# Spitfire Symphonic Strings



## jononotbono (Oct 12, 2017)

So, I just bought Spitfire Symphonic Strings and loving it so far. About to put it in my template and wondering if anyone has any advice on using it? I have just come across Legato Types and the Legacy Folder. The Runs Patch sounds so good. I own Chamber Strings and that is a beast but I'm starting to get the impression this is the full on Bad Boy Strings Library to get to grips with. I figured I may have to change the velocities for different Legato arts as my keyboard controller isn't the most sensitive of controllers and hitting velocity above 70 is hard work.

I was also wondering how many arts from SSS people have in their templates. With SCS, I have every single Art loaded and I did this just to learn the library (of which I am still doing) and have access to absolutely everything. I'm thinking about trying out Expression Maps in Cubase with this library just to see if I like that work flow.

I have to say, this is a beast of a String library and highly inspiring to play. Looking forward to picking up the Symphonic String Evolutions as well when I can afford it!

Jono


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## benuzzell (Oct 12, 2017)

I tend to use mainly the ensemble and performance legato patches from SSS. All your main arts (trills, longs, con sord, trem, pizz etc), a performance legato for each section, and then maybe a further 8-12 of project specific ones; at the moment I'm doing some action cues, so there's cello and basses stacs on top of the ensemble stacs for more bite etc. I try and find a spot in everything I do for those flautando patches as well, they're just amazing.


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## markleake (Oct 12, 2017)

I've had SSS since it came out, and am still very much learning it (especially given I don't get much time for VIs - creating music is a hobby for me). But as @benuzzell says, the thing to do is get the performance patches in for each section. Then the longs, trills, trems, and main shorts in for all the sections, and also the same for the ensembles if you want to use them. Given the performance patches do a lot of the heavy lifting anyway, these would then cover most of your uses.

For softer stuff the flautando are a bit of a must, as they work wonders in those sections, and the brushed shorts are nice also for a similar reason. I also really love the sound of the Sul G/C legatos, but haven't had a chance to use that patch in much yet. And opening Kontakt to look in the patch list again just now, I can see I've got a long way to go to explore this library! 

I don't have problems with the velocities, because as with all shorts, I just go in and highlight in Cubase and drag velocities up/down as needed after playing something in.


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## tomasgarciad (Oct 12, 2017)

I had a question for you SCS/SSS owners. I’m looking to take advantage of the Back to School program and buy either one of those libraries, given that I currently only own Cinesymphony LITE and would like to expand my string libraries/libraries in general.

Currently I can only get one; which one would be the best to start with? Initially I considered SSS but since I’m looking at getting into scoring student short films I thought a smaller ensemble such as SCS would be more appropriate. Is this a correct thought?


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## Harry (Oct 12, 2017)

tomasgarciad said:


> I had a question for you SCS/SSS owners. I’m looking to take advantage of the Back to School program and buy either one of those libraries, given that I currently only own Cinesymphony LITE and would like to expand my string libraries/libraries in general.
> 
> Currently I can only get one; which one would be the best to start with? Initially I considered SSS but since I’m looking at getting into scoring student short films I thought a smaller ensemble such as SCS would be more appropriate. Is this a correct thought?


I think you should start your own thread on this rather than hijack someone elses ...


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## Paul Christof (Oct 12, 2017)

tomasgarciad said:


> looking at getting into scoring student short films I thought a smaller ensemble such as SCS would be more appropriate. Is this a correct thought?



SCS is definetly better suited for your needs. But man, the performance legatos in SSS sound amazing and are super flexible (you have bowed,fingered,portamento and run techniques with 16 players per section). I suggest you get SCS because they too sound amazing and you can get some AMAZING results with the flautando patches (personal favorite out off all my libraries) and the legatos are great too.


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## sostenuto (Oct 12, 2017)

Paul Christof said:


> SCS is definetly better suited for your needs. But man, the performance legatos in SSS sound amazing and are super flexible (you have bowed,fingered,portamento and run techniques with 16 players per section). I suggest you get SCS because they too sound amazing and you can get some AMAZING results with the flautando patches (personal favorite out off all my libraries) and the legatos are great too.



Thank-you. Similar interests @ tomasgarciad and trust @ jononotbono has no OT concerns.  
Not so much a matter of SSS or SCS, but which one first ?? Appreciate your perspectives.


