# Nashville Scoring Strings



## chapbot

Hey gang, I saw a Facebook ad today that announced the upcoming "Nashville Chamber Strings" by Performance Samples and Audio Ollie! On Ollie's Facebook:

"Been trying out some early patches from our upcoming collaborative string project. Quite possibly the most realistic sounding strings I've ever played. Couldn't be more proud to work with the king of expressive orchestral sampling - Performance Samples. We made a point of recording extremely dynamic performances so it can go from very soft, lyrical and delicate, to very loud and aggressive in a very natural way. PS has paid an obsessive amount of attention to detail on this project and it really shows. Can't wait to share more with you all!! "

In the comments he said they're shooting for an end of year release. No audio clips as of yet.


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## Raphioli

I saw a screenshot of the cello directory on Performance Samples website.

Knowing how great their Con Moto series is, I'm really looking forward to this.
Hoping the price isn't out of my range.


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## Saxer

Five cellos... seems to be a queen size chamber.


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## Mihkel Zilmer

Saxer said:


> Five cellos... seems to be a queen size chamber.



I had the same thought! Could be like 8 to 10 1st violins? Not exactly chamber size. 

In any case, looking forward to it! Performance Samples has brought some much needed expression and musicality to sampling!


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## Vik

Hopefully it’s 5 or 6 of everything, except maybe 7 v1s (and 3 or 4 basses, but even one bass could work).


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## DSmolken

Nashville, as in high-budget country music? That could be quite interesting to me.


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## Vik

DSmolken said:


> Nashville, as in high-budget country music?


Or maybe as in the string section in Nashville Chamber Orchestra? Just a guess...


"*NASHVILLE CHAMBER ORCHESTRA *
In its short twelve-year history, the Nashville Chamber Orchestra has come to be recognized as one of America’s most creative and innovative orchestras. Under the artistic leadership of founder and music director Paul Gambill, the extraordinary music making of this ensemble has heralded a steady stream of national media attention, including feature length articles in Symphony and Eastman Notes magazines, broadcasts on NPR’s Performance Today, recordings for Warner Bros, Angel, Almanac and Alabaster Records, a national award for Adventurous Programming from ASCAP, and now this recording on Naxos.

The NCO has commissioned and premièred 26 works by American composers in the past six years, and in 2002 it hosted the first-ever Nashville Guitar Festival, attracting new audiences for this bi-annual event. Each NCO concert features masterpieces from the traditional repertory, such as these Copland works, alongside new works commissioned by the NCO that fuse folk, jazz, Celtic, bluegrass, American song and World music with the chamber orchestra aesthetic. The NCO’s unique approach to programming and its extensive commissioning is stretching musical boundaries and redefining people’s perception of what a chamber orchestra can be."






Nashville Chamber Orchestra- Bio, Albums, Pictures â€“ Naxos Classical Music.







www.naxos.com


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## constaneum

this library might have an intro price of $449. lol


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## Lionel Schmitt

If the tone is right it will be by a 98% chance the best (chamber) strings library on the market! 
Based on the awesome programming by Performance Samples... especially the legato!!!!
Finally something that can compete with CSS & CSSS in that department!
The Con Moto series is definitely already a worthy competitor but incomplete yet so hard to compare... 
This one will probably be IT! :D


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## Sears Poncho

Vik said:


> Or maybe as in the string section in Nashville Chamber Orchestra? Just a guess...


I believe the group folded years ago.


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## Batrawi

I hope this won't be ruined by hyped vibrato...


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## chapbot

I would think they're using members from the Nashville String Machine, a long-time bunch of studio musicians.


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## Sears Poncho

chapbot said:


> I would think they're using members from the Nashville String Machine, a long-time bunch of studio musicians.


Either that or just freelancers. If they were using String Machine, they have enough of a (excellent) reputation that they would probably use that moniker for the library.


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## Sears Poncho

BTW, for anyone interested in the subject, String Machine and Nashvill in general does a lot more than just "country. Here is a list of credits: Nashville String Machine credits


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## LHall

Having recorded many of the best players in Nashville over the last 25 years, I'll be greatly interested in seeing how this turns out!

In fact, I recorded a 20 piece section in the very studio pictured on the PS page just a couple months ago. It is a fantastic room.


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## DeactivatedAcc

The library is 8-6-5-4 (the idea was half of the standard 16-[14]-12-10-8). Recorded in a moderately dry (by my personal standards) room, with close to 70 session hours across the sections. Up to four (and in one case 5) dynamics - there's focus here on fairly dynamic patches, as well as attention to detail in regards to smoothness between different dynamics.

The most seductive path to me in sampling, bar none, is my long-term pursuit of how to record certain phrases and performances and then (trying to) make it work in post pro in a way which makes sense and is intuitive. This is what I refer to as a "performance-sourced" approach, "sourcing" from performances which I've recorded in a curated manner (with rhythm and reason, organization, etc), then grafted, chopped up, timed, and so forth.

With Nashville, I explored performance-sourced approaches across almost all the articulations. The tremolos and trills have some turbulence and variation in an "active" way, all the sustains are active-bow (including the con sord), and all the shorts are pulled from reps. The pizz. reps are some of my favorites, dirty in a good way with the rustling of the players and the flesh against the strings (esp. if you pull up the close mics) as well as the sound of the players subtly managing their string resonance after the note.

In regards to pricing, the library will certainly be north of the aforementioned $449 intro. It's a full-on workhorse studio string library that required a massive recording budget and an enormous amount of work & experience. Considering the patch consistency, finesse and reasonably comprehensive nature I think you'll be pleased.


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## rottoy

Jasper Blunk said:


> The pizz. reps are some of my favorites, dirty in a good way with the rustling of the players and the flesh against the strings (esp. if you pull up the close mics) as well as the sound of the players managing their string resonance after the note.


I've been wanting someone to do this properly for a long time. I'm psyched to hear the result!


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## NoamL

The Parthenon Chamber Orchestra - Musicians


Official Web Site of Nashville's Parthenon Chamber Orchestra



parthenonchamberorchestra.org





five cellos...


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## jaketanner

can't wait also...scary will be the price but if its all inclusive and an actual complete string library, then worth it.


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## jaketanner

Jasper Blunk said:


> The library is 8-6-5-4


So no vin 2?


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## DeactivatedAcc

jaketanner said:


> So no vin 2?


Correct, no 2nd violins.


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## jaketanner

Jasper Blunk said:


> Correct, no 2nd violins.


ok. And is the mentioned target date by the end of this year still?


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## jaketanner

@Jasper Blunk ...sorry, but for those of us that have and are investing in the Con Moto series, how much of a cross over is there between these two libraries...or more a question of redundancy? Will they be able to complement each other in any way? Should we wait to complete Con Moto if this is on our radar? Just trying to get a sense of how all these libraries are going to work together, and which is the smarter investment. Thanks for your honesty.


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## chapbot

I'm in!


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## DeactivatedAcc

jaketanner said:


> @Jasper Blunk ...sorry, but for those of us that have and are investing in the Con Moto series, how much of a cross over is there between these two libraries...or more a question of redundancy? Will they be able to complement each other in any way? Should we wait to complete Con Moto if this is on our radar? Just trying to get a sense of how all these libraries are going to work together, and which is the smarter investment. Thanks for your honesty.


I consider Nashville more of a filmic studio sound, and Con Moto somewhat more of an intense, classical sound ...and much more ambient. The latter, of course, is just legatos. There will be some examples out coming up of Nashville so that you can compare/contrast.

