was had been longing to write like Arvo Part for years, when I hear all the subtly different articulations in Tundra I just hear a completely different emotional language unfolding. I understand, and respect, that many people, perhaps most people, just don’t need so many different colours of sul Tasto, but you’ll pry the emotional language of this pallet of articulations - including the LCO sul tastos and the OA chamber evos and some of the pp layers of JB and Bohemian solo strings and so on - from my cold, dead ...we’ll not to overdramatize, but I really do love the way that this palette lets me think about composition in a completely new (to me) emotional language of such depth of texture. 


And yet, I’ll admit That my actual compositions to date, I don’t feel yet that l have anything more that the tiniest, most tentative fragment of success in creating compositions that do justice to the possibilities of this emotional language. It’s a language that I can sense, but not yet fully express. And I expect to be exploring this for years to come. It's probably even true that you could more or less swap SSS articulation for Tundra arts in these compositions and 90% of listeners would’t notice much difference. 

And yet:

a) just because a listener doesn’t consciously notice a difference doesn’t mean there isn’t a difference, and 

b) just because I write compositions with Tundra that don’t go obviously push beyond what could, more or less, have been done with SSS doesn’t mean that I‘m not in the process of discovering how to compose in this newly available (to me) emotional language in a way that will eventually push into territory that could never have been realized in SSS alone. 


Forgive me if this isn’t appropriate for a commercial threat. But I do find these emerging demos of HZS and the debates around them fascinating (when kept respectfully). And in them I really think I hear something wholly new.

To be clear, I’m just using my experience it’s tundra as an example.While there are interesting and surprising affinities with Tundra, - the emotional language I’m hearing in HZS demos has nothing to do with the emotional language I hear in Tundra. Insofar as I can even articulate it, It’s a language of the epic, or a particular colour of the epic, complete different from what I love about Tundra. And very different from what I hear in demos to other ‘epic’ libraries.


I don’t have enough experience with other epic libraries to have an opinion on whether or not any of them do more or less do the same thing as what I hear in HZS. But having listened to an awful lot of demos from an awful lot of libraries, I do think I hear not just a slightly different texture, but a wholly new emotional language in these sounds. 

And (when it’s kept respectful), I’m really enjoying the discussion of all the different worlds different people are hearing in the library. 

Keep the demos coming!


----------



## muziksculp

Given that HZ-Strings don't offer a healthy variety of short articulations, what would be the problem of using other libraries for the shorter articulations, maybe layered with a lower volume layer of the HZ-Strings Shorts ? or maybe without them ? would the shorts from SA : SCS, SSS, or other libraries clash with the other sounds of HZ-Strings ? 

It would be interesting to hear a demo of mostly HZ-Strings, using short articulations from other libraries, to see how well they work together.


----------



## jononotbono

YFM said:


> Here is a practical high-end demo of Hans Zimmer Strings when used within the context of an iconic or "epic" Hans Zimmer composition. I've found endless posts of people claiming that creating that "epic" feel is not possible and to look elsewhere. That is wrong. I have every single flagship strings library, none of them can do what this library can.
> 
> 
> 
> I'm going to be posting another demo, this time of "Stretcher Carry" from dunkirk, using this library in the coming days.




Absolutely loving this!


----------



## mac

I've heard a *lot* of CdS reworks, and none have had strings sounding that good (or the whole thing for that matter). Either you're a midi master, or HZS really does have some secret sauce!


----------



## muziksculp

What does 'CdS' stand for ?


----------



## MaxOctane

YFM said:


> Here is a practical high-end demo of Hans Zimmer Strings when used within the context of an iconic or "epic" Hans Zimmer composition. I've found endless posts of people claiming that creating that "epic" feel is not possible and to look elsewhere. That is wrong. I have every single flagship strings library, none of them can do what this library can.



@YFM could you share more of your experience, and what you're finding so unique?


----------



## prodigalson

Share the MIDI, someone will mock it up with SSS and we'll see just what the differences are.


----------



## davidgary73

YFM said:


> Here is a practical high-end demo of Hans Zimmer Strings when used within the context of an iconic or "epic" Hans Zimmer composition. I've found endless posts of people claiming that creating that "epic" feel is not possible and to look elsewhere. That is wrong. I have every single flagship strings library, none of them can do what this library can.



According to a youtube video

Da Vincci Code was recorded with 60 players hence saying none of other libraries can do is kinda out of place and “ONLY” HZS can.

Epic, nah..not at all..just BIG but good BIG 

Perhaps you can do a faster pace track like this:


----------



## YFM

davidgary73 said:


> According to a youtube video, Da Vincci Code was recorded with 60 players hence saying none of other libraries can do is kinda out of place and “ONLY” HZS can.
> 
> Epic, nah..not at all..just BIG but good BIG



A recording of 60 Violins in one library isn't equal to another - lol. Recording quality (types of mics, placement, the players, etc) and sampler programming matters. Some libraries sound thin and flat, and others sound full and well rounded.

When I said this library can do what most of the others can't, I'm saying it was deployed with several special "long" articulations that can be used for sound design and for audio manipulation. You have really good, tight short articulations (use the "tight" knob to your liking), and you have an insane amount of mic positions to mix from. I can't say it enough: sound design is a major part of the atmosphere and tone of his music. Most people I've heard from who want "his sound" ignorantly disregard it to their own peril.

Quite frankly, almost every public string library sounds vaguely like shit, and are deployed with most of the same problems DJ pointed out and sometimes much worse in some way or the other - I'm not satisfied with any of them. This one just sucks a lot less -- and I am confident further iterations of the library through updates will resolve the simple technical problem around legato but I've found a work-around. How long has Hollywood Strings been around? And it still sounds pathetic. The only library competitive with this one right now for me is SSS.



davidgary73 said:


> Perhaps you can do a faster pace track like Arcade



I wrote a demo of that track a while back with other libraries, I very well could rework it for HZ Strings. We'll see after my dunkirk project.


----------



## D Halgren

YFM said:


> A recording of 60 Violins in one library isn't equal to another - lol. Recording quality (types of mics, placement, the players, etc) and sampler programming matters. Some libraries sound thin and flat, and others sound full and well rounded.
> 
> When I said this library can do what most of the others can't, I'm saying it was deployed with several special "long" articulations that can be used for sound design and for audio manipulation. You have really good, tight short articulations (use the "tight" knob to your liking), and you have an insane amount of mic positions to mix from. I can't say it enough: sound design is a major part of the atmosphere and tone of his music. Most people I've heard from who want "his sound" ignorantly disregard it to their own peril.
> 
> Quite frankly, almost every public string library sounds vaguely like shit, and are deployed with most of the same problems DJ pointed out and sometimes much worse in some way or the other - I'm not satisfied with any of them. This one just sucks a lot less -- and I am confident further iterations of the library through updates will resolve the simple technical problem around legato but I've found a work-around. How long has Hollywood Strings been around? And it still sounds pathetic. The only library competitive with this one right now for me is SSS.
> 
> 
> 
> I wrote a demo of that track a while back with other libraries, I very well could rework it for HZ Strings. We'll see after my dunkirk project.


Can you expound on the legato work around? It would be much appreciated!


----------



## davidgary73

YFM said:


> I wrote a demo of that track a while back with other libraries, I very well could rework it for HZ Strings. We'll see after my dunkirk project.


Could you kindly reworking Arcade with HZ Strings first and Dunkirk later? I think we all are waiting for a faster pace track than all of the demos posted here. This will really help us to make our decision to buy or not to buy in the next 2 days.


----------



## lp59burst

YFM said:


> Here is a practical high-end demo of Hans Zimmer Strings when used within the context of an iconic or "epic" Hans Zimmer composition. I've found endless posts of people claiming that creating that "epic" feel is not possible and to look elsewhere. That is wrong. I have every single flagship strings library, none of them can do what this library can.
> 
> 
> 
> I'm going to be posting another demo, this time of "Stretcher Carry" from dunkirk, using this library in the coming days.



Wow... new guy drops one of the best, most polished, demo's I've seen here on VI-C in quite some time and on his first post no less... 

MrZ is that you...?   

Seriously though... really top shelf work... welcome to VI-C...


----------



## MaxOctane

lp59burst said:


> Wow... new guy drops one of the best, most polished, demo's I've seen here on VI-C in quite some time and on his first post no less...
> 
> MrZ is that you...?
> 
> Seriously though... really top shelf work... welcome to VI-C...



Welcome, YFM! I just checked out some of your youtube videos. Years of great work there!

https://www.youtube.com/user/Yourfavoratemusic/videos


----------



## lp59burst

MaxOctane said:


> Welcome, YFM! I just checked out some of your youtube videos. Years of great work there!
> 
> https://www.youtube.com/user/Yourfavoratemusic/videos


You mean this _isn't_ the center of the known musical universe... 

I really need to get out more...


----------



## ism

davidgary73 said:


> Epic, nah..not at all..just BIG but good BIG



Admittedly, at a technical level, I know more about the concept of epic in literature than in music, but there clearly some interesting nuances to people’s understanding of just what counts as ‘epic’ here that I hadn’t appreciated before.


----------



## Jaap

muziksculp said:


> What does 'CdS' stand for ?



The name of the piece: Chevaliers de Sangreal


----------



## CT

davidgary73 said:


> Da Vincci Code was recorded with 60 players



I believe it was in the 80's, actually. Plus overdubs for the shorts.


----------



## YFM

davidgary73 said:


> According to a youtube video
> 
> Da Vincci Code was recorded with 60 players hence saying none of other libraries can do is kinda out of place and “ONLY” HZS can.
> 
> Epic, nah..not at all..just BIG but good BIG
> 
> Perhaps you can do a faster pace track like this:




I'll do you one better.


Super quick, raw mix of the ostinati/short strings stem from "Like A Dog Chasing Cars". This is pretty much "out of the box" sound.



It does handle shorts well, and with some elbow grease you can turn that into a great sounding fully orchestrated track.


----------



## MaxOctane

YFM said:


> It does handle shorts well, and with some elbow grease you can turn that into a great sounding fully orchestrated track.




You rock!





Now... could you swap out HSZ for SSS?


----------



## muziksculp

Jaap said:


> The name of the piece: Chevaliers de Sangreal



Thanks


----------



## mac

muziksculp said:


> Thanks



Sorry, yeah @Jaap's right. I was trying to save myself 1.3 seconds rather than typing the full title. I'd have spelt it wrong anyway


----------



## MaxOctane

Ok, here's my attempt at @YFM's mockup, but using *Spitfire Symphonic Strings*.

The opening shorts could be made crisper. Maybe I'll tweak tomorrow.


----------



## N.Caffrey

MaxOctane said:


> Ok, here's my attempt at @YFM's mockup, but using *Spitfire Symphonic Strings*.
> 
> The opening shorts could be made crisper. Maybe I'll tweak tomorrow.



I think they lack a bit of bite. Have you worked on the dynamics? HZS sounds much closer to the real one, but I think you might get closer too if you work on it.


----------



## mac

MaxOctane said:


> Ok, here's my attempt at @YFM's mockup, but using *Spitfire Symphonic Strings*.
> 
> The opening shorts could be made crisper. Maybe I'll tweak tomorrow.




Sounds good, but I don't think we can get a real comparison unless @YFM does the same mockup with a different library, due to their mix, and programming skills.


----------



## N.Caffrey

One thing is certain, HZS sounds REALLY good.


----------



## MaxOctane

N.Caffrey said:


> I think they lack a bit of bite. Have you worked on the dynamics? HZS sounds much closer to the real one, but I think you might get closer too if you work on it.



I re-uploaded with a bit more on the dynamics. Still not same bite or clarity as HZS. Hard to get good separation on the spiccatos. I tried Time Machine but sounded weird.

I guess the question is whether the difference is worth the additional $600 + 200GB for SSS owners.


----------



## Tatu

Nice work @YFM !!

@SpitfireSupport any news/ETA on the update?


----------



## germancomponist

YFM said:


> I'll do you one better.
> 
> 
> Super quick, raw mix of the ostinati/short strings stem from "Like A Dog Chasing Cars". This is pretty much "out of the box" sound.
> 
> 
> 
> It does handle shorts well, and with some elbow grease you can turn that into a great sounding fully orchestrated track.



Another great example of a very goooood sound! Yeah, as I have told many times, when I hear or read the name "Hans Zimmer" my first thought and association is "sound".

I wonder why many people do not get it here in this example. Maybe they have not a well treated room, no best speakers or ears to hear the different?


----------



## Fry777

YFM said:


> It does handle shorts well, and with some elbow grease you can turn that into a great sounding fully orchestrated track.



@YFM Excellent demo 
Did you use any "tricks" to get to this result ? Would it be too much to ask for the midi file ?


