# NOW AVAILABLE — Symphonic Destruction



## Heavyocity Media (Oct 7, 2021)

Introducing *SYMPHONIC DESTRUCTION*, the Heavyocity Hybrid Orchestra.

We've deconstructed the orchestra—rebuilding it from the ground up to push the bounds of power, creativity, and aggression in modern scoring. From Full Orchestra Portatos saturated with analog gear to Herrmann-esque detuned staccatos to the kind of deep, dark soundscapes you thought only existed in your head. 

*SYMPHONIC DESTRUCTION* is available for $299 (reg. $449) until November 1. Owners of Damage 2, NOVO, FORZO, or VENTO get an additional $50 off (click CROSSGRADE NOW and enter serial to get discount). 

Learn more at Heavyocity.com/Symphonic-Destruction













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## Craig Sharmat (Oct 7, 2021)

Nice Trailer, I'm sure this is going to be great!


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## muddyblue (Oct 7, 2021)

OMG that sounds very tempting!


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## Drumdude2112 (Oct 7, 2021)

Whoooooooa 😯🤯


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## NekujaK (Oct 7, 2021)

Symphonic Destruction: so now violin and cello players are going to be smashing their instruments on stage, not just rock guitarists!


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## jules (Oct 7, 2021)

Sounds huge !


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## davidson (Oct 7, 2021)

Is it possibly a damage expansion? The branding seems similar.


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## RonOrchComp (Oct 7, 2021)

I'm in! (definitely need epic stuff)


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## hauspe (Oct 7, 2021)

insane - I am in.


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## muziksculp (Oct 7, 2021)

*Excited !*


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## zimm83 (Oct 7, 2021)

Orchestral effects ?


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## GMT (Oct 7, 2021)

Looks like it could be a complete sound design orchestra with strings, brass, and perc.
No woodwinds. Or glockenspiels.
Woodwinds and glockenspiels are for pussies.
This is HEAVYocity.
Listen to that brass, mum.


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## Drundfunk (Oct 7, 2021)

Damn. What a trailer! At first I thought you're advertising the most epic domino game the world has ever seen.... Everything Heavyocity I'm in and if I can't buy it right away it's always on the list and slowly finds it's way on my hard drive. Looking forward to it.


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## RogiervG (Oct 7, 2021)

muziksculp said:


> *Excited !*


paul, is that you?


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## muziksculp (Oct 7, 2021)

RogiervG said:


> paul, is that you?


No. It's not Paul. 

Paul would have said : I'm very excited


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## angeruroth (Oct 7, 2021)

Now I understand the Tangent concept


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## Emmanuel Rousseau (Oct 7, 2021)

Beautiful trailer, and sweet Jesus what a sound!


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## Akarin (Oct 7, 2021)

Heavyocity is the only developer whom I buy everything from. Sometimes even before hearing demos.


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## Futchibon (Oct 7, 2021)

Paging @EpicMusicGuy !!


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## Daren Audio (Oct 7, 2021)

YESSSS!!!  Stoked.


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## FrozenIcicle (Oct 7, 2021)

nice


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## jcrosby (Oct 7, 2021)

*METAL AF!*


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## kgdrum (Oct 7, 2021)

RogiervG said:


> paul, is that you?


This sounds great but it can’t be Paul, he would have said fruk why did we think of that! 🤬


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## RonOrchComp (Oct 8, 2021)

Is it Oct 12 yet???


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## Zanshin (Oct 8, 2021)

So maybe like Gravity but orchestral? 

I'm sucker for Heavyocity as well. Excited


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## PeterN (Oct 10, 2021)

Nice trailer - yes, symphonic destruction welcomed


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## Futchibon (Oct 11, 2021)

It's the 12th here in Australia.


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## muziksculp (Oct 11, 2021)

Futchibon said:


> It's the 12th here in Australia.


LOL.. Yeah but you got to wait for the rest of the world to catchup with you.


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## RonOrchComp (Oct 11, 2021)

It's the 12th here in the USA, too.

No, it is. Really.


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## Futchibon (Oct 11, 2021)

muziksculp said:


> LOL.. Yeah but you got to wait for the rest of the world to catchup with you.


Tell me about it! When 8Dio extend their freebie for an extra day it's a killer!


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## Trash Panda (Oct 11, 2021)

RonOrchComp said:


> It's the 12th here in the USA, too.
> 
> No, it is. Really.


Indeed! -7:30 hours is my second favorite time of day, right after -7:00 hours.


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## Virtuoso (Oct 11, 2021)

It's out!









Heavyocity Symphonic Destruction Orchestral VST


Symphonic Destruction is Heavyocity's hybrid, deconstructed orchestral sound that's fit for any modern score. Order this orchestral VST online today.



heavyocity.com


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## Drundfunk (Oct 11, 2021)

Virtuoso said:


> It's out!
> 
> 
> 
> ...


I know what I'm going to do after I'm back from grocery shopping


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## Virtuoso (Oct 11, 2021)

Drundfunk said:


> I know what I'm going to do after I'm back from grocery shopping


Yes - no sleep for me tonight! There's tons of great content - I'm amazed it's only 17.4GB.


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## Sunny Schramm (Oct 11, 2021)

Crossgrade from Damage 2 only 249$ but no g.a.s. at all - maybe its to early in the morning


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## JyTy (Oct 11, 2021)

Went through all the videos. This sounds great!!! I’m getting it! 😀


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## emilio_n (Oct 11, 2021)

Sounds incredible!
The 50% having Damage 2 is only during the introductory price?

EDIT: Sorry I mean the 50$ discount


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## zimm83 (Oct 11, 2021)

What ?????? That ' s once more ...for ME !!!
Fabulouuuuuuuuuuus !
Damage 2 has found his family ! Let ' s celebrate !!!


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## Frederick (Oct 12, 2021)

Bought it! I didn't have anything like this yet and this seems to be the one to fill that gap. The core of my hybrid template is now: Damage 2, Vento, Forzo, Novo, Ascend and Symphonic Destruction.


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## mr.vad0614 (Oct 12, 2021)

Does anyone know how long the introductory price is until? I don't want to miss out on this one at all whatsoever!? 😱


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## Marcus Millfield (Oct 12, 2021)

My wallet weeps and it isn't even BF yet 😢


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## davidson (Oct 12, 2021)

Quickest Ive ever hit the purchase button 

Thanks for the great intro price, and for valuing existing customers!


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## Serge Pavkin (Oct 12, 2021)

Marcus Millfield said:


> My wallet weeps and it isn't even BF yet 😢


Don't let your wallet manipulate you! You are the boss and you have to press this button! 

(this is my usual technique)


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## Marcus Millfield (Oct 12, 2021)

Serge Pavkin said:


> You are the boss...



I tell the missus that once in a while and then run like hell!!!


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## Marsen (Oct 12, 2021)

Demo Walkthrough


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## LudovicVDP (Oct 12, 2021)

Damn. Sounds like an instant purchase...
But I thought that from Gravity which I actually barely ever use...

Well... Having no money makes you find reasons not to buy... :-/


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## muddyblue (Oct 12, 2021)

instant purchase...


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## Jotto (Oct 12, 2021)

Sounds very tempting. Love everything from This company….but i dont think its good for my evolution as a composer. Its just way to easy to come up with something that sounds good. Its imo often enough just to hold down a key or two


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## Heavyocity Media (Oct 12, 2021)

mr.vad0614 said:


> Does anyone know how long the introductory price is until? I don't want to miss out on this one at all whatsoever!? 😱


Intro Offers for SD end Nov. 1!



emilio_n said:


> Sounds incredible!
> The 50% having Damage 2 is only during the introductory price?
> 
> EDIT: Sorry I mean the 50$ discount



Correct!


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## Sirocco (Oct 12, 2021)

Neil says he´s super excited!!!....this is only the beginning; who´s is gonna be more and more excited next time??

Well, sorry, i can´t resist.

The SD managing it has the most clear and grateful GUI and tools. Mosaic series has it and, for me, is the more clear and easy than Novo, Forzo etc...pretty similar but better done in terms of manipulate and speed working with everythinf from sound, eq, arps etc...

Great instrument, now i feel strange, trailer and epic things are not my taste, but SD sounds and manage the style how only Heavyocity know´s to do, eve almost i´m in the fence to put my fingers in keyboard and "destroy" with this one. (And more tempted because i have Damage 2).

Salute.


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## Drumdude2112 (Oct 12, 2021)

It sounds absolutely BAD A$$ …Soooo i get an extra 50 dollars off for owning damage 2 (the gift that keeps on giving). Not too Shabby !!…pardon me gentleman i’m off to purchaseville 😁👍🏻


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## Mr Sakitumi (Oct 12, 2021)

Heavyocity Media said:


> Intro Offers for SD end Nov. 1!
> 
> 
> 
> Correct!


SD... @Heavyocity Media getting in early on the sample library abbreviation game 
congrats on the release!


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## dbudimir (Oct 12, 2021)

I love Heavyocity libraries!!! As the video says, “It’s Epic with a capital ‘E’!!!!


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## Drumdude2112 (Oct 12, 2021)

i mean have they EVER released a ‘dud’ 
They have a perfect track record imo.
And this one is just INSANELY cool.


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## Akarin (Oct 12, 2021)

It has been stuck on this for about an hour now. Anybody else can't download the library?


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## jules (Oct 12, 2021)

This is stunning !


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## stevebarden (Oct 12, 2021)

Akarin said:


> It has been stuck on this for about an hour now. Anybody else can't download the library?


I had no problem downloading it. Only took about 20 minutes. Sounds great, too!


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## chillbot (Oct 12, 2021)

stevebarden said:


> I had no problem downloading it. Only took about 20 minutes. Sounds great, too!


Only took 4 minutes for me! I was quite happy, the bottleneck is almost never on my end so I appreciate a company that has good speeds.


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## Akarin (Oct 12, 2021)

chillbot said:


> Only took 4 minutes for me! I was quite happy, the bottleneck is almost never on my end so I appreciate a company that has good speeds.



Pausing and resuming the download seems to do the trick.


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## KEM (Oct 12, 2021)

Sounds amazing!! I gotta say, Heavyocity is one of my favorite companies in the game right now, awesome and innovate sounds, sleek and modern user interfaces, and they post great content for the community to learn and be inspired from, all around a great company!!


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## Oxytoxine (Oct 12, 2021)

Wow, sounds extremely powerful! I don't yet have anything from Heavyocity or anything similar and just stumbled over this, so please forgive the probably ignorant question (will watch all the walkthroughs etc.). 

I am eying Pandora, which has this fantastic adaptive sync feature. Is there something similar in SD? 

In the short demos I already listened to, many of the functions seem to be automated, and a quick glance at some videos shows many knobs and faders moving in a time-synched manner. Was this done by hand, or are there "inbuilt" automatic time sync functions? 

Very excited for this, could be the perfect fit for an upcoming project that involves kind of a crossover of orchestral with the dark side of techno and drum n bass - heck, the whole product catalog of Heavyocity seems to fit perfectly for such a sacrilegious musical endeavor


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## Markastellor (Oct 12, 2021)

Oxytoxine said:


> Wow, sounds extremely powerful! I don't yet have anything from Heavyocity or anything similar and just stumbled over this, so please forgive the probably ignorant question (will watch all the walkthroughs etc.).
> 
> I am eying Pandora, which has this fantastic adaptive sync feature. Is there something similar in SD?
> 
> ...


I've got most of the Heavyocity titles and I can assure you the quality is universally good. I also own Pandora. They are both very high quality. From what I already own, you can speed up or slow down things from Heavyocity, but there is nothing exactly like adaptive sync. But Heavyocity can do things Pandora can't. To answer your question...yes, you can automate parameters, or control them manually, or control them by MIDI...amazingly adaptable. But if you can only buy one check them both out thoroughly first. They are both great...and as you noted they have some similarities...but they will each appeal to different people with different needs.