I hesitate to comment on Nashville's release date at this point, as these things are unpredictable. Much of the library is complete, however.


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## jaketanner

Jasper Blunk said:


> I consider Nashville more of a filmic studio sound, and Con Moto somewhat more of an intense, classical sound ...and much more ambient. The latter, of course, is just legatos. There will be some examples out coming up of Nashville so that you can compare/contrast.
> 
> I hesitate to comment on Nashville's release date at this point, as these things are unpredictable. Much of the library is complete, however.


Lookin forward to it! And totally understandable about release date.


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## Batrawi

@Jasper Blunk 
-what about the vibrato? is it soft or intense? 
-is there no-vibrato? if yes, is there xfade between vib & non-vib


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## Craig Sharmat

I have recorded the majority of my orchestral pieces in this room with probably many of the same players. Great players, great room, you never know how that translates to sampling but it's Jasper and Ollie at the helm so I am very optimistic.


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## Drundfunk

Well, with Audio Ollie the workflow of a library is usually quite different to "the norm". Not saying it is the case here (or that there is something wrong about that), but that's at least something to keep in mind. Let's hope it rocks! (LA Modern Perc certainly does).


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## Audio Ollie

Drundfunk said:


> Well, with Audio Ollie the workflow of a library is usually quite different to "the norm". Not saying it is the case here (or that there is something wrong about that), but that's at least something to keep in mind. Let's hope it rocks! (LA Modern Perc certainly does).



The workflow of this one is very much in line with the Performance Samples approach. In other words, all you have to do is play and it sounds great. My role in this project was mostly to make sure we got the best sounding recordings possible and let Jasper do his magic from that point onward.


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## jaketanner

Audio Ollie said:


> The workflow of this one is very much in line with the Performance Samples approach. In other words, all you have to do is play and it sounds great. My role in this project was mostly to make sure we got the best sounding recordings possible and let Jasper do his magic from that point onward.


Man, this is going to be an insane sounding library...but the wait is terrible. LOL


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## jaketanner

a request to @Jasper Blunk ...seems like us loyal customer want this library so far...why not make it so that there is a Black Friday sale, even though it's not released...so this way, we are locked in on pre-order. I can wait, but after BF, might not have anything left.. LOL


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## Drundfunk

Audio Ollie said:


> The workflow of this one is very much in line with the Performance Samples approach. In other words, all you have to do is play and it sounds great. My role in this project was mostly to make sure we got the best sounding recordings possible and let Jasper do his magic from that point onward.


I have been intrigued either way  (my grammar is probably all over the place here, but I hope my point comes across), but thanks for clarifying! I just hope I can afford it.


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## axb312

Jasper Blunk said:


> Correct, no 2nd violins.


A "comprehensive" library without second violins.Nice.


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## holywilly

Why no 2nd violin? Why?


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## Lionel Schmitt

holywilly said:


> Why no 2nd violin? Why?


AO and PS aren't huge facilities like some other devs. So it certainly makes sense to scrap double work and money on 2 violin sections and put everything into the one vlns and the other sections. 
You can also take one section and pitch it down by 2 semitones (Kontakt) + transpose back up by 2 (sequencer). 2nd section ready - can sound pretty good. I bet most wouldn't notice...


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## Lee Blaske

constaneum said:


> this library might have an intro price of $449. lol


 
Pricing of this new string library product will be really interesting. Spitfire Audio essentially dropped a nuclear bomb on the orchestral sample creation industry with their BBC Orchestra, and I don't think things are going to be the same from here on out. We've witnessed a dramatic sea change in terms of what orchestral library customers can expect at a certain price point. The BBC Orchestra package is an entire world-renowned orchestra in a pristine space, multiple mic positions, professionally done mixes, superb scripting (with lots of attention to release detail), a huge number of articulations, spill mics, a proprietary plug-in, crafted by a large team of people who have tons of previous experience under their belts (and there will be tons of videos, templates, etc., etc.). They're selling it for $749, which is a jaw dropping figure.

We haven't seen any new significant string/orchestra library announcements with projected prices since Spitfire essentially turned the market upside down. But in view of our new normal, I would sort of expect a new library release *today* that's just a string section to maybe sell in the $200-$250 price range (unless it has some extremely remarkable, never-been-heard-before qualities and features). Not that long ago, I'm sure a company could have asked for and gotten a LOT more, but the world has really changed. Competion has just been significantly dialed up.

I think developers might still be able to ask for premium prices for boutique products that are unique and unlike anything else on the market. But when it comes to those meat and potatoes libraries, they're going to be shopping carefully. The bar is high, and prices are low. I can only imagine that there are a lot of serious discussions going on in the boardrooms of competing companies.


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## DeactivatedAcc

axb312 said:


> A "comprehensive" library without second violins.Nice.


Axb312: DarkestShadow's first paragraph sums up my answer to you.

Based on much of the discussion I've seen on VI-Control, I think most people tend to (consciously or unconsciously) underestimate the ridiculously huge costs associated with these projects while, perhaps, overestimating the typical unit sales #s (at least with smaller devs). It's a critical step for operations like ours to evaluate where money should go and what to put emphasis on in recordings and content.


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## staypuft

DarkestShadow said:


> AO and PS aren't huge facilities like some other devs. So it certainly makes sense to scrap double work and money on 2 violin sections and put everything into the one vlns and the other sections.
> You can also take one section and pitch it down by 2 semitones (Kontakt) + transpose back up by 2 (sequencer). 2nd section ready - can sound pretty good. I bet most wouldn't notice...




All fair points if not for one detail: developer is marketing this as a comprehensive 'full-on workhorse studio string library' when in fact it's missing a whole section [2nd violins] of the strings. Price should reflect that.

Second violins often play a supportive role harmonically and rhythmically to the first violins. They are essential to any serious string writing. I don't think it's fair to pay 'north of the aforementioned $449 intro' and have an entire section absent. Full-on workhorse studio string library means violins 1, violins 2, violas, cello and basses. Not violins 1, detuned violins 1, violas, cello and basses. I'm sorry but this does not make any sense to me.


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## Emmanuel Rousseau

DarkestShadow said:


> AO and PS aren't huge facilities like some other devs. So it certainly makes sense to scrap double work and money on 2 violin sections and put everything into the one vlns and the other sections.
> You can also take one section and pitch it down by 2 semitones (Kontakt) + transpose back up by 2 (sequencer). 2nd section ready - can sound pretty good. I bet most wouldn't notice...



That's the trick I'm doing with Musical Sampling's Soaring Strings, but there are other issues with having a "fake" 2nd Violins section, like having both sections living in the same stereo field, or having both sections "too big" compared to other sections. Not a huge deal breaker and it works just fine in most situations, but still something to be aware of.


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## Lionel Schmitt

staypuft said:


> All fair points if not for one detail: developer is marketing this as a comprehensive 'full-on workhorse studio string library' when in fact it's missing a whole section [2nd violins] of the strings. Price should reflect that.
> 
> Second violins often play a supportive role harmonically and rhythmically to the first violins. They are essential to any serious string writing. I don't think it's fair to pay 'north of the aforementioned $449 intro' and have an entire section absent. Full-on workhorse studio string library means violins 1, violins 2, violas, cello and basses. Not violins 1, detuned violins 1, violas, cello and basses. I'm sorry but this does not make any sense to me.


