# New Spitfire library with Bleeding Fingers & James Everingham



## KEM (Sep 20, 2022)

Coming this Thursday, any guesses?


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## Justin L. Franks (Sep 20, 2022)

Is that ice? Maybe something to do with BBC Frozen Planet II which James Everingham is scoring.


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## KEM (Sep 20, 2022)

Justin L. Franks said:


> Is that ice? Maybe something to do with BBC Frozen Planet II which James Everingham is scoring.



I would totally be up for that


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## Justin L. Franks (Sep 20, 2022)

KEM said:


> I would totally be up for that



And it wouldn't be the first time a BBC documentary series was the source for a Spitfire library. Orchestral Swarm was made to score BBC Blue Planet II, also with Bleeding Fingers.


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## KEM (Sep 20, 2022)

Justin L. Franks said:


> And it wouldn't be the first time a BBC documentary series was the source for a Spitfire library. Orchestral Swarm was made to score BBC Blue Planet II, also with Bleeding Fingers.



Yep I was about to mention that, I bought it on release and I love it!! Something else along those lines would be great


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## ism (Sep 20, 2022)

Wow, sounds amazing.


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## Digivolt (Sep 20, 2022)

The brief demo sounded pleasing, hopefully it's another originals or one of the cheaper £50 libs


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## muziksculp (Sep 20, 2022)

Sounds Interesting !

I'm excited 

Here is a clickable version to hear it :


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## Daren Audio (Sep 20, 2022)

Wow. They keep pumping libraries out!


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## muziksculp (Sep 20, 2022)

Daren Audio said:


> Wow. They keep pumping libraries out!


Yeah, true. But I'm hoping that these new libraries are not at the expense of releasing

Abbey Road One : Modular Orchestra .


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## davidson (Sep 20, 2022)

Looking forward to seeing what this is. Is it just me or is spitfires marketing much less annoying lately?


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## ka00 (Sep 20, 2022)

Coral: a choral library. 

Algeaon 1.

Middle Sea.

Xylofoam Splash (NKS compatible).

Deep Blue (for sample addicts deep in the red).

Floatando Strings (buoyancy guaranteed).


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## Peter Satera (Sep 20, 2022)

Justin L. Franks said:


> Is that ice? Maybe something to do with BBC Frozen Planet II which James Everingham is scoring.


I was thinking the same.


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## Mornats (Sep 20, 2022)

I bought Orchestral Swarm (still love it) after watching Blue Planet 2 and loving the soundtrack. I've yet to watch Frozen Planet 2 but from that sound clip above, oh yea, this is nice.


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## Justin L. Franks (Sep 20, 2022)

I think I may actually be right.

Frozen Planet II score:

Producer: Russell Emmanuel
Composers: James Everingham, Adam Lukas, Hans Zimmer


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## liquidlino (Sep 20, 2022)

I'm guessing it's pre-recorded phrases and aleotorics, stuff that you can't do with multi sampled instruments. Demo on twitter sounds very nice.


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## muziksculp (Sep 20, 2022)

liquidlino said:


> I'm guessing it's pre-recorded phrases and aleotorics, stuff that you can't do with multi sampled instruments. Demo on twitter sounds very nice.


I'm out if that's what it turns out to be.


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## KEM (Sep 20, 2022)

liquidlino said:


> I'm guessing it's pre-recorded phrases and aleotorics, stuff that you can't do with multi sampled instruments. Demo on twitter sounds very nice.



I love libraries like that, they may not be something you’d use on every track but when you really need them they’re a great to have, I love FX and aleatoric libraries


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## Daren Audio (Sep 20, 2022)

Justin L. Franks said:


> I think I may actually be right.
> 
> Frozen Planet II score:
> 
> ...



Sounds great.

Albion-sized or under $200 range? 
We'll have to wait and see!
But I'm in.


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## HarmonKard (Sep 20, 2022)

liquidlino said:


> I'm guessing it's pre-recorded phrases and aleotorics, stuff that you can't do with multi sampled instruments. Demo on twitter sounds very nice.


I'm in if that's what it turns out to be.


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## Lee Blaske (Sep 20, 2022)

liquidlino said:


> I'm guessing it's pre-recorded phrases and aleotorics, stuff that you can't do with multi sampled instruments. Demo on twitter sounds very nice.


I hope it's not that. Those types of elements aren't useful to professionals, because the bots recognize them and generate copyright strikes after someone else before you used them.


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## liquidlino (Sep 20, 2022)

Lee Blaske said:


> I hope it's not that. Those types of elements aren't useful to professionals, because the bots recognize them and generate copyright strikes after someone else before you used them.


How bad does it get? If say the phrase was a simple gesture of a rise to 5th interval, and back again, would that be picked up?


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## Reznov981 (Sep 20, 2022)

muziksculp said:


> Yeah, true. But I'm hoping that these new libraries are not on the expense of releasing
> 
> Abbey Road One : Modular Orchestra .


I feel like my entire life is now going to be divided into two categories:
Before ARMO 
And the 3 seconds I'm alive after ARMO releases in 2080


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## Lee Blaske (Sep 20, 2022)

liquidlino said:


> How bad does it get? If say the phrase was a simple gesture of a rise to 5th interval, and back again, would that be picked up?


It would be nice to know ahead of time what gets a strike, and what doesn't. Also, interesting to consider that if you're the first person to use it, others will be getting a strike after you. In the case of YouTube, you're technically not allowed to monetize a track that has any third party content.


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## Fleer (Sep 20, 2022)

I hope it’s a new Originals lib, with the Edu half-off sale still going strong.


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## Baronvonheadless (Sep 21, 2022)

Who cares. Fucking fix Abbey Road 2 already!


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## redlester (Sep 21, 2022)

davidson said:


> Is it just me or is spitfires marketing much less annoying lately?


It's certainly less frequent, if that's what was annoying you. Hardly surprising given that every one of the very few Twitter or Facebook posts they've made in recent weeks has been bombarded with negative comments, for reasons discussed elsewhere.


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## Niah2 (Sep 21, 2022)

Hmm I could be wrong but that Instagram snippet screams sample programming all over it, not phrases...to my hears of course.

Sounds nice though.


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## ALittleNightMusic (Sep 21, 2022)

davidson said:


> Looking forward to seeing what this is. Is it just me or is spitfires marketing much less annoying lately?


They have greatly reduced their presence on Vi-C I think. Seems they are getting enough reach with their social channels, email list, and other avenues.


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## Dr.Quest (Sep 21, 2022)

liquidlino said:


> I'm guessing it's pre-recorded phrases and aleotorics, stuff that you can't do with multi sampled instruments. Demo on twitter sounds very nice.


Spitfire doesn't release phrase libraries that I've ever seen. The closest was Earth and that's more texture.


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## KEM (Sep 21, 2022)

Dr.Quest said:


> Spitfire doesn't release phrase libraries that I've ever seen. The closest was Earth and that's more texture.



They do phrases in a sense, there’s a phrase section in Albion 4 for example, but it’s definitely not in the same way Sonokentic does them. Personally I like the way Spitfire does them so if it ends up like that I wouldn’t complain


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## ism (Sep 21, 2022)

Seem pretty unlikely that Bleeding Fingers would release a phrase library.


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## Dr.Quest (Sep 21, 2022)

KEM said:


> They do phrases in a sense, there’s a phrase section in Albion 4 for example, but it’s definitely not in the same way Sonokentic does them. Personally I like the way Spitfire does them so if it ends up like that I wouldn’t complain


Yeah, those are more like complex articulations but they call them phrases. Not like Sonokinetic as you noted.


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## AdamKmusic (Sep 21, 2022)

Definitely going to be like the Orchestral Swarm library they did for Blue Planet II.


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## RogiervG (Sep 21, 2022)

Daren Audio said:


> Wow. They keep pumping libraries out!


i wish they didn't though.. time for quality control is not there, with how fast they release new libs.
Better repair the ones already released (diverse libs needs bug fixes), or expand it (where is the BBC SO piano?)
Better focus on one lib (psst: ARMO, it's already near two years of waiting), and on the side repair those in need.


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## KEM (Sep 21, 2022)

Another clip


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## davidson (Sep 21, 2022)

I hope it isnt only strings.


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## Fleer (Sep 21, 2022)

I hope it’s only strings


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## ism (Sep 21, 2022)

Whatever it is, I hope it has strings.


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## Benbln (Sep 21, 2022)

I hope it has second violins


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## titokane (Sep 21, 2022)

Benbln said:


> I hope it has second violins


The Spitfire trailer is just a bunch of shots of water because the Pacific (thread) is leaking.


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## Fleer (Sep 21, 2022)

Waiting for Ólafur …


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## Digivolt (Sep 21, 2022)

So it's going to be another take on cold/frozen type string sounds ?


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## Justin L. Franks (Sep 21, 2022)

KEM said:


> Another clip



Yeah, I'm 99% certain I was correct about it being for/from BBC Frozen Planet II. It's a great score, so I'm *very excited.*


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## Justin L. Franks (Sep 21, 2022)

ism said:


> Whatever it is, I hope it has strings.


I'm stringing my hope along.


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## KEM (Sep 21, 2022)

Justin L. Franks said:


> Yeah, I'm 99% certain I was correct about it being for/from BBC Frozen Planet II. It's a great score, so I'm *very excited.*



That’s what my initial guess was as well when I say Adam’s post on Facebook, there’s been a lot of buzz about that project so when Spitfire made that posts and Adam shared it and tagged Bleeding Fingers and James I assumed the same, let’s hope!!


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## Justin L. Franks (Sep 21, 2022)

KEM said:


> That’s what my initial guess was as well when I say Adam’s post on Facebook, there’s been a lot of buzz about that project so when Spitfire made that posts and Adam shared it and tagged Bleeding Fingers and James I assumed the same, let’s hope!!


Spitfire also replied to my comment on their first Instagram post:


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## Daren Audio (Sep 21, 2022)

Justin L. Franks said:


> Yeah, I'm 99% certain I was correct about it being for/from BBC Frozen Planet II. It's a great score, so I'm *very excited.*


...Related to Frozen Planet II sounds:

Camille Cabello teams up with Hans Zimmer for the theme.


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## ka00 (Sep 21, 2022)

liquidlino said:


> I'm guessing it's pre-recorded phrases and aleotorics, stuff that you can't do with multi sampled instruments. Demo on twitter sounds very nice.


I think it could include that. I might be mistaken but the teasers and that song from the series seem to all include an arpeggiated 1-3-5-10 chord. And maybe some fourths? It sounds like flautando harmonics, if that's a thing.


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## Soundhound (Sep 21, 2022)

Uh, strings with a ton of reverb?


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## Semarus (Sep 21, 2022)

I'm betting on more Evos.


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## ism (Sep 21, 2022)

I think it almost certainly has to be a follow up to Orchestral Swarm. Everything points to that.

Very Excited!


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## Kyle Preston (Sep 21, 2022)

Benbln said:


> I hope it has second violins



I love it! The joke is bleeding its fingers into new threads. Imagine where it'll be a year from now...


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## Baronvonheadless (Sep 21, 2022)

Kyle Preston said:


> I love it! The joke is bleeding its fingers into new threads. Imagine where it'll be a year from now...


Probably on a voyage all its own.


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## ism (Sep 21, 2022)

The joke about second violins is funny-because-its-so-not-actaully-funny (I guess) on it’s own thread. Once it starts virally infecting other threads the very real risk is that it becomes just kind of alienating to anyone lacking the context.


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## ridgero (Sep 21, 2022)

At the edge of a knife?


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## mgaewsj (Sep 21, 2022)

so it's time 


Daren Audio said:


> ...Related to Frozen Planet II sounds:
> 
> Camille Cabello teams up with Hans Zimmer for the theme.


so I guess it's time for an Ethera Camila - Frozen Edition, where is @StefanoM 😜?


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## prodigalson (Sep 21, 2022)

Whatever it is, looks like I’m going to own a new spitfire library tomorrow.


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## muziksculp (Sep 21, 2022)

I like the strings I hear in the teasers. Looking forward to buying more Strings, maybe another one tomorrow 

Remember, "*You can never have enough Strings Libraries*"


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## Daren Audio (Sep 21, 2022)

mgaewsj said:


> so it's time
> 
> so I guess it's time for an Ethera Camila - Frozen Edition, where is @StefanoM 😜?