----------



## N.Caffrey

tehreal said:


> Another option is to wait for Adventure Strings to go on sale again and layer in their spiccatos. They have bite for days and they're quite dry out of the box. Plus I doubt that HZS (or SSS for that matter) could play as fast:



This is a Commercial Announcements thread, I think it'd be polite towards the developer to post that somewhere else.


----------



## tehreal

N.Caffrey said:


> This is a Commercial Announcements thread, I think it'd be polite towards the developer to post that somewhere else.



Yeah, good point. No offense intended. I've deleted it. Sorry y'all!


----------



## YFM

Fry777 said:


> @YFM Excellent demo
> Did you use any "tricks" to get to this result ? Would it be too much to ask for the midi file ?


Just used the "left" and "right" panned celli shorts presets, Violin shorts, Bass shorts, and used close-ish mics. Nothing more than that


----------



## SpitfireSupport

Hi all,

Hans Zimmer Strings 1.0.4 is now available. You will need to update the Spitfire Audio App to install it once you receive the update email (rolling out over the next 2 hours)

-Parameter values in the DAW now more closely reflect the values in the UI (for example as percentages, dB, panning position, rather than 0-1)
-Fix glitches in legato intervals caused by non-gain envelopes recycling voices
-Fix level mismatch in 60 Violins Legato Minor 2nd intervals caused by an error in the Dynamics control modulation

Further improvements to the legato performance are expected in a future update

Improvements to the performance on Windows 10 are expected in a future update


----------



## rpaillot

Daniel James said:


> Pre-Ordered! Looking forward to seeing what its all about.
> 
> -DJ



So finally what do you think of HZ strings?

ps : just kiddin''


----------



## prodigalson

SpitfireSupport said:


> Hi all,
> 
> Hans Zimmer Strings 1.0.4 is now available. You will need to update the Spitfire Audio App to install it once you receive the update email (rolling out over the next 2 hours)
> 
> -Parameter values in the DAW now more closely reflect the values in the UI (for example as percentages, dB, panning position, rather than 0-1)
> -Fix glitches in legato intervals caused by non-gain envelopes recycling voices
> -Fix level mismatch in 60 Violins Legato Minor 2nd intervals caused by an error in the Dynamics control modulation
> 
> Further improvements to the legato performance are expected in a future update
> 
> Improvements to the performance on Windows 10 are expected in a future update



Hi, just updated and it looks like the only preset available now is the legato preset. I followed the instructions as normal to update into the folder CONTAINING the HZ Strings Library not the Library folder itself but it looks like it still unpacked the presets incorrectly? I now have two folders of presets, v1.0.3 and v1.0.4 and the plugin is only accessing the v.1.0.4. Should I simply merge these folders?


----------



## Sovereign

SpitfireSupport said:


> Hi all,
> 
> Hans Zimmer Strings 1.0.4 is now available. You will need to update the Spitfire Audio App to install it once you receive the update email (rolling out over the next 2 hours)
> 
> -Parameter values in the DAW now more closely reflect the values in the UI (for example as percentages, dB, panning position, rather than 0-1)
> -Fix glitches in legato intervals caused by non-gain envelopes recycling voices
> -Fix level mismatch in 60 Violins Legato Minor 2nd intervals caused by an error in the Dynamics control modulation
> 
> Further improvements to the legato performance are expected in a future update
> 
> Improvements to the performance on Windows 10 are expected in a future update


Just installed it. The legato problems with the violas (20 violas wide patch) were not resolved with this update. Is that correct?

The cello legatos are sounding awesome, especially the smaller ensembles. The larger patch is not as always as responsive for faster playing, perhaps you guys can tighten this up a bit or provide some sort of slider in the future?

For the large vlns legato patch there's still a discontinuity in volume when you play with the mod wheel all the way up. The starting notes are louder than the transitions.


----------



## SyMTiK

Just installed the update, I just checked the violins and cello legato but it seems to be working correctly now.

Also, as a suggestion for a future update, can it please be made possible to link multiple paramaters to the same CC? For instance being able to link both dynamics AND vibrato to the mod wheel at the same time. It seems right now that you can only link one parameter at a time. I know it was possible in Albion and for the most part i tend to like having vibrato and dynamics linked to the mod wheel together. 

Just a suggestion, thanks for the quick fix on the legatos!


----------



## axb312

YFM said:


> I'll do you one better.
> 
> 
> Super quick, raw mix of the ostinati/short strings stem from "Like A Dog Chasing Cars". This is pretty much "out of the box" sound.
> 
> 
> 
> It does handle shorts well, and with some elbow grease you can turn that into a great sounding fully orchestrated track.




Possibly do a video on this?


----------



## bvaughn0402

@SpitfireSupport any news on Christian/Oliver MIDI files?


----------



## Will Wilson

New version of the Spitfire Audio App triggers Windows Defender Smart Screen.


----------



## lucky909091

Will Wilson said:


> New version of the Spitfire Audio App triggers Windows Defender Smart Screen.



You have to ignore it and carry on. You will be rewarded with a new downloader and a very good (first) update of "Hans Zimmer Strings".


----------



## Fry777

Anyone willing to record a legato line from the violins and cellos after having updated the lib' ?


----------



## Cinebient

Update was easy but i still miss half of the mic in the legato patch where all other articulations works fine.
Why do half of the mic (i mentioned before) not trigger any sound with the legato patches?
So legato is still very broken in general.


----------



## D Halgren

Cinebient said:


> Update was easy but i still miss half of the mic in the legato patch where all other articulations works fine.
> Why do half of the mic (i mentioned before) not trigger any sound with the legato patches?
> So legato is still very broken in general.


Is it all instrument legatos? Have you contacted support? I will check when I get into the studio later.


----------



## Cinebient

D Halgren said:


> Is it all instrument legatos? Have you contacted support? I will check when I get into the studio later.



It might be user fault. I loaded f.e. the all in one 60 cellos and all mic are available in all articulations beside the legatos. But they are not grayed out.
But if i now load only the legato then i see the mics are grayed out. A bit confusing.
So i don´t know exactly what is a bug or not.
Yes, i begin to see the inconsistence in the GUI a bit.
The legatos are also not quite right while playing.
That said, i still love it in general.


----------



## jesus100

Hello, is it now updated to have two folders of presets version 1.03 and also version 1.04? because now the library is going much worse for me, now in the stacatos the sound is also cut


----------



## jesus100

the sustain is also cut, it has become unusable


----------



## jesus100

I have: intel core i7 8700K 3.70GHZ , Gigabyte Z370 HD3P Intel 1151 DDR PCX3, 64 Gigas ram and SSD disk


----------



## D Halgren

Cinebient said:


> It might be user fault. I loaded f.e. the all in one 60 cellos and all mic are available in all articulations beside the legatos. But they are not grayed out.
> But if i now load only the legato then i see the mics are grayed out. A bit confusing.
> So i don´t know exactly what is a bug or not.
> Yes, i begin to see the inconsistence in the GUI a bit.
> The legatos are also not quite right while playing.
> That said, i still love it in general.


Can confirm that legato has unused mics that are not greyed out. Mainly the riser and the spots, although oddly there are Spot R's available, but no left or center, even though it's the center all in one.

This is on the 60 Cellos All in One.


----------



## D Halgren

jesus100 said:


> Hello, is it now updated to have two folders of presets version 1.03 and also version 1.04? because now the library is going much worse for me, now in the stacatos the sound is also cut


I talked to support and the folders are both supposed to be there, not merged. Are you talking about violins, cellos, or everything as far as your problems?


----------



## jesus100

D Halgren said:


> I talked to support and the folders are both supposed to be there, not merged. Are you talking about violins, cellos, or everything as far as your problems?


Yes, I have sent you an email, I have put it here in case you saw it faster, or in case someone else happens the same as me, the problems are in the whole library now, violins, violas, cellos and bases, in stacatos, long and legatos, in soft joints works well


----------



## D Halgren

jesus100 said:


> Yes, I have sent you an email, I have put it here in case you saw it faster, or in case someone else happens the same as me, the problems are in the whole library now, violins, violas, cellos and bases, in stacatos, long and legatos, in soft joints works well


I don't work for Spitfire, although with all the jetset perks I would love to. Just trying to help. I'm not having any of those problems. I hope they get you sorted quickly.


----------



## jesus100

D Halgren said:


> I don't work for Spitfire, although with all the jetset perks I would love to. Just trying to help. I'm not having any of those problems. I hope they get you sorted quickly.


Thanks D Halgren


----------



## Pontus Rufelt

jesus100 said:


> the sustain is also cut, it has become unusable



You're not alone man, there's quite a few of us that are having show-stopping performance issues with the HZ Strings plugin. I've tried pretty much anything possible to resolve the issues on my end with no success and Spitfire only says that an update is coming in the future. Quite frustrating when all other plugins work well.


----------



## artomatic

Pontus Rufelt said:


> You're not alone man, there's quite a few of us that are having show-stopping performance issues with the HZ Strings plugin. I've tried pretty much anything possible to resolve the issues on my end with no success and Spitfire only says that an update is coming in the future. Quite frustrating when all other plugins work well.



Did you know there was an update posted today?


----------



## Living Fossil

germancomponist said:


> I wonder why many people do not get it here in this example. Maybe they have not a well treated room, no best speakers or ears to hear the different?



No offense, but statements like this aren't helpful (nor accurate).
In that given example, some parts sound gorgeous (the first 15 seconds e.g.), some not that much (around 18 sec).

I guess this library can really shine, when used properly as an addition to other string libraries.
But from listening to lots of demos my impression is that in order to make sound HZS great, it's abolutely mandatory to know quite exactly which parts to play with HZS, but also to know which parts _not_ to play with them.

Many things (and sounds) are best when they are reserved for special moments.
(have a look at Mahler's use of the tuba - or much less extreme: the piccolo flute - in "Das Lied von der Erde").


----------



## NoamL

YFM said:


> I have every single flagship strings library, none of them can do what this library can.





YFM said:


> Quite frankly, almost every public string library sounds vaguely like shit



Out of respect for the developer & this being the Commercial Announcements forum I responded to you here in the Sample Talk forum


----------



## robgb

MaxOctane said:


> Ok, here's my attempt at @YFM's mockup, but using *Spitfire Symphonic Strings*.
> 
> The opening shorts could be made crisper. Maybe I'll tweak tomorrow.



I like this one better. It sounds more "real" if that's the desire. Less like a synth track.


----------



## YFM

robgb said:


> I like this one better. It sounds more "real" if that's the desire. Less like a synth track.


There were no synths in that track, and I don't even know how you could get that impression - lol.


----------



## robgb

YFM said:


> There were no synths in that track, and I don't even know how you could get that impression - lol.


I didn't say there were. But the problem with all those strings at once is that they sound like a strings pad. Synthy.


----------



## YFM

robgb said:


> I didn't say there were. But the problem with all those strings at once is that they sound like a strings pad. Synthy.


Well I guess you are entitled to your own opinion. It's a raw string stem. This is how they sound, squeaks and all. If you seriously think after mixing that it sounds like a string pad then perhaps this library isn't for you.


----------



## axb312

April 11th. End of intro price period boys and girls. I will wait till black Friday or so to see if the promised updates come. No way this library is worth 800 USD either way imo. Good to see the demos are improving as people get more familiar with library and learn how to tweak it. Disappointing that that's even necessary. Was really looking forward to picking this up.


----------



## muziksculp

axb312 said:


> April 11th. End of intro price period boys and girls. I will wait till black Friday or so to see if the promised updates come. No way this library is worth 800 USD either way imo. Good to see the demos are improving as people get more familiar with library and learn how to tweak it. Disappointing that that's even necessary. Was really looking forward to picking this up.



They might have decided to extend the Intro Price deadline of April 11th, since it is no longer posted on their webpage, and they would usually email their customers to inform them about the end of an Intro Pricing, but I have not received any email from them informing me of that. (which is a good sign)


----------



## GrammarNazi

​"Hans Zimmer has revolutionized music production for film with his innovative approach to sampling and recording."

"For this library we've adopted his groundbreaking approach and have taken it to another level."

With Love,

-The Grammar Nazi-


----------



## Jay Panikkar

GrammarNazi said:


> "Hans Zimmer has revolutionized music production for film with his innovative approach to sampling and recording."
> 
> "For this library we've adopted his groundbreaking approach and have taken it to another level."
> 
> With Love,
> 
> -The Grammar Nazi-


Grammar Nazi fail. "Revolutionised" is the correct British spelling. Spitfire is a British company.


----------



## Puzzlefactory

God I hate it when my phone/computer tries to change my spelling to the American version.


----------



## robgb

Puzzlefactory said:


> God I hate it when my phone/computer tries to change my spelling to the American version.


Well we did win the war...


----------



## Sovereign

robgb said:


> I didn't say there were. But the problem with all those strings at once is that they sound like a strings pad. Synthy.


Nope, doesn't sound synthy at all. Get better speakers.  The SSS version does not come close to the original as far as I'm concerned, the HZS version most certainly does.