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## jononotbono (Oct 12, 2017)

Ahh, I don't have a problem with discussing SCS in this thread. SSS and SCS are two members of the same family. The reason I bought SCS first is because if you listen to what is current in media, full symphonic String sections aren't really as necessary and they just sound so massive. Chamber Strings is much smaller and despite being able to make it sound massive, it is a different sound. Perhaps more detailed but I've only had SSS for a few days so wouldn't like to say that. And I agree, the Flautando patches just sound amazing. As it is the "Back to School" season with Spitfire and combined with the fact I am trying to venture into the Video Game Music and Audio World as well as TV and Film, I figured it would be rude not to indulge in SSS and finally start trying to learn how to wield it. 



markleake said:


> I don't have problems with the velocities, because as with all shorts, I just go in and highlight in Cubase and drag velocities up/down as needed after playing something in.



Yeah regarding Velocities, the performance Legatos rely on Velocity and speed of playing in order for the different Leg types to be setected so having a keyboard with bad velocity response is a bit annoying in this respect. It's no problem to change them but on the other hand, there a lot of patches.


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## nas (Oct 12, 2017)

I love SSS. I have the Core arts, Legato patches, Decorative patches and TM patches for each instrument loaded into one instance of Kontakt and then use an articulation switcher - that keeps everything in one track lane and helps reduce an unnecessarily large template. Surprisingly I find my self using lots of those articulations and having them all "under one roof" is very convenient. Its a great library. Enjoy it!


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## jononotbono (Oct 12, 2017)

nas said:


> I love SSS. I have the Core arts, Legato patches, Decorative patches and TM patches for each instrument loaded into one instance of Kontakt and then use an articulation switcher - that keeps everything in one track lane and helps reduce an unnecessarily large template. Surprisingly I find my self using lots of those articulations and having them all "under one roof" is very convenient. Its a great library. Enjoy it!



I'm very intrigued about Articulation switching. I would use an iPad to visually have the Articulations but I am dubious because I'm trying to understand how to balance the levels of Articulations between one another and how do you layer different Arts on top of each other? Love the idea of less tracks! I'm at 2540 now!


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## tomasgarciad (Oct 12, 2017)

Thank you @Paul Christof and @jononotbono, I think I'm going to take the bait and go with SCS for now, and get SSS sometime in the near future. Can't go wrong with either really! 

I apologize for going off topic, please continue!

Cheers


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## sostenuto (Oct 12, 2017)

tomasgarciad said:


> Thank you @Paul Christof and @jononotbono, I think I'm going to take the bait and go with SCS for now, and get SSS sometime in the near future. Can't go wrong with either really!
> 
> I apologize for going off topic, please continue!
> 
> Cheers



Glad you found your solution ! Never OT from this perspective.


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## Mihkel Zilmer (Oct 12, 2017)

jononotbono said:


> I'm very intrigued about Articulation switching. I would use an iPad to visually have the Articulations but I am dubious because I'm trying to understand how to balance the levels of Articulations between one another and how do you layer different Arts on top of each other? Love the idea of less tracks! I'm at 2540 now!



Spitfire instruments have got both of those things built in. You can activate "per articulation mixer" from a button on top of the mic position faders - that way each articulation can have it's own mic blend and levels, which you can also automate. As for layering, both regular KS and UACC KS allow you to trigger multiple articulations at once if you overlap the keyswitches.


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## jononotbono (Oct 13, 2017)

Mihkel Zilmer said:


> Spitfire instruments have got both of those things built in. You can activate "per articulation mixer" from a button on top of the mic position faders - that way each articulation can have it's own mic blend and levels, which you can also automate. As for layering, both regular KS and UACC KS allow you to trigger multiple articulations at once if you overlap the keyswitches.



Yeah, I love the Mic Position Mixes and being able to copy to different Arts for consistency but how do you raise or lower the volume of a specific Articulation, for example, if the String Col Legnos are louder than the String Spiccatos? On Separate tracks that's easy but I'm wondering about how to do this if all arts are coming out of the same Kontakt output? VEPro sub-mixing? Also, how do you give stems of Col Leg, Harmonics, Shorts and Longs (which are typically asked for - and sometimes not - so flexibility is important) when everything is coming out of the same audio output? 

Also, I'm also wondering how you would send different Reverbs to, for example, the Short Note Tails and the Legato Tails because of the way they are performed, the tails sound different (with all libraries I know of)? 

The UACC KS seems interesting to get around triggering Multiple Articulations! Think I'm going to need to re-read a few manuals.


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## jononotbono (Oct 13, 2017)

Just wondering how much RAM SSS would use if I did load every single Art onto separate tracks (using only Decca Mic)?