More solo vocals by Stefano? 
Yes, Please!


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## Ricgus3 (Sep 21, 2022)

Chamber swarm?


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## Richard Blampied (Sep 22, 2022)

KEM said:


> Another clip



This sounded more like Kepler to me...


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## Justin L. Franks (Sep 22, 2022)

Richard Blampied said:


> This sounded more like Kepler to me...


The chords in the background definitely have a similar sound, but I think there's a lot more vibrato there than what is in Kepler.


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## Justin L. Franks (Sep 22, 2022)

Hmm, no premiere on Youtube yet. Don't they usually have one set up the day before a release?


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## ka00 (Sep 22, 2022)

Justin L. Franks said:


> Hmm, no premiere on Youtube yet. Don't they usually have one set up the day before a release?


Wild speculation: is it possible they had one pre-recorded with someone who is no longer representing the company (at least currently)? And so they decided they needed to scrap it? Because you're right, even for Originals they will have premieres. And this seems like it could be more than an Original.

I think if you're a company as big as Spitfire, you likely have a few releases banked and ready to launch at pre-determined periods throughout the year, with marketing videos and walkthroughs already in the can. For example, who knows, there may be something like 3-5 finished libraries sitting at Spitfire HQ, that are ready to go and are set for staggered launch according to some master plan. So some of the marketing videos may have been done in advance and may thus need redoing or scrapping. Of course, I have no insider knowledge.


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## Justin L. Franks (Sep 22, 2022)

ka00 said:


> Wild speculation: is it possible they had one pre-recorded with someone who is no longer representing the company (at least currently)? And so they decided they needed to scrap it?


Possibly. Although Paul did the walkthrough for Orchestral Swarm, so I would think that he would also do the walkthrough/announcement of its "sequel". And Christian usually does/did the walkthroughs for the more synth-based stuff anyways. His most recent one was Polaris.

Christian's walkthroughs over the past year: Polaris, Iceni retirement, Aperture Stack
Paul's: Appassionata, various AR1 expansions, AR2


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## Justin L. Franks (Sep 22, 2022)

Hmm, still nothing new on Youtube, Twitter, or Instagram, with no mention of anything at all on the website. And only 15 minutes away from their usual new library release time of 5:00 PM GMT.


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## KEM (Sep 22, 2022)

Honestly I prefer this “no YouTube premiere” or over exaggerated marketing campaign, just drop the product on the site and a YouTube walkthrough and announcement at the same time


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## dzilizzi (Sep 22, 2022)

Well, this was supposed to be an April Fools joke but.....

Sometimes it seems like the make such a big deal of every new release, the actual big ones get lost in the small ones. If that makes sense.


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## Justin L. Franks (Sep 22, 2022)

KEM said:


> Honestly I prefer this “no YouTube premiere” or over exaggerated marketing campaign, just drop the product on the site and a YouTube walkthrough and announcement at the same time


Yeah, but they usually give away a copy or two of new libraries during the premiere. Even though I hate their trivia question method (unfair due to YT live chat not being synchronized across all viewers, some people will be able to answer before other people even see the question), there's still a chance. I actually got Solstice for free during one of their premieres.


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## titokane (Sep 22, 2022)

Spitfire Audio — Fractured Strings






www.spitfireaudio.com


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## KEM (Sep 22, 2022)

titokane said:


> Spitfire Audio — Fractured Strings
> 
> 
> 
> ...




Well there it is!!


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## Justin L. Franks (Sep 22, 2022)

Fractured Strings.









Spitfire Audio — Fractured Strings






www.spitfireaudio.com


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## Justin L. Franks (Sep 22, 2022)

$209 for owners of Orchestral Swarm.
$229 intro
$299 regular


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## Lionel Schmitt (Sep 22, 2022)

couldn't using such mini phrases lead to tune recognition clashes or embarassing album neighbour tracks with the same phrases?


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## Justin L. Franks (Sep 22, 2022)

I wonder if this is the same session that Cinematic Frozen Strings came from.


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## Robert_G (Sep 22, 2022)

Cannot believe this guy. At 7:08 Paul Thompson says....
"I'm very excited today"


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## KEM (Sep 22, 2022)

Justin L. Franks said:


> I wonder if this is the same session that Cinematic Frozen Strings came from.



Frozen Strings is really really old if you’re talking about the Originals library, these are new recordings


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## Justin L. Franks (Sep 22, 2022)

Oh no....no legato! 2:15



No 2nd violins either lol


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## KEM (Sep 22, 2022)

Justin L. Franks said:


> $209 for owners of Orchestral Swarm.
> $229 intro
> $299 regular



I wasn’t logged in so I didn’t see the price for Swarm users, even better!!


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## Ricgus3 (Sep 22, 2022)

hmm so it was a "phrased" based library then.


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## Justin L. Franks (Sep 22, 2022)

Oh man, I'm only two seconds in to Paul playing the first articulation and I want it.


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## ka00 (Sep 22, 2022)

Ugh, so much low rumble on some of those splinter downs. Starting at 11:45. Notice the rumble on some of the notes he plays but not others. The Maj 3rd down. And then again on the 5th. Hopefully this was cleaned up before release.


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## ALittleNightMusic (Sep 22, 2022)

$136 with the EDU special going on.


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## ism (Sep 22, 2022)

Wow. I absolutely *love* this.


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## Justin L. Franks (Sep 22, 2022)

ka00 said:


> Ugh, so much low rumble on some of those splinter downs. Starting at 11:45. Notice the rumble on some of the notes he plays but not others. The Maj 3rd down. And then again on the 5th.


Sounds like bow noise to me. It's only 4 players, so you're going to get stuff like that with these types of articulations.


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## ZTYAAA (Sep 22, 2022)




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## Justin L. Franks (Sep 22, 2022)

ism said:


> Wow. I absolutely *love* this.


The rotations and dispersals are absolutely lovely, it's hard to get things like that to sound this good with traditional libraries.


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## doctoremmet (Sep 22, 2022)

KEM said:


> Frozen Strings is really really old if you’re talking about the Originals library, these are new recordings


No it’s not. Those weren’t rehashed recordings but brand new ones. Maybe you’re thinking of Tundra or Loegria?

Edit: my mistake - I misread. You are saying the exact same thing. Apologies!


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## muziksculp (Sep 22, 2022)




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## ka00 (Sep 22, 2022)

Justin L. Franks said:


> Sounds like bow noise to me. It's only 4 players, so you're going to get stuff like that with these types of articulations.


Whatever it is, it can likely be high passed out. This is a very lovely sounding library overall.


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## Justin L. Franks (Sep 22, 2022)

KEM said:


> Frozen Strings is really really old if you’re talking about the Originals library, these are new recordings


Originals Cinematic Frozen Strings, it came out earlier this year. Also small ensemble, also in AIR Lyndhurst, also has the super close mics. It's got to be the same session...only difference is Fractured is 4 violins + 4 celli, Cinematic Frozen Strings is 2,2,0,2,2. They must have tried recording basses for Fractured and it didn't work out, but it did work for Cinematic Frozen.


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## ism (Sep 22, 2022)

There was also a quite old Labs instrument call, I think "Frozen Strings" which was (again, I think) the experiment that led to Tundra. So maybe that's the confusion.


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## KEM (Sep 22, 2022)

doctoremmet said:


> No it’s not. Those weren’t rehashed recordings but brand new ones. Maybe you’re thinking of Tundra or Loegria?



I’m pretty sure Frozen Strings is like a decade old, it used to be a free download and they just repackaged it as an Originals library and started selling it, I have a Kontakt version that I got from them for free and I’ve had it since like 2017, if I remember correctly a lot of their old free libraries were repackaged for either Labs or Originals


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## Justin L. Franks (Sep 22, 2022)

KEM said:


> I’m pretty sure Frozen Strings is like a decade old, it used to be a free download and they just repackaged it as an Originals library and started selling it, I have a Kontakt version that I got from them for free and I’ve had it since like 2017, if I remember correctly a lot of their old free libraries were repackaged for either Labs or Originals


LABS Frozen Strings is not Originals Cinematic Frozen Strings.


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## KEM (Sep 22, 2022)

Justin L. Franks said:


> LABS Frozen Strings is not Originals Cinematic Frozen Strings.



Ok that’s where I was getting confused then


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## ism (Sep 22, 2022)

KEM said:


> I’m pretty sure Frozen Strings is like a decade old, it used to be a free download and they just repackaged it as an Originals library and started selling it, I have a Kontakt version that I got from them for free and I’ve had it since like 2017, if I remember correctly a lot of their old free libraries were repackaged for either Labs or Originals


I've got both, and the new labs Frozen string is a new recording, very much post-Tundra. Both are great though.


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## doctoremmet (Sep 22, 2022)

KEM said:


> I’m pretty sure Frozen Strings is like a decade old, it used to be a free download and they just repackaged it as an Originals library and started selling it, I have a Kontakt version that I got from them for free and I’ve had it since like 2017, if I remember correctly a lot of their old free libraries were repackaged for either Labs or Originals


Okay now I’m confused. The Cinematic Frozen Strings were presented as entirely new recordings on release? I may be misremembering then….


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## KEM (Sep 22, 2022)

doctoremmet said:


> Okay now I’m confused. The Cinematic Frozen Strings were presented as entirely new recordings on release? I may be misremembering then….



No you were right, just me being an idiot again, I didn’t know they had multiple Frozen Strings libraries


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## Justin L. Franks (Sep 22, 2022)

doctoremmet said:


> Okay now I’m confused. The Cinematic Frozen Strings were presented as entirely new recordings on release? I may be misremembering then….


LABS Frozen Strings is still free and quite old.

Originals Cinematic Frozen Strings is brand new. And amazing. Basically Tundra First Chairs.


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## ism (Sep 22, 2022)

Wow this library sounds absolutely brilliant.

Except that now I want 10 more just like it, including (but not limited to) an OACE solo strings version of this, some kind of Orchestral Swarm 2 that sounds like this (but with more woodwinds), a full-on legato centric solo strings version of this sound, a Max Richter AIR Composer's Toolkit ...


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## Wunderhorn (Sep 22, 2022)

Demos sure sound beautiful.

After my experience with Eric Whitacre Choir I have doubts however. Spitfire keeps turning out new libraries in their horrible player plugin and never fixing even confirmed major issues. Is it going to be another piece of abandon-ware?

This one I would have loved to see as an add-on to Neo or Tundra - in Kontakt format.


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## Markrs (Sep 22, 2022)

ism said:


> Max Richter AIR Composer's Toolkit


I would buy that, though I would probably wait for a sale 😁


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## Fleer (Sep 22, 2022)

ALittleNightMusic said:


> $136 with the EDU special going on.


$149 here. Or did you own Swarm?


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## ALittleNightMusic (Sep 22, 2022)

Fleer said:


> $149 here. Or did you own Swarm?


I own Swarm as well.


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## davidson (Sep 22, 2022)

davidson said:


> I hope it isnt only strings.


God dammit...


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## Henu (Sep 22, 2022)

Finally, something exciti.....oh..._phrases_? Goddamn.


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## Vastman (Sep 22, 2022)

Fleer said:


> $149 here. Or did you own Swarm?


Or....$209 for "normal folks owning Swarm


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## Baronvonheadless (Sep 22, 2022)

I bet this would mix very well with the pathfinder Cello.


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## ism (Sep 22, 2022)

Baronvonheadless said:


> I bet this would mix very well with the pathfinder Cello.


Yes!


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## Justin L. Franks (Sep 22, 2022)

Baronvonheadless said:


> I bet this would mix very well with the pathfinder Cello.


I was thinking the same thing. Fractured Path could be a good name for a piece made with both.


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## muziksculp (Sep 22, 2022)

Fractured Strings sound wonderful.

But I feel it's the kind of strings library that will kind of dictate what I would write, and it can be a bit of a rabbit's hole to discover/use it (for me). Requires a bit of a special approach to use it.

So.. Do I need another strings library ? I'm a bit undecided on this one.

On the other hand, I'm still waiting for Pacific Strings to show up, which I know will get used a lot more than this library. I would categorize this library in the luxury dept.