----------



## fretti

Sovereign said:


> Nope, doesn't sound synthy at all. Get better speakers.  The SSS version does not come close to the original as far as I'm concerned, the HZS version most certainly does.


I'd say it kind of gets a synth-sound, but it is probably just our ears, as most of us never heard 60 violins playing at once live...also I think that the monster low from Cinebrass Pro tend to sound synth like; but again, probably just our ears, brain (or whatever is responsible here, no expert on these fields), but obviously it sounds like that in the real world if different instruments get stacked... just look at the difference of 1 vs 12 horn(s)


----------



## robgb

Sovereign said:


> Nope, doesn't sound synthy at all. Get better speakers.  The SSS version does not come close to the original as far as I'm concerned, the HZS version most certainly does.


I can only tell you what I hear, not what you hear.


----------



## Mike Fox

robgb said:


> I can only tell you what I hear, not what you hear.


I do agree that it can sound synthy. That was actually one of the first things I noticed. It probably is due to the amount of players.


----------



## Oliver

i really love the spitfire libraries (i own several and love them), but HZS really sounds synthy to me. havent heard a really convincing demo yet...


----------



## rlw

Even a live orchestra can sound like an organ or synth if not orchestrated properly. The danger of HZ Strings is to go full throttle, in your face approach. The low and subtle with the wonderful shorts begins to breath life. Definitely for me, with this lib, less is more.


----------



## muziksculp

For those who hear it sounding a bit synthy, I think the reason is that our brain is not used to interpreting this very *new texture* *of the larger than normal string ensemble*, when it compares it to the more standard type of string sound it is used to identify.

The new larger than normal string section is a *totally new* (synthy) *sound to our brain*, so once our brain adapts to thinking that this is not synthetic, but rather it is really *a new acoustic texture*, which takes some brain training to accept it, so repeated listening to this and registering that it is a new sound of real/acoustic strings playing in a very large group of players, will make it less synthy, and more of a new acoustic timbre/texture that we will register in the brain.


----------



## Craig Sharmat

I think the bottom line is whether you like the sound, I doubt one can teach the public what good sound is, it has to be visceral.


----------



## fretti

muziksculp said:


> For those who hear it sounding a bit synthy, I think the reason is that our brain is not used to interpreting this very *new texture* *of the larger than normal string ensemble*, when it compares it to the more standard type of string sound it is used to identify.
> 
> The new larger than normal string section is a *totally new* (synthy) *sound to our brain*, so once the our brain adapts to thinking that this is not synthetic, but rather it is really *a new acoustic texture*, which takes some brain training to accept it, so repeated listening to this and registering that it is a new sound of real/acoustic strings playing in a very large group of players, will make it less synthy, and more of a new acoustic timbre/texture that we will register in the brain.


That is probably also the reason why it is so hard to sample a choir with words/word builder, and make it sound somewhat realistic. Because our brain is so used to process words and human voices in general, we are more likely to hear a difference/flaws between a real record/ live choir and a sampled one programmed in a DAW. So no matter how good the samples are, we are most likely to find it strange when they sing words (sure if they are pre recorded, probably not that easy; but EW Choirs with wordbuilder for example can't recreate the words 100% like actual people who speak a certain language would form them). Just an off topic thought from me (don't know how others see that; maybe there is even a thread somewhere around this forum).

But yeah basically I think it is mostly a matter of preference and experience in the orchestral music world on how we see such a sound. Someone might find a really dry sound better, some might find that really wet strings sound unrealistic and so on; just think of what people have thought when they first listened to a modern piano, and how different it sounded to what was there before that; or when an audience heard a piece from Strauss, Wagner, Mahler with their "gigantic" sections for the first time...


----------



## NoamL

It doesn't sound synthy at all, sounds like strings... a crazy amount of strings 

Something that might "sound" synthy is that the legato transition lengths and volumes seem fairly understated especially for the violins... we are all familiar with the sound of non-legato or scripted-legato string patches, hence the negative association. There are definitely some competing string libraries out there with overstated, obvious legato transition lengths and volumes. After all, they have to sell "true legato" (as it used to be called) as a feature to composers.In any case, real players (depending on musical material) bring out their legato probably a good bit less than most string libraries and perhaps a bit more than this library.


----------



## jononotbono

NoamL said:


> It doesn't sound synthy at all, sounds like strings... a crazy amount of strings



Yeah. I think the same. Man, it sounds amazing.


----------



## MaxOctane

Paul and Christian alluded to this effect in their "egyptian thread count" comment. The more threads, the smoother something feels. Makes perfect sense. You'd need a small ensemble like LCO for a gritty woody sound, to hear the resin sticking to the strings. But multiply that by 60 and all the grit blends together, hence what people are reacting to as unnatural.

Well, it *IS* unnatural! This is actually quite an experimental library. I can certainly see why @Rctec says that it wasn't about some stereotypically "big sound," but rather about the *unique* sound of such a large group of people.


----------



## ism

MaxOctane said:


> Paul and Christian alluded to this effect in their "egyptian thread count" comment. The more threads, the smoother something feels. Makes perfect sense. You'd need a small ensemble like LCO for a gritty woody sound, to hear the resin sticking to the strings. But multiply that by 60 and all the grit blends together. And the lack of grit is I think what people are reacting to as "synthy."
> 
> I think this is actually quite an experimental library. I can certainly see why @Rctec says that it wasn't about some stereotypically "big sound," but rather about the *unique* sound of such a large group of people.



And there are times that for such an over-the-top enormous choir it sounds amazingly detailed. I wonder if the there's a contextual, even cognitive/perceptual effect at play here.


----------



## Nuno

The more I listen to HZS demos and the more controversy there is, the more I want this library

So, when does the introductory offer ends?


----------



## FriFlo

Nuno said:


> The more I listen to HZS demos and the more controversy there is, the more I want this library
> 
> So, when does the introductory offer ends?


I guess, everything played out well then for Spitfire, anyway!


----------



## ism

FriFlo said:


> I guess, everything played out well then for Spitfire, anyway!



I seriously doubt that this has been anything other that a nightmare for spitfire marketing.


----------



## Musicam

Synth? No. Is the HZ sound plus Spitfire sound. Its all. I am very happyyy!. I wait the choir, pleaseeee!


----------



## benmrx

Just my ears here, but IMO all the demos I've heard so far sound a bit synthy...., but then..., so do most of HZ's more recent film works (again, IMO). FWIW, I'm not saying it sounds bad.., in fact I think it sounds pretty damn cool, and there's some amazing/beautiful textures in this library..., they just don't sound like an orchestral string section to me. IMO though (do I really need to keep saying IMO?), according to all the fuss, they captured the sounds exactly as intended. I.E., the library sounds exactly like they wanted it to sound. Soooooo..., success?!


----------



## artomatic

benmrx said:


> Just my ears here, but IMO all the demos I've heard so far sound a bit synthy...., but then..., so do most of HZ's more recent film works (again, IMO). FWIW, I'm not saying it sounds bad.., in fact I think it sounds pretty damn cool, and there's some amazing/beautiful textures in this library..., they just don't sound like an orchestral string section to me. IMO though (do I really need to keep saying IMO?), according to all the fuss, they captured the sounds exactly as intended. I.E., the library sounds exactly like they wanted it to sound. Soooooo..., success?!



Are you including the demos performed by Spitfire on their web page? I think Andy Blaney’s demo sounded “unsynthy” - just my ears.


----------



## JT

This might be old news, but I just I found that by shift clicking an 2nd articulation it gets layered on top of the 1st articulation I loaded. Really enjoying this library.


----------



## Ran Zhou

Please do show elapsed time and time for complete in downloading section in future, maybe a percentage as well.


----------



## lp59burst

Ran Zhou said:


> Please do show elapsed time and time for complete in downloading section in future, maybe a percentage as well.


At 17.6Mbps about 7 hours more or thereabouts... your getting about 132MB per hour

17.6/8 * 60 = 132


----------



## Ran Zhou

lp59burst said:


> At 17.6Mbps about 7 hours more or thereabouts... your getting about 132MB per hour
> 
> 17.6/8 * 60 = 132


 Wow, I didn't realize there were 60 seconds per hour...Lol
Actually, I started in the morning, it's about 12 hours by the time of that screencapture.

Here's the serious answer: 
1 Mpbs = 1,000,000 bit per second
1,000,000 bit /8 = 125,000 Bytes (Bytes)
125,000 Bytes /1024 = 122.07 KiloBytes (KB)
122.07 KB / 1024 = 0.119 MegaBytes (MB)
Thus,
17.6 * 1 Mbps = 17.6 * 0.119 MB per sec = 2.1 MB per sec
Then theoretically, 
Since 60 min/Hour = 60 min/Hour *60 sec/min = 3,600 sec/Hour
I should have 2.1 MB/sec* 3,600 sec/Hour = 7,553.1 MB/Hour
which can be converted to Gigabytes:
7,553.1 MB/h over 1024 = 7.38 GB/h
In reality, wifi could be down, roommates are watching netflix, etc.


----------



## lp59burst

Ran Zhou said:


> Wow, I didn't realize there were 60 seconds per hour...Lol
> Actually, I started in the morning, it's about 12 hours by the time of that screencapture.
> 
> Here's the serious answer:
> 1 Mpbs = 1,000,000 bit per second
> 1,000,000 bit /8 = 125,000 Bytes (Bytes)
> 125,000 Bytes /1024 = 122.07 KiloBytes (KB)
> 122.07 KB / 1024 = 0.119 MegaBytes (MB)
> Thus,
> 17.6 * 1 Mbps = 17.6 * 0.119 MB per sec = 2.1 MB per sec
> Then theoretically,
> Since 60 min/Hour = 60 min/Hour *60 sec/min = 3,600 sec/Hour
> I should have 2.1 MB/sec* 3,600 sec/Hour = 7,553.1 MB/Hour
> which can be converted to Gigabytes:
> 7,553.1 MB/h over 1024 = 7.38 GB/h
> In reality, wifi could be down, roommates are watching netflix, etc.


Yup... I came up with the same ~2.2MB per second... I just forgot to add the extra *60... <_facepalm_>

I'm downloading HZS right now too getting ~250Mbps... but nobody here is umm... "_watching Netflix, etc_..."


----------



## benmrx

artomatic said:


> Are you including the demos performed by Spitfire on their web page? I think Andy Blaney’s demo sounded “unsynthy” - just my ears.


Let me first say, that Andy Blaney's 'Montaigne' track for HZ Strings is pretty damn awesome. As are all the demos on the Spitfire page. That said, I don't want to hijack the commercial thread. So I'll stop it there, and leave with this. I love the sound of this Library.


----------



## JasonTse

Anyone not receive their pre-order book yet?


----------



## Simon Ravn

Considering all the negative stuff I have read about Zimmer Strings in here, I must say I am very pleasently surprised with how it sounds and works. Can't say I have tried actually composing with it yet, but from playing around with it, I think it sounds stunning and the new player works without any problems so far (OS X here).

I also think the mic positions really are so well thought out so that you can shape your sound to your needs, from the very close to the furthest away.

So I am extremely happy I jumped on the "preorder" wagon, and the book is even on its way too

The legatos are still screwed though, even after the update. The legato intervals are generally way too loud, and you get a volume jump after the interval has played and fades into the sustain. I can't see how Spitfire can NOT hear this right away (and how they managed to make a demo that doesn't exhibit this - maybe there are some patches where this problem doesn't exist).

Same kinda problem with the release samples (a problem existing in every single Spitfire library to this date too): Often too loud, and the release setting basically only lets you choose between three settings: No release samples, short release samples (which are still generally not tuned well to the sustains so they are often too loud), or longer release trails that exhibit the same problem.

Apart from that it seems like an awesome library.


----------



## Christof

I wonder why they didn't implement release control settings in the legatos?
This would give us much more freedom to tweak the (still rather buggy) legatos.
In the meanwhile I use the long notes patches, they sound great.


----------



## Living Fossil

muziksculp said:


> For those who hear it sounding a bit synthy, I think the reason is that our brain is not used to interpreting this very *new texture* *of the larger than normal string ensemble*, when it compares it to the more standard type of string sound it is used to identify.
> 
> The new larger than normal string section is a *totally new* (synthy) *sound to our brain*, so once our brain adapts to thinking that this is not synthetic, but rather it is really *a new acoustic texture*, which takes some brain training to accept it, so repeated listening to this and registering that it is a new sound of real/acoustic strings playing in a very large group of players, will make it less synthy, and more of a new acoustic timbre/texture that we will register in the brain.