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## JeffvR (Oct 13, 2017)

jononotbono said:


> Yeah, I love the Mic Position Mixes and being able to copy to different Arts for consistency but how do you raise or lower the volume of a specific Articulation, for example, if the String Col Legnos are louder than the String Spiccatos? On Separate tracks that's easy but I'm wondering about how to do this if all arts are coming out of the same Kontakt output? VEPro sub-mixing? Also, how do you give stems of Col Leg, Harmonics, Shorts and Longs (which are typically asked for - and sometimes not - so flexibility is important) when everything is coming out of the same audio output?
> 
> Also, I'm also wondering how you would send different Reverbs to, for example, the Short Note Tails and the Legato Tails because of the way they are performed, the tails sound different (with all libraries I know of)?
> 
> The UACC KS seems interesting to get around triggering Multiple Articulations! Think I'm going to need to re-read a few manuals.



I'd make separate tracks for longs and shorts. So all legato, con sordino, tremolo etc on one track and all staccato, spiccato, pizzicato etc on one track. If the volume for legato and tremolo doesn't match just adjust it within kontakt.


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## aaronventure (Oct 13, 2017)

5 tracks total, like @nas said. Some time ago, I had a template with 800+ tracks, every articulation in its own track. By the time I finished a couple of pieces, I was going crazy. I was spending more time scrolling around than actually doing work, plus Reaper wasn't running smooth scrolling through that many tracks. Project size was around 300 MB. I can't imagine being at 2450+.

I use Expression maps. I'm currently using ~120 tracks in my template (and more that are receiving audio, but they are only visible in the mixer, and some hidden ones used for MIDI routing and stacking articulations where I make my own performance patches, total is 210), and Woodwinds, Brass and Strings fit into one screen. I only scroll for mallets and percussion. This is the cleanest I am able to make it right now, project size is ~60 MB and am pretty happy with it. 

I guess the only thing left to do is get a bigger screen.


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## jononotbono (Oct 13, 2017)

aaronventure said:


> I was spending more time scrolling around than actually doing work, plus Reaper wasn't running smooth scrolling through that many tracks. Project size was around 300 MB. I can't imagine being at 2450+.



Ahh, well, this becomes a non-issue when you use an iPad for Template navigation. At the press of one button I can just show whatever tracks I want and hide the rest. And then there's the Midi editing Capabilities. I've created all sorts of buttons that allow me to copy specific Midi data from the project window (not inside the Key editor) that makes copying and pasting things, deleting, editing specific CCs by the touch of a few buttons very easy.

I also bought a 43 inch 4k screen which immediately gets over most scrolling problems. I'm going to look into Art switching with SSS so I can compare both workflows with SCS (as I have that on separate tracks). Thanks for sharing how you work. Really interesting man!


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## babylonwaves (Oct 13, 2017)

jononotbono said:


> Just wondering how much RAM SSS would use if I did load every single Art onto separate tracks (using only Decca Mic)?


totally depends on your DFD settings. in general it is pretty low in comparison to other libs of a similar size


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## aaronventure (Oct 13, 2017)

jononotbono said:


> Ahh, well, this becomes a non-issue when you use an iPad for Template navigation. At the press of one button I can just show whatever tracks I want and hide the rest. And then there's the Midi editing Capabilities. I've created all sorts of buttons that allow me to copy specific Midi data from the project window (not inside the Key editor) that makes copying and pasting things, deleting, editing specific CCs by the touch of a few buttons very easy.
> 
> I also bought a 43 inch 4k screen which immediately gets over most scrolling problems. I'm going to look into Art switching with SSS so I can compare both workflows with SCS (as I have that on separate tracks). Thanks for sharing how you work. Really interesting man!



Ah, that makes much more sense. If Cubase is better at handling hundreds of tracks than Reaper, that sounds fantastic. Reaper still has ways to go with options like these, but I'm happy that I've found a workflow that works for me. The plus side of having it all in one track is that it's very easy to see exactly what you have going on for each section/instrument, and that it's very easy to export the notation.

I too am looking into getting a 4k screen, I'm just worried about input lag if I buy a standard 4k TV which isn't a dedicated monitor.


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## Chris Hurst (Oct 13, 2017)

I use this library extensively and it is great. I went down the one track per articulation approach, but I think there are over 200 tracks required using this method, so it ate up so much space on screen and in my template, that I decided on 3 per instrument - Legato, Longs and Shorts balanced using the internal Spitfire method that Mihkel mentioned earlier. Such a great feature that one. I decided on those three tracks, so I could treat them differently with FX/Reverb/Delay etc.

Not wanting to derail too much @aaronventure, but in case you didn't know, in Reaper it is possible to do a similar thing to what @jononotbono does in Cubase. You don't need an iPad (although you can using OSC), you can just create a toolbar button for it/the appropriate Action. So you could click and scroll to your strings section for example, or hide everything other than Spitfire strings...just with a click of your mouse. Powerful stuff in large templates.