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## Ricgus3 (Sep 22, 2022)

Ye sure the phrases sounds nice since it is "live captures". But I'll sit this one out, phrase libraries is not my cup of tea


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## muziksculp (Sep 22, 2022)

Ricgus3 said:


> Ye sure the phrases sounds nice since it is "live captures". But I'll sit this one out, phrase libraries is not my cup of tea


That's how I feel as well.


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## Ricgus3 (Sep 22, 2022)

muziksculp said:


> Do I need another strings library ? I'm a bit undecided on this one.


Well I am not sure where I read/heard it but these words echoes in my head: You can never have enough strings libraries. Just thought I'd give you that advice  Wish I had a _Second _advice to give you...


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## Ricgus3 (Sep 22, 2022)

Baronvonheadless said:


> I bet this would mix very well with the pathfinder Cello.


I actually thought watching the walkthrough: didn't Ben Osterhouse already do this with a Cello?


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## doctoremmet (Sep 22, 2022)

muziksculp said:


> So.. Do I need another strings library ? I'm a bit undecided on this one.


No


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## muziksculp (Sep 22, 2022)

doctoremmet said:


> No


Thanks 🧡


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## Justin L. Franks (Sep 22, 2022)

muziksculp said:


> So.. Do I need another strings library ? I'm a bit undecided on this one.


So...you CAN have enough string libraries? What crazy dimension did I fall into?


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## doctoremmet (Sep 22, 2022)

muziksculp said:


> Thanks 🧡


I was joking of course Tarek. Please feel free to go ahead and get this. I can’t say this isn’t sonically tempting.  (although I do feel Ben Osterhouse has me largely covered. Oh, and I quite dig OT Loire as well. Some days….)


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## adam_lukas (Sep 22, 2022)

Happy to see so many positive reactions. Creating this together with Spitfire was an absolute pleasure.
On Frozen Planet II, it became Hans', James' and my go-to tool. Now really curious how you all will put it to use!
Best,
-Adam


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## dzilizzi (Sep 22, 2022)

muziksculp said:


> Fractured Strings sound wonderful.
> 
> But I feel it's the kind of strings library that will kind of dictate what I would write, and it can be a bit of a rabbit's hole to discover/use it (for me). Requires a bit of a special approach to use it.
> 
> ...


This is one of those that I wait for a sale on. Love the idea and the sound, but feel limited by the phrases. And, frankly, the EVO grid. I can never remember where what phrase is on it.


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## adam_lukas (Sep 22, 2022)

Ricgus3 said:


> Ye sure the phrases sounds nice since it is "live captures". But I'll sit this one out, phrase libraries is not my cup of tea


I wouldn't call Fractured Strings a phrase library per se. Or at least it's not your typical one. 
A year has gone by using this now and it never felt like a phrase library, more like a creative tool, based on recorded short gestures with a certain element of chaos and surprise


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## James Everingham (Sep 22, 2022)

adam_lukas said:


> Happy to see so many positive reactions. Creating this together with Spitfire was an absolute pleasure.
> On Frozen Planet II, it became Hans', James' and my go-to tool. Now you really curious how you all will put it to use!
> Best,
> -Adam


Seconding Adam, so happy to hear you're enjoying the sounds. We put many long nights into this with the Spitfire team over the past couple of years. Hoping to do some videos soon that dive deep into how we used it on Frozen Planet II, and demonstrate what a versatile tool it really is!


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## KEM (Sep 22, 2022)

James Everingham said:


> Seconding Adam, so happy to hear you're enjoying the sounds. We put many long nights into this with the Spitfire team over the past couple of years. Hoping to do some videos soon that dive deep into how we used it on Frozen Planet II, and demonstrate what a versatile tool it really is!



I would love some in action videos!!


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## dcoscina (Sep 22, 2022)

I'm totally going to use an octatonic scale on this puppy!


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## davidson (Sep 22, 2022)

Hey @adam_lukas @James Everingham Should we be getting excited about frozen brass and woods or not? Great job on FP2


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## adam_lukas (Sep 22, 2022)

davidson said:


> Hey @adam_lukas @James Everingham Should we be getting excited about frozen brass and woods or not? Great job on FP2


Thank you! Ha - certainly into that idea!


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## davidson (Sep 22, 2022)

adam_lukas said:


> Thank you! Ha - certainly into that idea!


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## IFM (Sep 22, 2022)

They do sound wonderful but I keeping thinking about this...


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## muziksculp (Sep 22, 2022)

doctoremmet said:


> I was joking of course Tarek. Please feel free to go ahead and get this. I can’t say this isn’t sonically tempting.  (although I do feel Ben Osterhouse has me largely covered. Oh, and I quite dig OT Loire as well. Some days….)


Hi Temme,

Seriously, I really don't need this type of Strings, I know if I buy them, they will just be occupying 80 GB of space on my SSD.

Looking forward to the release of *Pacific Strings* 

Cheers,
Muziksculp


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## Justin L. Franks (Sep 22, 2022)

James Everingham said:


> Seconding Adam, so happy to hear you're enjoying the sounds. We put many long nights into this with the Spitfire team over the past couple of years. Hoping to do some videos soon that dive deep into how we used it on Frozen Planet II, and demonstrate what a versatile tool it really is!


I'd love to see this! What I've heard so far from the Frozen Planet II score is amazing. Deep dives into how pros use libraries is such a great source of info for this mere hobbyist.

BTW, are you able to confirm whether Spitfire's Originals Cinematic Frozen Strings library was an offshoot of the sessions to make Fractured Strings? There are a number of similarities, like small sections in AIR Lyndhurst, the ultra close mic option, etc.


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## doctoremmet (Sep 22, 2022)

muziksculp said:


> Hi Temme,
> 
> Seriously, I really don't need this type of Strings, I know if buy them, they will just be occupying 80 GB of space on my SSD.
> 
> ...


The patches do sound great. But I’m with you on this one. Pacific will be bought on the day of release.


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## jbuhler (Sep 22, 2022)

From the walkthrough, I would say there are affinities with some Sonokinetic phrases, but the emphasis here falls on the sort of connected gestures that are common enough in string writing for real players but not easily drawn from standard string libraries. What's not clear to me yet is how adaptable the library will be. So I'm looking forward to playing with it to see what sort of expressive range these gestures have as well as how the library integrates with other string libraries.


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## Daren Audio (Sep 22, 2022)

jbuhler said:


> From the walkthrough, I would say there are affinities with some Sonokinetic phrases, but the emphasis here falls on the sort of connected gestures that are common enough in string writing for real players but not easily drawn from standard string libraries. What's not clear to me yet is how adaptable the library will be. So I'm looking forward to playing with it to see what sort of expressive range these gestures have as well as how the library integrates with other string libraries.


You beat me too it.
There's some resemblance.


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## Justin L. Franks (Sep 22, 2022)

jbuhler said:


> From the walkthrough, I would say there are affinities with some Sonokinetic phrases, but the emphasis here falls on the sort of connected gestures that are common enough in string writing for real players but not easily drawn from standard string libraries. What's not clear to me yet is how adaptable the library will be. So I'm looking forward to playing with it to see what sort of expressive range these gestures have as well as how the library integrates with other string libraries.


Exactly! I wouldn't call this a "phrase library" either. It has very short gestures (I guess you can call them "phrases", but they're really really short ones), and all are things that are very difficult to wrangle out of conventional libraries.


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## Composer 2021 (Sep 22, 2022)

Where are the viola and bass?


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## mgaewsj (Sep 22, 2022)

Composer 2021 said:


> Where are the viola and bass?


and the second violins 😜?


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## Composer 2021 (Sep 22, 2022)

Once again, I am nauseated by the demos mixing strings straight down the center like a mono recording. _This has never sounded good and never well._


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## blaggins (Sep 22, 2022)

(Next question is serious and not intended as snark or critique of this particular library)

What is it that makes these kinds of phrases difficult to do with a regular strings library? The walkthrough kind of feels like one or more voices doing combinations of 2-4 notes in a single recorded phrase. Could I not write the phrases for individual instruments (same as the players would have had as sheet music at the session), and arrive at a very similar sounding place?

Obviously the answer is 'no' since what would be the point of this, plus @adam_lukas and @James Everingham found this to be such a useful tool for scoring Frozen Planet II (incredible soundtrack by the way!!), but there's something that I'm missing here...


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## ism (Sep 22, 2022)

jbuhler said:


> What's not clear to me yet is how adaptable the library will be.


 This will be interesting to see. Home's demo draws out these extrordinary violin melodies ... but they do depend are baked in intervals. So I'm curious as to just how much expressive spaces this opens up. 

In any event, one of the issues of demos of a library like this is that it's very artificial to only use a library like so exclusively on an entire track. 

I image it it will combine very nicely with ... SCS or Neo or Appassionata, maybe also Solo Strings & OACE. And where this library can really define the topos of the piece in broad brush stroke, you have the more pedestrian articulations of other libraries to do finer brush work. 


(Which, it occurs to me, implies that this library makes the OACE articulates "pedestrian" ...  how cool is that. )


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## jbuhler (Sep 22, 2022)

Justin L. Franks said:


> Exactly! I wouldn't call this a "phrase library" either. It has very short gestures (I guess you can call them "phrases", but they're really really short ones), and all are things that are very difficult to wrangle out of conventional libraries.


Some of the sonokinetic "phrases" do this sort of thing too, which is why there is a resemblance, but they are optimized for repetition at 2 or 4 measures. I don't sense the gestures of this library are built in the same way. They are more like slow measured trills, mordant figures, swells, and that sort of thing. One shots that are gestures, some of which can be extended and looped, but not really set to grid repetition like the sonokinetic libraries. I'll be curious if they are indeed tempo synced. I don't think we have clarity on that yet.


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## Justin L. Franks (Sep 22, 2022)

jbuhler said:


> I'll be curious if they are indeed tempo synced. I don't think we have clarity on that yet.


Page 30 of the manual says some are tempo-synced.


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## adam_lukas (Sep 22, 2022)

Justin L. Franks said:


> I'd love to see this! What I've heard so far from the Frozen Planet II score is amazing. Deep dives into how pros use libraries is such a great source of info for this mere hobbyist.
> 
> BTW, are you able to confirm whether Spitfire's Originals Cinematic Frozen Strings library was an offshoot of the sessions to make Fractured Strings? There are a number of similarities, like small sections in AIR Lyndhurst, the ultra close mic option, etc.


Fractured Strings is 100% new original content.


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## Loerpert (Sep 22, 2022)

Justin L. Franks said:


> Page 30 of the manual says some are tempo-synced.


It says they are tempo synced to 120 bpm. Not sure if that means it will sync with the DAW's tempo.


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## Justin L. Franks (Sep 22, 2022)

adam_lukas said:


> Fractured Strings is 100% new original content.


Yes, I realize that. I was just asking if you knew if Originals Cinematic Frozen Strings was recorded during the same session, as in extra recordings that were never meant to be used for Fractured Strings. Like "we finished recording all we need for Fractured Strings and have a bit more time in the hall already booked and paid for, why don't we try to record some stuff for this small other project".


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## agaland (Sep 22, 2022)

Justin L. Franks said:


> Page 30 of the manual says some are tempo-synced.


It says that only Rotations and Arps are synched to 120 bpm.
Wow, ok, that's a deal breaker for me...
As much as I like the sound of it and the idea behind it, how the heck will I use this library for, if these _"intervallic performances"/whatever you want to call them_, can't be synched to my DAW bpm? 
Or, am I missing something here?


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## AMBi (Sep 22, 2022)

Sounds breathtaking, looking forward to hear what people make with it! 

The Rotations articulations almost remind me of the textural elements of Fe’s soundtrack.
Never thought we’d get anything like it with sample libraries.


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## davidson (Sep 22, 2022)

So are these 'phrases' synced to host bpm?


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## method1 (Sep 22, 2022)




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## Justin L. Franks (Sep 22, 2022)

method1 said:


>


Wait, what?

When I read "tempo synced to 120 BPM" for some of the articulations on page 30 of the manual, I thought it meant they are tempo synced, but recorded at 120 BPM. As in, use a tempo near 120 BPM for the best results with less artifacts from timestretching. But they are actually not tempo synced at all? They _only_ work at 120 BPM?


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## davidson (Sep 22, 2022)

method1 said:


>


Damn. That seems a bit...crap?