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## Markastellor (Oct 12, 2021)

I'm going to slightly differ from other opinions here. I agree fully that Heavyocity has excellent quality. And like others have stated I am almost tempted to buy anything they offer just on my experience with other things they offer. I own most of what they offer already, and clearly their taste and general philosophy is very similar to my own. If I were to take other libraries and synths and play with them for a couple days to get just what I want in a sound, I typically get that just by pushing a key with Heavyocity. But I have mixed feelings about this. If I didn't already have Forzo, Vento and Novo, Damage 1+2, plus a few other things they offer, I would jump on this without question. I believe I already have the ability to create most of what this can do, though certainly not as quickly, and this does offer some new things. As usual, Heavyocity gives us a great deal of control, so you can personalize your sound to some degree...neverthless, I am worried, that due to the ease of use with this, that a million other composers will use this to create scores that sound very similar. I feel weird stating that fear. Do I actually want things to be more complicated just so I can work harder and stand out? No. But, still that concern bothers me. I qualify for the crossgrade, but still even at this sale price it seems a bit stiff for an owner who has so many similar things. I will probably get it though. No one does badass like Heavyocity.


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## WindcryMusic (Oct 12, 2021)

Markastellor said:


> I'm going to slightly differ from other opinions here. I agree fully that Heavyocity has excellent quality. And like others have stated I am almost tempted to buy anything they offer just on my experience with other things they offer. I own most of what they offer already, and clearly their taste and general philosophy is very similar to my own. If I were to take other libraries and synths and play with them for a couple days to get just what I want in a sound, I typically get that just by pushing a key with Heavyocity. But I have mixed feelings about this. If I didn't already have Forzo, Vento and Novo, Damage 1+2, plus a few other things they offer, I would jump on this without question. I believe I already have the ability to create most of what this can do, though certainly not as quickly, and this does offer some new things.


I’m somewhat in the same mindset here.

For anyone that has purchased this new library and also owns Novo, Vento, Forzo and D2, I’d be interested to hear what you think this new library offers (particularly in terms of source sample material) that goes beyond the capabilities of those other HO libraries combined with my own effects processing. I mean beyond just faster access to curated, ready to use sounds … I know that speed has its own value to many users, but it’s not that important to me these days.


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## d4vec4rter (Oct 12, 2021)

While my wallet gently weeps. A bit of a sucker for Heavyocity stuff I'm afraid. They are the masters of awesome and this is no exception. Just used Scoring Guitars Vol II for the the first time in a project since I purchased it when it first came out and that's quite a while ago but, that's Heavyocity for you - you just know that, at some point in time it's gonna get used. Meanwhile, you can have oodles of fun just playing with it.


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## Trash Panda (Oct 12, 2021)

@Heavyocity Media great stuff as always! What would you say sets Symphonic Destruction Apart from the Novo/Forzo/Vento/Damage 1 & 2 lines of products? Is it more of an all-in-one type of package with features that you could replicate with the others given enough time and effort?


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## Calazzus (Oct 12, 2021)

Does anyone else own damage 2 but not being offered the $249 price at checkout?


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## emasters (Oct 12, 2021)

Calazzus said:


> Does anyone else own damage 2 but not being offered the $249 price at checkout?


Make sure you're logged in and enter the Damage 2 serial number with the Crossgrade "buy" button.


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## walkaschaos (Oct 12, 2021)

Yeah I'm kind of on the cautious side on this one too; I LOVE Heavyocity, one of the best devs IMO and their stuff always sits effortlessly in a dense mix vs. other libs. However having all their other releases this kind of 'epic cinematic in a box' thing seems to be ground they've already covered in the past. Even with the discount it's not cheap, so I'm a little bit on the fence even though I want to support them.


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## d4vec4rter (Oct 12, 2021)

Trash Panda said:


> @Heavyocity Media great stuff as always! What would you say sets Symphonic Destruction Apart from the Novo/Forzo/Vento/Damage 1 & 2 lines of products? Is it more of an all-in-one type of package with features that you could replicate with the others given enough time and effort?


Just been watching Simeon Amburgey's live stream of this and I can say with confidence that this product is a different ball game entirely to the Novo/Forzo/Vento/Damage set. Some of the stuff may be able to be replicated but you'd be spending hours doing it.


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## szczaw (Oct 12, 2021)

Markastellor said:


> I am worried, that due to the ease of use with this, that a million other composers will use this to create scores that sound very similar.


Oh, I feel it ! A wave of symphonic dysfunction is on the way.


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## Virtuoso (Oct 12, 2021)

Markastellor said:


> I am worried, that due to the ease of use with this, that a million other composers will use this to create scores that sound very similar.


I was playing with this all night - it's awesome. Very inspirational and exactly the kind of tool you want when you need to work really fast.

One of my clients has a habit of leaving everything until the very last minute and I've lost count of the number of times I've had to write, mix and master a 3 min cue from scratch in half a day. At that point, originality goes out the window and you just need to get it done somehow. SD is going to get a ton of use here and it will pay for itself several times over the first time I use it!


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## muziksculp (Oct 12, 2021)

LOL.. Now I'm trying to decide if I need Symphonic Destruction, or I will be better served by some Symphonic Construction ?


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## szczaw (Oct 12, 2021)

Is it balanced ?


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## muziksculp (Oct 12, 2021)

I think I might consider the sequel to this library : Symphonic Demolition


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## Calazzus (Oct 12, 2021)

emasters said:


> Make sure you're logged in and enter the Damage 2 serial number with the Crossgrade "buy" button.


Thanks I appreciate you.


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## jonathanparham (Oct 12, 2021)

I was listening to Daniel Pemberton's Into the Spider - Verse score and this library reminds me of that


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## zimm83 (Oct 12, 2021)

Next : choral destruction !!!
Would be cool ..a Heavyocity choir lib !!!


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## artmuz (Oct 12, 2021)

Remembering Johan Johansson Sicario's soundtrack


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## Ciochi (Oct 12, 2021)

I've listened to the demo and sounds great. But I feel, as others, that this is a very good sounding rompler, or a very good sounding collection of loops. Maybe I have to go deeper, haven't looked at any other walkthrough, and surely it Is time saving, but I do fear it's gonna saturate very quickly.


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## d4vec4rter (Oct 13, 2021)

Ciochi said:


> I've listened to the demo and sounds great. But I feel, as others, that this is a very good sounding rompler, or a very good sounding collection of loops. Maybe I have to go deeper, haven't looked at any other walkthrough, and surely it Is time saving, but I do fear it's gonna saturate very quickly.


If you're just going to use the presets, well then... yes, but the Heavyocity engine provides an immense array of filters, fx, dynamics macro, sequencer, punisher, twister, etc. that can let the creative juices flow freely. Add to that the fact you can always blend and layer the sounds with the likes of Novo/Forzo/Vento and others then I really can't see any reason for sounding the same as anyone else.


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## Brendon V (Oct 13, 2021)

Hello guys,

Bought the library today and wrote something quickly for my website, like others have said its a really great library to get a good sound right out of the box,

For me as I think I would only write in that genre for clients its perfect because I can see it being a big timesaver, (I also used Gravity and Damage 2 also but don't own any other libraries from Heavocity), I didn't dive under the hood to much but seems a bit of flexibility as others have said to alter the sounds somewhat,

Anyway feel free to check out the video,


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## Oxytoxine (Oct 13, 2021)

Markastellor said:


> I've got most of the Heavyocity titles and I can assure you the quality is universally good. I also own Pandora. They are both very high quality. From what I already own, you can speed up or slow down things from Heavyocity, but there is nothing exactly like adaptive sync. But Heavyocity can do things Pandora can't. To answer your question...yes, you can automate parameters, or control them manually, or control them by MIDI...amazingly adaptable. But if you can only buy one check them both out thoroughly first. They are both great...and as you noted they have some similarities...but they will each appeal to different people with different needs.


Thanks a lot, very helpful - will consider this!


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## Ciochi (Oct 13, 2021)

d4vec4rter said:


> If you're just going to use the presets, well then... yes, but the Heavyocity engine provides an immense array of filters, fx, dynamics macro, sequencer, punisher, twister, etc. that can let the creative juices flow freely. Add to that the fact you can always blend and layer the sounds with the likes of Novo/Forzo/Vento and others then I really can't see any reason for sounding the same as anyone else.


Surely it Is like that. I just wrote that to convince myself not to buy it.


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## dcoscina (Oct 13, 2021)

I had a chance to go through some of this last night. As always, I’m very impressed with the selection even though I’m not a trailer composer (to which it seems, on the surface, aimed at). There is more diversity in sounds and plenty of material one can compose with that aren’t loops. 

Note- Heavyocity provided me with a review copy for an upcoming FSM article


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## M_Helder (Oct 13, 2021)

Sounds bonkers!
Take my money.


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## Markastellor (Oct 13, 2021)

zimm83 said:


> Next : choral destruction !!!
> Would be cool ..a Heavyocity choir lib !!!


Ahhh yes! I hope my earlier comments did not seem too negative. As I said I LOVE Heavyocity. I have Vocalize 1 &2 and Mosaic voices, along with at least two dozen other vocal/choral libraries from other companies, but a full choir library from Heavyocity would truly be something. I'm sure it would be like their other titles, extremely versatile and badass. Unfortunately the cost would probably be huge. There are a lot of musicians to pay in a full choir and sooooo many articulations. The field is pretty crowded right now. I'm expecting (hoping) for something from Orchestral Tools. They have some snip its in their larger collections and they are all excellent...but no extensive full choir yet. I have several Strezov libraries, and they are great too....but waiting for a sale on Storm Choir II.


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## Bee_Abney (Oct 13, 2021)

Brendon V said:


> Hello guys,
> 
> Bought the library today and wrote something quickly for my website, like others have said its a really great library to get a good sound right out of the box,
> 
> ...



Thanks, that gives a great idea of what can be accomplished before you even have time to learn the engine and library contents well! Very nice music (and video)! (Okay, nice can't be the right word for intense music like that. Jaw-tightening, maybe?)


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## SupremeFist (Oct 13, 2021)

artmuz said:


> Remembering Johan Johansson Sicario's soundtrack


Great score! I'm not a massive fan of braaaam music in general but those are my favourite ever braaaams.


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## Very Loud Indeed (Oct 13, 2021)

Congrats to Heavyocity on the launch of Symphonic Destruction! They are a truly inspiring company.


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## GMT (Oct 13, 2021)

zimm83 said:


> Next : choral destruction !!!
> Would be cool ..a Heavyocity choir lib !!!


Interviewer: How mental is your choir library going to be?
Heavyocity: Yes.


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## dcoscina (Oct 13, 2021)

Just imagine a developer coming out with a Brahms Library and people mistaking it for a trailer Braaams.

LOL


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## Dirk Ehlert (Oct 13, 2021)

Hey everyone, taking a look and Hands On to the library live now - . There's also a giveaway of the library happening. Cheers D


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## Mike Fox (Oct 13, 2021)

Heavyocity killing it once again.


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## blaggins (Oct 14, 2021)

I asked this question in a review thread but didn't really get any input so I'll try again here, moderators please delete if this isn't the right place.

I'm listening to all the Symphonic Destruction demos but I have one big question. What are the differences (practically speaking, by which I mean in the type of sound that is created not so much the workflow used to get there) between Symphonic Destruction and say a popular hybrid scoring synth like Omnisphere or Zebra/ZebraHZ? To my untrained ears, it sounds like there is potentially quite a bit of overlap in the nature of the sounds. In the SD demos I've seen so far, it seems to excel at that epic Hans Zimmer hybrid score sound (big, dramatic, emotional, with constant movement), but you can get there with those synths too, in fact ZebraHZ is sort of intended to deliver on that HZ sound. I'm not sure how to think of SD in terms of pros/cons vs. synths and I would appreciate some advice.