"reasonably comprehensive" (basically what they thought is reasonable).
And I definitely think you can call a library without 2nd vlns a workhorse library if it is fairly deep in most other aspects with most of the common features sampled reasonably deeply. The quality of the scripting (especially legato) will top of the top based on other libraries by PS.
They are not intransparent about the absence of 2nd vlns so I don't see an offence of any kind.
There isn't really moral obligation to keep prices in any particular range so I don't see that they "should" price the library in any specific way.
It's a business decision on their end and noone is forced to buy.
Since it will with 99% certainty be an amazing library probably with the best legato I'd then be happy to pay the price if I can - and please keep being dismayed! WILL ALL BE MINE hehehe


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## Nick Batzdorf

I'm still trying to get over how furious I am that there are no second violins.

This picture shows a first violin on the left and a second violin on the right. I mean, come on, they're totally different instruments.


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## NoamL

I don't think there's really an issue with using two instances of the violins since a correct ratio studio orchestra would be about 8-8-6-5-4 (or 9-7-6-5-4) anyway. Just use the transpose trick.

@Lee Blaske as amazing as the price of BBCSO admittedly is (I remember thinking it would be released in volumes with $2k+ for the whole orchestra) it's still a product in its own category - one-stop full orchestra in a box. There are still composers who prefer to, or feel the need to, mix and match sections from different developers. Those people probably aren't buying BBCSO at any price but they might be interested in the more recently released standalone orchestral sections like Hyperion Strings, Modern Scoring Brass, Afflatus Strings, Cinematic Studio Brass, Spitfire Studio series, etc. That's where Nashville's competition is.


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## Sears Poncho

I can get by with one violin section. 2 is nice of course but if the quality is good, that's all I really care about. As someone mentioned, LCO strings (and others) only have one section. I love using LCO, the lack of seconds doesn't bother me. I like stereo panning- firsts on the left, seconds on the right. And I love mixing other libraries in so one section is fine. 


NoamL said:


> Those people probably aren't buying BBCSO at any price but they might be interested in the more recently released standalone orchestral sections like Hyperion Strings, Modern Scoring Brass, Afflatus Strings, Cinematic Studio Brass, Spitfire Studio series, etc. That's where Nashville's competition is.


I just purchased the full Spitfire Orch Pro. I could have gone BBC and it would have been about the same $$ (got some discounts), had no interest. I prefer the modular approach. I do have some interest in the Nashville samples, so make it sound all purdy fellers.


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## Land of Missing Parts

Jasper Blunk said:


> Based on much of the discussion I've seen on VI-Control, I think most people tend to (consciously or unconsciously) underestimate the ridiculously huge costs associated with these projects while, perhaps, overestimating the typical unit sales #s (at least with smaller devs).


I'd love to know more about this from the developer's perspective.  Whatever you are comfortable with sharing, of course. I might be one of those people who underestimates the costs, truth be told, and would love to hear more from the other side of things.


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## jaketanner

Land of Missing Parts said:


> I'd love to know more about this from the developer's perspective.  Whatever you are comfortable with sharing, of course. I might be one of those people who underestimates the costs, truth be told, and would love to hear more from the other side of things.


not going to speak for Jasper, but from what I understood as a guide here...say with Cinesamples, who records at the Sony scoring stage, is roughly $9k per day...from what I remember. This is an estimate of course, and the Sony stage is one of the more expensive ones...so figuring that's the daily rate, plus musician, then take into account the endless amount of hours involved in editing...some libraries were 2 years in the making. So I'd estimate the cost of an elaborate library would be well over $150k possibly close to 3-400k.


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## DSmolken

Yeah, we've talked about development costs in another thread maybe a couple of months ago, and numbers in that range came up.


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## Lionel Schmitt

To me it comes down to this:

Should have recorded 2nd Vlns and cut corners thorough the whole library to not blow their budget?

In my view - noooooo! Glad they decided otherwise and well - noone is forced to buy...


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## Guffy

Aye, I'd rather have them use the resources on getting the 1st's real good instead of having 2 half-assed sections.


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## jaketanner

I agree if resources were limited, then make the best 1st you can. BUT, how awesome would it be to have a be all end all string library had the 2nds been recorded? I can even see this as being done with samples they already have that are extras. PS uses samples that are derived from various takes, maybe they have enough to even create a new section. Even if it’s just legato? BUT what I’m hoping is that between the con Moto series and the free violin and their solos series that some incredible strings can be achieved.


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## Saxer

I like to write/record 'printable' tracks. So I need separate tracks for the first and second violins. I don't really care if it's a recorded second section or both generated out of one as far as it sounds good.

But I would prefer if I don't have to start with a kind of workaround, guessing how much transposition is needed, dealing with transposed key switches, extended ranges etc.
8dio Adagios have a 2nd violins button that shifts/transposes samples under the hood to avoid phasing between 1st/2nd unison. Another option would be a second violins patch with a premade transposition trick. That's a good compromize for my taste.


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## Batrawi

Saxer said:


> 8dio Adagios have a 2nd violins button that shifts/transposes samples under the hood to avoid phasing between 1st/2nd unison.


Exactly! and LASS also has this solution so there should be nothing wrong about it. In fact it's the smarter and more practicle solution that some dev. tend to use. Would be nice to have this in NCS


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## Jdiggity1

I find that even for some libraries that DO provide 2nd violins, I'm still just picking the best sounding section then using the transposition trick on it to create my own sub-sections.
I also wouldn't get too hung up on the 'comprehensive' bit. Most libraries that include 2nd violins are still lacking in extended techniques or articulations that aren't as common in today's media music, but would benefit those working in concert and classical fields.
But at the end of the day, music production and especially orchestral mockups have always required a degree of skill and trickery to 'fake' the result. Even though our current tools have far fewer shortcomings than they used to, those who take the time to learn techniques such as the transpose trick, layering, stacking articulations, etc etc will be far less restricted by them.


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## bc3po

Jasper Blunk said:


> Axb312: DarkestShadow's first paragraph sums up my answer to you.
> 
> Based on much of the discussion I've seen on VI-Control, I think most people tend to (consciously or unconsciously) underestimate the ridiculously huge costs associated with these projects while, perhaps, overestimating the typical unit sales #s (at least with smaller devs). It's a critical step for operations like ours to evaluate where money should go and what to put emphasis on in recordings and content.



Do most of you guys/gals program or write and actively use the second violin patch anyways? Maybe it’s just me but I think I maybe have never used it.


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## Sears Poncho

bc3po said:


> Do most of you guys/gals program or write and actively use the second violin patch anyways? Maybe it’s just me but I think I maybe have never used it.


I write a second violin "part" on everything I do, it's drilled into me.


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## Lee Blaske

NoamL said:


> I don't think there's really an issue with using two instances of the violins since a correct ratio studio orchestra would be about 8-8-6-5-4 (or 9-7-6-5-4) anyway. Just use the transpose trick.
> 
> @Lee Blaske as amazing as the price of BBCSO admittedly is (I remember thinking it would be released in volumes with $2k+ for the whole orchestra) it's still a product in its own category - one-stop full orchestra in a box. There are still composers who prefer to, or feel the need to, mix and match sections from different developers. Those people probably aren't buying BBCSO at any price but they might be interested in the more recently released standalone orchestral sections like Hyperion Strings, Modern Scoring Brass, Afflatus Strings, Cinematic Studio Brass, Spitfire Studio series, etc. That's where Nashville's competition is.