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## method1 (Sep 22, 2022)

Justin L. Franks said:


> Wait, what?
> 
> When I read "tempo synced to 120 BPM" for some of the articulations, I thought it meant they are tempo synced, but recorded at 120 BPM. As in, use a tempo near 120 BPM for the best results with few artifacts from timestretching. But it is actually not tempo synced at all? They _only_ work at 120 BPM?


Sounds like that is the case. If so, you can still use time stretch inside your DAW since you at least know the original tempo.


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## HarmonKard (Sep 22, 2022)

AMBi said:


> Sounds breathtaking, looking forward to hear what people make with it!
> 
> The Rotations articulations almost remind me of the textural elements of Fe’s soundtrack.
> *Never thought we’d get anything like it with sample libraries.*



Sonokinetic has a library that has phrases that sound just like the audio in the video you posted.


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## ka00 (Sep 22, 2022)

HarmonKard said:


> Sonokinetic has a library that has phrases that sound just like the audio in the video you posted.


Which one is that?


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## FuzyDunlop (Sep 22, 2022)

I bought it. The rotations and arps patches are tempo synced.


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## holywilly (Sep 22, 2022)

This video convinced me.


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## ism (Sep 22, 2022)

holywilly said:


> This video convinced me.



Sounds great with Appasionatta also.


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## HarmonKard (Sep 22, 2022)

ka00 said:


> Which one is that?


Sotto. Minimal has some similar phrases as well.
View attachment sotto.mp3


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## AMBi (Sep 22, 2022)

HarmonKard said:


> Sotto. Minimal has some similar phrases as well.


Gorgeous, it does sound very similar! 
Don’t have much knowledge on Sonokinetic libraries so I may just have to look into that
It’s a pretty recurring thing on the soundtrack so it may be the library I’ve been looking for.


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## Daren Audio (Sep 22, 2022)

AMBi said:


> Gorgeous, it does sound very similar!
> Don’t have much knowledge on Sonokinetic libraries so I may just have to look into that
> It’s a pretty recurring thing on the soundtrack so it may be the library I’ve been looking for.


Sonokinetic's Sotto is currently on sale at the moment as well for $167/167€.
I'm going to compare the two and pick up one.


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## Loerpert (Sep 22, 2022)

FuzyDunlop said:


> I bought it. The rotations and arps patches are tempo synced.


Now I'm confused


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## Justin L. Franks (Sep 22, 2022)

Loerpert said:


> Now I'm confused


Eh, Spitfire often has errors in their manuals. One of the most common ones is talking about another library in certain sections (the one they copy-pasted from the other library's manual and forgot to change the necessary text).


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## Lee Blaske (Sep 22, 2022)

This library sounds wonderful, but I'd be worried that the phrases/gestures are big enough for the bots to recognize and issue copyright strikes. It would be risky to use, and could put end clients in jeopardy.


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## Loerpert (Sep 22, 2022)

Justin L. Franks said:


> Eh, Spitfire often has errors in their manuals. One of the most common ones is talking about another library in certain sections (the one they copy-pasted from the other library's manual and forgot to change the necessary text).


Ah okay, thanks!


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## thebassist (Sep 22, 2022)

Downloading now. I've been saying for a bit that this is the wave of the "future" for 2022/2023 sample libraries and beyond: aleatory, sampled phrases, and embrace of imperfection. 

A little bit of this library will go a long way for dramatic string writing. I didn't think I needed Appassionata either, and yet it's on almost everything I write now. The two will couple nicely, one assumes.


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## idematoa (Sep 23, 2022)

Released September 23, 2022

01 - Spitfire Audio - Orchestral Swam - Flautando Swarm
02 - Spitfire Audio - Fractured Strings - Grid
03 - Spitfire Audio - Fractured Strings - Solo Violin Arps (Arp Minor)
04 - Spitfire Audio - Fractured Strings - Celli - Dispersals


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## mussnig (Sep 23, 2022)

Could anyone who has this post a short example of how good the temposync works or test out how far you can go before hearing artifacts?


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## KEM (Sep 23, 2022)

Lee Blaske said:


> This library sounds wonderful, but I'd be worried that the phrases/gestures are big enough for the bots to recognize and issue copyright strikes. It would be risky to use, and could put end clients in jeopardy.



While watching the walkthrough this also popped into my head after you had mentioned this earlier in the thread, some of the samples sound so specific that they’ll be ripe for copyright claims. Only time will tell


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## J-M (Sep 23, 2022)

KEM said:


> While watching the walkthrough this also popped into my head after you had mentioned this earlier in the thread, some of the samples sound so specific that they’ll be ripe for copyright claims. Only time will tell


Had a copyright claim on one of my tracks that used one (heavily processed) note from Project Bravo or Alpha...It got lifted, but yeah, popular pre-made sounds and loops can be a source for some troubles.


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## Reznov981 (Sep 23, 2022)

ism said:


> Wow this library sounds absolutely brilliant.
> 
> Except that now I want 10 more just like it, including (but not limited to) an OACE solo strings version of this, some kind of Orchestral Swarm 2 that sounds like this (but with more woodwinds), a full-on legato centric solo strings version of this sound, a Max Richter AIR Composer's Toolkit ...


You don't really like string libraries do you?
🙃


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## Reznov981 (Sep 23, 2022)

At least from the walkthrough, this does seem to have a particularly "clean" sound to me. Like, the recordings just sound really... Clean. Is that weird?


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## KEM (Sep 23, 2022)

J-M said:


> Had a copyright claim on one of my tracks that used one (heavily processed) note from Project Bravo or Alpha...It got lifted, but yeah, popular pre-made sounds and loops can be a source for some troubles.



Really? That’s really crazy to me, I use the impacts and risers from Project Alpha/Bravo all the time, granted their always layered in with stuff so it’d be hard for an algorithm to detect them, but still, really stupid that that’s even a possibility


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## zeng (Sep 23, 2022)

J-M said:


> Had a copyright claim on one of my tracks that used one (heavily processed) note from Project Bravo or Alpha...It got lifted, but yeah, popular pre-made sounds and loops can be a source for some troubles.


Well doesn't Spitfire let us to use their phrases in commercial pieces?


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## KEM (Sep 23, 2022)

zeng said:


> Well doesn't Spitfire let us to use their phrases in commercial pieces?



They do, as do all companies selling them, but composers will copyright their pieces and the samples will accidentally get copyrighted along with it


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## zeng (Sep 23, 2022)

KEM said:


> They do, as do all companies selling them, but composers will copyright their pieces and the samples will accidentally get copyrighted along with it


oh I get it ok...right


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## ka00 (Sep 23, 2022)

This library sounds lovely, but I'm trying to weigh the value of buying a very niche library compared to spending a similar amount of money on another bread and butter strings library like Pacific Strings.

Normally I would just trust my ears. But I find that harder to do with a "gesture" library, because I sort of would want to work with these for a few days before figuring out how well they work for me.

This is one of the times a functional demo version would be so useful. 

In watching Paul's walkthrough, from what he said about it, here's what stood out to me as the point of this library:

1. Inspiration:
"inspirational textures"
"an amazing cue starter. It's just so inspirational. It really gets you going and can give you the germ of an idea which then you can develop into a full piece."
"It's another way of inspiring yourself, creating new gestures and ideas melodically and harmonically that you wouldn't necessarily have thought of, but can become the germ of a new piece of music."
"A creative access point."
"Another way to access inspiration."
"Musical inspiration."

2. Texture, flourish, detail:
"These are gestures that you can use as part of the kind of texture of the piece that you are writing and they could be the basis of what you're writing."
"Or they can simply be beautiful ear catching little fragments that scatter above the body of the work you're actually doing."
"very difficult to reproduce using standard libraries"


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## Justin L. Franks (Sep 23, 2022)

ka00 said:


> In watching Paul's walkthrough, from what he said about it, here's what stood out to me as the point of this library:
> 
> 1. Inspiration:
> "inspirational textures"
> ...


Yup, that's what I got out of the video too. It is most useful as a starting point and/or adding flourish, with techniques that are difficult to replicate well using "conventional" libraries.


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## jbuhler (Sep 23, 2022)

Finally got it downloaded and was able to do a bit of exploration. It sounds great. The patches that need to be synced to the DAW seem to do so. I didn’t actually lay them against the grid to see if they were accurate. But I changed the tempo of the project and the lines sped up and slowed down. There seem to be two recorded dynamic layers, but the gestures generally have built in dynamic arcs/waves as well, giving the impression and feel of more dynamic layers.

I wouldn’t call this a phrase library. I might call it a gesture library. The gestures can work as phrases, hence the noted similarity with some Sonokinetic patches. I think the SF version of these gestures is a bit easier to use in an ad hoc manner since the Sonokinetic phrases are designed for looping. I’ll have to test that against context though. 

The library performs a lot of string gestures that are hard to get sample libraries to do effectively. The rotations are slow measured trills/fingered tremolo and back and forth figures that are very, very common in string writing but sampled string libraries struggle with. Round robin legatos haven’t really improved the issue as much as theory would suggest they should. These sound really good, at least near the tempo they were recorded at, and if you are using the rotations as a smeared measured/unmeasured trills and fingered tremolo for accompaniment at fast tempos. (The faster you go, though, the shorter in duration the gesture, as these are arcs/waves not loops.)

The library contains a number of other string gestures that are quite inspiring. They have a “cue starter” aspect to them (Paul mentions this in the walkthrough) that is similar to the Sonokinetic libraries. That can be a positive, but it’s an aspect of the Sonokinetic libraries that some dislike. The Sonokinetic libraries come with the midi which makes it easier to transfer to another library after you get the cue started. As with the best and most useful of the Sonokinetic phrases the gestures of Fractured Strings are generic enough that they won’t get in the way of your composition. But they can make your accompaniment figures sound more realistic and more compelling. 

"Statements" is an interesting concept, recorded intervals from unison to the fifth, up and down, and this can be made to conform to a scale. This gives you pairwise legato so long as you are willing to accept the tempo and duration of the statement (the statements are not tempo synced and the tempo is quite deliberate). I find it especially lovely playing chords and paired thirds or sixths this way, especially with the scale conform articulation.

Some things I already dislike about the library: 

There are lots of patches and each group needs to be loaded separately. There are variations within groups that can be key switched but mostly you are looking at needing lots of tracks to use this library. 

Though some of the articulations tempo sync, there does not seem to be a way to force the library to play twice as fast, half as fast or to play at recorded tempo. This means you can't use the rotations say to do some of those fast measured trills/fingered tremolo that are frequently used for accompaniment patterns without printing to audio. At least I haven't figured out how else you might do this.

The library has a bit of a predilection for rising figures without the complementary falls. So the arp figures all start going up and there is not a complementary version that starts down and same for the violin's "reaches." At least a quick exploration didn’t suggest how to do it. I mean, I understand why they did what they did, given how accompaniment patterns usually work, but it limits the kinds of larger figures you make with it.

The Evo grid is not intuitively accessible. There’s a little drop down to change the mode to grid orientation. It’s not clear why they did it that way instead of just making it one of the selections for groups. The Evo grid has all the usual problems of the Evo grid in not being able to change the set up on the fly with midi. The layout of the Evo grid is also somewhat different from other grids I've used and I'm still working out when it is an advantage to use and when it's best to just stick with the standard mode.

The adaptive scale stuff is nifty but also has the issue of not being able to change the scale with midi. So you are locked in for the duration of the project (or you need to print regularly to audio or create addition tracks for every key you want to use).

Though the tempo on tempo synched groups is adaptable it is most effective near the recorded tempo, meaning that there’s a kind of tempo sameness to the library. The statements are all at a fixed tempo, so that too tends to enforce a a similar (rather deliberate) pace on any piece that uses them.


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## redlester (Sep 23, 2022)

mussnig said:


> Could anyone who has this post a short example of how good the temposync works or test out how far you can go before hearing artifacts?