Note that I do not own Omnisphere or Zebra either, so I'm basing this question just on demos I've seen of those products, not direct experience with them. The main point of my question is to gauge whether I should just save up for one of those at some point, or jump on the SD intro price, which is quite tempting.


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## Bee_Abney (Oct 14, 2021)

tpoots said:


> I asked this question in a review thread but didn't really get any input so I'll try again here, moderators please delete if this isn't the right place.
> 
> I'm listening to all the Symphonic Destruction demos but I have one big question. What are the differences (practically speaking, by which I mean in the type of sound that is created not so much the workflow used to get there) between Symphonic Destruction and say a popular hybrid scoring synth like Omnisphere or Zebra/ZebraHZ? To my untrained ears, it sounds like there is potentially quite a bit of overlap in the nature of the sounds. In the SD demos I've seen so far, it seems to excel at that epic Hans Zimmer hybrid score sound (big, dramatic, emotional, with constant movement), but you can get there with those synths too, in fact ZebraHZ is sort of intended to deliver on that HZ sound. I'm not sure how to think of SD in terms of pros/cons vs. synths and I would appreciate some advice.
> 
> Note that I do not own Omnisphere or Zebra either, so I'm basing this question just on demos I've seen of those products, not direct experience with them. The main point of my question is to gauge whether I should just save up for one of those at some point, or jump on the SD intro price, which is quite tempting.


This is always a good sort of question to ask, and I'd love to know what people who have all of these things have to say about it. First off, I'd say that you can't easily hive off workflow, as that also includes inspiration triggers and paths. A different workflow is likely to lead the same person to different sounds. Then I'd guess at the following:

1. Same kind of sounds, not the same sounds, and I want more of that kind of sounds!
2. Not the same kind of sounds. They are different in the following ways that I shall now break down for you clearly and analytically...
3. (A specific example of 2.?) It's about the scope for integrating samples in the sounds. Omnisphere has one sample per patch; I don't know about Zebra2. So, Heavyocity can be an all in one hybrid instrument, whereas Omnisphere and Zebra2 require a further orchestral library and you have to integrate them yourself. Of course, you'd add other libraries anyway; but that is a pretty big difference in what you are getting with Heavyocity.


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## Jotto (Oct 14, 2021)

Akarin said:


> It has been stuck on this for about an hour now. Anybody else can't download the library?


Wont download more than 5%. Pause and resume didnt help.


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## Marsen (Oct 14, 2021)

Yes, was a bit tough. Took about 2 hours here.


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## ryst (Oct 14, 2021)

Markastellor said:


> ..neverthless, I am worried, that due to the ease of use with this, that a million other composers will use this to create scores that sound very similar. I feel weird stating that fear. Do I actually want things to be more complicated just so I can work harder and stand out? No. But, still that concern bothers me.


To play devil's advocate, that's already been happening...for years. I think what will always make some composers, artists, producers, and musicians unique is their own ability to be creative with the tools that are available instead of just playing presets. I can think of a ton of ways this library can be useful to me because I'll always put my own spin on it. And besides, the more time you spending being concerned about other composers, the less time you're spending being creative. We live in amazing times with the type of tools we have at our disposal these days. I'm taking full advantage of it. Just my very worthless 2 cents.


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## NekujaK (Oct 14, 2021)

I honestly don't get what all the fuss is over everyone using the same sounds. Aren't we all using the same or similar orchestral instruments, pianos, keyboards, acoustic guitars, basses, drums, etc... The same orchestras are used over and over again to record dozens of film scores, and nobody says, "Oh my God, how lazy of the composer to use the same orchestra that I heard in Star Wars!" Did Elton John use a different piano for every song he wrote?

Yes, it can be desirable, and sometimes necessary, to inject unique sounds into one's compositions, but we don't need to reinvent the entire sound palette everytime we sit down to compose a piece. We're so spoiled and mesmerized by all the sound design and sound generating options available to us nowadays, that the highly skilled and creative act of composing music feels like it isn't enough any more.

Ultimately, the only people who care enough to notice... maybe, if they're even listening... are other composers and musicians. The audience, the people we work so hard to appeal to, just want to listen to music and enjoy it. If it makes them feel good, or fits a scene in a movie, or makes them want to dance, they really don't care if they're hearing the same sounds again.

Trading on familiarity is an extremely valuable mindset to have in your composer toolkit, especially in media composition. The people who buy and license music are often looking for a particular sound that they've probably heard a hundred times before, and now they want it in their project. Why? Because that sound is incredibly effective at conveying a certain mood or feeling. They're not interested in something different.

Let's take braams for instance. Braams exist because they convey power and awesomeness. If I'm writing trailer music and want a reasonable chance of selling it, then it would be totally foolish of me to eschew braams just because every other trailer piece uses them. There's a reason people making trailers want braams.

If there was no demand, there would be no supply.

Good sounds are good sounds. Most people on this forum agree that SD sounds amazing. That alone, should be all you need to know to buy it and use it. Why deny yourself the opportunity to use amazing sounds just because someone else is already using them?


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## szczaw (Oct 14, 2021)

NekujaK said:


> I honestly don't get what all the fuss is over everyone using the same sounds. Aren't we all using the same or similar orchestral instruments, pianos, keyboards, acoustic guitars, basses, drums, etc... The same orchestras are used over and over again to record dozens of film scores, and nobody says, "Oh my God, how lazy of the composer to use the same orchestra that I heard in Star Wars!" Did Elton John use a different piano for every song he wrote?


It's not the same, as there are melodic loops there. Nobody cares if you use sampled instruments all over again. The same melodic content is going to be used.


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## NekujaK (Oct 14, 2021)

szczaw said:


> It's not the same, as there are melodic loops there. Nobody cares if you use sampled instruments all over again. The same melodic content is going to be used.


From what I've seen in the walkthrus, the melodic loops make up only a fraction of the content. This library seems to have so much more to offer. Anyway, I guess I'll be finding out this weekend when I make my purchase!


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## szczaw (Oct 14, 2021)

NekujaK said:


> From what I've seen in the walkthrus, the melodic loops make up only a fraction of the content. This library seems to have so much more to offer. Anyway, I guess I'll be finding out this weekend when I make my purchase!


It's pretty clear that the library is going to be a hit, so all these big out-of-the-box sounds that stand out will be in widespread use. I agree that there are many and varied sound sources.


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## Markastellor (Oct 15, 2021)

ryst said:


> To play devil's advocate, that's already been happening...for years. I think what will always make some composers, artists, producers, and musicians unique is their own ability to be creative with the tools that are available instead of just playing presets. I can think of a ton of ways this library can be useful to me because I'll always put my own spin on it. And besides, the more time you spending being concerned about other composers, the less time you're spending being creative. We live in amazing times with the type of tools we have at our disposal these days. I'm taking full advantage of it. Just my very worthless 2 cents.


Good points Ryst....and I agree with everything you say to a point. I agree we are blessed. I've been around since the days when all you could get was analogue synths....which the manufacturers told us could create ANY sound the mind could imagine (yeah right). I look at the samples we have today and I am thankful. But before we wax with joy too much, I need to throw a wet blanket over the celebration. If you just want to create your own music for your own enjoyment, you can celebrate. I disagree with you just a bit, that you can stand out using the samples we have today with your own unique creativity. That is true. But, it's not the full picture. The quality and cost of music equipment and samples are awesome right now. But, f you want to sell things or have a career as a composer, musicians are in the same place they have always been. It's not just skill and creativity that bring success. I used to work in a recording studio and I worked with some REALLY good bands...better than anything you heard on the radio (this was before the internet). They had a unique sound, amazing skill and plenty of angst...none of them went anywhere because they didn't have the right contacts or "luck". The most creative ones typically have no business sense and have to connect with people that do and find some way of keeping their demons in check to avoid self destruction. Success often boiled down to being in the right place at the right time and meeting the right people. Skill and creativity improve your chances...but we all know people without much of either who have achieved fame and fortune. Look at all the big name creative artists....do a careful look. How many of them are children of other famous creative artists? How many of them came from wealthy families with connections? Nick Cage just happens to have Francis Ford Coppola as an Uncle, Angelina Joli has John Voigt as a father, Ben Stiller came from a father and mother who were both famous comedians. Carly Simon is the daughter of one of the co-founders of Simon and Schuster (father) and a classical pianist (mother). If you spend some time doing research you will be astonished how many fit this picture. I'm not saying that these people aren't talented...I'm just saying that there are hundreds of thousands of other equally talented individuals who don't have the right connections who never make it. You can argue that performers have to have a "look" as well as a sound and composers are free of all that. But composers need luck and connections too. And now that composing is becoming so much easier there are more composers and more of a need to have connections to succeed. Some may say if you stick with it you eventually your skill will provide you with luck....sure, but what about those who have to work a job and have far fewer hours to devote to their art than those with wealthy parents? Still there are those like Hans Zimmer, who slipped in through the back door...but he got lucky with his contacts and he was also blessed with an outgoing, likable personality. What are the chances for an introverted genius from a small town today? I also write fiction...it's the same thing there. There are a gazillion talented writers, but only a few big publishers, and they all want name recognition BEFORE they make a contract with you. Talents and skill? Those are so common, they can always find those. Sure they need to work with agencies to sort out the junk, but after that there are many, many talented writers. Talent alone does not bring success. You can self publish of course, and some with the right tech skills can sometimes come up with a cool trick to rise to the top. But if you have the money and connections you can simply buy your way to best seller status. A San Diego firm called ResultSource will literally guarantee you a number one spot on the New York Times Best seller list if you have a quarter of a million dollars to invest. they know the stores the New York Times monitors and they do a massive buy up of books form these stores from hundreds of private accounts. Once you get #1 status the books start to sell on their own and you make your money back. Am I complaining? Not completely. Mozart was born into an ideal situation with parents who trained him and marketed his skill before he knew what was going on. Bach came from a musical family and had to apply for jobs at churches and do as he was told. It's never been easy or fair for musicians. So back to my original point. I love this new sound set from Heavyocity, and I love that you don't have to be trained at a conservatory and have access to an orchestra and a recoding studio to produce good music. But having things so good is going to increase the competition and will make it harder to stand out. It's a good thing and it's a bad thing at the same time.