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## jononotbono (Oct 13, 2017)

aaronventure said:


> Ah, that makes much more sense. If Cubase is better at handling hundreds of tracks than Reaper, that sounds fantastic. Reaper still has ways to go with options like these, but I'm happy that I've found a workflow that works for me. The plus side of having it all in one track is that it's very easy to see exactly what you have going on for each section/instrument, and that it's very easy to export the notation.
> 
> I too am looking into getting a 4k screen, I'm just worried about input lag if I buy a standard 4k TV which isn't a dedicated monitor.



Definitely buy an actual PC monitor. I bought a Philips 43 Inch BDM4350UC which is a PC monitor and not a TV from Amazon and quite frankly is one of the best things I have ever bought. You don't need to scale anything at 43 inches so text is basically the same size as a 27 inch 2.5k iMac screen. Definitely look into it.

Yeah, Cubase is incredible for Track Visibility. This is completely going off my original topic but in the grand scheme of things, it's all related, and here's a video tutorial I made a while ago on using Metagrid and Cubase to track navigate. There will be lots of stuff in the video that will probably be of no use to you as it was on Metagrid and Cubase but at the start I show how easy it is to navigate around a lot off tracks (just to demonstrate)...


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## Chris Hurst (Oct 13, 2017)

jononotbono said:


> Yeah, Cubase is incredible for Track Visibility. This is completely going off my original topic but in the grand scheme of things, it's all related, and here's a video tutorial I made a while ago on using Metagrid and Cubase to track navigate. There will be lots of stuff in the video that will probably be of no use to you as it was on Metagrid and Cubase but at the start I show how easy it is to navigate around a lot off tracks (just to demonstrate)...



Off topic, but I'll be quick..

Yes I saw that video when you posted it. Really useful and inspired me to go off and see if it could be replicated in Reaper...which you can up to about 90% or so anyway. Not sure people appreciate that when Reaper appears in discussions (I'm a Logic user making the leap and finding it a really powerful application).

On topic (hurrah!) - I'm sure you'll love these strings. They don't work for everything, but when they do, they do! I quite often come back to them if I'm trying other strings and then just find they work a LOT of the time (for what I do).


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## Jimmy Hellfire (Oct 13, 2017)

Mihkel Zilmer said:


> As for layering, both regular KS and UACC KS allow you to trigger multiple articulations at once if you overlap the keyswitches.



Can you elaborate on this? I can't figure out how this works. Entering both keyswitches in the piano roll doesn't seem to do it.

EDIT: Nevermind, it actually does now. Don't know what I had screwed up previously.


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## jononotbono (Oct 13, 2017)

Another SSS question... I'm just looking at the Legato Techniques folder and there is a "Legacy Patches" folder. Are the new Performance Legato Patches to take their place or do the Legacy Patches do something different?


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## Mihkel Zilmer (Oct 13, 2017)

jononotbono said:


> Another SSS question... I'm just looking at the Legato Techniques folder and there is a "Legacy Patches" folder. Are the new Performance Legato Patches to take their place or do the Legacy Patches do something different?



The new performance legato makes quite a few decisions for you based on note velocity and the speed of the phrase. For example, it layers short notes under the legato when you play with high velocity for extra bite. It features some super clever scripting and it's great for quick and easy results (though it'll take a bit of practise at first).

The old patches are for control freaks like me that like to control every articulation separately and decide if and when to layer or switch legato styles.


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## jononotbono (Oct 13, 2017)

Mihkel Zilmer said:


> The new performance legato makes quite a few decisions for you based on note velocity and the speed of the phrase. For example, it layers short notes under the legato when you play with high velocity for extra bite. It features some super clever scripting and it's great for quick and easy results (though it'll take a bit of practise at first).
> 
> The old patches are for control freaks like me that like to control every articulation separately and decide if and when to layer or switch legato styles.



Well, that’s decided then! Both new and legacy are going in. The template is now exactly at 2700. I know, how silly.


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## jononotbono (Oct 14, 2017)

Ah, I'm so in love with this library! 

Now I just need to learn how to write String music haha!


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## Paul Christof (Oct 14, 2017)

jononotbono said:


> Ah, I'm so in love with this library!
> 
> Now I just need to learn how to write String music haha!



Jeez, all those tracks just for one lib make feel uncomfortable lol. If it wasn’t for expression maps i would have gone crazy.
One tip i can give you for writing for strings from my experience, is not to write chords for one section (e.g only for the violins),instead spread it out to all the sections because string players don’t like playing chords on their instruments (that goes for short articulations as well as long). And dont neglect the violas  a lot of fellow composers just replace them for celli playing on the higher registers.