That's for sure one aspect.
Another one is that (at least if you're experienced in listening to real musicians) musicians adapt the microcosm of their playing (articulation, vibrato, transitions) in a big amount to the specific texture they are playing.
[BTW that's the same issue when you speak a sentence; the microcosm of your voice interacts with what you say.
Alexa's voice does not really...]
So, when you hear music that consists of more than one held note, the second one is a result of the first one; there is a relation.
And then there is the topic of intonation. If you analyse played music with a program like melodyne you will see the increndible amount of small (and not so small) inexactness. 
If in an orchestra there are octaves, there is lot of nonperfection going on that creates the sound of "orchestral octaves". If there is too much exactness, you have solina octaves; lots of chorussing but still quite a "pure" octave. 
That's what shapes the experience of our ears (at least if your experience is shaped by non-synthetic music).
Obviously this aspect (or better: the lack of this aspect) gets more sensible with sampled huge sections.

So, these are simply valid aspects and i think there is no reason to get emotional about the notion that samples don't sound like the real thing. Alexa also doesn't sound like a real woman.

And because it was often mentioned that HZS shines on good speakers (and well treated rooms):
That's very true. When i heard one of the first demos in my studio i had a funny experience as soon as i went out (and heard the music from another room), it started to sound like Roland's Orchestra module with lots of chorus on it. On an ideal position they sound much better of course.
However, how well (or not well) a sound works on not so great speakers is a point to consider for all of those who's music is usually not played in great IMAX theatres etc
And of course the fact that you need a great environment to fully hear the potential doesn't mean that you need a good environment to hear the week points.
If a transition between two notes doesn't sound like if it would be played by real musicians, you can hear it on quite bad speakers in a non treated room, even with crappy ears. You just need a certain amount of experience.


----------



## fretti

Living Fossil said:


> That's for sure one aspect.
> Another one is that (at least if you're experienced in listening to real musicians) musicians adapt the microcosm of their playing (articulation, vibrato, transitions) in a big amount to the specific texture they are playing.
> [BTW that's the same issue when you speak a sentence; the microcosm of your voice interacts with what you say.
> Alexa's voice does not really...]
> So, when you hear music that consists of more than one held note, the second one is a result of the first one; there is a relation.
> And then there is the topic of intonation. If you analyse played music with a program like melodyne you will see the increndible amount of small (and not so small) inexactness.
> If in an orchestra there are octaves, there is lot of nonperfection going on that creates the sound of "orchestral octaves". If there is too much exactness, you have solina octaves; lots of chorussing but still quite a "pure" octave.
> That's what shapes the experience of our ears (at least if your experience is shaped by non-synthetic music).
> Obviously this aspect (or better: the lack of this aspect) gets more sensible with sampled huge sections.
> 
> So, these are simply valid aspects and i think there is no reason to get emotional about the notion that samples don't sound like the real thing. Alexa also doesn't sound like a real woman.
> 
> And because it was often mentioned that HZS shines on good speakers (and well treated rooms):
> That's very true. When i heard one of the first demos in my studio i had a funny experience as soon as i went out (and heard the music from another room), it started to sound like Roland's Orchestra module with lots of chorus on it. On an ideal position they sound much better of course.
> However, how well (or not well) a sound works on not so great speakers is a point to consider for all of those who's music is usually not played in great IMAX theatres etc
> And of course the fact that you need a great environment to fully hear the potential doesn't mean that you need a good environment to hear the week points.
> If a transition between two notes doesn't sound like if it would be played by real musicians, you can hear it on quite bad speakers in a non treated room, even with crappy ears. You just need a certain amount of experience.



I wonder how quickly players adapt when thrown together from different orchestras (or even some soloists?)? I mean I know, and saw, that a well trained orchestra can play nearly everything right away from the sheet music, as they played together for a long time and therefor "aligned" their playing. But they're pros so I guess pretty quickly


----------



## Living Fossil

fretti said:


> Junkie Xl has made a pretty good video about why he doesn't do that perfectly treated room (in case some of you haven't seen that already):



The problem with this statement is the fact that JXL has a huge studio but most people suffering from untreated rooms have rather small rooms. In a small(er) room those frequencies get affected that are really essential in balancing.
(you can always see a room as a resonant body that you have to put in relation with a specific wavelength).
While listening to a dance track in a huge resonant hall will help to get a mix which will work in a club, working on this track in an untreated tiny bedroom will help to get things completely wrong...


----------



## fretti

Living Fossil said:


> The problem with this statement is the fact that JXL has a huge studio but most people suffering from untreated rooms have rather small rooms. In a small(er) room those frequencies get affected that are really essential in balancing.
> (you can always see a room as a resonant body that you have to put in relation with a specific wavelength).
> While listening to a dance track in a huge resonant hall will help to get a mix which will work in a club, working on this track in an untreated tiny bedroom will help to get things completely wrong...


Yes, I am no enemy of treating ones room at all, I just don't think that it is good to make ones room completely dead, so there is no interference at all. Thats just doesn't match the reality...
I often find myself over treating some tracks with Reverb, EQ, Panning etc. simply because that way it sounds better in my room with my monitors, but yes obviously, that mostly makes it sound even worse when listening to it via headphones, or normal computer speakers...
Was mostly meant to say that it doesn't just sound good when played in a treated studio, HZ Strings can also sound great in other surroundings.
I agree with you that the JXL video doesn't reflect reality for probably 99% of people who make music who don't have such a studio. But I found his comparison quite interesting that even professionals struggle with the fact that their mixes don't sound like intended with bigger halls/cinemas or whatever because of the rooms they mixed/wrote it in.
My statement was meant more like an addition to yours rather than a disagreement (if it came across like such, my excuses).


----------



## Sovereign

Simon Ravn said:


> The legatos are still screwed though, even after the update. The legato intervals are generally way too loud, and you get a volume jump after the interval has played and fades into the sustain. I can't see how Spitfire can NOT hear this right away (and how they managed to make a demo that doesn't exhibit this - maybe there are some patches where this problem doesn't exist).


There's quite a bit of difference between the patches also. The smaller cello legato ones sound pretty decent IMO and are very responsive, the larger ones not so much. I hope they can tighten it all up. Also, some of the bass shorts seem to have a bit of popping going on when you play a note, also probably due to erroneous edits.


----------



## Ran Zhou

lp59burst said:


> getting ~250Mbps... but nobody here


What an amazing speed!


----------



## rlw

JasonTse said:


> Anyone not receive their pre-order book yet?


I have not received my Book yet and I ordered the night before the release.


----------



## N.Caffrey

rlw said:


> I have not received my Book yet and I ordered the night before the release.


the pics are online, on the photographer's blog


----------



## rlw

Sovereign said:


> There's quite a bit of difference between the patches also. The smaller cello legato ones sound pretty decent IMO and are very responsive, the larger ones not so much. I hope they can tighten it all up. Also, some of the bass shorts seem to have a bit of popping going on when you play a note, also probably due to erroneous edits.


agreed..


----------



## rlw

rlw said:


> I have not received my Book yet and I ordered the night before the release.


Ya! Just Got my FedEx notice. Book coming tomorrow... Even With the imperfections, I do love HZ Strings.


----------



## zimm83

rlw said:


> agreed..


Still waiting for a decent legato user demo.......


----------



## Nuno

rlw said:


> Ya! Just Got my FedEx notice. Book coming tomorrow... Even With the imperfections, I do love HZ Strings.



Hi Rod

Just ordered HZS today. Didn t know there is a book...what book is that?


----------



## artomatic

Haven't heard from SF or its crew for a while - just the recent legato update (that's btw, not totally fixed and sorted out yet). Would like to know when to expect the next update that addresses the aforementioned "incomplete" fixes as well as the violas legato issues, etc. 
BTW, aside from that, I am loving the sound of this library. I guess I want to be able to use it to its full potential asap.


----------



## rlw

Nuno said:


> Hi Rod
> 
> Just ordered HZS today. Didn t know there is a book...what book is that?



They offered a "memento" type book for early adopters for the Lib before the release date. I think it was only available for those who bought on presale. I purchased less than 24 hrs before the release so was not sure if I would get the book but it seems I was fortunate and will receive one. I haven't heard comments about the book except that others did get it near or on the release date.


----------



## JT

I've gotta say that so far the new SF player is working out well for me. I'm running everything in Logic on a single Macbook Pro. I've got a project with 14 tracks of HZS and another 15 Kontakt tracks. Not a hiccup here. In previous proects, if I had 30 Kontakt tracks I'd be freezing tracks, purging RAM, etc.... 

So far this is running as smooth as silk.


----------



## Christof

JT said:


> So far this is running as smooth as silk.


Except the legatos.


----------



## CoffeeLover

JasonTse said:


> Anyone not receive their pre-order book yet?


i havent received the book
i preordered i think on the announcement day.
but i am enjoying the library.


----------



## SpitfireSupport

artomatic said:


> Would like to know when to expect the next update that addresses the aforementioned "incomplete" fixes


We're very much working away on this, and will keep you in the loop!



CoffeeLover said:


> i havent received the book
> i preordered i think on the announcement day.


The books are still currently being posted. If you've ordered on any date before the 29th you'll be receiving a book.

Luke


----------



## Pontus Rufelt

SpitfireSupport said:


> We're very much working away on this, and will keep you in the loop!
> 
> 
> The books are still currently being posted. If you've ordered on any date before the 29th you'll be receiving a book.
> 
> Luke



Have you guys been able to find out more about the severe Windows issues some of us have been having? I mean it's pretty telling that someone on a macbook pro can run 14 patches with zero issues while I can't run as much as two longs without it spiking the ASIO and cutting out, this on a hexacore with 64gb of RAM, with the library running on its own SSD. I have no problems with other libraries and plugins. Spent days troubleshooting to see if it's somehow something on my end causing it - with no success. I've been in contact with support, but now I haven't heard anything for a whole week - this brings me to two weeks of barely being able to use it. Have you guys made any progress in identifying what the Windows issue for some is? Any info would be greatly appreciated.


----------



## Nuno

rlw said:


> They offered a "memento" type book for early adopters for the Lib before the release date. I think it was only available for those who bought on presale. I purchased less than 24 hrs before the release so was not sure if I would get the book but it seems I was fortunate and will receive one. I haven't heard comments about the book except that others did get it near or on the release date.



Thanks for the reply and enjoy the book. Now, I would like to have pre-ordered it but the important is that I will put my hands and ears in this beauty soon


----------



## Ran Zhou

No standard alone app, a little bit out of expectation. Playing it now, maybe post a improvisation later


----------



## aaronventure

Pontus Rufelt said:


> Have you guys been able to find out more about the severe Windows issues some of us have been having? I mean it's pretty telling that someone on a macbook pro can run 14 patches with zero issues while I can't run as much as two longs without it spiking the ASIO and cutting out, this on a hexacore with 64gb of RAM, with the library running on its own SSD. I have no problems with other libraries and plugins. Spent days troubleshooting to see if it's somehow something on my end causing it - with no success. I've been in contact with support, but now I haven't heard anything for a whole week - this brings me to two weeks of barely being able to use it. Have you guys made any progress in identifying what the Windows issue for some is? Any info would be greatly appreciated.



Could be your ASIO drivers. What interface do you have?


----------



## JohnG

Wow -- just started using the shorts. Amazing.

Definitely want to mess around with the blend of mic positions on them.


----------



## Pontus Rufelt

aaronventure said:


> Could be your ASIO drivers. What interface do you have?



It's definitely not a top of the line interface, but it's been running fine with 50+ GB templates of Kontakt libraries. Never had an issue. HZS is the first time i'm running into showstopping issues like this, which is worth emphasizing. I'm using a Steinberg UR22 with the latest Yamaha Steinberg driver.


----------



## Ran Zhou

Only long articulation played! This is not a composition/arrangement but a directly play on keyboard. I can get the feel of being a conductor while playing the notes, but need a more sophisticated midi arrangement and control to get there.
Here's the play of short, with the reverb of their engine


Here's my mix with live play on each string section and a little bit arrangement on patterns


----------



## Ran Zhou

Pontus Rufelt said:


> It's definitely not a top of the line interface


I agree, the GUI needs to be improved!


----------



## tinysymphony

I found a way to improve legato performance.

(Cubase pro 9.5 Windows)

1 
Cubase Menu "Studio" > "Studio Setup"
That is to set "Audio Priority" to "Boost".
With this, the CPU Real-Time Peak will not run crazy.

2
Limit the number of CPU threads used by Cubase.
I am using i9 7940X, so it's 28 threads. By restricting this to "26 threads" with "audioengine.properties", stability has increased.


----------



## Oliver

tinysymphony said:


> I found a way to improve legato performance.
> 
> (Cubase pro 9.5 Windows)
> 
> 2
> Limit the number of CPU threads used by Cubase.
> I am using i9 7940X, so it's 28 threads. By restricting this to "26 threads" with "audioengine.properties", stability has increased.



How would you do that? thx for your help!


----------



## tinysymphony

Please refer to here

Windows 10: audio dropouts on multi-core CPU setups
https://helpcenter.steinberg.de/hc/...ws-10-audio-dropouts-on-multi-core-CPU-setups


----------



## Oliver

thx a lot!