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## davidson (Oct 15, 2021)

Markastellor said:


> Good points Ryst....and I agree with everything you say to a point. I agree we are blessed. I've been around since the days when all you could get was analogue synths....which the manufacturers told us could create ANY sound the mind could imagine (yeah right). I look at the samples we have today and I am thankful. But before we wax with joy too much, I need to throw a wet blanket over the celebration. If you just want to create your own music for your own enjoyment, you can celebrate. I disagree with you just a bit, that you can stand out using the samples we have today with your own unique creativity. That is true. But, it's not the full picture. The quality and cost of music equipment and samples are awesome right now. But, f you want to sell things or have a career as a composer, musicians are in the same place they have always been. It's not just skill and creativity that bring success. I used to work in a recording studio and I worked with some REALLY good bands...better than anything you heard on the radio (this was before the internet). They had a unique sound, amazing skill and plenty of angst...none of them went anywhere because they didn't have the right contacts or "luck". The most creative ones typically have no business sense and have to connect with people that do and find some way of keeping their demons in check to avoid self destruction. Success often boiled down to being in the right place at the right time and meeting the right people. Skill and creativity improve your chances...but we all know people without much of either who have achieved fame and fortune. Look at all the big name creative artists....do a careful look. How many of them are children of other famous creative artists? How many of them came from wealthy families with connections? Nick Cage just happens to have Francis Ford Coppola as an Uncle, Angelina Joli has John Voigt as a father, Ben Stiller came from a father and mother who were both famous comedians. Carly Simon is the daughter of one of the co-founders of Simon and Schuster (father) and a classical pianist (mother). If you spend some time doing research you will be astonished how many fit this picture. I'm not saying that these people aren't talented...I'm just saying that there are hundreds of thousands of other equally talented individuals who don't have the right connections who never make it. You can argue that performers have to have a "look" as well as a sound and composers are free of all that. But composers need luck and connections too. And now that composing is becoming so much easier there are more composers and more of a need to have connections to succeed. Some may say if you stick with it you eventually your skill will provide you with luck....sure, but what about those who have to work a job and have far fewer hours to devote to their art than those with wealthy parents? Still there are those like Hans Zimmer, who slipped in through the back door...but he got lucky with his contacts and he was also blessed with an outgoing, likable personality. What are the chances for an introverted genius from a small town today? I also write fiction...it's the same thing there. There are a gazillion talented writers, but only a few big publishers, and they all want name recognition BEFORE they make a contract with you. Talents and skill? Those are so common, they can always find those. Sure they need to work with agencies to sort out the junk, but after that there are many, many talented writers. Talent alone does not bring success. You can self publish of course, and some with the right tech skills can sometimes come up with a cool trick to rise to the top. But if you have the money and connections you can simply buy your way to best seller status. A San Diego firm called ResultSource will literally guarantee you a number one spot on the New York Times Best seller list if you have a quarter of a million dollars to invest. they know the stores the New York Times monitors and they do a massive buy up of books form these stores from hundreds of private accounts. Once you get #1 status the books start to sell on their own and you make your money back. Am I complaining? Not completely. Mozart was born into an ideal situation with parents who trained him and marketed his skill before he knew what was going on. Bach came from a musical family and had to apply for jobs at churches and do as he was told. It's never been easy or fair for musicians. So back to my original point. I love this new sound set from Heavyocity, and I love that you don't have to be trained at a conservatory and have access to an orchestra and a recoding studio to produce good music. But having things so good is going to increase the competition and will make it harder to stand out. It's a good thing and it's a bad thing at the same time.


Are you trying to break some kind of paragraph length guinness world record?


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## Markastellor (Oct 15, 2021)

davidson said:


> Are you trying to break some kind of paragraph length guinness world record?


 I think I did.

I thought if I hit the return key it would post it....it's that way on some forums....but just discovered it's not on this one.

See?

Four paragraphs here.


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## davidson (Oct 15, 2021)

Markastellor said:


> I think I did.
> 
> I thought if I hit the return key it would post it....it's that way on some forums....but just discovered it's not on this one.
> 
> ...


You've set both the shortest and longest paragraph records in a single day!


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## RonOrchComp (Oct 15, 2021)

Just downed this. Awesome! A ton of content - all usable. This is almost like a D2 add-on pack. Great job as always guys


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## Paul Owen (Oct 15, 2021)

RonOrchComp said:


> Just downed this. Awesome! A ton of content - all usable. This is almost like a D2 add-on pack. Great job as always guys


Thanks for getting this thread back on track dude! 👍


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## Paul Owen (Oct 15, 2021)

I've spent all of five minutes with SD and it's five minutes worth of amazing.


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## Double Helix (Oct 15, 2021)

davidson said:


> Are you trying to break some kind of paragraph length guinness world record?


James Joyce edges out @Markastellor with the final chapter of _Ulysses_, a forty-five page sentence (but who's counting?)
. . . now, back to your regularly scheduled thread: I have listened to several walk-throughs of Symphonic Destruction, and it's just killer (!)
I have only one other Heavyocity library; SD might double my inventory.


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## Sunny Schramm (Oct 15, 2021)

My wishes and what I am a "little" mad about 

1. What I dont understand since the release of the first NOVO Expansion or Elements-Version is why everything has to be a standalone and one instrument with its own pool of sources.

Even as a owner of "NOVO" I can not take advantage of the source material of "NOVO Essentials" which I also bought because of its a complete new source material. So there is no chance to mix the sources of both which would be such a great feature and so much more possibilities.

The engine and gui of the new instruments are all mostly the same - so I wish they would give us the possibility to browse through all sources of Novo, Forzo, Vento, Symphonic Destruction. their Expansions (which are also standalone instruments and not really expansions) and Element versions. Thats what the Designer and Loop-Designer are for - so why do they limit our possibilities?

Why not giving us a source-browser looking like that - where every newly owned instrument is automatically added to:






2. Why can we not edit the "Performer"-Snapshots and change maybe one or two of the used soundsources if we like the rest of the programming of the snapshot? Or am I missing a button or something?

3. For example I want to build a sustain like combination out of the sources: I click on "Traditional", then on "Sustain" in the category-browser and choose my source. Now I want a "Hybrid" sustain - I click on "Hybrid" and AGAIN have to change the sub-category to "Sustain". Why cant it stay at "Sustain" like in most other VST-Filter I own? At least give us an option which lets us choose how it will behave...

Soundwise a great new tool of course - next to all the other HC-Libraries I own


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## Marsen (Oct 15, 2021)

Sunny Schramm said:


> So there is no chance to mix the sources of both which would be such a great feature and so much more possibilities.


You could add another expansion with same midi ch in kontakt as multi, mute one of the 3 sources and use another on top.



Sunny Schramm said:


> 2. Why can we not edit the "Performer"-Snapshots and change maybe one or two of the used soundsources if we like the rest of the programming of the snapshot? Or am I missing a button or something?


If I understand you right, you can just edit every snapshot and then save it with a new name. This will be stored in a new User snapshot folder.


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## Sunny Schramm (Oct 15, 2021)

Marsen said:


> You could add another expansion with same midi ch in kontakt as multi, mute one of the 3 sources and use another on top.
> 
> 
> If I understand you right, you can just edit every snapshot and then save it with a new name. This will be stored in a new User snapshot folder.


nope - a multi in kontakt is definitely not the solution or workaround for this. would be much to much work to edit all kontakt-instances/ instruments in the multi only to use a source from vento, a source from novo and one from forzo for example. and the performer-sounds are not handled like the normal design- or looper-snapshots - you can not get deep or to the sources in these special performances. maybe its because these are recorded performances with only one source. will check back on that tomorrow.

[EDIT] yes, the performer-presets are a different thing - so my second point is obsolete.


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## Marsen (Oct 15, 2021)

Sunny Schramm said:


> and the performer-sounds are not handled like the normal design- or looper-snapshots - you can not get deep or to the sources in these special performance


I don't know what you mean with "not getting deep".

You can change and save snapshots in every nki from SD.
The performers are limited in mangling, cause they are what they are, based on traditional mainly orchestral (multi) samples.
The deep dive is in the Designer sections.
But you still can edit these with the Sequencer/Gate, Fx etc. sections.


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## Paul Owen (Oct 15, 2021)

Not to be a stickler or anything but...

"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."


I should be a mod...

Warm regards


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## Sunny Schramm (Oct 15, 2021)

Marsen said:


> I don't know what you mean with "not getting deep".
> 
> You can change and save snapshots in every nki from SD.
> The performers are limited in mangling, cause they are what they are, based on traditional mainly orchestral (multi) samples.
> ...


its all fine with the performer-presets as I mentioned before with my [edit] above - we talk the same here  they are handled different because they are mapped samples as an multi-instrument - but its not the big point here. the big point is the first one in my original post. so you dont need to worry anymore.


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## ryst (Oct 15, 2021)

Markastellor said:


> Good points Ryst....and I agree with everything you say to a point. I agree we are blessed. I've been around since the days when all you could get was analogue synths....which the manufacturers told us could create ANY sound the mind could imagine (yeah right). I look at the samples we have today and I am thankful. But before we wax with joy too much, I need to throw a wet blanket over the celebration. If you just want to create your own music for your own enjoyment, you can celebrate. I disagree with you just a bit, that you can stand out using the samples we have today with your own unique creativity. That is true. But, it's not the full picture. The quality and cost of music equipment and samples are awesome right now. But, f you want to sell things or have a career as a composer, musicians are in the same place they have always been. It's not just skill and creativity that bring success. I used to work in a recording studio and I worked with some REALLY good bands...better than anything you heard on the radio (this was before the internet). They had a unique sound, amazing skill and plenty of angst...none of them went anywhere because they didn't have the right contacts or "luck". The most creative ones typically have no business sense and have to connect with people that do and find some way of keeping their demons in check to avoid self destruction. Success often boiled down to being in the right place at the right time and meeting the right people. Skill and creativity improve your chances...but we all know people without much of either who have achieved fame and fortune. Look at all the big name creative artists....do a careful look. How many of them are children of other famous creative artists? How many of them came from wealthy families with connections? Nick Cage just happens to have Francis Ford Coppola as an Uncle, Angelina Joli has John Voigt as a father, Ben Stiller came from a father and mother who were both famous comedians. Carly Simon is the daughter of one of the co-founders of Simon and Schuster (father) and a classical pianist (mother). If you spend some time doing research you will be astonished how many fit this picture. I'm not saying that these people aren't talented...I'm just saying that there are hundreds of thousands of other equally talented individuals who don't have the right connections who never make it. You can argue that performers have to have a "look" as well as a sound and composers are free of all that. But composers need luck and connections too. And now that composing is becoming so much easier there are more composers and more of a need to have connections to succeed. Some may say if you stick with it you eventually your skill will provide you with luck....sure, but what about those who have to work a job and have far fewer hours to devote to their art than those with wealthy parents? Still there are those like Hans Zimmer, who slipped in through the back door...but he got lucky with his contacts and he was also blessed with an outgoing, likable personality. What are the chances for an introverted genius from a small town today? I also write fiction...it's the same thing there. There are a gazillion talented writers, but only a few big publishers, and they all want name recognition BEFORE they make a contract with you. Talents and skill? Those are so common, they can always find those. Sure they need to work with agencies to sort out the junk, but after that there are many, many talented writers. Talent alone does not bring success. You can self publish of course, and some with the right tech skills can sometimes come up with a cool trick to rise to the top. But if you have the money and connections you can simply buy your way to best seller status. A San Diego firm called ResultSource will literally guarantee you a number one spot on the New York Times Best seller list if you have a quarter of a million dollars to invest. they know the stores the New York Times monitors and they do a massive buy up of books form these stores from hundreds of private accounts. Once you get #1 status the books start to sell on their own and you make your money back. Am I complaining? Not completely. Mozart was born into an ideal situation with parents who trained him and marketed his skill before he knew what was going on. Bach came from a musical family and had to apply for jobs at churches and do as he was told. It's never been easy or fair for musicians. So back to my original point. I love this new sound set from Heavyocity, and I love that you don't have to be trained at a conservatory and have access to an orchestra and a recoding studio to produce good music. *But having things so good is going to increase the competition and will make it harder to stand out. It's a good thing and it's a bad thing at the same time.*


As it's been for years. I don't think Symphonic Destruction is the tipping point or the last straw. But I certainly understand your POV. I've thought about all the things you wrote for years. We all just have our different perspectives and feelings about it.


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## Marsen (Oct 15, 2021)

Sunny Schramm said:


> its all fine with the performer-presets as I mentioned before with my [edit] above - we talk the same here  they are handled different because they are mapped samples as an multi-instrument - but its not the big point here. the big point is the first one in my original post. so you dont need to worry anymore.



Well, I don't worry. Just wanna help. All good. 🙂


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## RonOrchComp (Oct 15, 2021)

Hey - does anyone know if Daniel James did work for HY here? Some of the sounds in the 'Motifs' cat sound eerily similiar to sounds in the 'Haze' cat from Proj Chaos. Could just be coincidence, but, maybe not.