OK here's a short file I created, 68 bars long. Its just a series of repetitions of of two cello "Rotations Up" which last 4 bars. After each repetition the speed changes as follows:
Bar 1 = 120bpm
Bar 5 = 122bpm
Bar 9 = 124bpm
Bar 13 = 126bpm
Bar 17 = 128bpm
Bar 21 = 130bpm
Bar 25 = 135bpm
Bar 29 = 140bpm
Bar 33 = 120bpm
Bar 37 = 115bpm
Bar 41 = 110bpm
Bar 45 = 100bpm
Bar 49 = 95bpm
Bar 53 = 90bpm
Bar 57 = 80bpm
Bars 61-69 = Tempo curve up from 80 - 120bpm


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## Loerpert (Sep 23, 2022)

redlester said:


> OK here's a short file I created, 68 bars long. Its just a series of repetitions of of two cello "Rotations Up" which last 4 bars. After each repetition the speed changes as follows:
> Bar 1 = 120bpm
> Bar 5 = 122bpm
> Bar 9 = 124bpm
> ...



Thanks for doing this!


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## dzilizzi (Sep 23, 2022)

Lee Blaske said:


> This library sounds wonderful, but I'd be worried that the phrases/gestures are big enough for the bots to recognize and issue copyright strikes. It would be risky to use, and could put end clients in jeopardy.


Technically, these shouldn't fall under "melody" so it should not initiate a copyright strike.


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## prodigalson (Sep 23, 2022)

It's funny, with all the harmonics from the sul pont or whatever other ways the aritculations are performed sometimes it's hard to tell if those are artefacts from the time stretching or just the "ice" vibe lol


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## mussnig (Sep 23, 2022)

redlester said:


> OK here's a short file I created, 68 bars long. Its just a series of repetitions of of two cello "Rotations Up" which last 4 bars. After each repetition the speed changes as follows:
> Bar 1 = 120bpm
> Bar 5 = 122bpm
> Bar 9 = 124bpm
> ...



Thank you so much for doing this!


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## redlester (Sep 23, 2022)

mussnig said:


> Thank you so much for doing this!


No problem. I might use it as the basis for a composition, who knows. 😉


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## adam_lukas (Sep 23, 2022)

Here's one way to get creative with the library:
https://www.dropbox.com/s/srkoyqi26fbeeep/FRA%20Reaches%20Motor%20AL.MOV?dl=0 (Reaches Motor - AL Showcase)

This is achieved by playing the Reaches as a "motor". The same can be done with many of the other articulations as well.


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## Justin L. Franks (Sep 23, 2022)

@Simeon's walkthrough (1:07:00 if the auto-jump doesn't work):



Amazing!


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## Daren Audio (Sep 23, 2022)

Justin L. Franks said:


> @Simeon's walkthrough (1:07:00 if the auto-jump doesn't work):
> 
> 
> 
> Amazing!



Appassionata + Fractured Strings = 1, 2 punch! 
Gonna pick up Orchestral Swarm, Fractured Strings and Synchron Strings Pro next week!


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## Lee Blaske (Sep 23, 2022)

dzilizzi said:


> Technically, these shouldn't fall under "melody" so it should not initiate a copyright strike.


Bots can't separate. Besides, you can have copyright infringement for a lot more than melody.


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## jbuhler (Sep 23, 2022)

Noodling around with the FS solo string arps, accompanied with spiccatos from SF Solo Strings (first desk and cello). This is 120bpm

View attachment Fractured Strings Noodle 3.0 1.mp3


Same thing at 180 bpm

View attachment Fractured Strings Noodle 3.0 (180bpm).mp3


ETA: so one thing, the arps are tempo synched to the DAW.
ETA2: the BPM is only correct at quarter note = 120 or 180, which is how the DAW interprets it. The meter here is actually 6/8 or 12/8, so the actual tempo is dotted quarter = 80 and 120.


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## nowimhere (Sep 23, 2022)

muziksculp said:


>



"I'm not going to buy another string library"
Spitfire releases this library
"Fuck!" 

------
Dammit I'm a sucker for any of their grids. So badass!


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## Baronvonheadless (Sep 23, 2022)

Yeah. I caved. This is perfect for a gig I'm currently working on where it needs to be intense emotionally, with bits of anxiety...but not necessarily overly tension sounding or anywhere near thriller etc. but not too too sad either...this sits nicely in between. Pathfinder cello rules but sometimes in my hands, it gets just a little too game of thronesy. Anyways, will take some getting used to...but this is rad.

First quick experiment.
Of course I jumped to mix it with appassionata strings...I'm mixed on the results of my first test. What are your thoughts?
That example can be found here:

View attachment FS and Appassionata test.mp3


And then I decided to copy and paste the midi that I played in with appasionnata and try it with CSS 1.7 and I sort of like it better...I didn't touch the midi data...it sounds like I played it and sculpted it more for css imo than appassionata haha wtf?

Here is that example!

View attachment FS and CSS test .mp3


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## idematoa (Sep 24, 2022)

01 - Spitfire Audio - Fractured Strings - Statements Up (Perf 5 th)
02 - Spitfire Audio - Fractured Strings - Grid - Celli Statements (C Major)
03 - Spitfire Audio - Appassionata Strings - Cellos (Legato)


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## Bee_Abney (Sep 24, 2022)

Baronvonheadless said:


> Yeah. I caved. This is perfect for a gig I'm currently working on where it needs to be intense emotionally, with bits of anxiety...but not necessarily overly tension sounding or anywhere near thriller etc. but not too too sad either...this sits nicely in between. Pathfinder cello rules but sometimes in my hands, it gets just a little too game of thronesy. Anyways, will take some getting used to...but this is rad.
> 
> First quick experiment.
> Of course I jumped to mix it with appassionata strings...I'm mixed on the results of my first test. What are your thoughts?
> ...


My impressions:

The CSS version sounds both prettier and fuller. I preferred the version with Apassionata which sounded less polished and more interesting, with a greater sense of dislocation. It sounded lost compared to CSS which sounded found.


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## ridgero (Sep 24, 2022)

So what's the first verdict after the first few days?


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## Harry (Sep 24, 2022)

Sounds interesting. But not the same without Christian Henson.


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## ism (Sep 24, 2022)

ka00 said:


> "gesture" library,


That's a nice way to put it. It has affinities with a Sonokinetic-like phrase library, but it's really more a library of gestural articulations.

This is generally what I try to use Sonokinetic libraries for, incidentally, with some success, but SK really is, all things being equal more phrase than gestures, while Fracture Strings really inhabits the gestural space.

In practice though, there's a certain overlap between the phrase as the gesture. The language of "inspirational textures" seems to apply to both.


Baronvonheadless said:


> Yeah. I caved. This is perfect for a gig I'm currently working on where it needs to be intense emotionally, with bits of anxiety...but not necessarily overly tension sounding or anywhere near thriller etc. but not too too sad either...this sits nicely in between. Pathfinder cello rules but sometimes in my hands, it gets just a little too game of thronesy. Anyways, will take some getting used to...but this is rad.
> 
> First quick experiment.
> Of course I jumped to mix it with appassionata strings...I'm mixed on the results of my first test. What are your thoughts?
> ...


Appassionata sits in the same topos as Fracture here. CSS discernibly occupies a more "middle ground" space, and as such adds a more circumspect, much less visceral layer on top of the more embodied and visceral. 

Which is better, I imagine, is going to depend on what the score calls for. I can see a particular moment in a film wanting to go either way.


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## Cdnalsi (Sep 24, 2022)

So I'm intrigued by the fact that it's not syncing to DAW's tempo. But otherwise, what could I do with this that I couldn't with Kepler Orchestra?

(for some reason Kepler seems to be more customisable from every angle?)


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## jbuhler (Sep 24, 2022)

Here's a moody accompaniment using the cello dispersals and the violin splinters up from Fractured Strings along with and SCS violin 1 long and trem.

View attachment Fractured Strings Noodle 5.1 (accomp).mp3


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## jbuhler (Sep 24, 2022)

Cdnalsi said:


> So I'm intrigued by the fact that it's not syncing to DAW's tempo. But otherwise, what could I do with this that I couldn't with Kepler Orchestra?
> 
> (for some reason Kepler seems to be more customisable from every angle?)


Fractured Strings does sync to DAW tempo on many articulations (rotations, dispersals and arps all sync—maybe others as well). In most respects FS is much easier to use than Kepler and Kepler doesn't do the back and forths, slow measured trills/fingered tremolo that is one of the main features of FS.


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## Justin L. Franks (Sep 24, 2022)

Cdnalsi said:


> So I'm intrigued by the fact that it's not syncing to DAW's tempo. But otherwise, what could I do with this that I couldn't with Kepler Orchestra?
> 
> (for some reason Kepler seems to be more customisable from every angle?)


Kepler is mostly repeating notes with the same pitch. Fractured Strings is short gestures between 2-3 pitches.

Also, Kepler has much larger ensembles and is recorded in a much drier space. And obviously not just strings.

I'd say they are quite different.


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## jbuhler (Sep 24, 2022)

This is the same idea posted above, brooding accompaniment, but now using Cinematic Frozen Strings, Intimate Strings, and OACE along with FS. The cello here uses only the ribbon mic, which makes it much more delicate.

View attachment Fractured Strings Noodle 5.1 (accomp OACE, Frozen, Intimate, Ribbon).mp3


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## zeng (Sep 25, 2022)

Anyone tried Cello ARP (MINOR WIDE) patch with G and octave G? There is a huge tune problem, what about you? (I played with ultra close mic only).


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## davidson (Sep 25, 2022)

zeng said:


> Anyone tried Cello ARP (MINOR WIDE) patch with G and octave G? There is a huge tune problem, what about you? (I played with ultra close mic only).


Would you mind uploading an example?


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## zeng (Sep 25, 2022)

davidson said:


> Would you mind uploading an example?


Here it is...I played only two notes repeatedly (G and upper G). This patch has 5 round robins.
A note: G is only an example, it is also the same on E, F, etc.
View attachment FS_Solo Cello ARP Minor Wide.mp3


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## davidson (Sep 25, 2022)

zeng said:


> Here it is...I played only two notes repeatedly (G and upper G). This patch has 5 round robins.
> A note: G is only an example, it is also the same on E, F, etc.


Hmm, it seems you accidentally uploaded an audio clip of someone stepping on a cat.


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## doctoremmet (Sep 25, 2022)

I think Spitfire can just rename these patches and call them Doppler effect and they’re good. I bet that’s how they did that for Kepler


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## Justin L. Franks (Sep 25, 2022)

zeng said:


> Here it is...I played only two notes repeatedly (G and upper G). This patch has 5 round robins.
> A note: G is only an example, it is also the same on E, F, etc.


Would be a lot more easier to deal with if you could remove "bad" round robins like you can in Spitfire's Kontakt libraries :(


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## zeng (Sep 25, 2022)

Justin L. Franks said:


> Would be a lot more easier to deal with if you could remove "bad" round robins like you can in Spitfire's Kontakt libraries :(


Well that may be a solution (which is still not 100% accurate while playing with 1 RR, there is slightly a difference in tune) but should we try to find a solution for a 299$ product?


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## Daren Audio (Sep 25, 2022)

zeng said:


> Here it is...I played only two notes repeatedly (G and upper G). This patch has 5 round robins.
> A note: G is only an example, it is also the same on E, F, etc.


Is that the only articulation "(Arp - Minor Wide)" RRs out of tune or others as well?


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## zeng (Sep 25, 2022)

Daren Audio said:


> Is that the only articulation "(Arp - Minor Wide)" RRs out of tune or others as well?


Don't know yet, I'll check the other articulations. But Arp Minor Wide's all notes have this issue.


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## dzilizzi (Sep 25, 2022)

Glad to know it wasn't just me. The problem with this type of library is that it is hard to know if the "out of tune" notes you hear are supposed to be that way.


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## Emmanuel Rousseau (Sep 25, 2022)

zeng said:


> Don't know yet, I'll check the other articulations. But Arp Minor Wide's all notes have this issue.


Could this be the same bad samples stretched over the whole playable range ? I wouldn’t like that at all…


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## Lionel Schmitt (Sep 25, 2022)

Emmanuel Rousseau said:


> Could this be the same bad samples stretched over the whole playable range ? I wouldn’t like that at all…


Some of the Spitfires other "textural" libraries like Olafur Chamber Evo's, Symphonic Textures, London Contemporary Orchestra except the short stuff (not the Strings, just the "Orchestra") are all sampled in 5ths. So one unique sample every fifth semi tone. This actually started with the Tense Longs in the old Chamber Strings. Almost like a rock solid set-in-stone short cutting business model for everything that's "textural". Except Albion 5.