----------



## DavidY

tinysymphony said:


> Please refer to here
> 
> Windows 10: audio dropouts on multi-core CPU setups
> https://helpcenter.steinberg.de/hc/...ws-10-audio-dropouts-on-multi-core-CPU-setups


Just in case it helps, there's a post on the same issue from a Microsoft person on this Microsoft Answers thread.
https://answers.microsoft.com/en-us...ads-with/e3a47fc2-9547-4fea-b830-042a552f56a9



> Steinberg is working on a long-term solution for this that involves changing their code.
> Additionally, they have access to a registry work-around that we provided to them last year. They are able to share this with their customers as-needed. It's not something we share publicly because there are system-wide performance implications to just picking a random large number for the process cap.
> Here's the feedback hub item for this, with additional information:
> https://aka.ms/Lscx6z


It suggests that if you're using Cubase, and you can get through to the right person at Steinberg, they can tell you about a work-around. (Apologies if it's already posted somewhere in the previous 87 pages.) Although other people on the thread seem to have struggled to get the answer from them.


----------



## South Thames

Out of curiosity, what is in the book that so many people are awaiting? I saw a foreword from Paul in one of the videos, but what exactly is the meat of it? Or is it just a glorified user manual?


----------



## Saxer

Foreword and pictures.
It's the new fancy shipping box to put on your shelf in the era of downloading. I like it.


----------



## South Thames

I see -- I thought it might have been some interviews with Hans or the engineers perhaps. Sounds entirely decorative though.


----------



## muziksculp

I don't mind an e-book version, with lots of cool pics of the project, orchestra, technical aspects, ..etc. I can always print it if I needed a physical version


----------



## JohnG

South Thames said:


> Sounds entirely decorative though.



It is.

Mind you, it's done elegantly, so it's fun in a way. Plus, you can see the faces of the players, which is nice if you've had some of them play for you at other times. (I guess now they can play for you any time?!)


----------



## muziksculp

Q. Do I need to create a HZ-Strings Folder on the target drive I choose to download the library, or does the Spitfire download manager create a HZ-Strings folder after it un-rar's the download files ?


----------



## SpitfireSupport

muziksculp said:


> Q. Do I need to create a HZ-Strings Folder on the target drive I choose to download the library, or does the Spitfire download manager create a HZ-Strings folder after it un-rar's the download files ?


The App will create and unpack everything for you.

Luke


----------



## muziksculp

SpitfireSupport said:


> The App will create and unpack everything for you.
> 
> Luke



Hi Luke,

OK. That's great. Thank You Very Much for the fast reply. 

Cheers,
Muziksculp


----------



## germancomponist

fretti said:


> QUOTE]




Huh..... . I never would do a mix in his room, nor I can agree his statements.
How could I distinguish the mic positions in his room and mix them sensibly?


----------



## Kony

germancomponist said:


> Huh..... . I never would do a mix in his room, nor I can agree his statements.
> How could I distinguish the mic positions in his room and mix them sensibly?


I think if I had a choice between having my stuff mixed by Junkie XL or by German composer, I would probably go with JXL....


----------



## germancomponist

Kony said:


> I think if I had a choice between having my stuff mixed by Junkie XL or by German composer, I would probably go with JXL....


A blind test between a mix done by him and me would maybe enlighten your ears ... I am ready for it! Maybe he is also ...?


----------



## prodigalson

germancomponist said:


> A blind test between a mix done by him and me would maybe enlighten your ears ... I am ready for it! Maybe he is also ...?



:emoji_astonished:


----------



## Rey

Hi. I'm updating my 1.0.3 hz strings to 1.0.4.
My question is do I need to reset and re-download the whole library using the latest spitfire audio app, or just relocate the library on my drive and the update will do its job?


----------



## D Halgren

Rey said:


> Hi. I'm updating my 1.0.3 hz strings to 1.0.4.
> My question is do I need to reset and re-download the whole library using the latest spitfire audio app, or just relocate the library on my drive and the update will do its job?


You just need to use the update button. It's a small update, no need to download the whole library again. Just point it at the folder above the library, not the library itself.


----------



## Rey

D Halgren said:


> You just need to use the update button. It's a small update, no need to download the whole library again. Just point it at the folder above the library, not the library itself.



Folder above the library, the one saying hans zimmer strings, spitfire audio or program file?


----------



## D Halgren

Rey said:


> Folder above the library, the one saying hans zimmer strings, spitfire audio or program file?


It depends on your folder structure, but not the one that is Hans Zimmer Strings, the folder above. If that folder is inside a folder labeled Spitfire Audio then point the manager to Spitfire Audio. That's how mine is set up.


----------



## Rey

D Halgren said:


> It depends on your folder structure, but not the one that is Hans Zimmer Strings, the folder above. If that folder is inside a folder labeled Spitfire Audio then point the manager to Spitfire Audio. That's how mine is set up.



Awesome thanks for the help


----------



## babylonwaves

germancomponist said:


> A blind test between a mix done by him and me would maybe enlighten your ears ... I am ready for it! Maybe he is also ...?


whatever happens next, just don't talk about football


----------



## FriFlo

Kony said:


> I think if I had a choice between having my stuff mixed by Junkie XL or by German composer, I would probably go with JXL....


That's racist!


----------



## germancomponist

babylonwaves said:


> whatever happens next, just don't talk about football


I do mixes since 30 years and believe me, I know what am I doing and I know my two little ears.


----------



## fiestared

germancomponist said:


> I do mixes since 30 years and believe me, I know what am I doing and I know my two little ears.


Nothing is better than experience, a good mixer is a "diamond" and deserves to be called an "ARTIST"...


----------



## Kony

germancomponist said:


> A blind test between a mix done by him and me would maybe enlighten your ears ... I am ready for it! Maybe he is also ...?


Why does it have to be blind? I'm not biased. Feel free to post one of the best mixes you've done (any style)


----------



## germancomponist

That would not make sense at all.


----------



## Nick Batzdorf

Kony said:


> I think if I had a choice between having my stuff mixed by Junkie XL or by German composer, I would probably go with JXL....



I think Gunther's point is that that room looks like an acoustic nightmare, and it may well be.

We got a reported post about this from a member who feared this would be the start of another rambling misadventure, but as long as people stay away from things like arguments to authority  I think we'll be okay.

My opinion: if I wanted lots of synths in my room, that would take precedence over acoustics. To quote that arrogant jackass Nick Batzdorf: acoustics is the art of the possible, not the ideal.

That aside, I actually don't know that that room would automatically suck just because of the flat surfaces.


----------



## Craig Sharmat

For those of you who did not watch XL's video on his room, he basically does not want a great sounding room, rather one that mimics the imperfections in most listening environments, a club, theatre...etc.


----------



## germancomponist

Let me add that I was, as very often ...., a little bit joking when I talked about a blind test. 

And Nick yes, you got it what I thought about the room. The last thing I want is starting another rambling here.


----------



## Rey

Problem guys. downloaded the latest spitfire app. but no update button on my hz strings. already relocate the library successfully. but no update. weird though there is an update button tab under my Spitfire chamber strings, but not hz strings. I'm stuck at 1.0.3

anyone else with the same problem?


----------



## D Halgren

Rey said:


> Problem guys. downloaded the latest spitfire app. but no update button on my hz strings. already relocate the library successfully. but no update. weird though there is an update button tab under my Spitfire chamber strings, but not hz strings. I'm stuck at 1.0.3
> 
> anyone else with the same problem?


If you go into the HZS page in the app there will be a cog on the bottom right that gives the ability to reset the most recent update. Have you tried that?


----------



## Rey

D Halgren said:


> If you go into the HZS page in the app there will be a cog on the bottom right that gives the ability to reset the most recent update. Have you tried that?


 thank you @D Halgren . So once i press it will download the latest update or the whole latest library version i assume?

I'm afraid to press the reset button again since they said somewhere you can only use it a couple of times. i already used it once during the my first installation 2 weeks ago, where the library has not been downloaded but showing as downloaded in spitfire audio. i reset and it started to download again.


----------



## davidgary73

Rey said:


> thank you @D Halgren . So once i press it will download the latest update or the whole latest library version i assume?
> 
> I'm afraid to press the reset button again since they said somewhere you can only use it a couple of times. i already used it once during the my first installation 2 weeks ago, where the library has not been downloaded but showing as downloaded in spitfire audio. i reset and it started to download again.



(from HZ Strings manual)
Open up the Library Manager app and log in with your ac- count email and password.
- Select the download you wish to re-download
- In the toolbar under Library > Reset Download > Latest Update

- This will reset your latest update

You can repeat this process for any other updates you wish.


----------



## D Halgren

It should give you the choice to download the whole library or just the most recent update. Even if you go over the limit if you just talk to support they can give you more resets. You would just have to wait for office hours for Spitfire. When you look at that cog does the line next to it say 1.03?


----------



## Rey

davidgary73 said:


> (from HZ Strings manual)
> Open up the Library Manager app and log in with your ac- count email and password.
> - Select the download you wish to re-download
> - In the toolbar under Library > Reset Download > Latest Update
> 
> - This will reset your latest update
> 
> You can repeat this process for any other updates you wish.





D Halgren said:


> It should give you the choice to download the whole library or just the most recent update. Even if you go over the limit if you just talk to support they can give you more resets. You would just have to wait for office hours for Spitfire. When you look at that cog does the line next to it say 1.03?



did exactly as you say. reset->option showed up to reset whole library or latest update. Pressed the latest update option, and now there is an install button asking me to download the whole thing for 171gb. and its only 1.0.3. No update whatsoever


----------



## Rey

I'm reinstalling the whole thing again on a different hdd drive. see what happens. if the update button would pop up after finish the installation of 1.0.3 again


----------



## Nick Batzdorf

Craig Sharmat said:


> For those of you who did not watch XL's video on his room, he basically does not want a great sounding room, rather one that mimics the imperfections in most listening environments, a club, theatre...etc.



Not sure about that argument, to be honest. Wanting a room that sounds like a room rather than a dead studio, I'm with him all the way. You're likely to add too much reverb in a dead room. And besides, I find it annoying when my voice sounds boomy, as it does in those dead rooms.

But you still need to be able to hear properly in a natural room! Horribly lumpy freq response will lead you to put the inverse curve on your mixes, for example. You don't mix on a clock radio because you want to mimic a crap system, you mix on good but unflattering speakers that let you hear what's going on - even if you check on the clock radio (which I don't).

Having said that, I may have posted 13 or 14 billion times that - in my opinion - you don't normally need to do a whole lot to a room to make it workable.


----------



## Rey

i wish there is some kind of manual update file we can download and install


----------



## Rey

D Halgren said:


> It should give you the choice to download the whole library or just the most recent update. Even if you go over the limit if you just talk to support they can give you more resets. You would just have to wait for office hours for Spitfire. When you look at that cog does the line next to it say 1.03?


it is 1.03. is that the latest or is it 1.0.4?


----------



## D Halgren

Rey said:


> I'm reinstalling the whole thing again on a different hdd drive. see what happens. if the update button would pop up after finish the installation of 1.0.3 again


So you moved the library after you initially installed it? Maybe the path is broken and it doesn't see that it's already installed? Not sure, just throwing out ideas.


----------



## D Halgren

Rey said:


> it is 1.03. is that the latest or is it 1.0.4?


Yes, 1.04 is the latest.


----------



## germancomponist

Nick Batzdorf said:


> Having said that, I may have posted 13 or 14 billion times that - in my opinion - you don't normally need to do a whole lot to a room to make it workable.



And here we go, Nick, my friend. I always have said it 13 or 14 billion times: "The room is the most important thing ... !"
And yes, also important when you record instruments, also for building a sample library. Ask Hans about this. 
And, you are only able to hear a "room/stage sound" if you listen to the recordings in a well treated room! Yes, no?


----------



## Rey

D Halgren said:


> So you moved the library after you initially installed it? Maybe the path is broken and it doesn't see that it's already installed? Not sure, just throwing out ideas.



nope haven't moved. the library is still there its on my I: drive. I'm doing a new installation on different hdd on my pc. hopefully something gets fixed.


----------



## Rey

D Halgren said:


> Yes, 1.04 is the latest.



no sign of 1.0.4 update so far


----------



## D Halgren

Rey said:


> no sign of 1.0.4 update so far :(


Did you get the email when the 1.04 update was released? It was on April 9th.


----------



## Rey

D Halgren said:


> Did you get the email when the 1.04 update was released? It was on April 9th.



yes i have received the email. although i didn't update immediately. only doing it today. funny enough i can see my spitfire chamber strings update but not HZ strings


----------



## D Halgren

Rey said:


> yes i have received the email. although i didn't update immediately. only doing it today. funny enough i can see my spitfire chamber strings update but not HZ strings


That is weird that it's not there. Let me know what happens after you download again. Other than that I would say to contact support and get to the bottom of it.