I can understand people wanting to do that. OTOH, just because you DO have an entire orchestra in a box doesn't mean you always (or ever) have to use everything in the box. Kind of like buying a big assortment of chocolates at a bargain price, but you don't like the ones with coconut in them.  You have the option of just using sections, single instruments, etc., mixing and matching with other things.

BTW, the products you listed there are all over the price-point spectrum. Hyperion Strings is only $99. That could be an impulse purchase just to have another flavor. Afflatus strings is close to a grand, so, more expensive than the entire BBC package. A more serious investment.

Anyway, it's all valid. It's good that everyone isn't painting from the same palette. That would get boring. But, people are going to be aware of the general market price of paint.


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## jaketanner

bc3po said:


> Do most of you guys/gals program or write and actively use the second violin patch anyways? Maybe it’s just me but I think I maybe have never used it.


I use it to layer the 1sts all the time...if I don't use it for harmonies, it's always being used in unison, since in a live orchestra there are always 2nd violins. Especially if a library has 8 violins, there should be a second, or faked second. it's a balance between the other strings. Having close to the same amount of violas against violins seems off, then the low end with the celli and basses will also be off.


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## David Kudell

jaketanner said:


> I use it to layer the 1sts all the time...if I don't use it for harmonies, it's always being used in unison, since in a live orchestra there are always 2nd violins. Especially if a library has 8 violins, there should be a second, or faked second. it's a balance between the other strings. Having close to the same amount of violas against violins seems off, then the low end with the celli and basses will also be off.


That’s a good point about numbers, but I would argue that the highest pitch notes (ie 1st violins) are perceived by listeners as louder than lower notes, so that compensated for having less of them.

I don’t use the 2nd violins much. I find violins and violas to be plenty.


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## jaketanner

David Kudell said:


> I don’t use the 2nd violins much. I find violins and violas to be plenty.


most cases sure, but it's still not the same weight as if you have double the violins...sound wise that is. of course, if you're not writing for realism or for a live orchestra, then it doesn't matter...but generally, how would you then handle harmonies? With the same violins? Keep in mind violin 2, usually have a totally different sound to them, and in some cases I prefer them to the 1sts...also it was mentioned about seating...that's also an issue...depending on how it was recorded. I am still going to probably get this library anyway, I love PF...the sound is off the hook.


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## Sears Poncho

Lenny, when asked which was the most difficult instrument (to hire):


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## Raphioli

Even if they did include a 2nd violin, it was already mentioned that,
*"the library will certainly be north of the aforementioned $449 intro."*
The price is already going to be north of $449, so if they include a 2nd violin, its obvious that the price/cost is going to increase.
So the next thing some people are going to complain about is the pricing, by comparing it to libraries like BBCSO. (I guess you can't please everyone)

I have hopes that they'll provide something special that will make the library very appealing even without a 2nd violin. (I have high expectations because of their Con Moto series. Imagine a diverse version of Con Moto Cellos etc.)
And if a library has something special which none of the other libraries on the market have,
then I wouldn't be surprised if it was aiming for a similar market as Afflatus or Berlin Strings. (even without a 2nd violin)

Me being able to afford it or not, is a different story though haha
But I'm looking forward to it regardless of affordability.
After all, I like what Performance Sample does and have majority of their libraries except FS2, which I'm considering getting during a future sale.


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## constaneum

so far, the strings from BBCSO sounds pretty good from the detailed walkthrough. i'm looking at that library. hehe


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## Zedcars

Why is everyone in a flap about no 2nd Vlns? Just detune the basses up a few 8ves - try it, sounds absolutely amazing!


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## Lee Blaske

I guess when it comes down to it, I prefer libraries that have second violins. But I have noticed that on some of the libraries I have that have second violins, they don't sound as good as the first violins. Realistically, that's the way it works in real life (i.e. the better players are on the first part). But when it comes to a sample library, is the not-quite-as-good-as-the-firsts quality important to getting an authentic orchestra sound?


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## LHall

Lee Blaske said:


> I guess when it comes down to it, I prefer libraries that have second violins. But I have noticed that on some of the libraries I have that have second violins, they don't sound as good as the first violins. Realistically, that's the way it works in real life (i.e. the better players are on the first part). But when it comes to a sample library, is the not-quite-as-good-as-the-firsts quality important to getting an authentic orchestra sound?


You know, you may be right about the better players in smaller municipal orchestras. But in professional class orchestras like the Nashville Symphony, New York Philharmonic, etc, every player on that stage is exceptional. If the better players are first chair, the differences are no-doubt extremely subtle. Same thing with Hollywood studio orchestras I'm sure. Second-class players just don't get hired.


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## Sears Poncho

LHall said:


> You know, you may be right about the better players in smaller municipal orchestras. But in professional class orchestras like the Nashville Symphony, New York Philharmonic, etc, every player on that stage is exceptional. If the better players are first chair, the differences are no-doubt extremely subtle.


Bingo. I've seen orchs. where the 2nds were better than the firsts.

"Seating" in pro orchs is not a ranking. Violin 1 seat 4 is not above Vln 1 seat 12. It's just where the opening was. There are no "challenges" or "seat tryouts", it ain't high school band. If one has a title i.e. asst principal, assoc. Concertmaster etc, they get more money. Concertmaster makes a lot more, double scale in a big orch. Triple scale if they are in a handful of top ones. If they don't have a title, 1st vln and 2nd vln pays the same. 

When someone leaves an orchestra, their actual chair is the opening. So if they are last chair 2nd, 100 whippersnappers from all over will fly in, at their own expense, and audition for that specific chair. In high school when they sit all the bad players in the back of the 2nds, a pro orch might have some of the best players in the back of the seconds. And some orchestras rotate, you don't have a chair and move every 2 weeks etc to a different stand.


----------



## Rob Elliott

This upcoming release has my attention. While I haven't yet purchased anything from this developer - I am hopeful on this. For me, price isn't really a factor. I mean, I am scratching out a living just like the rest of us full-timers BUT - I have wonderful 'tools' now. The only thing that gets me to hit my paypal is innovation - i.e. something NEW truly NEW. If this is that, I'll buy - if not, I hold onto my dough - the 'sample' game is so mature in its product cycle, that for me, I am beyond 'impulse' buying. If I heard of a string library that can get me 98-99% to the sound I just recorded live - there would probably no price I (or many others) wouldn't shell out. That's the fact.

(I would suggest a 'under-the-hood' 2nd vlns button. Yes we can do the transpose trick, but for what will likely be a 'premium' product in performance and pricing - 'fixing' something on day 1 feels wrong.  )


----------



## Wally Garten

Sears Poncho said:


> Lenny, when asked which was the most difficult instrument (to hire):



Ha -- this is almost literally why I didn't continue with cello after elementary school. Almost every piece we did, the cellos had these harmony parts that, when you played them at home by yourself, didn't sound like anything! I got tired of it and quit.

Obviously, that was very silly, and as an adult I'd give my right arm to have continued with the cello. (Well, maybe that's the wrong metaphor....)


----------



## midiman

Saxer said:


> Another option would be a second violins patch with a premade transposition trick. That's a good compromize for my taste.



+1 for this option. I do not care there aren't 2nd violins recorded, but having a pre-made already transposed patch for 2nd vls made from the 1st vls would be really nice.


----------



## NickDorito

midiman said:


> +1 for this option. I do not care there aren't 2nd violins recorded, but having a pre-made already transposed patch for 2nd vls made from the 1st vls would be really nice.