Have fun!


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## jononotbono (Oct 14, 2017)

Paul Christof said:


> Jeez, all those tracks just for one lib make feel uncomfortable lol. If it wasn’t for expression maps i would have gone crazy.
> One tip i can give you for writing for strings from my experience, is not to write chords for one section (e.g only for the violins),instead spread it out to all the sections because string players don’t like playing chords on their instruments (that goes for short articulations as well as long). And dont neglect the violas  a lot of fellow composers just replace them for celli playing on the higher registers.
> 
> Have fun!



Yeah thanks man. Been learning basic Harmony recently and the Harmonic Series. Everyonce in a while I make 4 notes engulf the room with beauty and then there's a big question mark of what's going to happen next (story of my musical life) haha!

Having tracks like this is similar to the principle that the original HZ01 Perc layout is for. Being able to copy and paste (at origin) parts to quickly stack things and see what they sound like. I'll reduce it when I know what everything sounds like! Also, my 43inch 4k screen makes the track count not so difficult on the eyes


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## fixxer49 (Oct 14, 2017)

nas said:


> I love SSS. I have the Core arts, Legato patches, Decorative patches and TM patches for each instrument loaded into one instance of Kontakt and then use an articulation switcher - that *keeps everything in one track lane and helps reduce an unnecessarily large template. * Surprisingly I find my self using lots of those articulations and having them all "under one roof" is very convenient. Its a great library. Enjoy it!


this is _very_ sound advice. the smaller the template, the quicker the takedown.


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## jononotbono (Oct 14, 2017)

fixxer49 said:


> this is _very_ sound advice. the smaller the template, the quicker the takedown.



Noted. I shall reduce it in good time try out art switching and compare it to separate tracks!


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## storyteller (Oct 14, 2017)

jononotbono said:


> Having tracks like this is similar to the principle that the original HZ01 Perc layout is for. Being able to copy and paste (at origin) parts to quickly stack things and see what they sound like. I'll reduce it when I know what everything sounds like! Also, my 43inch 4k screen makes the track count not so difficult on the eyes


FWIW, I prefer the one articulation per track too for this very reason. It is like seeing all of the colors on your palette at once and being able to pick between them, quickly blend and mix the colors together, try new things out, etc.... especially when your DAW (I use Reaper) can easily tuck away what you don't need at the push of a button and show only what you want to see. The number of tracks do not really matter in that case.


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## AlexanderSchiborr (Oct 14, 2017)

There are also other reasons why not to work with articulation switches ecspecially when you want to let sound your mockup not _authentic from an academic scoresheet point of view_ *but in terms of mockup realism and sonic qualities..*


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## Saxer (Oct 14, 2017)

I often ask myself why I should need Legatos and Sustains? If I don't play overlaping notes it's already a sustained note without legato transition. So why?


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## prodigalson (Oct 14, 2017)

Saxer said:


> I often ask myself why I should need Legatos and Sustains? If I don't play overlaping notes it's already a sustained note without legato transition. So why?



so you can play two notes at once? 



jononotbono said:


> Ah, I'm so in love with this library!
> 
> Now I just need to learn how to write String music haha!



I would take a moment to seriously consider if you really need all those articulations in your template all the time. It's wonderful that spitfire recorded them because they are all occasionally useful but how often are you really going to be using "harmonic shorts", "Bartok Pizz" and sul pont etc etc. 

If you are really worried about track creep and also if you're relatively new to string writing, I would consider having legatos, a few varieties of sustains, spicc, stacc and pizz in your template and then adding more esoteric arts as and when they're needed. 85% of string writing can be done with those few articulations.


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## fixxer49 (Oct 14, 2017)

AlexanderSchiborr said:


> There are also other reasons why not to work with articulation switches ecspecially when you want to let sound your mockup not _authentic from an academic scoresheet point of view_ *but in terms of mockup realism and sonic qualities..*


You are right... IF the piece will only ever exist 100% in-the-box. if it's going to be played by live players (and on many projects the ONLY section that is going to be performed live are the strings) then you're going to want your MIDI tracks - especially for string sections - laid out as close to a traditional score as you can get it, from the start. otherwise it's just headache on top of headache at crunch time. it's a mixture between making the mockup sound as good as you can, and making sure you're prepared for the orch takedown at the end.


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## jononotbono (Oct 14, 2017)

AlexanderSchiborr said:


> There are also other reasons why not to work with articulation switches ecspecially when you want to let sound your mockup not _authentic from an academic scoresheet point of view_ *but in terms of mockup realism and sonic qualities..*



Do you reckon, considering I am doing whatever I want, that I might be following my own nose? First thought best thought


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## jononotbono (Oct 14, 2017)

prodigalson said:


> I would take a moment to seriously consider if you really need all those articulations in your template all the time.