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## Emmanuel Rousseau (Sep 25, 2022)

Lionel Schmitt said:


> Some of the Spitfires other "textural" libraries like Olafur Chamber Evo's, Symphonic Textures, London Contemporary Orchestra except the short stuff (not the Strings, just the "Orchestra") are all sampled in 5ths. So one unique sample every fifth semi tone. This actually started with the Tense Longs in the old Chamber Strings. Almost like a rock solid set-in-stone short cutting business model for everything that's "textural". Except Albion 5.


Ouch… I only have Appassionata and Albion 5, both have superb sampling. Oh and BBCSO, far lower sampling quality but using it more like a toolbox. Could anyone try to confirm this with Fractured Strings please ?


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## Justin L. Franks (Sep 25, 2022)

Lionel Schmitt said:


> Some of the Spitfires other "textural" libraries like Olafur Chamber Evo's, Symphonic Textures, London Contemporary Orchestra except the short stuff (not the Strings, just the "Orchestra") are all sampled in 5ths. So one unique sample every fifth semi tone. This actually started with the Tense Longs in the old Chamber Strings. Almost like a rock solid set-in-stone short cutting business model for everything that's "textural". Except Albion 5.


Because it's not really needed. Pitch-adjusting algorithms are quite good nowadays. Even the "big" libraries are rarely sampled chromatically, whole tone sampling is the standard for just about everybody. EWHO/HOOPUS is the only major library that is sampled chromatically that I know of.

For textural libraries, sampled in fourths works just fine. For something like Fractured Strings rather than the "regular" Evo stuff, it might make a small difference. But even if it is sampled in fourths, in the walkthroughs and the few user reviews and demos already out, it sounds great. Although I wasn't specifically looking for artifacts from adjusting the pitch of the samples in those demos, I didn't notice any.

Edit: For the Evo libraries, is it fourths? Fifths? Every fifth semitone (maj 3 / diminished 4ths)? I thought it was in fourths (so each sample is stretched across 5 semitones). I'm not sure. But I can't tell, so it doesn't really matter.


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## ism (Sep 25, 2022)

I raised my a bit of an eyebrow when I first realized that OACE was only sampled in 5ths.

But I've never hear anyone complain about the resulting sound. Quite the contrary.

So while we could certainly demand double the samples and double the disk space and double the development time and double the down load time and double the prices, the cost side of the cost/benefit equation is pretty clear, but I don't see much evidence that the benefit side of the equations comes in an anything other than more or less zero.

I'd rather have double the libraries and double the articulations.


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## Cideboy (Sep 25, 2022)

agaland said:


> It says that only Rotations and Arps are synched to 120 bpm.
> Wow, ok, that's a deal breaker for me...
> As much as I like the sound of it and the idea behind it, how the heck will I use this library for, if these _"intervallic performances"/whatever you want to call them_, can't be synched to my DAW bpm?
> Or, am I missing something here?


Bounce to your daw and then change the tempo, not ideal but it works.


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## Lionel Schmitt (Sep 25, 2022)

Justin L. Franks said:


> Because it's not really needed. Pitch-adjusting algorithms are quite good nowadays. Even the "big" libraries are rarely sampled chromatically, whole tone sampling is the standard for just about everybody. EWHO/HOOPUS is the only major library that is sampled chromatically that I know of.
> 
> For textural libraries, sampled in fourths works just fine. For something like Fractured Strings rather than the "regular" Evo stuff, it might make a small difference. But even if it is sampled in fourths, in the walkthroughs and the few user reviews and demos already out, it sounds great. Although I wasn't specifically looking for artifacts from adjusting the pitch of the samples in those demos, I didn't notice any.
> 
> Edit: For the Evo libraries, is it fourths? Fifths? Every fifth semitone (maj 3 / diminished 4ths)? I thought it was in fourths (so each sample is stretched across 5 semitones). I'm not sure. But I can't tell, so it doesn't really matter.


yea, I might have used false terminology. Would be logical for me to call it fifths but I guess musical language isn't logical  Or I don't understand logic haha.

It's one sample stretched across 5 semitones yea. I checked it inside Kontakt (after discovering by ear). So one unique sample every fifth semitone, as I luckily wrote in my post.
I don't expect anything to be sampled chromatically, usually libraries are sampled in semitones though, so one sample every 2nd key. Which rarely, close to never bothers me. Huge difference to every 5th!
No comparison really. 

And for me it's bitterly needed. BITTERLY! You don't decide what's needed and what not. I don't either, that's why I say "for me".
With evolving textures and a lot of unique movement you'll have the same movement for 5 keys every time, just with different pitches. Which can sound strange and leads to phasing when holding closely voiced chords or harmonies. 

Everyone will make up their own mind but it's important know at least, before buying. 
I'd still buy it, but only due to lack of options haha..

I could tell within a few minutes of playing with Olafurs Chamber Evos and it pisses me of so much because the samples are gorgeous but every note may be the most low or high pitched one and sound like a kids toy keyboard sample due to the pitching. 

I couldn't tell in overview videos I watched because they always played thick chords or didn't change notes a lot.. or I wasn't as critical as when having it under my fingers.


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## ism (Sep 25, 2022)

Lionel Schmitt said:


> With evolving textures and a lot of unique movement you'll have the same movement for 5 keys every time, just with different pitches


That's a good point.


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## jbuhler (Sep 25, 2022)

dzilizzi said:


> Glad to know it wasn't just me. The problem with this type of library is that it is hard to know if the "out of tune" notes you hear are supposed to be that way.


I agree and since the descriptions of a lot of these articulations is very vague it can hard to know what they are supposed to be playing. I’ve also noted some incorrect mappings of intervals in Statements up at the top of the cello range.


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## holywilly (Sep 25, 2022)

I'm curious about how "Close Ultra" mic sound on its own, does it sound more intimate and less roomy?
It's the first time of the walkthrough that didn't demonstrate each mic position of the library.

EDIT: just found it,


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## SimonCharlesHanna (Sep 25, 2022)

Lionel Schmitt said:


> yea, I might have used false terminology. Would be logical for me to call it fifths but I guess musical language isn't logical  Or I don't understand logic haha.
> 
> It's one sample stretched across 5 semitones yea. I checked it inside Kontakt (after discovering by ear). So one unique sample every fifth semitone, as I luckily wrote in my post.
> I don't expect anything to be sampled chromatically, usually libraries are sampled in semitones though, so one sample every 2nd key. Which rarely, close to never bothers me. Huge difference to every 5th!
> ...


Wow I can't believe that. Honestly, I didn't think I could be further shocked by how low Spitfire would go but, here we are.


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## Dr.Quest (Sep 25, 2022)

SimonCharlesHanna said:


> Wow I can't believe that. Honestly, I didn't think I could be further shocked by how low Spitfire would go but, here we are.


Why are you do offended? Where does it say anything about sampling that isn’t represented? I see nothing about intervals that were sampled. I think it sounds great. 
If you don’t like it, don’t buy it. It’s that simple.


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## SimonCharlesHanna (Sep 25, 2022)

Dr.Quest said:


> Why are you do offended? Where does it say anything about sampling that isn’t represented? I see nothing about intervals that were sampled. I think it sounds great.
> If you don’t like it, don’t buy it. It’s that simple.


I don't like it and I didn't buy it. I have however, purchased many thousands of dollars worth of Spitfire product that turned out to be subpar (or worse).

Sampling is already so far removed from the real thing that we are trying to replicate, all these shortcuts are taking us in the opposite direction of where we should be heading - "good enough" is such a sad state of affairs.



Dr.Quest said:


> I see nothing about intervals that were sampled.


Yes they wouldn't dare share such a detail would they - I wonder why?.


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## jbuhler (Sep 25, 2022)

Dr.Quest said:


> I see nothing about intervals that were sampled. I think it sounds great.


I also think it sounds great. I think OACE sounds great too if you are using them as designed. I’ve never had phasing issues. And OACE and FS sound great together. It’s all good.

So a few more comments on Fractured Strings, having noodled with it quite a lot over the weekend.

First I love the sound of Fractured Strings but I’m less happy with the design of the instrument. It requires a large number of tracks to load the full set of articulations, so it’s unwieldy, rather like programming a word building choir that requires a new track every ten words. It’s the kind of thing I only want to do for a featured instrument and this library is very much designed as a supplement. At least that’s what it seems like to me. 

It does have a good range of articulations but it doesn’t really have what you’d want it to have if you were going to make it self sufficient: a basic sustain, a tremolo, a basic spiccato or staccato. Fortunately you can pick up SF Cinematic Frozen Strings and/or SF Intimate Strings for $29 each and fill out a basic sound that was also recorded in Air. You can add the SF Solo Cello and Violin along with OACE and create a little Aperture like ensemble. All with libraries recorded in Air if that’s your thing.

Those working with a track per articulation likely won’t be bothered by the unwieldy track count but if you like to work with a track per instrument and articulation sets, like I do, Fractured Strings is a major pain. I’m going to try building a multi in Unify to see if I can find a way to consolidate the number of required tracks, at least for the rotations ups and downs and splinters ups and down so at least all the rotations are on the same track and all the splinters on another.

I also remain perplexed by how to use the statements. Beautiful articulations but tempo locked because they are one shots. That means you are pretty much forced to write to the samples. I may resample these so I can tempo sync them and loop the sustain on the arrival pitch. I think this would make them more useful.

The grid remains perplexing. It’s not well explained in either the manual or the video. Both talk about the mechanics of the grid view, how to set the effects and such, but don’t explain how the articulations are laid out across the grid. So you have to work out that they are going through each interval of the rotation or splinter for instance, and the statements follow the intervals according to the scale. But the scale allows non scale notes (one of the options under the standard view). Unlike the grid in most SF Evos this one frequently works best monophonically or with dyads rather than chords since the textures can get quite busy. You are also locked into the DAW tempo and frequently the patterns work better at double speed. I think I mentioned above that you'll need to bounce to audio if you want double speed or triplets. This is true with the grid (with the articulations that are tempo synced) as well as the standard articulations.

In some ways the grid can function as an easy way to combine articulations like a multi. But the articulations don’t map in a straightforward manner from the basic articulations. The dispersals in the grid sound different from the dispersals in the standard library. So much so that it makes me wonder if the standard library has the correct mapping since the dispersals there also sound very similar to the rotations… I haven't yet sat down to check if the dispersals are in fact the same.

Two of the high cello statements are not mapped right. I suspect intervals that should have been mapped out of range were instead mapped to samples with a smaller interval. In any case the F and F# above middle C in the cello splinters up augmented fourth play a rising perfect fourth.


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## Lionel Schmitt (Sep 25, 2022)

Dr.Quest said:


> Why are you do offended? Where does it say anything about sampling that isn’t represented? I see nothing about intervals that were sampled. I think it sounds great.
> If you don’t like it, don’t buy it. It’s that simple.


I wasn't asked but still chiming in 

I bought it and would buy it again.
My problem is that I do *love* the recordings but *hate* the stretching. It's like buying an album with stunning music but it has a noise blast every 10 seconds.
It's not as simple as you put it. If I wouldn't buy libraries that have unacceptable issues I might have to use pen and paper.
It simply is not simple.

You can see the intervals sampled under the hood in Kontakt when hitting the "wrench" icon, unless it is locked and going to the "mapping editor".
It can be fuzzy though since you'd sometimes also have to select individual groups to not be overloaded by too many sample "zones" in the mapping editor window.
If someone is curious about more on that feel free to PM me for a showcase. 
Just a general comment for everyone, I doubt you are interested


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## Emmanuel Rousseau (Sep 26, 2022)

Lionel Schmitt said:


> yea, I might have used false terminology. Would be logical for me to call it fifths but I guess musical language isn't logical  Or I don't understand logic haha.
> 
> It's one sample stretched across 5 semitones yea. I checked it inside Kontakt (after discovering by ear). So one unique sample every fifth semitone, as I luckily wrote in my post.
> I don't expect anything to be sampled chromatically, usually libraries are sampled in semitones though, so one sample every 2nd key. Which rarely, close to never bothers me. Huge difference to every 5th!
> ...


You beat me to it, Lionel. Of course it can be problematic when playing some close voicings.