----------



## Rey

D Halgren said:


> That is weird that it's not there. Let me know what happens after you download again. Other than that I would say to contact support and get to the bottom of it.



yup. already submitted a ticket


----------



## Nick Batzdorf

germancomponist said:


> And here we go, Nick, my friend. I always have said it 13 or 14 billion times: "The room is the most important thing ... !"
> And yes, also important when you record instruments, also for building a sample library. Ask Hans about this.
> And, you are only able to hear a "room/stage sound" if you listen to the recordings in a well treated room! Yes, no?



No!

A decent room *helps* you hear what's on the recording, including the room/stage sound. It's counterintuitive - you'd think that the goal is to eliminate the room - but you can't and will only create a monster if you try.

Now, recording is a totally different thing. I'm talking about monitoring.


----------



## germancomponist

Nick Batzdorf said:


> ...
> 
> Now, recording is a totally different thing. I'm talking about monitoring.


Me too, and yes, it is exactly the opposite.
Try listening and distinguishing 20 different mic positions in a not well treated room and have fun ...., smile.


----------



## Nick Batzdorf

You don't mean not well-treated, you mean bad.


----------



## germancomponist

Nick Batzdorf said:


> You don't mean not well-treated, you mean bad.


Isn't not well treated "bad"?


----------



## Kony

Nick Batzdorf said:


> We got a reported post about this from a member who feared this would be the start of another rambling misadventure





germancomponist said:


> And Nick yes, you got it what I thought about the room. The last thing I want is starting another rambling here.





Nick Batzdorf said:


> Not sure about that argument, to be honest. Wanting a room that sounds like a room rather than a dead studio, I'm with him all the way. You're likely to add too much reverb in a dead room. And besides, I find it annoying when my voice sounds boomy, as it does in those dead rooms.
> 
> Having said that, I may have posted 13 or 14 billion times that - in my opinion - you don't normally need to do a whole lot to a room to make it workable.





germancomponist said:


> And here we go, Nick, my friend. I always have said it 13 or 14 billion times: "The room is the most important thing ... !"
> And yes, also important when you record instruments, also for building a sample library. Ask Hans about this.
> And, you are only able to hear a "room/stage sound" if you listen to the recordings in a well treated room! Yes, no?





Nick Batzdorf said:


> No!
> 
> A decent room *helps* you hear what's on the recording, including the room/stage sound. It's counterintuitive - you'd think that the goal is to eliminate the room - but you can't and will only create a monster if you try.
> 
> Now, recording is a totally different thing. I'm talking about monitoring.





germancomponist said:


> Me too, and yes, it is exactly the opposite.
> Try listening and distinguishing 20 different mic positions in a not well treated room and have fun ...., smile.





Nick Batzdorf said:


> You don't mean not well-treated, you mean bad.





germancomponist said:


> Isn't not well treated "bad"?


@Nick Batzdorf This is just weird. You interject in my contradiction of a member - who appears to be saying he knows better at mixing than a well established industry professional - with a comment that someone reported it in the hope of preventing the conversation going on a rambling misadventure, then you go on one yourself....

In case you're not aware, this is a commercial announcement thread for Spitfire. Mike Greene recently made the following statement about this:



Mike Greene said:


> In Spitfire's case (as well as VSL), however, they don't want the mods to step in. I've asked them, but they both feel that an open discussion, warts and all, implies "nothing to hide." So until they ask, we'll leave those alone, although I have stepped in (uninvited) a few times when I thought it was necessary for general forum etiquette.



So unless Spitfire asked you to intervene, was there any particular reason why you quoted me since I can't see any lapse in forum etiquette in my comment, can you? For what it's worth, I was quietly hoping that @germancomponist would blow me away with an amazing mix. Isn't that what we're all here for?


----------



## Spitfire Team

​​


----------



## Raphioli

Very inspirational as always.(how you combined two completely different libraries and the tips you've included. and of course the composition itself!)
I also liked how Christian introduced EXS. Made me chuckle


----------



## germancomponist

The composition is cool and I also like how Christian is arranging and tricky mixing (that panning...) it. And, what a great sound!


----------



## ridgero

Omg this is fantastic!!!


----------



## SyMTiK

Any update on the update for Windows 10 performance? I've been wanting to use HZ strings more but I'm finding that the playback dropouts make it almost unusable. I don't have this problem with any other libraries, and the only time I ever experience dropouts on my machine is on very large projects that come close to using all 64 gb of ram. With HZ strings I am getting dropouts just from using the longs patches with two mic positions. It also seems that the patches on PC are using far more memory than the same patches on Mac? Judging from the picture Christian (or Paul I can't remember) posted earlier showing patches using around 60 mb of ram. Those same patches on my machine with one mic position are using over 600 mb of ram.


----------



## fretti

SyMTiK said:


> Any update on the update for Windows 10 performance? I've been wanting to use HZ strings more but I'm finding that the playback dropouts make it almost unusable. I don't have this problem with any other libraries, and the only time I ever experience dropouts on my machine is on very large projects that come close to using all 64 gb of ram. With HZ strings I am getting dropouts just from using the longs patches with two mic positions. It also seems that the patches on PC are using far more memory than the same patches on Mac? Judging from the picture Christian (or Paul I can't remember) posted earlier showing patches using around 60 mb of ram. Those same patches on my machine with one mic position are using over 600 mb of ram.


1. that depends on your audio setting, how many samples are loaded into your ram (go to settings, audio, there you can play around with different numbers; lower number = less ram = more streaming from your HD/SSD; but is all explained there, if you haven't looked into that) etc.
Edit: in the HZ Strings engine, not your DAW
I have these settings so far up now (because I don't yet have a SSD) that the longs are also a few hundred Mbs, but it's nothing you should be worried about.
2. I have pops and other noises (iMac, Logic), especially with one midi file. I've written the Spitfire support and Jack (Greetings to him, if the @SpitfireSupport reads this) was really helpful so far and always kind (even after reading my 20.000+ word posts)  . He was able to reproduce this problem with other tracks and I sent him my logic files where the problems occure. So they are working on it and searching for anything that causes such problems.

Can't (and I think they so far too) name you a date though on when they will be able to fix these problems... but they are working on it, and (at least) I can't demand more from them


----------



## SyMTiK

fretti said:


> 1. that depends on your audio setting, how many samples are loaded into your ram (go to settings, audio, there you can play around with different numbers; lower number = less ram = more streaming from your HD/SSD; but is all explained there, if you haven't looked into that) etc.
> Edit: in the HZ Strings engine, not your DAW
> I have these settings so far up now (because I don't yet have a SSD) that the longs are also a few hundred Mbs, but it's nothing you should be worried about.
> 2. I have pops and other noises (iMac, Logic), especially with one midi file. I've written the Spitfire support and Jack (Greetings to him, if the @SpitfireSupport reads this) was really helpful so far and always kind (even after reading my 20.000+ word posts)  . He was able to reproduce this problem with other tracks and I sent him my logic files where the problems occure. So they are working on it and searching for anything that causes such problems.
> 
> Can't (and I think they so far too) name you a date though on when they will be able to fix these problems... but they are working on it, and (at least) I can't demand more from them



Good to hear. I'm sure they will end up fixing it as I have seen that I am not the only person experiencing these problems. 

I'll try and play around with the settings in the player and see if I can fix anything!


----------



## Dale Turner

SpitfireSupport said:


> Hi all,
> 
> Hans Zimmer Strings 1.0.4 is now available. You will need to update the Spitfire Audio App to install it once you receive the update email (rolling out over the next 2 hours)
> 
> -Parameter values in the DAW now more closely reflect the values in the UI (for example as percentages, dB, panning position, rather than 0-1)
> -Fix glitches in legato intervals caused by non-gain envelopes recycling voices
> -Fix level mismatch in 60 Violins Legato Minor 2nd intervals caused by an error in the Dynamics control modulation
> 
> Further improvements to the legato performance are expected in a future update
> 
> Improvements to the performance on Windows 10 are expected in a future update



Hi,

I finally updated to 1.0.4

Can anyone confirm that the files in the attached .jpg are the ONLY things that are "new" in this update? Just want to make sure I didn't mess up. Thanks in advance!


----------



## SpitfireSupport

Dale Turner said:


> Hi,
> 
> I finally updated to 1.0.4
> 
> Can anyone confirm that the files in the attached .jpg are the ONLY things that are "new" in this update? Just want to make sure I didn't mess up. Thanks in advance!



That looks right Dale. Contact us at spitfireaudio.com/support if you have any issues once it's loaded into your DAW


----------



## Dale Turner

SpitfireSupport said:


> That looks right Dale. Contact us at spitfireaudio.com/support if you have any issues once it's loaded into your DAW


Thanks so much!!!! Much relief!!

Quick bonus question though!! Like some other folks, I mistakenly tried to install this update through the first released "Software Manager" (Spitfire Audio Library Manager), and though I selected "new update," or something, it started to install the 171 GB all over again... So I "stopped" it, and it went into "pause" mode. (I then noticed I needed the "newest" software installer issued 9 APR.)

My concern: With the "paused" accidental download, will this mess anything up? I looked in the SAMPLES folder and it seems no "new" samples are there. (Only samples I see in my setup are dated 28-29 March, so seems nothing got replaced.)


----------



## SpitfireSupport

No, nothing will be messed up. In the scenario that you mention, the newer version will either carry on where the old version left off or it will start again from scratch. You MIGHT end up with a useless file or two at the top level of your "Spitfire Audio - Hans Zimmer Strings" folder which will be a six digit number followed by .part. These files are temporary files created during the download process and are never used by a library unless you are actively downloading that library.


----------



## Dale Turner

SpitfireSupport said:


> No, nothing will be messed up. In the scenario that you mention, the newer version will either carry on where the old version left off or it will start again from scratch. You MIGHT end up with a useless file or two at the top level of your "Spitfire Audio - Hans Zimmer Strings" folder which will be a six digit number followed by .part. These files are temporary files created during the download process and are never used by a library unless you are actively downloading that library.



Cooool! Thanks so much  I loaded an "earlier" session that was stocked w/numerous instances of your beastly strings, and all loaded (after update, and my mess up) the same as normal--camper of happiness!!! I'ze pumped!!!


----------



## morphling

I need to put more time into this library but I have to say my first impressions of it have been a bit mixed here. I haven't been exactly blown away by the sound... Hopefully it will grow on me since it wasn't exactly cheap...

Also I wish it came with an ensemble patch.


----------



## MaxOctane

@SpitfireSupport or any owners of the lib: Will the library allow me to move the sample files for certain mics off my hard drive, to free up space?


----------



## artomatic

Any news on when violas legato will be available... and fixes for the violins legato? Or am we the only still having issues with legatos?


----------



## fretti

MaxOctane said:


> @SpitfireSupport or any owners of the lib: Will the library allow me to move the sample files for certain mics off my hard drive, to free up space?


Parts of the library: no I don‘t think that is possible (is that even possible with Kontakt libraries?). Also haven‘t actually seen any option to locate your sample folder (other than before installation through their program)...
But if/how it would work though when you move the whole folder would be certainly intresting to hear from Spitfire. As the library is licensed to your computer; how it would be if I moved everything to a new SSD (when I actually buy one...).


----------



## MaxOctane

fretti said:


> Parts of the library: no I don‘t think that is possible (is that even possible with Kontakt libraries?).



For example, Spitfire Chamber Strings and Bernard Herrman, both have the sample files separated into CTAO, Alt, and Mix, so you can delete the ones you don't need (of course, keep a full copy on backup), slimming down the on-disk size by 1/3 or 2/3.


----------



## fretti

MaxOctane said:


> For example, Spitfire Chamber Strings and Bernard Herrman, both have the sample files separated into CTAO, Alt, and Mix, so you can delete the ones you don't need (of course, keep a full copy on backup), slimming down the on-disk size by 1/3 or 2/3.


Then my bad. Understood that you want to move some mic positions to another harddrive and let the rest in their original folders. Tbh I never looked into the folder structure and have no idea how their player actually works...


----------



## SpitfireSupport

MaxOctane said:


> Will the library allow me to move the sample files for certain mics off my hard drive, to free up space?



Absolutely. Your sample folder should look like this:






You can delete the ones you don't want from that list and Hans Zimmer Strings will continue to work without those instruments, techniques or microphones, though of course we would recommend backing up rather than deleting because if you wanted them back, you'd have to download the whole thing again if you didn't.