I didn't need a moment. 



prodigalson said:


> but how often are you really going to be using "harmonic shorts", "Bartok Pizz" and sul pont etc etc.



I've been playing them for hours. They sound fantastic.



prodigalson said:


> If you are really worried



I'm not worried about anything. 

Thanks though!


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## markleake (Oct 14, 2017)

jononotbono said:


> I didn't need a moment.
> I've been playing them for hours. They sound fantastic.
> I'm not worried about anything.
> Thanks though!


Clearly you don't need us to tell you. Best advice is to always do what works for you!! 
Personally, I am a multi-track man also, and go a bit crazy with them. Having it all displayed clearly is what works for me.

It could get a bad rap sometimes, but especially now with the newer SSS, its a fantastic library. I prefer it often over my other string libs, and the depth of articulations make it very versatile.


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## Ultra (Oct 14, 2017)

I do use one track per art, but only keep that track if MIDI notes are actually on it.

I start each string lib with a track for V1, V2, Va, VC, CB, Ens. Default mic settings here for each instrument, whatever u end up going with for each party.

Then when u use any of the 6 parties, simply duplicate the default track of that party and add MIDI notes.

I strongly prefer putting arts on individual tracks for mixing control, very often needed.... Vol, reverb, fx etc

At the end u'll just have as many tracks in that project as u have used arts. 

SSS best string lib out there. Wipes the floor with CSS in all of my tests.


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## zakufan (Oct 14, 2017)

I just bought it and the download manager says it will take 20 days to download


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## AlexanderSchiborr (Oct 15, 2017)

jononotbono said:


> Do you reckon, considering I am doing whatever I want, that I might be following my own nose? First thought best thought



Yes, of course. Do whatever feels best for you. I just thought to give an advice.


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## jononotbono (Oct 15, 2017)

AlexanderSchiborr said:


> Yes, of course. Do whatever feels best for you. I just thought to give an advice.



Sorry, I didn’t mean to sound rude man!


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## nas (Oct 15, 2017)

I think the best advice I can offer with SSS is that apart from the amazing sound quality, the library really offers a lot of CC control of very useful and expressive parameters (_dynamics, vibrato, release, portamento speed, intensity etc.._). These are very powerful and with practice you can really create some expressive and realistic lines. So take the time to really dig in to the CC assignments and get fluid with playing then... and you will be very well rewarded with this library


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## prodigalson (Oct 15, 2017)

jononotbono said:


> I didn't need a moment.
> 
> 
> 
> ...



LOL! fair enough. I'm sorry I thought you were looking for advice and perspectives based on other people's experiences, my mistake. 

Good luck!


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## jononotbono (Oct 15, 2017)

prodigalson said:


> LOL! fair enough. I'm sorry I thought you were looking for advice and perspectives based on other people's experiences, my mistake.
> 
> Good luck!



Sorry, I was a bit drunk last night. Didn’t mean to sound rude. Not sure what luck has to do with anything though. Thanks.


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## prodigalson (Oct 15, 2017)

jononotbono said:


> Sorry, I was a bit drunk last night. Didn’t mean to sound rude. Not sure what luck has to do with anything though. Thanks.



Just meant good luck with figuring out your template and learning SSS. That's all. lol.


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## jononotbono (Oct 15, 2017)

prodigalson said:


> Just meant good luck with figuring out your template and learning SSS. That's all. lol.



Ah I see. Well, the journey does take time that’s for sure!


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## Michael Antrum (Oct 15, 2017)

I must admit I struggle with Expression Maps vs Separate tracks. One day I work one way, then the next day the other. I have a couple of templates that contain both techniques.

I'm starting to wonder if I'm bi-articulate .....


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## jononotbono (Oct 15, 2017)

mikeybabes said:


> I must admit I struggle with Expression Maps vs Separate tracks. One day I work one way, then the next day the other. I have a couple of templates that contain both techniques.
> 
> I'm starting to wonder if I'm bi-articulate .....



I’m going to build a small template just to try out art switching. Love the idea but I do love being able to see everything on separate tracks!


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## Michael Antrum (Oct 15, 2017)

I think it might be to do with the fact I am writing more and more with a pencil and paper that it is starting to change the way I use my DAW.


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## JohnG (Oct 15, 2017)

Regarding templates, I can't suggest any strategy for reducing, since SSS' greatest virtue is the breadth of articulations. 