Indeed, it doesn't mean that the library won't sound good in most cases but it's a huge shortcut and it should be indicated somewhere.
I think it's a bit funny to indicate that your samples are recorded in this space, with these microphones (we'll give you 12 of them), using these preamps and these channel strips.. But we won't tell you that the E you're playing was originally a C 😆

Not providing this kind of info isn't correct, imho. It's like going to the restaurant, to discover some of the food is frozen and having someone tell you "who cares, was it good or not?"


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## icecoolpool (Sep 26, 2022)

jbuhler said:


> First I love the sound of Fractured Strings but I’m less happy with the design of the instrument. It requires a large number of tracks to load the full set of articulations, so it’s unwieldy, rather like programming a word building choir that requires a new track every ten words.


Are you sure about that? You might want to check out Simeon´s walkthrough, it seems as though you have full control over which articulations are loaded. I´ve timestamped the relevant section for you:



Apologies if I´ve misunderstood your issue.


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## Flyo (Sep 26, 2022)

This library sounds good as always recording in that space and sound quality approach of SF. This is another some kind of expansion if you already have Appassionatta or CFrozen Strings and so on… I cannot fully understand how to implement on every day use, based on how is presented. The library could be more user friendly if they could implement recordings like this with something similar as OT Arkhis - Sunset Strings - Time Texture GIU programming approach! That could be killer with sound quality of SF.


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## Justin L. Franks (Sep 26, 2022)

Lionel Schmitt said:


> yea, I might have used false terminology. Would be logical for me to call it fifths but I guess musical language isn't logical  Or I don't understand logic haha.


It's just semitones versus scale steps. A fifth is 7 semitones up or down, a fourth is 5 semitones, etc.



Lionel Schmitt said:


> It's one sample stretched across 5 semitones yea. I checked it inside Kontakt (after discovering by ear). So one unique sample every fifth semitone, as I luckily wrote in my post.
> I don't expect anything to be sampled chromatically, usually libraries are sampled in semitones though, so one sample every 2nd key. Which rarely, close to never bothers me. Huge difference to every 5th!
> No comparison really.


With 5 semitones per sample, it means that the sample is stretched at most a whole step up or down (the "central" pitch is true, and it covers from two semitones lower and two semitones higher). So there really isn't a crazy amount of pitch stretching being used.



Lionel Schmitt said:


> And for me it's bitterly needed. BITTERLY! You don't decide what's needed and what not. I don't either, that's why I say "for me".
> With evolving textures and a lot of unique movement you'll have the same movement for 5 keys every time, just with different pitches. Which can sound strange and leads to phasing when holding closely voiced chords or harmonies.



How often are you using such close voicings with a textural library like OACE? Open/wide voicings almost always sounds better with any strings.



Lionel Schmitt said:


> Everyone will make up their own mind but it's important know at least, before buying.
> I'd still buy it, but only due to lack of options haha..
> 
> I could tell within a few minutes of playing with Olafurs Chamber Evos and it pisses me of so much because the samples are gorgeous but every note may be the most low or high pitched one and sound like a kids toy keyboard sample due to the pitching.
> ...


Things are so subjective with sample libraries, but OACE is one of Spitfire's most well-loved libraries. Even people who otherwise loathe Spitfire often praise it; rarely does anyone make any strong comments against its sound, and yours is the harshest I've seen.

I hope you eventually find a textural library that works well for you.


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## Justin L. Franks (Sep 26, 2022)

Emmanuel Rousseau said:


> Not providing this kind of info isn't correct, imho. It's like going to the restaurant, to discover some of the food is frozen and having someone tell you "who cares, was it good or not?"


Some ingredients at restaurants, even high-end ones, come frozen. Are you seriously saying that if you had a meal that you really enjoyed, if you were told after the fact that a main ingredient was frozen, that you would retroactively erase your satisfaction and now think it tasted bad?

If a meal tastes good, then it tastes good. Finding out an ingredient was frozen doesn't change that.

And if a sample library sounds good in a piece, then it sounds good. Finding out that a sample was pitch-stretched doesn't change that either.


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## Emmanuel Rousseau (Sep 26, 2022)

Justin L. Franks said:


> Some ingredients at restaurants, even high-end ones, come frozen. Are you seriously saying that if you had a meal that you really enjoyed, if you were told after the fact that a main ingredient was frozen, that you would retroactively erase your satisfaction and now think it tasted bad?
> 
> If a meal tastes good, then it tastes good. Finding out an ingredient was frozen doesn't change that.
> 
> And if a sample library sounds good in a piece, then it sounds good. Finding out that a sample was pitch-stretched doesn't change that either.


I think you're twisting my words a bit. I'm saying, when going to a restaurant, I like being told what is cooked here and what's not. We don't have to agree here!


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## jbuhler (Sep 26, 2022)

icecoolpool said:


> Are you sure about that? You might want to check out Simeon´s walkthrough, it seems as though you have full control over which articulations are loaded. I´ve timestamped the relevant section for you


I did miss that. This is different functionality to the articulation chooser than is usual in the player. In every other SF Player instrument I have, you can select articulations within those assigned to the patch, but no other. So in the EWC choir, for instance, if you select Soprano Legato, you can't add non-legatos to it. You can make your own version by using the All-in-One patch and deleting articulations you don't want, but Fractured Strings doesn't have an all-in-one patch. But, yes, if you open the articulation setting you can add any articulation you want within an instrument. So you can load all the cello articulations, say, or all the violin articulations. You can't add the solo cello articulations to the main cello set, or mix and match violin and cello articulations.

In any case, I don't recall seeing this in the walkthrough video or the video on the standard view. (The latter is a pretty boring video and when I was watching it, I was actually looking for something else, so it's possible it was covered there and simply missed it because I was distracted and presumed the articulations selector worked like the other SF Player libraries.) The manual does show that more articulations are available but doesn't highlight that fact, so I missed it because I presumed it worked like the other instruments I own.

In any case, this is good news, and I need to start building some presets of my own.

ETA, you apparently have to add a keyswitch manually to each articulation, at least if you add all of them, which is a bit of a pain.


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## Justin L. Franks (Sep 26, 2022)

jbuhler said:


> I did miss that. This is different functionality to the articulation chooser than is usual in the player. In every other SF Player instrument I have, you can select articulations within those assigned to the patch, but no other.


Yup. I even tried to correct @Simeon in the live chat when he said you can load any articulation from any patch into a user preset, since in every other Spitfire plugin library you cannot. But he went and tried it, and you can load articulations from multiple factory patches into a single user preset. It would be nice if Spitfire could update their other libraries to be able to do this, but I won't hold my breath, since each is its own separate but mostly identical plugin. That's one of the downsides of having separate plugins for each library instead of a single plugin for all libraries like SINE.


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## jbuhler (Sep 26, 2022)

Justin L. Franks said:


> Yup. I even tried to correct @Simeon in the live chat when he said you can load any articulation from any patch into a user preset, since in every other Spitfire plugin library you cannot. But he went and tried it, and you can load articulations from multiple factory patches into a single user preset. It would be nice if Spitfire could update their other libraries to be able to do this, but I won't hold my breath, since each is its own separate but mostly identical plugin. That's one of the downsides of having separate plugins for each library instead of a single plugin for all libraries like SINE.


Agreed that it would be nice if SF gave this functionality to all their player instruments. I also don't know why SF gives us this functionality and then arbitrarily restricts it to just the cello or the violin. It might be neat to have say the rotations of violin and cello in the same patch.


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## Lionel Schmitt (Sep 26, 2022)

Justin L. Franks said:


> It's just semitones versus scale steps. A fifth is 7 semitones up or down, a fourth is 5 semitones, etc.
> 
> 
> With 5 semitones per sample, it means that the sample is stretched at most a whole step up or down (the "central" pitch is true, and it covers from two semitones lower and two semitones higher). So there really isn't a crazy amount of pitch stretching being used.
> ...


There isn't really much a point with what you write. You think this kind of stretching isn't dramatic, I think it is. We were at that point already.
And I'm not gonna analyze my compositional process for this discussion 
I use just about every voicing, and it's enough to just play 2 neighbour notes in succession (if they are within 5 semi tones odds are the next is gonna be the same stretched sample with the same complex movement again, just with a pitchy sound) to notice it, which does happen occasionally - fancy composer .
It's also completely irrelevant whether people praise it or not. I also think it's great and as I say the 3rd time now, I'd buy it again. That doesn't take away from the fact that quality suffers due to short cutting. Something can be great despite serious problems. It may also be hard to tell what's even bothersome if one isn't already sensitized to pick up on this pitching. It might be some unexplainable "something is weird about this" which you might never comment on.


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## Mike Stone (Sep 26, 2022)

I'm far from being an audio expert, but if I could choose between 15 or 5-7 mic positions, or having sampled notes used on 5 pitches vs say 2 - I would go for 5-7 mic positions and every sample only used on say two different notes. This way you could still have more or less the same library size, and do less sample stretching. Maybe I'm completely off base...

Having said that, Spitfire's recent libraries have great sound quality. How far does OT and other similar companies stretch samples?


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## José Herring (Sep 26, 2022)

It sounds really nice and has the cross strings sound that I've been looking for going on decades now. I guess what I'm worried about is that whenever I get into this phrase type libraries I start trying to "compose" and change things and then I'm royally screwed. 
But, as a nice backdrop to other more composed parts it could be good. 
Trying to research now if you can change the scale on the fly and automate that. At least that might be some form of composing with these phrases.


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## Emmanuel Rousseau (Sep 26, 2022)

Mike Stone said:


> I'm far from being an audio expert, but if I could choose between 15 or 5-7 mic positions, or having sampled notes used on 5 pitches vs say 2 - I would go for 5-7 mic positions and every sample only used on say two different notes. This way you could still have more or less the same library size, and do less sample stretching. Maybe I'm completely off base...
> 
> Having said that, Spitfire's recent libraries have great sound quality. How far does OT and other similar companies stretch samples?


I guess it would be everyone’s choice, but the thing is : less sample stretching equals more recording time, much like recording more round robins, dynamic layers or anything. Setting up 15 microphones at the beginning of a session doesn’t. 

I do agree on the stellar sound quality, these recordings are amazing.


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## Mike Stone (Sep 26, 2022)

Emmanuel Rousseau said:


> I guess it would be everyone’s choice, but the thing is : less sample stretching equals more recording time, much like recording more round robins, dynamic layers or anything. Setting up 15 microphones at the beginning of a session doesn’t.
> 
> I do agree on the stellar sound quality, these recordings are amazing.


Yes, sure the production costs will be a bit higher, but it's a sensible trade-off IMO. And I was kinda being a bit snarky about it..


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## jbuhler (Sep 26, 2022)

José Herring said:


> Trying to research now if you can change the scale on the fly and automate that. At least that might be some form of composing with these phrases.


Not really. As far as i can tell you can't change the scale assignment with midi. You can however have multiple tracks, each set to a different scale, so you could likely accomplish what you are trying to do that way.


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## Soundbed (Sep 28, 2022)

KEM said:


> Really? That’s really crazy to me, I use the impacts and risers from Project Alpha/Bravo all the time, granted their always layered in with stuff so it’d be hard for an algorithm to detect them, but still, really stupid that that’s even a possibility


Similar to @J-M …

According to TuneSat, I’ve apparently written music for the original “The Avengers” movie. 😂

Detections show up now and then. Not sure what exactly I used that sounds similar enough for their algorithm — some sound design sample, based on the audio clip, or maybe a long note. Haven’t gotten any copyright notices yet though.


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## Mornats (Sep 28, 2022)

If using sample libraries raises the risk of copyright strikes I wonder how any hip-hop music manages to stay on YouTube. Even though their samples will be licensed, there are very clear melodies etc. lifted straight from popular songs.

"Hey Cypress Hill, Dusty's label has raised another strike. 16th one this week!"


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## Soundbed (Sep 28, 2022)

dzilizzi said:


> Technically, these shouldn't fall under "melody" so it should not initiate a copyright strike.


A number of sound “effects” and sound recordings that are not melody have also been registered for copyright, usually for branding purposes. But it’s a different form of copyright I think, part of the sound recording type, and not the composition. Here are some soundmarks. There may be a similar set of examples for slightly more musical gestures. 