Agreed, would love to have this option


----------



## yellowtone

Well, FML. I had not yet listened to the PS libraries and now having gone through the Con Moto demos I'm looking forlornly over at my wallet... I was thinking of getting SCS during the wishlist sale as I really want a chamber size string library, but now I'm wondering if this would be better as it seems drier and might be easier to layer in (to BBCSO, BHCT, Albion V for example). I have a few questions I hope folks on this thread can answer:
1. I use Logic and Kontakt 6 - in the original threads on this I see Logic causes CPU spikes, but on the website I also see a note that results have improved with Kontakt 6. Has anyone been using the Con Moto libraries, particularly Violins B, who can tell me if this is an issue still?
2. In the Cellos and Violins B - Meet Me At The Headlands demo (Soundcloud) - does anyone know what libraries are used? There is a harp, and some brass - is this all PS and in that case, River Harp and Angry Brass? This demo sounds fantastic, and is right up my alley in terms of style/tones, hoping this is achievable with the released con moto samples (and on Logic!).
3. Best libraries to layer with? Given there aren't short arts, what are folks using and any issues to work through? I see that PS acknowledges a significant amount of delay for the legatos/releases - anyone have issues with this? Are folks playing in and then moving the track back to account for the delay or no need? *EDIT: *I just found the Fluid Shorts libraries (I and II) and the Solos of the Sea Violin A - are folks using these for shorts or also using other libraries?
4. Most annoying question - any word on the release date for the other con moto libraries (violins A, violas, basses)? Honestly, if this is likely available in first half of 2020 I'm much more inclined to buy sooner or wait for the other releases to decide to invest in the entire string set...


----------



## jaketanner

yellowtone said:


> Well, FML. I had not yet listened to the PS libraries and now having gone through the Con Moto demos I'm looking forlornly over at my wallet... I was thinking of getting SCS during the wishlist sale as I really want a chamber size string library, but now I'm wondering if this would be better as it seems drier and might be easier to layer in (to BBCSO, BHCT, Albion V for example). I have a few questions I hope folks on this thread can answer:
> 1. I use Logic and Kontakt 6 - in the original threads on this I see Logic causes CPU spikes, but on the website I also see a note that results have improved with Kontakt 6. Has anyone been using the Con Moto libraries, particularly Violins B, who can tell me if this is an issue still?
> 2. In the Cellos and Violins B - Meet Me At The Headlands demo (Soundcloud) - does anyone know what libraries are used? There is a harp, and some brass - is this all PS and in that case, River Harp and Angry Brass? This demo sounds fantastic, and is right up my alley in terms of style/tones, hoping this is achievable with the released con moto samples (and on Logic!).
> 3. Best libraries to layer with? Given there aren't short arts, what are folks using and any issues to work through? I see that PS acknowledges a significant amount of delay for the legatos/releases - anyone have issues with this? Are folks playing in and then moving the track back to account for the delay or no need? *EDIT: *I just found the Fluid Shorts libraries (I and II) and the Solos of the Sea Violin A - are folks using these for shorts or also using other libraries?
> 4. Most annoying question - any word on the release date for the other con moto libraries (violins A, violas, basses)? Honestly, if this is likely available in first half of 2020 I'm much more inclined to buy sooner or wait for the other releases to decide to invest in the entire string set...


No release date yet, but Violin A seems to be next and in beta now. As for the layering...con Moto layers well with many. CSS for sure sounds great, and I love it with SStS as well.


----------



## jaketanner

yellowtone said:


> Honestly, if this is likely available in first half of 2020 I'm much more inclined to buy sooner or wait for the other releases to decide to invest in the entire string set


If you are waiting for the entire Con Moto to be done, it looks to be a long while before they're finished. My estimation would be at least a year...but might be sooner once they release this Nashville library. It's also just legatos.

The delay never bothered me at all...I can play a bit ahead of the beat anyway, but you can always just use the patch with the least latency to lay it down, then move the notes over and change the patch.


----------



## Vladimir Bulaev

*Jasper Blunk*, what about legato repetition with RR? For example, as in CSS. Do you have something similar in your development?



> Repeated Notes:
> Another powerful feature of the Cinematic Studio Series is the ability to perform a rearticulation
> of the same note. This is done by holding the sustain pedal and playing
> the same note twice. Again, instead of a scripted emulation, you’re actually hearing a
> sampled performance. In the case of strings it was achieved by the players performing
> a re-bowing of the same note. For brass and woodwinds, it is a re-tonguing of the
> same note. All instruments in the CSS range include this feature, across multiple
> dynamics and with 3 x Round Robins.


----------



## Audio Ollie

Craig Sharmat said:


> I have recorded the majority of my orchestral pieces in this room with probably many of the same players. Great players, great room, you never know how that translates to sampling but it's Jasper and Ollie at the helm so I am very optimistic.



Yeah the players were some of the best I've had the privilege of working with. What's exciting is that we gave Jasper an insane amount of session time to really fine tune and finesse their already excellent performances. He took this to an almost obsessive level, but it's really paid off to get things spot on from the source. 

The room is fantastic and also quite unique. It's got a very pronounced early reflection. Essentially you're getting the ER of a medium sized church without the long tail. What I like about it, in terms of translation into sampling, is that you don't lose the sound of the room. I've noticed with a lot of libraries, they end up sounding a lot more dry or detached from the room than we're used to hearing in live recordings done in the same space. OW can sometimes be a little too heavy on the ER side when you've got a large orchestra in there, but it seems to be absolutely perfect for sampling individual sections which don't excite it as much. That, plus Jaspers incredibly consistent take selection, rep based sampling, and smooth transition between dynamic layers contributes heavily to the perception of 3d space when the samples are played back. All of these little details really add up. It's the most live sounding string library I've every played.


----------



## GingerMaestro

Were there some Soundcloud demos up yesterday that have now been taken down, I feel like I saw something, but by the time I got back to having a listen, they had disappeared. Very interested in this library..


----------



## jaketanner

Audio Ollie said:


> Yeah the players were some of the best I've had the privilege of working with. What's exciting is that we gave Jasper an insane amount of session time to really fine tune and finesse their already excellent performances. He took this to an almost obsessive level, but it's really paid off to get things spot on from the source.
> 
> The room is fantastic and also quite unique. It's got a very pronounced early reflection. Essentially you're getting the ER of a medium sized church without the long tail. What I like about it, in terms of translation into sampling, is that you don't lose the sound of the room. I've noticed with a lot of libraries, they end up sounding a lot more dry or detached from the room than we're used to hearing in live recordings done in the same space. OW can sometimes be a little too heavy on the ER side when you've got a large orchestra in there, but it seems to be absolutely perfect for sampling individual sections which don't excite it as much. That, plus Jaspers incredibly consistent take selection, rep based sampling, and smooth transition between dynamic layers contributes heavily to the perception of 3d space when the samples are played back. All of these little details really add up. It's the most live sounding string library I've every played.


The suspense is gonna kill me. lol


----------



## constaneum

GingerMaestro said:


> Were there some Soundcloud demos up yesterday that have now been taken down, I feel like I saw something, but by the time I got back to having a listen, they had disappeared. Very interested in this library..



i think it was the showcase of the pizz.


----------



## NickDorito

GingerMaestro said:


> Were there some Soundcloud demos up yesterday that have now been taken down, I feel like I saw something, but by the time I got back to having a listen, they had disappeared. Very interested in this library..