It isn't always the library I choose for some kinds of passages, but it's always in my template, and I have a large majority of its articulations loaded (maybe close to 100%) all the time. Ditto Tundra and their chamber strings and other libraries of theirs. They have done some awesome work.


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## AlexanderSchiborr (Oct 15, 2017)

jononotbono said:


> Sorry, I didn’t mean to sound rude man!


Its all good, you weren´t. Glad you picked them up, they sound imo great and I think Nas comment was pretty much what I also think: Its not the easiest library sometimes to work but you will be rewarded with excellent moments.


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## jononotbono (Oct 15, 2017)

JohnG said:


> Regarding templates, I can't suggest any strategy for reducing, since SSS' greatest virtue is the breadth of articulations.
> 
> It isn't always the library I choose for some kinds of passages, but it's always in my template, and I have a large majority of its articulations loaded (maybe close to 100%) all the time. Ditto Tundra and their chamber strings and other libraries of theirs. They have done some awesome work.



Yeah, I have all of SCS in the template as well. Loving the sound of SA stuff more than ever! 

I’m actually curious about the addition mics and when they are installed, do they show up in the GUI next to the Close, Tree and Ambient Mic Faders or are they separate patches? 

Having been using the HZPiano a lot recently, the Mic positions make it super versatile so I’m thinking the additional mics are going to be worth every penny!


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## jononotbono (Oct 15, 2017)

nas said:


> I think the best advice I can offer with SSS is that apart from the amazing sound quality, the library really offers a lot of CC control of very useful and expressive parameters (_dynamics, vibrato, release, portamento speed, intensity etc.._). These are very powerful and with practice you can really create some expressive and realistic lines. So take the time to really dig in to the CC assignments and get fluid with playing then... and you will be very well rewarded with this library



Yeah it’s seriously deep and I love how it’s consistent with SCS because I have assigned Faders to control all Mic Positions and then Faders to control Release, Stretch, Tightness, Legato Trans Speed, Port and perhaps a few others I can’t remember off he top of my head.


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## nas (Oct 15, 2017)

jononotbono said:


> I’m going to build a small template just to try out art switching. Love the idea but I do love being able to see everything on separate tracks!



Perhaps a hybrid approach might work. You could for example load all the shorts in an instance of Kontakt, longs in another instance, trills and terms in another and so on... then use the arts. switcher for each instance. One switcher for switching between the shorts, one switcher for the longs, etc.. 

Also worth noting that even if you have an instance of Kontakt with several articulations loaded, you can purge the ones you don't need and save on RAM just by turning off that specific unused articulation - this is another great function within the Spitfire U.I.


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## jononotbono (Oct 17, 2017)

@Studio E just raised a very good point in another thread regarding SSS.

Legato Con Sord Strings! How come there aren’t any in SSS? There are shorts and Longs but no actual CS Legs and never actually noticed until now! I do have SCS and they are in there but the player count is drastically different between each Library. Anyone know why they weren’t included?


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## aaronventure (Oct 18, 2017)

You can create a frequency matching curve between CS and normal if you have FabFilter Pro-Q 2, and then just apply it to the performance patch.






Even go as far as to apply it only to an Audio Out track of a section, create a MIDI send of the section to the audio channel of that section and map the "Mix" of Pro-Q to something like CC35, so you can have control over the exact amount of CS in your main MIDI track, or even create the fake half-CS section without actually doubling the perceived size of said section.

I'd say it's about 95% the same, but if you lower the vibrato to about half and don't play the actual CS patch right before or after, no one is gonna notice, and you can enjoy all the benefits of the Performance patch.

Here's the Pro-Q 2 preset from above: http://bit.ly/2x596ks


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## Perry (Oct 24, 2017)

jononotbono said:


> So, I just bought Spitfire Symphonic Strings and loving it so far. About to put it in my template and wondering if anyone has any advice on using it? I have just come across Legato Types and the Legacy Folder. The Runs Patch sounds so good. I own Chamber Strings and that is a beast but I'm starting to get the impression this is the full on Bad Boy Strings Library to get to grips with. I figured I may have to change the velocities for different Legato arts as my keyboard controller isn't the most sensitive of controllers and hitting velocity above 70 is hard work.
> 
> I was also wondering how many arts from SSS people have in their templates. With SCS, I have every single Art loaded and I did this just to learn the library (of which I am still doing) and have access to absolutely everything. I'm thinking about trying out Expression Maps in Cubase with this library just to see if I like that work flow.
> 
> ...


You must be doing well in the Music business.To buy the Spitfire Symphonic Strings.They are pricey.


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## VinRice (Oct 24, 2017)

Perry said:


> You must be doing well in the Music business.To buy the Spitfire Symphonic Strings.They are pricey.