To identify the files you want to lose or keep:






The signals are as follows:

Close: CL01
Tree: TR01
Ambients: SR01
Outriggers: OU01
Mid X: MI01
Mid Y: MI02
Mid Z: MI03
808 Array Front: ST02
808 Array Surround: ST03
Bottles: FX01
Close L: CL02
Close C: CL03
Close R: CL04
Gallery: GA02
Under Riser: ST01
Spot Left 1: CL05
Spot Left 2: CL08
Spot Left 3: CL06
Spot Left 4: CL07
Spot Centre 1: CL09
Spot Centre 2: CL10
Spot Centre 3: CL11
Spot Right 1: CL15
Spot Right 2: CL12
Spot Right 3: CL13
Spot Right 4: CL14


----------



## SpitfireSupport

It's worth noting that if you do this, you'll get the exclamation mark in the top left of Hans Zimmer Strings because it knows it's missing samples that it needs


----------



## SpitfireSupport

fretti said:


> But if/how it would work though when you move the whole folder would be certainly intresting to hear from Spitfire. As the library is licensed to your computer; how it would be if I moved everything to a new SSD (when I actually buy one...).



The "locate" feature in the Spitfire Audio App allows you to tell HZS where you have moved the content to after you have moved it.


----------



## rpmusic

Forgive me if this has been covered but it's a rather long thread so I haven't gone through to check. 

This is for Spitfire: Are there any plans of being able to create a custom user presets? i.e. being able to load a violin patch with articulations that one would customize in their own orchestral template. One of my satellite computers is a dedicated computer for my string libraries and this template is currently running Century Strings with articulations that I use in my DAW template.

Love the sound and performance of this library but not being able to setup a user preset for my orchestral template has unfortunately made it unusable for me. 

Thanks in advance!


----------



## SpitfireSupport

rpmusic said:


> Forgive me if this has been covered but it's a rather long thread so I haven't gone through to check.
> 
> This is for Spitfire: Are there any plans of being able to create a custom user presets? i.e. being able to load a violin patch with articulations that one would customize in their own orchestral template. One of my satellite computers is a dedicated computer for my string libraries and this template is currently running Century Strings with articulations that I use in my DAW template.
> 
> Love the sound and performance of this library but not being able to setup a user preset for my orchestral template has unfortunately made it unusable for me.
> 
> Thanks in advance!



Hi Rob, yes we're aware that this would be a good feature and it's certainly on our list for possible upgrades but at this stage, I can't say whether or when this would make it into an update. Ben


----------



## SpitfireSupport

Hi all, the latest update to Hans Zimmer Strings is now available (v 1.1.2), new buyers will get the new version and current owners will get an email advising the next steps. Here is the change list:


Fix recalling sessions in Pro Tools rather than defaulting to the default preset
Fix multiple parameters being to be mapped to the same MIDI CC#
Prevent switching techniques from resetting the global gain control
Fix reverb not working when the UI is not shown
Fix signal level control correctly enabling signals when the UI is not being shown
Improve resizing behaviour in Cubase (VST3)
Correctly hide the key switch dragger when keyswitch display is disabled
Improve performance on Windows 10
Improve the behaviour of all Legato techniques
Prevent multiple instances interfering with each other's signal enablement state
Improve uneven velocity mapping in the '60 Violins: Short' technique
Improve noticeable low frequency rumble in the '20 Violas Centre: Col Legno Tratto' technique
Where possible make the composition of techniques within Scandi and Standard presets more consistent across instruments families
Improve certain notes appearing to be delayed in the '24 Basses: Long' technique
Ben


----------



## Pontus Rufelt

SpitfireSupport said:


> Hi all, the latest update to Hans Zimmer Strings is now available (v 1.1.2), new buyers will get the new version and current owners will get an email advising the next steps. Here is the change list:
> 
> 
> Fix recalling sessions in Pro Tools rather than defaulting to the default preset
> Fix multiple parameters being to be mapped to the same MIDI CC#
> Prevent switching techniques from resetting the global gain control
> Fix reverb not working when the UI is not shown
> Fix signal level control correctly enabling signals when the UI is not being shown
> Improve resizing behaviour in Cubase (VST3)
> Correctly hide the key switch dragger when keyswitch display is disabled
> Improve performance on Windows 10
> Improve the behaviour of all Legato techniques
> Prevent multiple instances interfering with each other's signal enablement state
> Improve uneven velocity mapping in the '60 Violins: Short' technique
> Improve noticeable low frequency rumble in the '20 Violas Centre: Col Legno Tratto' technique
> Where possible make the composition of techniques within Scandi and Standard presets more consistent across instruments families
> Improve certain notes appearing to be delayed in the '24 Basses: Long' technique
> Ben



Can't see the update in the Spitfire App yet, will it be out today for current users?


----------



## SpitfireSupport

Pontus Rufelt said:


> Can't see the update in the Spitfire App yet, will it be out today for current users?



Yes, you'll see it today - we're about half way through sending out the update emails.


----------



## Pontus Rufelt

SpitfireSupport said:


> Yes, you'll see it today - we're about half way through sending out the update emails.



Showed up now!


----------



## muziksculp

Just want to double check, so.. selecting the actual HZ-Strings Library folder in the Update Manger is OK, to install the updated version ?


----------



## rpmusic

SpitfireSupport said:


> Hi Rob, yes we're aware that this would be a good feature and it's certainly on our list for possible upgrades but at this stage, I can't say whether or when this would make it into an update. Ben


Thanks, Ben. Looking forward to being able to eventually having this in my template. btw, I do currently use the Double Bass Legato....simply beautiful.


----------



## star.keys

@SpitfireSupport team, I can confirm that there has been significant improvement in Windows 10 performance. I was able to load 8 mics with no cracks/pops and was able to play 60 Cellos patch for 30 mins without any issues. Also I must appreciate the lovely sound of this library. I'm able to experience it's superior quality now that I'm able to load multiple mics and mix them to my taste.

In case anyone faces any performance issue on Windows 10, try resetting Audio settings in the Spitfire plugin to default values.

Great job Spitfire team and thanks for your relentless effort to address initial issues.


----------



## Tatu

Broken. I tried relocating the samples via SF app and it went all good. But this is what I get when I open an old project or create a new one. When you have a day of and wake up at 07:00 to enjoy some music work.. fucking fuck.. 

ERROR: Failed to find any sample databases to search.


----------



## SpitfireSupport

Tatu said:


> Broken. I tried relocating the samples via SF app and it went all good. But this is what I get when I open an old project or create a new one. When you have a day of and wake up at 07:00 to enjoy some music work.. fucking fuck..
> 
> ERROR: Failed to find any sample databases to search.


Hey Tatu, looks like you may need to relocate and/or reauthorise: https://spitfireaudio.zendesk.com/hc/en-us/articles/360002704694

Luke


----------



## Tatu

SpitfireSupport said:


> Hey Tatu, looks like you may need to relocate and/or reauthorise: https://spitfireaudio.zendesk.com/hc/en-us/articles/360002704694
> 
> Luke


Hi and thanks for the quick reply! Much appreciated.

I tried refreshing/reinstalled the latest update and now I have a handfull of legato presets, one col legno tratto for violas and one sustain for 20 violins or something, but nothing else. 

Log file shows this for everything else:

failed to load patch : F:/SpitfireAudio/Spitfire Audio - Hans Zimmer Strings/Patches\v1.0.3\HZStrings_a__60_Cellos__Long.zmulti

\v1.1.0\HZStrings___20_Violins_RHS___All_Scandi.zpreset
HZStrings : articulation missing : e - 24 Basses - Short : v1.0.3
HZStrings : preset contains missing articulations : F:/SpitfireAudio/Spitfire Audio - Hans Zimmer Strings/Presets\v1.1.0\HZStrings___24_Basses___All_Epic.zpreset


----------



## SpitfireSupport

Tatu said:


> Hi and thanks for the quick reply! Much appreciated.
> 
> I tried refreshing/reinstalled the latest update and now I have a handfull of legato presets, one col legno tratto for violas and one sustain for 20 violins or something, but nothing else.
> 
> Log file shows this for everything else:
> 
> failed to load patch : F:/SpitfireAudio/Spitfire Audio - Hans Zimmer Strings/Patches\v1.0.3\HZStrings_a__60_Cellos__Long.zmulti
> 
> \v1.1.0\HZStrings___20_Violins_RHS___All_Scandi.zpreset
> HZStrings : articulation missing : e - 24 Basses - Short : v1.0.3
> HZStrings : preset contains missing articulations : F:/SpitfireAudio/Spitfire Audio - Hans Zimmer Strings/Presets\v1.1.0\HZStrings___24_Basses___All_Epic.zpreset



Sorry to hear this, we'll really need to speak to you directly about this to get to the bottom of it so please contact us on spitfireaudio.com/support you can either chat, talk or "submit a request"


----------



## Rey

SpitfireSupport said:


> Sorry to hear this, we'll really need to speak to you directly about this to get to the bottom of it so please contact us on spitfireaudio.com/support you can either chat, talk or "submit a request"



Had the same problem can't find samples before the support was fast and took care of everything thanks spitfire


----------



## windyweekend

Anyone order the hard drive have any idea how to install the update? I go into the lib manager and it's telling me I have to download the whole thing - 172GB - on top of the 170GB already installed. No disk space left for this. Is there a way to just get the update without having to delete and download/reinstall the whole thing that anyone has found? Not sure why I got the HD if you have to download the entire library for any updates anyway...


----------



## fretti

windyweekend said:


> Anyone order the hard drive have any idea how to install the update? I go into the lib manager and it's telling me I have to download the whole thing - 172GB - on top of the 170GB already installed. No disk space left for this. Is there a way to just get the update without having to delete and download/reinstall the whole thing that anyone has found? Not sure why I got the HD if you have to download the entire library for any updates anyway...


Normally (at least for me) it shows me an extra button wich says Update (e.g now 1.1 or what it is) with 1.4 Gb. Then I can just click that locate the folder where I installed HZS and it only downloads and installs the update...
Maybe you moved the folder for HZS and didn‘t relocate or something like that?
Also have the HD but everything works fine for me...


----------



## Tatu

SpitfireSupport said:


> Sorry to hear this, we'll really need to speak to you directly about this to get to the bottom of it so please contact us on spitfireaudio.com/support you can either chat, talk or "submit a request"


Well, these things happen. I didn't bother with further support (had stuff to do) and just redownloaded/installed the damn thing. Works now!


----------



## prodigalson

Just updated and immediately discovered the strangest bug in all the legatos. If you play a descending interval larger than an octave you get an incorrect transition, so it almost sounds like a grace note a step above your target note. Anybody else experiencing this?? Here it is in the violins but it's also the case in all the cello legato patches. 

[AUDIOPLUS=https://vi-control.net/community/attachments/hzs-leg-demo-mp3.13390/][/AUDIOPLUS]


----------



## D Halgren

prodigalson said:


> Just updated and immediately discovered the strangest bug in all the legatos. If you play a descending interval larger than an octave you get an incorrect transition, so it almost sounds like a grace note a step above your target note. Anybody else experiencing this?? Here it is in the violins but it's also the case in all the cello legato patches.
> 
> [AUDIOPLUS=https://vi-control.net/community/attachments/hzs-leg-demo-mp3.13390/][/AUDIOPLUS]


I can confirm this. Funny enough I was wondering if it was trying to simulate a botched string skip


----------



## windyweekend

Tatu said:


> Well, these things happen. I didn't bother with further support (had stuff to do) and just redownloaded/installed the damn thing. Works now!





fretti said:


> Normally (at least for me) it shows me an extra button wich says Update (e.g now 1.1 or what it is) with 1.4 Gb. Then I can just click that locate the folder where I installed HZS and it only downloads and installs the update...
> Maybe you moved the folder for HZS and didn‘t relocate or something like that?
> Also have the HD but everything works fine for me...


Okay. Support ticket needed here I think in which case. Haven't moved a thing, but the lib manager thinks I haven't installed it i.e. it doesn't know I have a hard drive. Really don't want to have to delete this whole library and download it. Hard drive has proved to be a painful option. Lesson learnt.


----------



## JohnG

windyweekend said:


> Okay. Support ticket needed here I think in which case. Haven't moved a thing, but the lib manager thinks I haven't installed it i.e. it doesn't know I have a hard drive. Really don't want to have to delete this whole library and download it. Hard drive has proved to be a painful option. Lesson learnt.



Hi @windyweekend

You won't need to download everything if you have a hard drive. Everything is working here and these are the steps I took (Windows 10 PC):

1. Deleted HS Strings (the installed version that was causing trouble) off my SSD completely;

2. Used Control Panel to delete the Spitfire software (this step may not be necessary);

3. Copied the library (uninstalled) straight from the SA disk they sent back onto my SSD, then removed the SA USB drive from the computer since you don't need it anymore;

4. Downloaded the Spitfire Library Manager and logged into my account;

5. Choose HZ Strings and then click on the little cog at bottom right, which will reveal a pull-down menu (hard to read);

6. Choose "Reset;"

7. Once your HZ Strings resets, choose Install, which will bring up another little menu which seems to offer to Download only;

HOWEVER...