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## Ruchir (Oct 16, 2021)

Here is a VR 180 video cue written using Symphonic Destruction alongside a couple of other VIs.
Love the ability to get great sounds really quickly out of this VI.


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## muziksculp (Oct 16, 2021)

Hi,

This library seems to be a perfect tool for creating SCI-FI Hybrid Soundtracks.

I have HY's Novo, Forzo, and some of the other Textural, and Rhythmic complement libraries. Along with Damage, and Damage 2.

I'm very tempted to get it at the current discount pricing. Plus, I'm guessing one can easily customize the sounds quite a bit to make them unique, and not just rely on the presets. (Correct ?)

OK, those who already purchased Symphonic Destruction, would you recommend it ? and have you tried using Symphonic Destruction, along with Novo, Forzo, Damage 2, and some of their other libraries ? how do you like using it with other none HY libraries, and various Synths ?

I hope I didn't over do the questions, but any feedback on these points would be helpful to read.

Thanks,
Muziksculp


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## Satorious (Oct 17, 2021)

@Heavyocity Media One thing which seems to be a little confusing is that you state owners of Novo, Vento or Forzo are entitled to a cross-grade offer (mentioned in first post and also emailed). When you go to the site -there is no mention of this, it only mentions this is available for Damage 2 owners (and if you click the cross-grade offer it asks you to put in your Damage 2 serial number). Any chance of some clearer clarification?


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## Marsen (Oct 18, 2021)

muziksculp said:


> Hi,
> 
> This library seems to be a perfect tool for creating SCI-FI Hybrid Soundtracks.
> 
> ...



I would say, this is my new cyberpunk favorite library. 
Works perfectly with Damage 2 and also with more traditional orchestral libraries. 
I would not stack it to much with other hybrid libs, as SD for it's own is cutting threw. 
2 times dangerous doesn't add up to uber-dangerous. 

And yes, the non-loop part of the library, which is the bigger one, can be mangled to provide your own unique sounds.

Though, I haven't spend that much time so far, I have the feeling, you can add synths and organic sounds to it, use it as your new monster- braams of course, but you should not add to much similar Heavyocity Engine Sounds to it, which are in the same direction to SD. It's the same like stacking too much brass and may end up, getting phasing issues.
But this is more a plus for SD and it's power.


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## muziksculp (Oct 18, 2021)

Marsen said:


> I would say, this is my new cyberpunk favorite library.
> Works perfectly with Damage 2 and also with more traditional orchestral libraries.
> I would not stack it to much with other hybrid libs, as SD for it's own is cutting threw.
> 2 times dangerous doesn't add up to uber-dangerous.
> ...


THANKS


----------



## river angler (Oct 18, 2021)

Markastellor said:


> Good points Ryst....and I agree with everything you say to a point. I agree we are blessed. I've been around since the days when all you could get was analogue synths....which the manufacturers told us could create ANY sound the mind could imagine (yeah right). I look at the samples we have today and I am thankful. But before we wax with joy too much, I need to throw a wet blanket over the celebration. If you just want to create your own music for your own enjoyment, you can celebrate. I disagree with you just a bit, that you can stand out using the samples we have today with your own unique creativity. That is true. But, it's not the full picture. The quality and cost of music equipment and samples are awesome right now. But, f you want to sell things or have a career as a composer, musicians are in the same place they have always been. It's not just skill and creativity that bring success. I used to work in a recording studio and I worked with some REALLY good bands...better than anything you heard on the radio (this was before the internet). They had a unique sound, amazing skill and plenty of angst...none of them went anywhere because they didn't have the right contacts or "luck". The most creative ones typically have no business sense and have to connect with people that do and find some way of keeping their demons in check to avoid self destruction. Success often boiled down to being in the right place at the right time and meeting the right people. Skill and creativity improve your chances...but we all know people without much of either who have achieved fame and fortune. Look at all the big name creative artists....do a careful look. How many of them are children of other famous creative artists? How many of them came from wealthy families with connections? Nick Cage just happens to have Francis Ford Coppola as an Uncle, Angelina Joli has John Voigt as a father, Ben Stiller came from a father and mother who were both famous comedians. Carly Simon is the daughter of one of the co-founders of Simon and Schuster (father) and a classical pianist (mother). If you spend some time doing research you will be astonished how many fit this picture. I'm not saying that these people aren't talented...I'm just saying that there are hundreds of thousands of other equally talented individuals who don't have the right connections who never make it. You can argue that performers have to have a "look" as well as a sound and composers are free of all that. But composers need luck and connections too. And now that composing is becoming so much easier there are more composers and more of a need to have connections to succeed. Some may say if you stick with it you eventually your skill will provide you with luck....sure, but what about those who have to work a job and have far fewer hours to devote to their art than those with wealthy parents? Still there are those like Hans Zimmer, who slipped in through the back door...but he got lucky with his contacts and he was also blessed with an outgoing, likable personality. What are the chances for an introverted genius from a small town today? I also write fiction...it's the same thing there. There are a gazillion talented writers, but only a few big publishers, and they all want name recognition BEFORE they make a contract with you. Talents and skill? Those are so common, they can always find those. Sure they need to work with agencies to sort out the junk, but after that there are many, many talented writers. Talent alone does not bring success. You can self publish of course, and some with the right tech skills can sometimes come up with a cool trick to rise to the top. But if you have the money and connections you can simply buy your way to best seller status. A San Diego firm called ResultSource will literally guarantee you a number one spot on the New York Times Best seller list if you have a quarter of a million dollars to invest. they know the stores the New York Times monitors and they do a massive buy up of books form these stores from hundreds of private accounts. Once you get #1 status the books start to sell on their own and you make your money back. Am I complaining? Not completely. Mozart was born into an ideal situation with parents who trained him and marketed his skill before he knew what was going on. Bach came from a musical family and had to apply for jobs at churches and do as he was told. It's never been easy or fair for musicians. So back to my original point. I love this new sound set from Heavyocity, and I love that you don't have to be trained at a conservatory and have access to an orchestra and a recoding studio to produce good music. But having things so good is going to increase the competition and will make it harder to stand out. It's a good thing and it's a bad thing at the same time.


It's always been this way!... I agree it is wonderful that everyone can now have so many instruments at ones fingertips however having access to "one finger" monster sonics like this library or indeed having a full traditional orchestral library doesn't necessarily make for good music without solid writing ability/tallent!... at least for those more demanding projects.

There seems to be such a blurry line between good base composition and sonic soundscape in a lot of film music now. As far as I can hear the main selling point of this particular library has been designed to provide ready mixed, heavy weight orchestral textures that would take some time to create using separate sound sources. Great for the media composers working on tight deadlines. However for those composers seeking their own custommed sonic footprint this kind of library is only ever going to be used judiciously in a textural, supportive roll within any given composition. This is because it has such a particularly recognisable "weight" to it. However Heavyocity must be commended for providing enough versatility within the sound engines within this library to customise the samples to a degree.
I disagree with others here who suggest this kind of sound is as staple as traditional orchestral instruments. "Hybrid/sound design" type sonics will always evolve - the traditional orchestral instruments that form the fundamental musical tools for base composition with melody and harmony will always remain so. "Braams" for example are simply a modern take on traditional orchestral brass "rips" used by composers like Wagner and many before him! Just as rock comes from classical - hybrid sounds wouldn't exist without the traditional orchestra!

I prefer to conjur my own hybrid sounds utilising various sources both hardware and software rather than pull up a "sound design" library if only because it so often leads to more original sonics and helps preserve my own sonic stamp as far as the production of my compositions is concerned. I rarely use presets and when I do they are utilised in a strictly supportive fashion just as strings or any other orchestral instrument are used to form part of the whole orchestral pallet. I would guess that so many of these big cinematic type libraries are more bought up by hobbyists and musical enthusiasts after the pre-public release to the pros.


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## Double Helix (Oct 20, 2021)

Double Helix said:


> I have only one other Heavyocity library; SD might double my inventory.


I just did--downloading now
I appreciate Cory's & Simeon's play-throughs.
Fun times loom. . .


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## zimm83 (Oct 21, 2021)

Believe me or not....but this library has some of the most beautiful and ethereal string patches i have ever heard.
Just play a chord.....instant beauty. Really.
Did not expect that from this library.
And when you start tweaking things on the ostinatos....Man...instant Z.......
Of course, when you return to earth, you can make Symphonic Destructions. Terrific. Boums.....Explosions.
And even horror cues.

Really really happy with my brand new library. 
Congratulations Heavyocity.


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## Craig Sharmat (Oct 22, 2021)

I've wanted to write about this library for a while but I am using it for my current writing gig and keep putting it off. While this library isn't everything, it is a lot of things, and a lot of good things. I don't have horror on my agenda currently but it is as useful a library as I have seen for that genre. Currently on a crime writing gig and it is original and appropriate for that gig. The repeater function is great and allows me to jam rhythms where needed in an organic or unnatural way. A lot of patches feel like next gen Symphobia (Symphonic Destruction has some very organic patches, Symphobia has more) but with an edge and interface that puts it in it's own category. Symphonic Destruction is a catchy name but the library is capable of a lot more as other users have mentioned than destruction, it can find it's way into a multitude of projects completely diverse from each other. There are days of exploration if one wants to do that or you can quickly grab a sound and go. If I had a gripe, it is a very small one and that is some of the source material is not as natural as I might want but then again, the purpose of this library is to alter the orchestra, not keep it pristine, I have plenty of libraries that are purely organic.


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## muziksculp (Oct 23, 2021)

Would love to hear some demos of Symphonic Destruction doing some non-Destructive Tracks  , kind of the opposite of what one expects from this library, maybe an emotional drama type scoring scene.


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## Double Helix (Oct 23, 2021)

muziksculp said:


> Would love to hear some demos of Symphonic Destruction doing some non-Destructive Tracks  , kind of the opposite of what one expects from this library, maybe an emotional drama type scoring scene.


The first part--up to about the nine-minute mark--of @Cory Pelizzari 's YouTube video demonstrates just what you seek, but you will likely want to watch the entire presentation


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## muziksculp (Oct 23, 2021)

Hi,

Does Symph. Destruction allow the editing of the source instruments combined to create the presets ? 

I don't see anything in the GUI that allows one to go one level down to make custom combinations of i.e. Strings/Woods, or Brass/Woods, ..etc. It looks like one can only use the pre-baked preset combinations of the library.


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## rnb_2 (Oct 23, 2021)

Also, @Simeon has a ton of "non-destructive" examples in the flashback of his livestream from last week.


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## muziksculp (Oct 23, 2021)

There is no way to create custom combinations of the source sounds, the GUI doesn't have an option to do that. Kind of a big limitation.

i.e. let's say I just want String Shorts, with no Woodwinds/Brass, I can't create that in this library.


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## kgdrum (Oct 23, 2021)

muziksculp said:


> There is no way to create custom combinations of the source sounds, the GUI doesn't have an option to do that. Kind of a big limitation.
> 
> i.e. let's say I just want String Shorts, with no Woodwinds/Brass, I can't create that in this library.



For me that’s a big oversight,if that was possible……………….my oh my.


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## Trash Panda (Oct 23, 2021)

muziksculp said:


> There is no way to create custom combinations of the source sounds, the GUI doesn't have an option to do that. Kind of a big limitation.
> 
> i.e. let's say I just want String Shorts, with no Woodwinds/Brass, I can't create that in this library.


There’s NOVO/Forzo/Vento for that.


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## muziksculp (Oct 23, 2021)

kgdrum said:


> For me that’s a big oversight,if that was possible……………….my oh my.


And the worst part, is it was by design.


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## muziksculp (Oct 23, 2021)

Trash Panda said:


> There’s NOVO/Forzo/Vento for that.