Don't be silly, we're all up to our necks in debt/spending our savings/pension fund/insurance/inheritance etc. You gotta commit!


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## ctsai89 (Oct 24, 2017)

I've been in debt and paying interests ever since I purchased SSS last year. I also got an mac pro just cuz I needed the RAM and CPU for my SSS/SSO so I owe bunch of money in which I am paying off slowly. Lol


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## The Darris (Oct 24, 2017)

jononotbono said:


> Just wondering how much RAM SSS would use if I did load every single Art onto separate tracks (using only Decca Mic)?


I can't give you a definitive answer but I'm fairly certain I did this for the whole Spitfire Symphonic Orchestration (WW, Brass, & Strings) and with everything loaded, and using only Tree mic, I was well under 32 gb which is my limitation. Some of those patches are tiny, like 32 mb. They've surprisingly made the RAM footprint small for a library with that much content.


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## jononotbono (Oct 25, 2017)

The Darris said:


> I can't give you a definitive answer but I'm fairly certain I did this for the whole Spitfire Symphonic Orchestration (WW, Brass, & Strings) and with everything loaded, and using only Tree mic, I was well under 32 gb which is my limitation. Some of those patches are tiny, like 32 mb. They've surprisingly made the RAM footprint small for a library with that much content.



Yeah, I can’t quite believe it. I have every single patch of SSS loaded. Although it’s purged and only one mic loaded (of which I have Faders assigned to Mic Positions for when a I want to “play” them.

The TM shorts patches can’t be purged though and they are basically the most hungry. Loving this library!


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## jononotbono (Oct 25, 2017)

Time Machine Shorts patches use 5.34gb of RAM just incase anyone was curious (Decca Tree Mic Pos only)


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## ctsai89 (Oct 25, 2017)

jononotbono said:


> Time Machine Shorts patches use 5.34gb of RAM just incase anyone was curious (Decca Tree Mic Pos only)



Turn off all the articulations that you don't need while it's loading. Because it's an articulation switch only patch. The should've had it separated as well


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## jononotbono (Oct 25, 2017)

ctsai89 said:


> Turn off all the articulations that you don't need while it's loading. Because it's an articulation switch only patch. The should've had it separated as well


Ok, yeah, I just have done that and it takes the RAM footprint to 1.31gb (just for Spicc on each + Ensembles TM). I guess it's no hassle to just load the arts as and when I want to use them. Hmmmm, now what shall I squeeze into this new "spare" 4gb of RAM


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## ctsai89 (Oct 25, 2017)

jononotbono said:


> Ok, yeah, I just have done that and it takes the RAM footprint to 1.31gb (just for Spicc on each + Ensembles TM). I guess it's no hassle to just load the arts as and when I want to use them. Hmmmm, now what shall I squeeze into this new "spare" 4gb of RAM



Chris hein brass. And some woodwinds lol. Percussion lol. Whatever else you need. I only use legato, staccato, dorm '05 shorts and pizz and Bartok pizz...


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## ctsai89 (Oct 25, 2017)

And for TM I don't use anything else besides spiccatos. Also, I tend to turn off some round robins to save ram as well


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## Perry (Nov 7, 2017)

VinRice said:


> Don't be silly, we're all up to our necks in debt/spending our savings/pension fund/insurance/inheritance etc. You gotta commit!


Hey Vin :You can't believe how committed I am.I have never counted these there is more.


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## TeamLeader (Nov 7, 2017)

When do we get the stereo mixes for this??? Or did I miss something?


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## OleJoergensen (Jan 27, 2019)

I dont know if can ask in this thread.... Ill try.
Im a bit confused about cc11 ecpression in Spitfire symphonic strings.
Is cc11 like an overal volume? It does not sound like expression as in Hollywood strings. 
Ive seen Videos with Christian and Paul using cc11 simultanously with cc1, like drawing the similar curvs.


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## jbuhler (Jan 27, 2019)

OleJoergensen said:


> I dont know if can ask in this thread.... Ill try.
> Im a bit confused about cc11 ecpression in Spitfire symphonic strings.
> Is cc11 like an overal volume? It does not sound like expression as in Hollywood strings.
> Ive seen Videos with Christian and Paul using cc11 simultanously with cc1, like drawing the similar curvs.


CC11 is volume inside the master volume it does not affect which sample is being played, CC1 also affects volume but principally makes crossfades among the samples making up the dynamic layers.

This video isn't directed at SSS, but its explanation of CC1, CC11 and CC21 holds for all the SF string libraries.


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## OleJoergensen (Jan 27, 2019)

Thank you .


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