You missed the best pizz samples anyone's ever heard.

Seriously sounded incredible, especially when it got really quiet for a couple of seconds towards the end.

Wanted to comment when I heard it but I didn't want to spam the thread since Jasper has been getting a lot of questions about this library in here already. It's a beautiful sound, and I love the subtle noise included with the pizz. Really sounded alive


----------



## Wolf68

are there any demos yet?


----------



## coprhead6

I worked as a session musician in Nashville for a few years doing lots of movies, tv shows, and video games. Plenty of session work is moving to Nashville because most of it is "off the card" (non-union) and there are some new tax breaks for businesses recording in Tennessee. 
The first-call contractor is actually on the AFM's International Unfair List. I've done stuff with him for Bear McCreary, EA, Sony, Bungie, etc.
The musicians they get from the Nashville Symphony are great players, but everyone else is pretty hit or miss. The Nashville Chamber Orchestra is mostly people from the Nashville Symphony, so it should sound nice


----------



## LHall

I hope the demos will center on legatos and expression, which are Nashville string session strong points. I honestly get so worn out with walkthrough videos that start with shorts, Pizz, tremolos, etc. Pizzes sound great on every library. Your staccato demos tell me nothing! I want to hear if I can make the strings sing and emote.


----------



## Land of Missing Parts

LHall said:


> I hope the demos will center on legatos and expression, which are Nashville string session strong points. I honestly get so worn out with walkthrough videos that start with shorts, Pizz, tremolos, etc. Pizzes sound great on every library. Your staccato demos tell me nothing! I want to hear if I can make the strings sing and emote.


Point taken, but I will push back a bit. Bowed shorts matter to _me_, particularly the consistency, so that they can flow into one another to shape a phrase. And to know the attack types, and that they can play well with the longs. And that they can stand up to repetitions and flow (the way Fluid Shorts can). And that they are consistent in length across different instruments, and that the round robins are consistent.

It's easy to take shorts for granted, until you are actually knee deep in a mockup doing battle to make something work that seems like it should be so simple.

Plucked shorts...I don't care as much about though, since I already have those well covered.


----------



## Vladimir Bulaev

I'm sure there's a chance. The question is idea and talent. Evolution will take its course, but as always - need diamonds..
In fact, we are now close to the boundary of the next round of the evolutionary spiral. And not only in the sampler industry. And now (until 2024) it will be decided-we will rush forward, or we will destroy ourselves together with ... but if we break out.. It's gonna be sooo cool, guys.


----------



## rottoy

LHall said:


> I hope the demos will center on legatos and expression, which are Nashville string session strong points. I honestly get so worn out with walkthrough videos that start with shorts, Pizz, tremolos, etc. Pizzes sound great on every library. Your staccato demos tell me nothing! I want to hear if I can make the strings sing and emote.


So you are telling me you don't care much for triple-tongue double bass articulations?


----------



## Rob Elliott

LHall said:


> I hope the demos will center on legatos and expression, which are Nashville string session strong points. I honestly get so worn out with walkthrough videos that start with shorts, Pizz, tremolos, etc. Pizzes sound great on every library. Your staccato demos tell me nothing! I want to hear if I can make the strings sing and emote.



If there is EVER a reason for using a 'live' session it is because of legato and expression - NOT shorts. Pull off something approaching live in this department and I'll push paypal immediately.


----------



## NoamL

NickDorito said:


> You missed the best pizz samples anyone's ever heard.
> 
> Seriously sounded incredible, especially when it got really quiet for a couple of seconds towards the end.
> 
> Wanted to comment when I heard it but I didn't want to spam the thread since Jasper has been getting a lot of questions about this library in here already. It's a beautiful sound, and I love the subtle noise included with the pizz. Really sounded alive



Very much agree. It was eye opening. Sounded like a piece of music and not a sequence of samples. My favorites for energetic pizz are CSS and Adventure Strings, and this was up there with them...


----------



## chapbot

LHall said:


> I hope the demos will center on legatos and expression, which are Nashville string session strong points. I honestly get so worn out with walkthrough videos that start with shorts, Pizz, tremolos, etc. Pizzes sound great on every library. Your staccato demos tell me nothing! I want to hear if I can make the strings sing and emote.


100%! I have pizz and shorts coming out of my ass, legato is what matters.


----------



## Sears Poncho

LHall said:


> Pizzes sound great on every library.


Pizzes sounded great on 90s keyboards.  And Bartok Pizz in actual orchestras- we do them about once every 3 years. Col legno- yeah, there's that spot in Symphonie Fantastique and the first page of The Planets. Tremolo should be renamed tremolozzzzzzzzz.

Give us legatos. At least 9 varieties to choose from:

Rachmaninoff legato- romantic and intense
Delius legato- soft and serene
Neil Diamond legato- also could be called Lionel Richie Legato. Background-y pop sound
Mahler legato- loud and angry
Philly Orch legato- that classic string sound
Theme from "Newhart" legato. Pleasant, non-threatening.
End of Tchaik 6 legato. Also known as "death legato"
Bartok in The Shining legato. Cold, icy, somewhat disturbing.
Theme from "Ice Castles" legato. So syrupy sweet that one might throw up.

Someone get on this. Post haste. Thanks.


----------



## Rob Elliott

Sears Poncho said:


> Pizzes sounded great on 90s keyboards.  And Bartok Pizz in actual orchestras- we do them about once every 3 years. Col legno- yeah, there's that spot in Symphonie Fantastique and the first page of The Planets. Tremolo should be renamed tremolozzzzzzzzz.
> 
> Give us legatos. At least 9 varieties to choose from:
> 
> Rachmaninoff legato- romantic and intense
> Delius legato- soft and serene
> Neil Diamond legato- also could be called Lionel Richie Legato. Background-y pop sound
> Mahler legato- loud and angry
> Philly Orch legato- that classic string sound
> Theme from "Newhart" legato. Pleasant, non-threatening.
> End of Tchaik 6 legato. Also known as "death legato"
> Bartok in The Shining legato. Cold, icy, somewhat disturbing.
> Theme from "Ice Castles" legato. So syrupy sweet that one might throw up.
> 
> Someone get on this. Post haste. Thanks.




That is asking for a LOT - but I'd push paypal BEFORE I listen to any walkthrus.


----------



## Sid Francis

LHall said:


> I hope the demos will center on legatos and expression, which are Nashville string session strong points. I honestly get so worn out with walkthrough videos that start with shorts, Pizz, tremolos, etc. Pizzes sound great on every library. Your staccato demos tell me nothing! I want to hear if I can make the strings sing and emote.


I fear no one can hear you....:-( You took the words out of my brain....I am so fed up with all the epic 16th note staccatos and everyone going nuts with the "ground-breaking" new libraries coming out in the last 2 years where it is obviously not possible to show a single convincing singing emotional line.


----------



## re-peat

LHall said:


> Pizzes sound great on every library.


To my ears, pizzicati sound pretty awful in nearly all libraries. Except the Spitfire Bespokes, which have, I find, amazingly believable plucked strings. If these Nashville pizzicati, which I didn't hear, come anywhere those, that could be a sign of exceptional library in the making.


----------



## Land of Missing Parts




----------



## Lionel Schmitt

Here is why am am very excited about this library -
Con Moto Violins B by Performance Samples (Cellos too but couldn't get those yet) have the best legato I've ever heard for ensemble strings! Even a little bit better than CSS IMO. 