Yes, but why not Symph. Destruction as well ? Makes no sense to me.


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## Trash Panda (Oct 23, 2021)

muziksculp said:


> Yes, but why not Symph. Destruction as well ? Makes no sense to me.


Because the devs wanted to give people something to complain about free of charge?


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## kgdrum (Oct 23, 2021)

muziksculp said:


> And the worst part, is it was by design.



Well isn’t almost everything by a very talented developer by design?


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## muziksculp (Oct 23, 2021)

kgdrum said:


> Well isn’t almost everything by a very talented developer by design?


In this case, by design to make much less versatile, and flexible, not the other way around.


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## kgdrum (Oct 23, 2021)

muziksculp said:


> In this case, by design to make much less versatile, and flexible, not the other way around.




I’m not saying Heavyocity is doing this purposely but in some cases a developer might somewhat limit the flexibility of a product to encourage customers to purchase a 2nd product to compliment the 1st choice.


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## GMT (Oct 23, 2021)

Trash Panda said:


> There’s NOVO/Forzo/Vento for that.


Exactly. It would be a massive library if all the individual instruments were included. Plus, that's not what SD is designed to be. Saying that, I wouldn't be surprised to see a Heavyocity bundle on my login page with SD, Novo, Forzo, Vento and Damage 2 at some point. They will blend very well together.


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## rnb_2 (Oct 23, 2021)

GMT said:


> Exactly. It would be a massive library if all the individual instruments were included. Plus, that's not what SD is designed to be. Saying that, I wouldn't be surprised to see a Heavyocity bundle on my login page with SD, Novo, Forzo, Vento and Damage 2 at some point. They will blend very well together.


Considering where Symphonic Destruction slots in to Heavyocity's lineup, price-wise, some limitations have to be expected - it's cheaper than Novo or Forzo, the same price as Vento.

There is a "SD Designer" where you can combine up to three sound sources - see timestamp 27:47 in @Cory Pelizzari's video - and all of the reviews I've seen comment that there is an impressive amount of great-sounding content included, even if it isn't as flexible as some might like.


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## muziksculp (Oct 23, 2021)

If one looks at Symphonic Destruction as a complementing addition to their other series of libraries like, NOVO, FORZO, VENTO, and the others, Plus DAMAGE 2, then I agree, Simph. Dest. is fine as is. I wasn't looking at it from that perspective.


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## Marko Cifer (Oct 23, 2021)

Satorious said:


> @Heavyocity Media One thing which seems to be a little confusing is that you state owners of Novo, Vento or Forzo are entitled to a cross-grade offer (mentioned in first post and also emailed). When you go to the site -there is no mention of this, it only mentions this is available for Damage 2 owners (and if you click the cross-grade offer it asks you to put in your Damage 2 serial number). Any chance of some clearer clarification?


I just tried using my Novo, Forzo and Vento serial numbers instead of a Damage 2 serial for the crossgrade serial number field, and all three worked - each time the system added the Crossgrade version of SD to the cart instead of the regular version.

Really tempted to pick this up before the intro price deal is up. Still debating if I can afford it right now.


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## Satorious (Oct 24, 2021)

Yep, worked for me also (more just pointing it out being as it gave the impression only Damage 2 owners were eligible for the $50 discount).


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## Alchemedia (Oct 24, 2021)

kgdrum said:


> I’m not saying Heavyocity is doing this purposely but in some cases a developer might somewhat limit the flexibility of a product to encourage customers to purchase a 2nd product to compliment the 1st choice.


BBCSO Core is the perfect example. It's like a fine bottle of wine without the corkscrew.


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## river angler (Oct 26, 2021)

Markastellor said:


> I'm going to slightly differ from other opinions here. I agree fully that Heavyocity has excellent quality. And like others have stated I am almost tempted to buy anything they offer just on my experience with other things they offer. I own most of what they offer already, and clearly their taste and general philosophy is very similar to my own. If I were to take other libraries and synths and play with them for a couple days to get just what I want in a sound, I typically get that just by pushing a key with Heavyocity. But I have mixed feelings about this. If I didn't already have Forzo, Vento and Novo, Damage 1+2, plus a few other things they offer, I would jump on this without question. I believe I already have the ability to create most of what this can do, though certainly not as quickly, and this does offer some new things. As usual, Heavyocity gives us a great deal of control, so you can personalize your sound to some degree...neverthless, I am worried, that due to the ease of use with this, that a million other composers will use this to create scores that sound very similar. I feel weird stating that fear. Do I actually want things to be more complicated just so I can work harder and stand out? No. But, still that concern bothers me. I qualify for the crossgrade, but still even at this sale price it seems a bit stiff for an owner who has so many similar things. I will probably get it though. No one does badass like Heavyocity.


I very much sympathise with what you're saying here. There's always a danger of falling into overheard sonic territory with any of these types of pre-blended "one finger wonder" hybrid libraries.

However at the end of the day, if one takes the analogy of an artists pallet of oil paints, any library is a colour, wether that colour is a blend of the primary colours or not.

Some painters I know mix their own jars of base colour combinations to have ready access to on their pallet as those combinations have become tones that they often use. However to stand out in the painting world is no different than in music- it's the subject of what you are painting and how you interpret that subject and apply/mix those colours onto the canvas with chiaroscuro, contrasting forms and brush strokes that potentially yield a painting that stands out a little or a lot from the rest. Even if one was to paint with lighter or darker shades of one particular premixed colour it is still the way one uses those varying shades on the canvas that are the key to a more original and intriguing outcome.

SD is just another pre mixed colour amongst many other developer libraries: after all its elements stem from base orchestral instruments if manipulated by fx and timing. If you like that ready made colour, which in fact from what I can gather is actually not just limited to its symphonic destructive title and see it as one that could serve you well within the other colours on your pallet, buy it! and use it!

Having said this I do think developers like Heavyocity could actually dispel the "one finger" fears of many discerning composers by demonstrating the less obvious capabilities of their libraries as admirably shown here by Corey Pelizzari...






Library Spotlight - Symphonic Destruction


Get it here - https://heavyocity.com/product/symphonic-destruction/




vi-control.net





I might add (not for the last time!)...

As is part and parcel with the ever enticing world of sample libraries and indeed a common trait so often demonstrated by many folks here with seemingly bottomless pockets!.. so many sample library offerings are tempting ear candy very much like when a fisherman enters a tackle shop: there's more tackle on display in that Aladins cave to catch anglers than fish!


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## kgdrum (Oct 26, 2021)

Has Heavyocity announced when the intro for Symphonic Destruction actually ends?
It’s an expensive library and my 💰is limited,all I have seen is the introduction ends soon. Knowing the actual end date for the intro would be appreciated. 👍
@Heavyocity Media


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## rnb_2 (Oct 26, 2021)

kgdrum said:


> Has Heavyocity announced when the intro for Symphonic Destruction actually ends?
> It’s an expensive library and my 💰is limited,all I have seen is the introduction ends soon. Knowing the actual end date for the intro would be appreciated. 👍
> @Heavyocity Media


From back on page 3, intro ends Nov 1.


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## kgdrum (Oct 26, 2021)

rnb_2 said:


> From back on page 3, intro ends Nov 1.




Thanks Rick,
I’m glad one of us can read 😜


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## Donny Grace (Oct 26, 2021)

I can’t believe I was on the fence with this purchase. I own everything Heavyocity has ever released. Love all the products. I’ve even used Damage in songs to get the tension I was striving for. But somehow when I saw “Destruction” I thought I might not get that much use out of this library, particularly considering the price, and since I’m not into film, trailers, and gaming, but mainly music. But was I ever wrong. While SD will do all the trailers, cues, etc., really well, this library is jammed packed with beauty and inspiration for making music as well. I just got it downloaded last night and with virtually every preset I went to, as soon I struck the keys ideas started flowing. This may be one of my most-used libraries yet. Here are a few snippets I quickly threw together as I was walking through the library. Most of these are single presets. Wonderful library.

Edit: I should add for those not familiar with the Heavyocity stuff that all the rhythmic movement in the examples I played are from SD. I am merely holding down chords. That is part of what I find so inspiring about it.


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## rnb_2 (Oct 26, 2021)

Just a quick note on crossgrading: I own all three of the Novo/Forzo/Vento Essentials, and was certain they wouldn't qualify for the crossgrade, but I tried anyways, and was pleasantly surprised...


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## rnb_2 (Oct 26, 2021)

rnb_2 said:


> Just a quick note on crossgrading: I own all three of the Novo/Forzo/Vento Essentials, and was certain they wouldn't qualify for the crossgrade, but I tried anyways, and was pleasantly surprised...


Not so fast - made the purchase with no problem, downloaded it via Heavyocity Portal, but when I tried to add it to Native Access, I got a "You don't have the base product for this crossgrade" error, and running it via Files in Kontakt brings it up in Demo mode.

I was surprised when the crossgrade was allowed from Novo Essentials, but it shouldn't allow you to make the purchase and leave you with a product that can't be activated. I'll contact support and see what they say in the morning.


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## MarcusD (Oct 27, 2021)

Every time Heavyocity release a new product, all I can think of is people aggressively slapping wallets on the desk while sadistically grinning.😆

The Library sounds so good!


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## emilio_n (Oct 27, 2021)

Downloading, but at 175 kb/s...
Why is Heavyocity Portal sooooo slow?


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## Donny Grace (Oct 27, 2021)

emilio_n said:


> Downloading, but at 175 kb/s...
> Why is Heavyocity Portal sooooo slow?


Same here. Took about 24 hours to download. Then it couldn't install saying there was a file integrity problem. So after about another hour of further downloading and checking the integrity it finally installed. But it was well worth the wait. Great library.


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## Evans (Oct 27, 2021)

I got about 6 MB/s this weekend, east coast US. But still pretty slow for my average elsewhere.


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## chillbot (Oct 27, 2021)

emilio_n said:


> Downloading, but at 175 kb/s...
> Why is Heavyocity Portal sooooo slow?


I wonder if something changed that now everyone is complaining it's slow? Earlier in this thread I was posting about how fast their portal was for me...






NOW AVAILABLE — Symphonic Destruction


My wallet weeps and it isn't even BF yet 😢




vi-control.net


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## rnb_2 (Oct 27, 2021)

My download last night (12:30-1:30am EDT) on my 500mb connection was fine - not great, but not slow. Now, if only I could do anything with it...


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## fiction (Oct 28, 2021)

Still on the fence about this. 

Sounds really useful and I’m short of hybrid/sound design sounds. 

It will come down to how customizable it is because I don’t want to sound like everyone else. 
Gotta check some more walkthroughs before the intro price ends..


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## river angler (Oct 28, 2021)

fiction said:


> Still on the fence about this.
> 
> Sounds really useful and I’m short of hybrid/sound design sounds.
> 
> ...








NOW AVAILABLE — Symphonic Destruction


Well isn’t almost everything by a very talented developer by design? In this case, by design to make much less versatile, and flexible, not the other way around.




vi-control.net


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## rnb_2 (Oct 28, 2021)

Has anybody had to contact @Heavyocity Media support recently and have any idea what their response time is? I've had a support request in for about 36 hours with nothing other than the auto-reply. If they find a way to let me stick with the crossgrade, I'm good, but I'm concerned that if they end up refunding my purchase (since I can't use it) but don't do that soon, I'm going to miss out on the intro pricing entirely (and the ability to save $20 at Best Service, if it comes to that).


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## Craig Sharmat (Oct 28, 2021)

fiction said:


> Still on the fence about this.
> 
> Sounds really useful and I’m short of hybrid/sound design sounds.
> 
> ...


It really is up to you, it can be as simple as you want, in which case you use what they present or you can go super deep. There is a tendency to use what is easy but that is entirely on you.