8. Just to the right of where it proposes to download is a very hard-to-see icon that says something like "disk drive." If you select that, then show it where the folder is, it installs the library again and, magically, downloads everything off Spitfire's website necessary for things to work.

You have to have your computer online while all this happens. I'm recounting these steps from memory so I hope I haven't left anything out.

Good luck,

John


----------



## windyweekend

JohnG said:


> Hi @windyweekend
> 
> You won't need to download everything if you have a hard drive. Everything is working here and these are the steps I took (Windows 10 PC):
> 
> 1. Deleted HS Strings (the installed version that was causing trouble) off my SSD completely;
> 
> 2. Used Control Panel to delete the Spitfire software (this step may not be necessary);
> 
> 3. Copied the library (uninstalled) straight from the SA disk they sent back onto my SSD, then removed the SA USB drive from the computer since you don't need it anymore;
> 
> 4. Downloaded the Spitfire Library Manager and logged into my account;
> 
> 5. Choose HZ Strings and then click on the little cog at bottom right, which will reveal a pull-down menu (hard to read);
> 
> 6. Choose "Reset;"
> 
> 7. Once your HZ Strings resets, choose Install, which will bring up another little menu which seems to offer to Download only;
> 
> HOWEVER...
> 
> 8. Just to the right of where it proposes to download is a very hard-to-see icon that says something like "disk drive." If you select that, then show it where the folder is, it installs the library again and, magically, downloads everything off Spitfire's website necessary for things to work.
> 
> You have to have your computer online while all this happens. I'm recounting these steps from memory so I hope I haven't left anything out.
> 
> Good luck,
> 
> John


Thanks John. Will give this a try.


----------



## windyweekend

Might be a dim question, but has anyone tried installing this on an external SSD successfully?

Still trying to get my original installs working but the lib manager isn't recognizing my existing install so I'm out of disk space.


----------



## N.Caffrey

don't know if you are aware of it, but on instagram you can watch almost in real time bits of the recording of some pick ups of HZS with Hans himself in da house


----------



## SpitfireSupport

windyweekend said:


> Might be a dim question, but has anyone tried installing this on an external SSD successfully?
> 
> Still trying to get my original installs working but the lib manager isn't recognizing my existing install so I'm out of disk space.



Hiya, contact us directly at spitfireaudio.com/support about this, you can use the "locate" function in the Spitfire Audio App to tell Hans Zimmer Strings where to find the content if you move it onto a different drive.


----------



## Craig Sharmat

windyweekend said:


> Might be a dim question, but has anyone tried installing this on an external SSD successfully?
> 
> Still trying to get my original installs working but the lib manager isn't recognizing my existing install so I'm out of disk space.



works fine here


----------



## Spitfire Team

Here's a photo of Hans in the studio with Paul for the recording of Hans Zimmer Strings pickups.


----------



## rmoat

So, any Windows 10 users forced to upgrade to 1803 (Spring Update) overnight, and now Hans Zimmer Strings won't load the presets or patches? I'm pretty sure that's the only change my computer has had overnight and HZS logs state that presets/patches fail to load on my computer now. I've sent in a support request to Spitfire, in case 1803 does break it for everyone on Windows 10 (hopefully it's an easy fix if it does).


----------



## prodigalson

rmoat said:


> So, any Windows 10 users forced to upgrade to 1803 (Spring Update) overnight, and now Hans Zimmer Strings won't load the presets or patches? I'm pretty sure that's the only change my computer has had overnight and HZS logs state that presets/patches fail to load on my computer now. I've sent in a support request to Spitfire, in case 1803 does break it for everyone on Windows 10 (hopefully it's an easy fix if it does).



I just updated to the latest version on Windows 10 and everything works fine for me. I had to reauthorize and relocate the samples but that only took a few mins


----------



## rmoat

prodigalson said:


> I just updated to the latest version on Windows 10 and everything works fine for me. I had to reauthorize and relocate the samples but that only took a few mins



I'm guessing I'll have to reauthorize and perhaps that will solve it. Relocating the samples didn't when I tried earlier. I'm assuming you just need to "reset" latest update and download again in order to authorize?

EDIT: That worked, thanks prodigalson. When I reset just the latest update, only the legatos appeared. When I reset the entire library, closed application, went back in, I was able to reauthorize. It was like a 300MB download, but now everything is working again.


----------



## SpitfireSupport

For any Windows 10 users having issues with patches/presets please follow the steps found here.

Luke


----------



## CoffeeLover

rmoat said:


> So, any Windows 10 users forced to upgrade to 1803 (Spring Update) overnight, and now Hans Zimmer Strings won't load the presets or patches? I'm pretty sure that's the only change my computer has had overnight and HZS logs state that presets/patches fail to load on my computer now. I've sent in a support request to Spitfire, in case 1803 does break it for everyone on Windows 10 (hopefully it's an easy fix if it does).


i just updated right now to 1803
and got the same problem. 
refresh/locating/reauthorize did not work for me.


----------



## SpitfireSupport

CoffeeLover said:


> i just updated right now to 1803
> and got the same problem.
> refresh/locating/reauthorize did not work for me.


Hi there, could you get in touch with us at spitfireaudio.com/support? 

Luke


----------



## Spitfire Team

​​


----------



## mobileavatar

The library sounds amazing, esp. the low ends! I saw some chord progressions in the walk-through videos within a patch of a subgroup. Does the engine support auto-divisi?


----------



## windyweekend

SpitfireSupport said:


> Hi there, could you get in touch with us at spitfireaudio.com/support?
> 
> Luke


Ditto here. Same problem....


----------



## CoffeeLover

windyweekend said:


> Ditto here. Same problem....


i redownloaded the whole thing 
now it works.


----------



## windyweekend

CoffeeLover said:


> i redownloaded the whole thing
> now it works.


Think you might be right. I just did the usual locate/reset/reauthorise business and it didn't work. Back to the drawing board with yet another HZS delete/reinstall. :O|


----------



## Spitfire Team

​​


----------



## procreative

Its a shame the details of the "pickups" are not being explained, eg whether this is extra material for the existing library or for a "Pro" expansion?


----------



## ThomasNL

procreative said:


> Its a shame the details of the "pickups" are not being explained, eg whether this is extra material for the existing library or for a "Pro" expansion?


Yeah, why show all of it on Instagram, go through all the trouble to make it look like they showed it live and then just say nothing anymore. We all got hyped up, they should've have announced the details back then.


----------



## Will Wilson

Did you not see this then?

https://www.spitfireaudio.com/editorial/features/hans-zimmer-strings-pickup/


----------



## jononotbono

@Spitfire Team

I’m just wondering about something. Does HZ Strings have a similar thing to your TM patches in SSS and SCS? I think your TM patches are golden and I’ve been using them a lot with both SSS and SCS lately and absolutely love how every note length can be altered for variety. I’m about to incorporate them with Cubase Expression maps instead of having all the shorts on separate tracks and hoping HZ Strings has this functionality with the new player? And if it doesn’t, is it something that is possible to add at a future date? It’s a killer feature!


----------



## windyweekend

Now that the windows problems are cleared up, I just finished up my first pitch using HZS and have to say if you try and use this library as a big soft sweeping orchestra, then this library is effing heaven. Worth every penny, even without discounts. 

You might need to pry this one from my cold hands...


----------



## robgb

windyweekend said:


> Now that the windows problems are cleared up, I just finished up my first pitch using HZS and have to say if you try and use this library as a big soft sweeping orchestra, then this library is effing heaven. Worth every penny, even without discounts.


Sorry. I don't think any string library is worth that price. Just my opinion. But worth is a personal evaluation, and I'm not trying to start yet another fight over this library. I'm glad you feel you got what you paid for.


----------



## tav.one

windyweekend said:


> if you try and use this library as a big soft sweeping orchestra, then this library is effing heaven.



Do you think it can be used in the "Pop" song scenario as well? Currently, I use SCS for that but if HZS can do good in songs as well then it becomes much more valuable to me.


----------



## davidgary73

robgb said:


> Sorry. I don't think any string library is worth that price. Just my opinion. But worth is a personal evaluation, and I'm not trying to start yet another fight over this library. I'm glad you feel you got what you paid for.



Finished scoring music for an international movie (China) with some HZ Strings and practically i earned back 3 to 7x of what i have paid for HZ Strings. My next movie scoring will involve tons of HZ Strings


----------



## Old Timer

davidgary73 said:


> Finished scoring music for an international movie (China) with some HZ Strings and practically i earned back 3 to 7x of what i have paid for HZ Strings. My next movie scoring will involve tons of HZ Strings



That's brilliant. It's really nice to hear good news like that. No-one has ever asked me to score a film (or anything) but I'd be bouncing off the walls with excitement if I were you. Seriously, nice one! 

I'd love to buy HZS but my computer is a little underpowered, I fear, what with just 8GB or RAM and five-year-old processor. Sigh, one day...


----------



## Jerry Growl

tav.one said:


> Do you think it can be used in the "Pop" song scenario as well? Currently, I use SCS for that but if HZS can do good in songs as well then it becomes much more valuable to me.


I was trying to think of a kind of pop song where you could use HZ strings. I'd wager a superslow so-un-epic-that-it-becomes-epic Chinese ballad then perhaps.


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## robgb

davidgary73 said:


> Finished scoring music for an international movie (China) with some HZ Strings and practically i earned back 3 to 7x of what i have paid for HZ Strings. My next movie scoring will involve tons of HZ Strings


I think that's wonderful. But part of me has to wonder if you couldn't have scored the movie with less expensive strings, thus having to earn back even less and pocketing more money. Again, not trying to start a fight, so I'll refrain from commenting further.


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## windyweekend

tav.one said:


> Do you think it can be used in the "Pop" song scenario as well? Currently, I use SCS for that but if HZS can do good in songs as well then it becomes much more valuable to me.


Would think SCS may be better there, but that shouldn't discard you from considering it as well. I actually used SSS for the legato lines (because I'm a portamentoholic) and HZS underneath and the two are phenomenal together. All comes down to the hall (and the players...and the instruments...and the concept and...). This is as close to the real sound you can get in a bit of software. Lot cheaper than hiring an orchestra and doing it yourself.


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## JohnG

For me, there is nothing I own that does the low end the way this does. Bass sustains are absolutely incredible. That, plus the 60 cellos are worth the entire price.


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## muziksculp

Looking forward to the release of *HZS Pickup *


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## YFM

I was told this library was only good for elevator music. *Hold my beer.*





Start at around 3:45 if you want to cut to some 'Hans Zimmer Strings' stuff immediately. The track is worth a listen on its own either way.


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## Rey

just checking with others what is the latest hz strings patch? mine is showing 1.1.2 and it is running currently after a week of not using it now it is not producing any sound when I press any notes although the midi indicator on my daw is showing activity but no sound whatsoever. this happens when I press the repair button when I load hz strings and notice no instruments are available inside hz strings. the repair resolved the issues by listing back all instruments inside hz strings, but none are producing sound.


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## SpitfireSupport

HI Rey, please contact us at spitfireaudio.com/support we'll get you up and running!


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## HBen

SpitfireSupport said:


> HI Rey, please contact us at spitfireaudio.com/support we'll get you up and running!



What about HZS pickups? When will it become available? Any news about its progress?


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## windyweekend

YFM said:


> I was told this library was only good for elevator music. *Hold my beer.*
> 
> 
> 
> 
> 
> Start at around 3:45 if you want to cut to some 'Hans Zimmer Strings' stuff immediately. The track is worth a listen on its own either way.



This so begs the question I've been asking myself for the last few years - why did Hans collaborate with SA on a Strings library before a Brass library when his big Wagnerian brass is such a massive, stand out dynamic in his music? The thought of listening to pieces like this with Spitfire's 'Hans Zimmer Brass' firing up 24 horns in the galleries and 24 tubas on the spots makes the hairs on my neck stand up...


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## Rey

hi. im trying to contact Spitfire support regarding some issue but im not getting response for 3 days now. Is it because you guys not working on weekends? submitted ticked since 1st December.


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## SpitfireSupport

Rey said:


> hi. im trying to contact Spitfire support regarding some issue but im not getting response for 3 days now. Is it because you guys not working on weekends? submitted ticked since 1st December.


Hi Rey, that's right - we're out of office on weekends. Apologies for the delay!

Luke


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## Rap-sody

Rey said:


> hi. im trying to contact Spitfire support regarding some issue but im not getting response for 3 days now. Is it because you guys not working on weekends? submitted ticked since 1st December.


Sorry, some developers try to have a life on weekends!


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## Rey

Rap-sody said:


> Sorry, some developers try to have a life on weekends!


I know. I just thought the customer supports is like 24/7.


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## tokatila

Just bought this. Drank a couple of beers and fired the super flautando "Padtch" up and started playing some cheesy chords VI-I-III-VII with 60 cellos flautandos. Freck, it's so beautfiul I almost wept. Must be good Pale Ale.


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