It's very likely that the whole Nashville library has such great legato since it's by the same person (Jasper at PS) so I'm definitely gonna keep in mind that I somehow need to have over 450 euro to spare towards the end of the year... (heeeelp LOL)


----------



## Sears Poncho

re-peat said:


> To my ears, pizzicati sound pretty awful in nearly all libraries. Except the Spitfire


I like the pizz in LCO strings because it _doesn't_ sound good. It's not a Bartok pizz, more like a fingernail pizz and a bit sloppy. Sloppy is good. Mix them with other "normal" pizz and it sounds a lot more realistic. Pizz is supposed to be sloppy, it's just how it works.


----------



## Zedcars

chapbot said:


> 100%! I have pizz and shorts coming out of my ass...


I hope you don’t get any bum notes.


----------



## Vik

DarkestShadow said:


> Con Moto Violins B by Performance Samples (Cellos too but couldn't get those yet) have the best legato I've ever heard for ensemble strings!


There's something expressive about the Con Moto instruments that unfortunately isn't easy to find in most other libraries. Their Violin A teasers (here and here) also impressed me, maybe even more than the Violin B demos. But Con Moto is more than anything else about being expressive/intense and emotive - Nashville Chamber Strings won't necessarily have the same emotional colour as the Con Moto instruments. They wrote that Nashville will be more about more of a filmic studio sound, but there's every reason to believe that they'll get it right.


----------



## Lionel Schmitt

Vik said:


> There's something expressive about the Con Moto instruments that unfortunately isn't easy to find in most other libraries. Their Violin A teasers (here and here) also impressed me, maybe even more than the Violin B demos. But Con Moto is more than anything else about being expressive/intense and emotive - Nashville Chamber Strings won't necessarily have the same emotional colour as the Con Moto instruments. They wrote that Nashville will be more about more of a filmic studio sound, but there's every reason to believe that they'll get it right.


Well, you can have the same kind of expressiveness with a more filmic sound... the expressiveness certainly seems to be a focus as well here, as some other posts suggest - large dynamic range from delicate and lyrical to loud and aggressive - heavily performance sourced... sounds like gold!


----------



## Sid Francis

Thank you Shadow...yes...really nice!


----------



## DeactivatedAcc

Sears Poncho said:


> I like the pizz in LCO strings because it _doesn't_ sound good. It's not a Bartok pizz, more like a fingernail pizz and a bit sloppy. Sloppy is good. Mix them with other "normal" pizz and it sounds a lot more realistic. Pizz is supposed to be sloppy, it's just how it works.



When I went back to re-record one of the cello articulations, I had some extra time so I grabbed a couple cello bonuses including "dirty pizz" which are fast performance-based pizz (faster than the normal ones), recorded at such a fast tempo that the players were struggling to keep up. That said, it's still timed up, but it has some controlled "slop" to it, if you play it fast it sounds a bit like a 'playable' pizzicato unmeas. tremolo.


----------



## jaketanner

DarkestShadow said:


> Here is why am am very excited about this library -
> Con Moto Violins B by Performance Samples (Cellos too but couldn't get those yet) have the best legato I've ever heard for ensemble strings! Even a little bit better than CSS IMO.
> 
> 
> It's very likely that the whole Nashville library has such great legato since it's by the same person (Jasper at PS) so I'm definitely gonna keep in mind that I somehow need to have over 450 euro to spare towards the end of the year... (heeeelp LOL)



What got me interested in this library is not just the legato, but the sound itself...it's truly beautiful. Not too lush, not too harsh...and blends seamlessly with CSS BTW...it's like CSS but with a bit more clarity and bite. The solo of the seas with CSS is awesome.


----------



## Wally Garten

Sears Poncho said:


> Lionel Richie Legato



Go on. I'm listening.


----------



## LamaRose

4 basses? this baby's got some back, lol... wonder if this was recorded in situ.


----------



## LamaRose

Playing catch-up on the thread... noted that a lot of folks were concerned about lack of 2nd vlns... depending upon the variation of recorded violin dynamics, this could be a non-issue as you would be, in essence, mixing separate performances from the same players which could actually make for a more cohesive performance. Definitely intrigued with this one.


----------



## muk

LamaRose said:


> wonder if this was recorded in situ.



Most probably not. Otherwise it would make no sense to leave out the second violins.


----------



## jaketanner

LamaRose said:


> his could be a non-issue as you would be, in essence, mixing separate performances from the same players


This is only true if they are playing harmonies or but in unison, it could potentially cause some phasing issues, since they are essentially the same samples. But the work around is the up/down transpose method. I really don't see too much of an issue here either...hell I can always sneak in a second or first violin from another chamber library that's close in tone...not too worried either


----------



## Go To 11

So excited to hear more from this library. Anyone sniffed anything out? Especially with Century Strings on sale, I'm trying to find reasons to not get those.


----------



## jaketanner

Go To 11 said:


> Especially with Century Strings on sale, I'm trying to find reasons to not get those.


Unless you need them now, I'd wait. Century is good, but I am sure that PS will be better...certainly a different sound. Although based off PS' model, they may not have a ton of articulations as in Century, or even sordinos...just a guess though.


----------



## Go To 11

jaketanner said:


> Unless you need them now, I'd wait. Century is good, but I am sure that PS will be better...certainly a different sound. Although based off PS' model, they may not have a ton of articulations as in Century, or even sordinos...just a guess though.


It does feel like Nashville will have a more raw approach. I'm mostly curious if they'll have rebowing legato as per Cinematic Studio Strings. That's such a handy feature for those who write melodies with repeated notes. Additionally, some kind of sul tasto would seal the deal for me. Looking forward to finding out more. Thanks!


----------



## jaketanner

Go To 11 said:


> Looking forward to finding out more


me too...hope the wait won't bee too long. But for now I'm not in a rush.


----------



## BL

Since 2019 is almost over, has this library been moved to 2020?


----------



## constaneum

BL said:


> Since 2019 is almost over, has this library been moved to 2020?



Guess so. Been rather quiet. The pizzicato demo was removed too. Not sure why.


----------



## chapbot

BL said:


> Since 2019 is almost over, has this library been moved to 2020?


On Facebook, Ollie said 2 to 3 months.


----------



## GingerMaestro

I'm not sure it was slated for 2019 anyhow ? Shame..Excited for this...


----------



## Lionel Schmitt

Sounded just like a "possibility" for it to come at the end of the year. So I wasn't expecting it this year anyway.


----------



## robshrock

Has this thread passed away?


----------



## Kartus

On PS FB Page in a comment 1 week ago:


Performance Samples said:


> Almost entirely complete except the legatos and noise reduction. I think 3 months could be a possibility.


----------



## Vladimir Bulaev

Any news?


----------



## MA-Simon

I have noticed it is no longer listed on the Website, but can still be found on google: https://www.audioollie.com/nashville-chamber-strings


----------



## Go To 11

For anyone else curious what the sound is like in Ocean Way Studios, here are some projects recorded there! I like it. http://www.oceanwaynashville.com/scoring/#builder-section-1428517096656


----------



## Go To 11

And some video footage of string players in the room in here:


----------



## Audio Ollie

Oops that page shouldn't have been public! We're about to be in Beta. I can't give any hard dates as to when it's going to be released but we're getting very very close and can't be more thrilled with how it's all turning out. I'll post any news on VI. 

Thanks for your continued interest and patience!!