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## Marko Cifer (Oct 29, 2021)

fiction said:


> Still on the fence about this.
> 
> Sounds really useful and I’m short of hybrid/sound design sounds.
> 
> ...


I'm also still pondering if I should grab this at this point in time, or wait. Have a couple of days left to decide.

It's not due to a fear of "sounding like everyone else" though but more that, from what I've seen in the videos, this time around a lot of the sounds are either baked together into easy-to-use combos (which I understand, as a Symphobia user, how valuable that can be, but I usually like layering HY stuff by myself), have too much "damage" applied to some of the samples themselves for my tastes (something that bugged me at certain times with Damage 2 too, where I was frantically looking how to mellow out some patches that would otherwise been right what I wanted) or are rhythmic pedals outside of the style that I would need/use.

And while this library would be nice as a complement to Novo/Forzo/Vento and other HY products I own for additional layering options and would let me make more character-filled Multis, I'm not sure if it's worth it to me just for that at this point, plus for some of the content I've heard in videos, there is similar-enough stuff in the libraries I already own from them.

I usually buy HY stuff for the amazing pads/underscore, but with this one it comes off as TOO pre-prepared than what I'm used to from 'em, and I'm unsure how much I can deconstruct/reconstruct with the source material and how much is truly baked-in - which seems kinda nuts typing it out as they usually include excellent loops/phrases (the Guitar/Bass libs), but I tend not to use those for the most part. For some of the content I got to see through videos where you could still do a lot of tweaking and where it just was what it was, but obviously no-one will literally cover the ENTIRE library.

It's frustrating because it DOES seem like a good library with really good content and at intro price + crossgrade discount, it DOES seem like a fair enough price, but the question is how much I would actually use it... And I'm riiiiiight on the edge of not being able to make a decision yet. Which weirds me out because usually, HY stuff is a no-brainer for me.

Need to make up my mind this weekend.


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## Soundbed (Oct 29, 2021)

fiction said:


> It will come down to how customizable it is because I don’t want to sound like everyone else.
> Gotta check some more walkthroughs before the intro price ends..





Marko Cifer said:


> I'm unsure how much I can deconstruct/reconstruct with the source material and how much is truly baked-in


Not sure if my video is going to help but if you do decide to get it I can at least help show how the presets can be "deconstructed" in many cases by digging in to the controls (again, if you already own Forzo, Novo or Vento) to change things and make them more your own.

(I know I was encouraged to dig deeper into the interface to make sure I fully understood what I was seeing and hearing so I could control it.)

With that said here are seven tips to help make Heavyocity's Symphonic Destruction your own!
https://youtu.be/pdMM3NYAxcw


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## Double Helix (Oct 29, 2021)

Soundbed said:


> With that said here are seven tips to help make Heavyocity's Symphonic Destruction your own!
> https://youtu.be/pdMM3NYAxcw


Valuable tips in this presentation. Certainly bears re-watching
Thanks for posting


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## river angler (Oct 29, 2021)

Marko Cifer said:


> I'm also still pondering if I should grab this at this point in time, or wait. Have a couple of days left to decide.
> 
> It's not due to a fear of "sounding like everyone else" though but more that, from what I've seen in the videos, this time around a lot of the sounds are either baked together into easy-to-use combos (which I understand, as a Symphobia user, how valuable that can be, but I usually like layering HY stuff by myself), have too much "damage" applied to some of the samples themselves for my tastes (something that bugged me at certain times with Damage 2 too, where I was frantically looking how to mellow out some patches that would otherwise been right what I wanted) or are rhythmic pedals outside of the style that I would need/use.
> 
> ...


You've kind of answered your own thoughts here!... Perhaps my coming from the opposite corner as a composer who doesn't own any HO orchestral/hybrid type libraries might help you make your decision!...

If I owned Forzo, Vento, Novo and perhaps some of the Gravity libraries I certainly wouldn't consider this library at all because of what I have heard and read in the user manuals of all of those you can pretty much achieve similar results combining them. Yes! it means getting to know these individual libraries well and understanding how they can compliment each other but in the end you will go much further to achieving your own orchestral hybrid sound. Also you have indeed got those separate instruments at your disposal: that in itself definitely leans towards a potentially wider spectrum of sonic texture rather than being limited to a lot of the baked in combos in SD as well as its inherent sonic density. That SD has a new engine with three layers is certainly an intriguing aspect to it but in the end this library is harnessing the pedigree of those libraries you already own if providing readily mixed variations of them twisted in the new SD engines. Also there are others here who have experienced "Heavyocity overdrive" sometimes when layering too many samples from their libraries. I would bet that layering F, V & N with SD would be overkill! Because the HO sound is generally epic and full at source one can see how this can happen!

Contrarily, aside from the sonic aspect of SD if you feel it's worth investing in a library that has fantastically recorded instantly available modern sounding orchestral hybrid textures for fast media composition or you feel the general style of this library will inspire strong new compositions in you then that's another story! Also I do see that the new engines in SD go a long way to helping you eek out your own customed patches which is possibly the only element of this library that vaguely caught my attention. Just a pity Heavyocity have not harnessed Kontakt 6's import sample capability with this release. Although not orchestral based certainly Native Instruments Stralight/Pharlight/Ashlight got that right! All Kontakt instrument libraries with involved GUI engines really should be including sample import now!

I dare say this library is being adopted wholeheartedly by the trailer/media writers out there but maybe less so with the more discerning composers nurturing their own style harnessing individual elements of libraries they already own or rather know how to achieve a lot of this kind of epic orchestral hybrid sound through years of working with those libraries (some of which no doubt could include Forzo, Vento etc) and have built up a catalogue of their own epic textures in this vein.

Personally I steer clear of these types of ready mixed modern sounding hybrid libraries for film composition. Instead I have learned to conjur the sonic elements from sectional libraries and fx plugins I already have at my disposal as well as hardware and field recording to create my own orchestral/hybrid "epic" sonics when I need them. Again so much of what the ear perceives as "epic" is actually down to the notational composition itself. Dressing that composition in new emperors clothes doesn't always work! Personally I don't want to sound like Hans Zimmer on steroids or any other composer for that matter! Don't get me wrong! I do like what I hear in this library and it has been extremely well thought out but for me the very nature of its inherent instrumentation would render it less useful than individual library elements. I believe more original productions emerge from using combinations of different elements rather than "one finger" samples.

If you think about it the current trends for braams, big orchestral hybrid sonics, huge japanese taikos etc etc were triggered by composers like Hans Zimmer who at the time were only seeking their own sound indeed using carefully blended individual instruments to create that epic sound in the first place! They didn't have any pre mixed one finger samples to trigger! Olafur Arnold is the same. The key to individual sonics is custom instrumentation and production.

Last year I did buy Damage 2 which arguably from a percussion perspective could be described as "Destructive Percussion" but actually I rarely use it front of mix. I bought it as particular percussive "flavour" to be used appropriately and judiciously. In fact those two adjectives pretty much describe my approach to using plugin instrument libraries in general. Hence If I was forced to buy SD I would use it in other aspects of my work but for film it would only ever be used in a supportive roll despite its massive sonics!

Hope this helps!... and as you mentioned the lure of the sale price I'll say this again!...
_so many sample library offerings are tempting ear candy very much like when a fisherman enters a tackle shop: there's more tackle on display in that Aladins cave to catch anglers than fish!_


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## Soundbed (Oct 29, 2021)

river angler said:


> SD has a new engine with three layers


I think it’s the same engine.

In any case SD has previously unreleased recordings and source material.

As a hybrid orchestral composer, I buy multiple strings, brass, percussion and woodwinds libraries to get different flavors of acoustic instrument recordings.

Here it’s a similar paradigm, only for hybrid and processed source material.


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## river angler (Oct 29, 2021)

Soundbed said:


> I think it’s the same engine.
> 
> In any case SD has previously unreleased recordings and source material.
> 
> ...


Yes! chap! After watching your video seeing your brief shots of Forzo/Vento etc your'e right! I did watch their content video on SD that stated "a brand new sound designer engine" but I think its pretty much a slightly evolved version from their previous libraries


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## river angler (Oct 29, 2021)

Soundbed said:


> In any case SD has previously unreleased recordings and source material.
> 
> As a hybrid orchestral composer, I buy multiple strings, brass, percussion and woodwinds libraries to get different flavors of acoustic instrument recordings.
> 
> Here it’s a similar paradigm, only for hybrid and processed source material.


...as you mentioned in your vid it's from the same sessions plus samples from those sessions they did not use in the previous libraries, blended/manipulated.

...If I hadn't conjured my own hybrid sounds and processed my own source material over the years I wouldn't have got where I am today both notationally and sonically as a creative musician. I don't own anywhere near the copious amounts of libraries a lot of people here seem to have! but if I ever felt I couldn't create with the ample tools I have in front of me I know it wouldn't be the tools that were lacking!


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## Marko Cifer (Oct 30, 2021)

river angler said:


> You've kind of answered your own thoughts here!... Perhaps my coming from the opposite corner as a composer who doesn't own any HO orchestral/hybrid type libraries might help you make your decision!...
> 
> If I owned Forzo, Vento, Novo and perhaps some of the Gravity libraries I certainly wouldn't consider this library at all because of what I have heard and read in the user manuals of all of those you can pretty much achieve similar results combining them. Yes! it means getting to know these individual libraries well and understanding how they can compliment each other but in the end you will go much further to achieving your own orchestral hybrid sound. Also you have indeed got those separate instruments at your disposal: that in itself definitely leans towards a potentially wider spectrum of sonic texture rather than being limited to a lot of the baked in combos in SD as well as its inherent sonic density. That SD has a new engine with three layers is certainly an intriguing aspect to it but in the end this library is harnessing the pedigree of those libraries you already own if providing readily mixed variations of them twisted in the new SD engines. Also there are others here who have experienced "Heavyocity overdrive" sometimes when layering too many samples from their libraries. I would bet that layering F, V & N with SD would be overkill! Because the HO sound is generally epic and full at source one can see how this can happen!
> 
> ...


Thanks for your thoughts! 

It really is tricky, this one. The library does include some new content alongside recontextualized existing stuff and I've heard examples where some of the patches would neatly slot alongside Novo and its expansions specifically and would extend them while feeling close enough to seamlessly exist alongside them, but it also feels like a Best Of compilation from stuff that didn't make it into the already released libraries, with some other examples where it just seems like it's SO processed that it would stick out too much, at least in the context of where I'd (try to) use them.

Some of the shorts, longs and atmos do feel like something I'd legitimately use alongside and included with what I already have, but I just have this fear where I'd end up realizing too much of the content included just isn't stuff I'd normally use, or would frustrate me because it's just a TAD too mangled and I can't "unmangle" it.

Funnily enough you mentioned the *light series, which are libraries I also utterly adore (well, two of them, the vocals one I don't use nearly as much as the other two) both because of the amazing factory library and because I get to import other stuff and mangle it myself. And my first thought when I heard SD's Braams was "I wonder how well those would those fare in a granular engine".

I do wish more libraries would go even further and offer support multi-sample import mapping so you wouldn't need to rely that much on pitch-shifting, or making separate patches meant for a certain range, I know it's possible since I have an example from another dev that was able to pull it off. 



Soundbed said:


> Not sure if my video is going to help but if you do decide to get it I can at least help show how the presets can be "deconstructed" in many cases by digging in to the controls (again, if you already own Forzo, Novo or Vento) to change things and make them more your own.
> 
> (I know I was encouraged to dig deeper into the interface to make sure I fully understood what I was seeing and hearing so I could control it.)
> 
> ...


Thanks for the link! I did learn one new trick from your video (never noticed the blend control between the 3 layers' keyranges, I usually built patches that worked similarly across the entire keyrange), but my worry is mostly "so is the character of this patch baked-in, or can I mellow it out in the engine somewhat". 