Trademark sound mark examples


Trademark sound mark examples




www.uspto.gov





Of course one might say, “always layer your sound design samples” but in practice a thin layer, especially in a reduced / alternate version of a cue (no drums or no melody version) the algorithm(s) still may detect a sound example that’s been uploaded / fingerprinted. They are designed to identify sounds that have been layered. Music + talking + “foley” for example.


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## dzilizzi (Sep 28, 2022)

Soundbed said:


> A number of sound “effects” and sound recordings that are not melody have also been registered for copyright, usually for branding purposes. But it’s a different form of copyright I think, part of the sound recording type, and not the composition. Here are some soundmarks. There may be a similar set of examples for slightly more musical gestures.
> 
> 
> 
> ...


Trademarks are a little different. You hear the sound and associate it with a product, similar to a jingle. Like the Nike swoosh. I'd question if a part was exposed enough to get a copyright strike, it might not be in compliance with the EULA?


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## ALittleNightMusic (Sep 28, 2022)

jbuhler said:


> Not really. As far as i can tell you can't change the scale assignment with midi. You can however have multiple tracks, each set to a different scale, so you could likely accomplish what you are trying to do that way.


How are you finding these now, especially given the prevalence of one shots?


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## jbuhler (Sep 28, 2022)

ALittleNightMusic said:


> How are you finding these now, especially given the prevalence of one shots?


I only got the template set up to use with key switching on Monday night and then I had to work on class prep and end of the month reports so I haven’t yet had a chance to work them at any length. I hope to do that this weekend. I will say that setting them up with all the rotations, say, on one track feels conceptually better. We’ll see how it actually works as I compose…

I still am having a hard time getting my head around how best to use the statements. I really wish they were tempo synced.


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## FireGS (Sep 29, 2022)

Just noticed there's an update to 1.0.4 -- was this covered? Any ideas whats changed?

EDIT:

*[1.0.4]*​*Fixes*​
Fixed Tuning parameter to latch to semitones unless holding shift
Fixed Violin Statements down perf 5th and up aug 4th being synced to tempo 
Fixed Reset from Key (KS for Res) not highlighting as Key Switch colour on user interface
Fixed Grid occasionally going silent after pin randomisation


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## jbuhler (Sep 29, 2022)

FireGS said:


> Just noticed there's an update to 1.0.4 -- was this covered? Any ideas whats changed?
> 
> EDIT:
> 
> ...


Maybe the statements do now sync to tempo. They didn't seem to do that previously.


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## idematoa (Sep 30, 2022)

- Spitfire Audio - Fractured Strings - Statements Down - Statement Same Note
- Spitfire Audio - Fractured Strings - statements Up - Statement Same Note
- Spitfire Audio - Originals - Cinematic Soft Piano


- Spitfire Audio - Fractured Strings - Celli - Statements Down
- Spitfire Audio - Fractured Strings - Grid - Violin Fractures
- Spitfire Audio - BBC Symphony Orchestra - Flûte - Legato
- Orchestral Tools - Layers - Strings - Cords Maj Sustain

[1.0.4]​


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## Mornats (Sep 30, 2022)

idematoa said:


> - Spitfire Audio - Fractured Strings - Statements Down - Statement Same Note
> - Spitfire Audio - Fractured Strings - statements Up - Statement Same Note
> - Spitfire Audio - Originals - Cinematic Soft Piano
> 
> ...



Very nice. Love the artwork too.


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## tivermusic (Sep 30, 2022)

I just played around with the library a bit and must say that I like the tone of it. Since it has tempo sync it's somewhat flexible, however I can't see myself using it in the majority of cues I'll be producing. 

I wish the rotations wouldn't have a wave to them, as that would make them very useful. As of now, I see Fractured Strings more like an "ear candy" library, that you can pull out, to make things sound more emotional or fragile.

You can hear a demo I composed here:


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## mattnedgus (Sep 30, 2022)

Can anyone help talk me out of getting this in the EDU sale?

I'm looking at getting SCS and possibly OACE to join the IS and SAS that I already have but I can't make up my mind on this one. I'm stuck between thinking it would be great for starting ideas (I really like the scale mode so the gestures can be made your own) and possible FOMO.


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## Emmanuel Rousseau (Sep 30, 2022)

Mike Stone said:


> Yes, sure the production costs will be a bit higher, but it's a sensible trade-off IMO. And I was kinda being a bit snarky about it..


Yes, sorry - snarkiness seems obvious now 😅


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## jbuhler (Sep 30, 2022)

I've had a chance to play a bit with patches set up containing all the rotations in a single patch. And it works much better for my uses. I'll likely move next to consolidating at least the rotations and dispersals to a single patch. It is kind of a pain to set up the keyswitches, however, as there is no way I have found to automate any of it. Every articulation you add to a patch has to have the keyswitch manually added to it, which means first selecting "keyswitch" and then selecting the note that will serve as keyswitch. It's another one of those dumb programming decisions by the SF Player design team...

Here's a noodle mixing cello dispersals and rotations to hear the difference. Order here is: dispersals, rotations up, dispersals, rotations down.

View attachment Fractured Strings Noodle 6.1.mp3


For me the library is really set up for creating these sorts of evocative accompaniment patterns with back and forth movement in the inner parts. For this reason having violas would have been nice. I wouldn't exactly call this niche any more than, say, the OACE waves are niche, but they are particular (and limited) use cases, more like supplements and common extensions to the standard libraries, and also difficult gestures for standard libraries to do convincingly. They are also rather more limited in use than the OACE waves, since the latter have an extensive set of different lengths, whereas with Fractured Strings you only have one length (2 measures, more or less).

Despite what was reported above, the statements don't seem to tempo sync for me. (The dispersals and rotations do, though.)


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## IOnian Streams (Oct 8, 2022)

Just now catching up on this thread. Thanks to all for the info on Fractured Strings, especially to @jbuhler for his detailed input. (I do not own FS at this time.)

FYI in case this is new info, I see this on the main FS webpage on spitfireaudio.com...


> The following articulations will sync to your DAW's tempo:
> Violins Rotations
> Violins 7th Reaches
> Celli Rotations
> ...



This implies that Dispersals are not synced and that Statements can be synced but the result is not as natural as un-synced.

Question: It sounds like Rotations and Dispersals are very similar -- up/down alternating notes. And both are "waves." What's the difference? Is it just that Rotations can be tempo synced but not Dispersals?

Question: When demonstrating the Dispersals in the walkthrough video at 14:55 Paul shows the "Variation" control on the big knob that "extends the length of the phrase that you're getting." Previously when showing the Rotations articulation he doesn't mention any such control. Can someone confirm whether perhaps there's a "Variation" phrase length control for Rotations too?

Question: When lifting off the keyboard mid-sample do these samples stop with a natural release or play out to the end? If the former, could they be naturally linked together to build phrases?

Thanks in advance.


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## jbuhler (Oct 8, 2022)

IOnian Streams said:


> Just now catching up on this thread. Thanks to all for the info on Fractured Strings, especially to @jbuhler for his detailed input. (I do not own FS at this time.)
> 
> FYI in case this is new info, I see this on the main FS webpage on spitfireaudio.com...
> 
> ...


I don't think this is right. Dispersals do not appear to tempo sync, but they are not especially loose. I would certainly not call them aleatoric. It would also be better if they did sync. The main difference seems to be that dispersals were recorded at a much slower tempo in terms of the changing notes. 

The variation slider does indeed affect the length of the sample played back in dispersals. Velocity affects volume for the scale mode, but weirdly not for the fixed intervals. Or maybe it's that the small intervals just start their patterns at a much quieter volume. In any case the short length combined with velocity choosing the interval type in the scale mode, means that many of the small intervals are almost unusably quiet at the shorter lengths.

Rotations do not have variations.

The statements do not appear to tempo synch. Here is an example first at 120 then 180 bpm out of the box. There is not way I see to turn tempo sync on.

View attachment FS Statements Compatred 120-180.mp3



The recording stops when you release the key, and not especially gracefully, so you have to use expression, the modwheel, and the reverb to bring them out. The individual articulations don't really lend themselves to building into phrases, though they certainly can repeat, or you can tradeoff between one pattern and another. I would say they concatenate very much like the waves in OACE concatenate. So if you are thinking in two measure accompaniment blocks, for instance, they work really well for that. If you are trying to design melodic statements out of them, it will be hard for anything of any length. The arp articulation is the one most suited to longer melodic statements, but it's still a bit like defying gravity to keep it going for any span. The statements might be more usable for melodic statements if they were tempo synced. I have to say that I haven't really hit on how to use the statements, though they sound nice enough.

I can also say that I wish the library focused around the rotations and gave us different lengths (2-4-8 measure length waves), meters (4/4/ and 3/4 versions of each), and pulses (quarter, triplet, and eighth) all tempo synced. As it is, FS is quite nice, but it is also quite limited.


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## IOnian Streams (Oct 8, 2022)

Thanks for the quick reply.


jbuhler said:


> I would say they concatenate very much like the waves in OACE concatenate.


I have OACE and, yes, that's what I was anticipating with FS. In the demos I think I hear them overlapping and combining nicely too.


jbuhler said:


> The statements might be more usable for melodic statements if they were tempo synced. I have to say that I haven't really hit on how to use the statements, though they sound nice enough. I can also say that I wish the library focused around the rotations and gave us different lengths (2-4-8 measure length waves), meters (4/4/ and 3/4 versions of each), and pulses (quarter, triplet, and eighth) all tempo synced. As it is, FS is quite nice, but it is also quite limited.


Yes, that's the impression I'm getting. In the Spitfire demos the Statements and Rotations/Dispersals are heard mostly in a rubato sense or floating above the rhythm track if there is one, emphasizing the fact that this is a textural library that's maybe a bit difficult to tie down to a tempo. One certainly picks up on the preponderance of the up/down note waves too. So, I agree with you that that idea could be expanded. What about repeating 3-note patterns too (1-2-min3-2, 1-7-6-7, etc.)?

But it does sound lovely. And my hat is off to the Spitfire composers -- their demos are beautiful and they really know how to show off this library in the best light.

And not to overlook the way that scale mode might spark new ideas or the hidden gems that seem to be lurking in the evo grid (the fractures, et al). So, it's tempting.


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## Baronvonheadless (Oct 8, 2022)

This library plus Appassionata really saved a current project for me.
I have so many motion creating libraries but none with this kind of delicacy. 

symphonic motions, MSS ostinatos, all the ben osterhouse stuff including pathfinder, all have a very different but specific motion in their own right but only FS had what I needed IMO.


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## jbuhler (Oct 8, 2022)

Baronvonheadless said:


> symphonic motions, MSS ostinatos, all the ben osterhouse stuff including pathfinder, all have a very different but specific motion in their own right but only FS had what I needed IMO.


Yes, I agree with this, and FS fills a very particular and reasonably common niche. I just wish it was a bit more varied in length to go along with its very nice variability of intervals.


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## Baronvonheadless (Oct 8, 2022)

jbuhler said:


> Yes, I agree with this, and FS fills a very particular and reasonably common niche. I just wish it was a bit more varied in length to go along with its very nice variability of intervals.


Definitely. I feel the same with symphonic motions. Could do just a little more variety.


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## IOnian Streams (Oct 9, 2022)

Re: Fractures in the evo grid...

A good rundown of the usage of Fractures is in this video starting at 8:18...


At 9:52 in this video it is said that the fractures in the evo grid are -- to his dismay -- not tempo synced...


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## Cepheus (Oct 13, 2022)

Sample Library Review contributor Pete Checkley reviews Fractured Strings by Spitfire Audio


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## stanthemanNL (Oct 14, 2022)

Now that the sample library is a couple of days/weeks old. What do you guys think of it?


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## IOnian Streams (Oct 15, 2022)

At 39:40 in the video posted just above by @Cepheus it is shown that the fractures have a Speed control in the FS mixer that plays the fractures from 50% to 200% of their original sampled speed. So, this could serve as a pseudo-tempo-sync, especially if said Speed control can be mapped to an envelope. The video says, "if the articulation allows it, you can change the speed." Which articulations have this Speed control (e.g. Statements, Dispersals)? (Again, I do not own FS.)


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## ka00 (Nov 30, 2022)

Justin L. Franks said:


> I think I may actually be right.
> 
> Frozen Planet II score:
> 
> ...



I’ve been listening to this album a lot. So much great music here. @adam_lukas really looking forward to your upcoming MTS class!


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