Which I don't see as an issue with the library since they make it plenty obvious that's what it's there for, having access to a pre-"destroyed" Symphonic orchestra, but more a compatibility issue of my wishes at the time and (seemingly) some of the patches in the library. It's more just a frustration that, as mentioned before, I encountered with Damage 2, where I'd find a preset or sound-source that would be ideal for what I needed at the time, but only if I could tone down the in-your-face processing just a tad...

Still making my decision. Tick, tock...


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## Alchemedia (Oct 30, 2021)

This thread along with David's insightful video destructed my initial enthusiasm.


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## Paul Jelfs (Oct 30, 2021)

Companies get you via the "Fear of Missing out" syndrome - You become so aware of a product that you quite like, is going to end its intro sale.

I am in the same boat, but am trying to hold firm - I want to buy it, but I think I will just not use it as much as I should . 

Why cant someone invent a time machine. Wait a sec, (pun intended) if SOMEONE has invented a time machine, presuming the way it works it is literally rewinds time, then no one else would ever know - As the inventor could keep turning the clock back and we would be none the wiser....... 

Maybe that is what Deja Vu is :D !


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## river angler (Oct 30, 2021)

Paul Jelfs said:


> Companies get you via the "Fear of Missing out" syndrome - You become so aware of a product that you quite like, is going to end its intro sale.
> 
> I am in the same boat, but am trying to hold firm - I want to buy it, but I think I will just not use it as much as I should .
> 
> ...


Dear chap! you have a severe case of Ear candy syndrome!


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## river angler (Oct 30, 2021)

Paul Jelfs said:


> Companies get you via the "Fear of Missing out" syndrome - You become so aware of a product that you quite like, is going to end its intro sale.
> 
> I am in the same boat, but am trying to hold firm - I want to buy it, but I think I will just not use it as much as I should .
> 
> ...


...more seriously... if you are a pro composer I have no sympathy for you- most pros buy what they need: not what tickles their eardrums! Having said this the less experienced pros do occasionally fall into a similar trap buying new libraries they think they may make good use of only to find those libraries either don't live up to their expectation work flow wise or are sonically veiling rather than enhancing particularly if the composer is seeking to develop his own sonic identity.

If you are a hobbyist then by what you have described as your reaction to SD I only hope you have deep pockets every time a new library comes along!


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## river angler (Oct 30, 2021)

Marko Cifer said:


> ... but I just have this fear where I'd end up realizing too much of the content included just isn't stuff I'd normally use, or would frustrate me because it's just a TAD too mangled and I can't "unmangle" it.


...sounds to me you are looking to do things with this library that it hasn't been designed for: SD has bee deliberately "mangled" to create hybrid orchestral sonics. Hence buying it to then try and de- mangle it defeats it's purpose! Surely you already have straight orchestral libraries for the "unmangled" flavour?
If you're after something between the two then I would suggest you look at mangling straight orchestral samples you already have rather than attempting to untangle a library like SD.


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## Emmanuel Rousseau (Oct 31, 2021)

Finally got it yesterday and I am amazed by the content. So much useful stuff in there, and a real godsend for custom trailer music (tick, tock, tick, tock). One of my favourite purchases of the year up there with Landforms.

Bravo, Heavyocity !


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## Marko Cifer (Oct 31, 2021)

river angler said:


> ...sounds to me you are looking to do things with this library that it hasn't been designed for: SD has bee deliberately "mangled" to create hybrid orchestral sonics. Hence buying it to then try and de- mangle it defeats it's purpose! Surely you already have straight orchestral libraries for the "unmangled" flavour?
> If you're after something between the two then I would suggest you look at mangling straight orchestral samples you already have rather than attempting to untangle a library like SD.


I'm looking to find out if I can treat it both as an expansion pack for the existing three orchestral libraries from Heavyocity, and as what it's actually marketed as ("we took a fuzz sledgehammer to the orchestra + braaaaaams + guitars and some other stuff").

You said earlier that you have Damage 2, right? In that one, a lot of times you can bring the "damage" back a bit, plus there's tons of content that isn't "damaged", but in some patches, it's just baked in there and you can't, and it's frustrating when otherwise that patch would be exactly what you're looking for. What I'm trying to determine is how many patches are pre-baked with fuzz, so I'd get a feeling for how many are useful as expansion/additional articulations for the three products (N/F/V) straight out of the box, how many you can dial back - hence making some of the content more usable in multiple situations, and how many are just meant for in-your-face buzzing.

Also keep in mind that I don't actually have that many "straight" orch. libraries outside of the Heavyocity offerings (which could have more of standard patches if you ask me, and this would give me a couple of new ones) and the Symphobias (which are characteristic as hell, but also limiting in a lot of ways due to how the patches are set-up, or as is the case with Pandora, very specific), so I'm trying to figure out if this library could be actually useful in multiple scenarios and not just additional hybrid/braam "ear candy" as you seem to tend to say a lot. It's enticing because it really, genuinely seems like it would slot in nicely with my existing stuff (for obvious reasons), plus it uses an engine that I'm fairly comfortable with working in. But, as I've probably mentioned too many times by now, I'm wary of too much content just not being my cup of tea unless I can dial it back a tad via the engine.

Right now I'm probably not gonna get it at this point unless I find coverage on it that shows me some of the patches that I'd like dialled down to see how they're constructed, and if it's possible to mellow them out. Sorry for writing so many words which are pretty much just me being indecisive, and thanks for bouncing back and forth with me so far.


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## river angler (Oct 31, 2021)

Marko Cifer said:


> ...Also keep in mind that I don't actually have that many "straight" orch.


...you say "that many" straight orch!!! lol! How many orchestral libraries does one need to write a quality orchestral based composition (?...!!) let alone to have a base rostrum of straight orchestral samples for creating half way hybrid orchestral sonics?..!!!

...what do they call it here?... GAS...? !!!


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## river angler (Oct 31, 2021)

Marko Cifer said:


> Right now I'm probably not gonna get it at this point unless I find coverage on it that shows me some of the patches that I'd like dialled down to see how they're constructed, and if it's possible to mellow them out. Sorry for writing so many words which are pretty much just me being indecisive, and thanks for bouncing back and forth with me so far.


...again it looks like you would be wasting your money on something you would not be using principally for what it has been designed for. I think you would get much more individual sonic results if you explored the possibility of mangling some of the straight orchestral samples you already have if you want to "compliment" N, F & V.

...and talking about "complimenting other libraries"... I read this phrase so often on this forum! The notion of buying a library to "compliment" another library seems completely moot to me: I buy libraries solely to get down and produce my compositional content not to enhance the tools I use to compile it with! Indeed I bought Damage 2 because I wanted a quick working hybrid percussive sound pallet and of the other similar types of libraries out there it looked the most efficient and easy to use on the fly which thankfully it is! If I find I can't get what I need from the Damage 2 engine which is normally on the occasion I am seeking a less generic percussive sonic (yes! you did read that right! the Damage 2 sound is contemporarily "generic"!), there are plenty of other avenues amidst the tools I own to create it but I certainly wouldn't think I'd need another hybrid percussion library to achieve that goal!

Yes! I use the phrase "ear candy" a lot especially when so many developers bring out libraries that focus on current popular trends!


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## Evans (Oct 31, 2021)

I don't have many libraries like this (closest I could say are the non-orchestral/"steam band" sides of some Albions), so this is a great entry point for me that also might be all I need to add a little somethin'.

For people who want some "toned down" patches, try some very heavy EQ. Rip the audio from one of the YouTube patch walkthroughs, drop it in your DAW, and tinker with it.

EDIT: To be clear, I'm merely suggesting using the walkthrough audio as a way to test for yourself if some EQ on patches will get you the sound you want before committing to a purchase. It can really turn some heavy, "damaged" sounds into (very nearly) soothing pads or rhythm beds.


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## river angler (Oct 31, 2021)

Evans said:


> I don't have many libraries like this (closest I could say are the non-orchestral/"steam band" sides of some Albions), so this is a great entry point for me that also might be all I need to add a little somethin'.
> 
> For people who want some "toned down" patches, try some very heavy EQ. Rip the audio from one of the YouTube patch walkthroughs, drop it in your DAW, and tinker with it.


I think this is a fair comment... if you want instant access to this genre then SD fits the bill- just be aware that like any bold sounding libraries they can get overused contextually and from a compositional/production aspect end up clouding arrangements if not used judiciously... and yes the EQ and ripping are indeed two of a myriad of ways to achieve toned down versions of hybrid.


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## fiction (Oct 31, 2021)

Soundbed said:


> Not sure if my video is going to help but if you do decide to get it I can at least help show how the presets can be "deconstructed" in many cases by digging in to the controls (again, if you already own Forzo, Novo or Vento) to change things and make them more your own.
> 
> (I know I was encouraged to dig deeper into the interface to make sure I fully understood what I was seeing and hearing so I could control it.)
> 
> ...


Great video, appreciate. 

In the end, I've decided not to get it. I've been wanting to get a few keepforest libraries for some time now to cover some hits and risers and I'm also interested in the rest of the heavyocity line that I don't own yet. 

I'll see what happens this black friday and might jump on forzo/vento and some of the mosaic libraries instead.


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## TheFleetingGlory (Nov 6, 2021)

I held out right to the last day of intro/crossgrade offer as despite my love for Novo, Forzo and Vento and everything Heavyocity do, I was a bit thrown by the amount of people questioning the playability and potentially overpowering style of this library.

Having played through a handful of patches I was reassured around the inspirational power and usability of this library, which I am looking forward to digging deeper into.

There are indeed a lot of very thick and heavily baked loops and patches, but there are also some great playable patches and instruments that play well with other libraries.

I recorded a 2 minute unmixed demo of my first play with the library for anyone who wants to get a feel for the library used in practice: 

*Symphonic Destruction, Sequis Demo*

**


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## TEMAS (Nov 11, 2021)

Akarin said:


> Heavyocity is the only developer whom I buy everything from. Sometimes even before hearing demos.


I have to say I’m completely the opposite with their products. I just spent an hour on their website and everything sounds exactly the same. The main problem is the people doing the demos just make the same tired, predictable trailer music for the type of movies I hate. Maybe there’s some decent stuff in the libraries somewhere, but all they showcase is the 16th note rhythmic patterns playing recordings that sound artificially processed.


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## TheFleetingGlory (Nov 11, 2021)

I do think that ultimately the flagship Heavyocity libraries have a distinctive sound, and if it doesn’t do it for you, then it’s probably just not attuned to your style. 

Each of the Vento, Novo, Forzo and SD libraries do have a good range of pads, legato and sustain patches in my view that have proved useful not just for practicing trailer music production, but general orchestral scoring and also song writing. I am recording a song right now that uses several of their playable non-loop pad patches to create atmosphere.

As you say though, if you hate that style of music or movies that feature it, these libraries definitely won’t sway you or Phillip Glass either to make their sound part of your production palette.


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## Evans (Nov 11, 2021)

TheFleetingGlory said:


> legato


I don't believe this is true.


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## TheFleetingGlory (Nov 11, 2021)

Evans said:


> I don't believe this is true.


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## Evans (Nov 11, 2021)

TheFleetingGlory said:


> *Each of the* Vento, Novo, Forzo and SD libraries do have a good range of pads, legato and sustain patches


My apologies for the lack of clarity, the above is a better quote. Nova is the only one that _does_ have legato of the four.


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## TheFleetingGlory (Nov 11, 2021)

Evans said:


> My apologies for the lack of clarity, the above is a better quote. Nova is the only one that _does_ have legato of the four.


No apologies needed at all- this is an SD thread and I did cross the streams in my reply about the Heavyocity products overall.


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