----------



## jaketanner

Audio Ollie said:


> Oops that page shouldn't have been public! We're about to be in Beta. I can't give any hard dates as to when it's going to be released but we're getting very very close and can't be more thrilled with how it's all turning out. I'll post any news on VI.
> 
> Thanks for your continued interest and patience!!


One tiny sound sample at least? Just to get the excitement going...


----------



## DeactivatedAcc

jaketanner said:


> One tiny sound sample at least? Just to get the excitement going...



Here's a demonstration of the pizzicatos, which I pulled from repeated performances (short article about the approach).

This example uses a mix (a lot of close) and no ext. reverb - patches were alpha stage in this example.


----------



## Rob Elliott

Jasper Blunk said:


> This uses a mix (a lot of close) and no ext. reverb - alpha-stage patches.




How about a tidbit of 'sustains' - held note(s) sweeping through layers (no legato transitions needed - just to get a vibe of the 'tone' / room.) Pizzs are difficult to make impression with either way.)


----------



## Go To 11

Jasper Blunk said:


> Here's a demonstration of the pizzicatos, which I pulled from repeated performances (short article about the approach).
> 
> This example uses a mix (a lot of close) and no ext. reverb - patches were alpha stage in this example.



Wow thanks for sharing! I love the room sound and how 'messy' for want of a better word it is. Imperfect and human and creaky chairs and all. Excited to hear more!


----------



## jaketanner

Jasper Blunk said:


> Here's a demonstration of the pizzicatos, which I pulled from repeated performances (short article about the approach).
> 
> This example uses a mix (a lot of close) and no ext. reverb - patches were alpha stage in this example.



Thank you for sharing. Sounds great!!! Is that tape hiss I’m hearing? EDIT: I think it's the player noise...actually makes it sound more realistic. Just wondering how that would affect quieter passages, if any?


----------



## ltmusic

Its the most realistic pizzs i have ever heard!!!!!


----------



## DeactivatedAcc

Go To 11 said:


> Wow thanks for sharing! I love the room sound and how 'messy' for want of a better word it is. Imperfect and human and creaky chairs and all. Excited to hear more!


The pizz are some of my favorite patches in the library. Pizzicatos take well to repetition sampling (sampling from repeated phrases) because the players' movement is captured so viscerally, especially at a moderately-fast pace as I recorded in Nashville. It's 'curated messiness,' per se, because in the editing process, the sequence-based timing (in a repeated loop cycle, by ear, vs transient timing) serves to wrangle in the lively nature of the repeated performance, as the musicians focus in on staying together as an ensemble while keeping up with the tempo.

The spiccatos and col legno were done the same way.


----------



## constaneum

I'm having my eyes set on this release. Gonna be my purchase for Year 2020.


----------



## Beluga

Pizzicati, seriously? That all you got? Stop releasing awesome string libraries, you are killing me..


----------



## jaketanner

Any hint as too pricing?


----------



## Geocranium

Willing to bet that it will be at least $20, likely more


----------



## constaneum

jaketanner said:


> Any hint as too pricing?



The LA percussion which I believe is easier to sample without those legato stuffs is already $499. So I guessing either $599 or $649 for this strings library. Just my two cents.


----------



## renegade

Jasper Blunk said:


> Here's a demonstration of the pizzicatos, which I pulled from repeated performances (short article about the approach).
> 
> This example uses a mix (a lot of close) and no ext. reverb - patches were alpha stage in this example.




Sounds great...I'm not sure any library can do fast pizz as good as this. Most (all?) record their pizz way too sloppy (or inconsistently, sounds unmusical), which is ok for slow or isolated single strokes, but falls apart when playing fast.
We all want the feel of human imperfections, but...professionel players play very tight and can play fast and "finds each other" easily.
(Maybe, ideally, you should be able to change the tightnes as you play...)


----------



## Audio Ollie

renegade said:


> Sounds great...I'm not sure any library can do fast pizz as good as this. Most (all?) record their pizz way too sloppy (or inconsistently, sounds unmusical), which is ok for slow or isolated single strokes, but falls apart when playing fast.
> We all want the feel of human imperfections, but...professionel players play very tight and can play fast and "finds each other" easily.
> (Maybe, ideally, you should be able to change the tightnes as you play...)



That's the beauty of NCS. It's extremely tight and consistent by default. You're never going to have a note that's off time with the others, too loud/quiet, or stand out because of tonal differences. It's a massive time saver and makes it that much easier to just write music when you don't have to fight with the library. It just does what you want it to. It's required tons of extra recording and post production time to get that kind of consistancy, but I think it's what's going to make it stand out against all other string libraries on the market.


----------



## jaketanner

Audio Ollie said:


> That's the beauty of NCS. It's extremely tight and consistent by default. You're never going to have a note that's off time with the others, too loud/quiet, or stand out because of tonal differences. It's a massive time saver and makes it that much easier to just write music when you don't have to fight with the library. It just does what you want it to. It's required tons of extra recording and post production time to get that kind of consistancy, but I think it's what's going to make it stand out against all other string libraries on the market.


Is this a large chamber or smaller like SCS? I ask because I’m assuming this library would be geared towards film scoring but with small chamber strings, I think it wouldn’t fit the bill very well for cinematic. Maybe more for TV? What are your views on its use?


----------



## jaketanner

@Audio Ollie , would you also be able to give us a glimpse of the articulation sets included?


----------



## muk

jaketanner said:


> Is this a large chamber or smaller like SCS?



Section sizes are 8-6-5-4 (no second violins). Jasper describes the room as well on page 1 of this thread, if that is what you meant.


----------



## Audio Ollie

Section sizes are 8,6,5,4. It can sound pretty cinematic. 

Articulations:

- Col Legno
- Con Sordino
- Harmonics
- Legato
- Marcato
- Pizzicato
- Dirty Pizz
- Spiccato
- Tremelo
- Trills

All shorts are playable rep patches.


----------



## chapbot

If you don't post an audio sample of the legatos soon the forum may riot


----------



## artomatic

Hmm. No portamento?


----------



## jaketanner

Audio Ollie said:


> Section sizes are 8,6,5,4. It can sound pretty cinematic.
> 
> Articulations:
> 
> - Col Legno
> - Con Sordino
> - Harmonics
> - Legato
> - Marcato
> - Pizzicato
> - Dirty Pizz
> - Spiccato
> - Tremelo
> - Trills
> 
> All shorts are playable rep patches.


Cool thanks. There’s an aversion to second violins from Jasper. Lol. But not a deal breaker. . Size is pretty good. Thank you. Can’t wait. Seems like all major articulations are covered.


----------



## jonathanparham

Just curious. Are you going to make a staff pad version of this similar to what you did with scoring synths?


----------



## MA-Simon

Not shure if I am ever willing to go back to just one type of short. No Staccato?

Very much looking forward to it though!


----------



## jaketanner

MA-Simon said:


> No Staccato?


I missed that...yeah, that's weird. Will have to see/hear the libraries potential...and especially if it doesn't have portamento...I long for that in the Con Moto series, that I had to switch out the entire library of CM for another one, just because I needed portamento for it to sound right.


----------



## JohannesR

MA-Simon said:


> Not shure if I am ever willing to go back to just one type of short. No Staccato?
> 
> Very much looking forward to it though!


+1.

Only one short note patch? The red flag is up here as well!

However...Jasper's latest brass libraries, you don't even need short notes with different lengths. It's built into the patches so to speak. Extremely convenient and easy to use!

I'm still hopeful! Let's wait and see, or maybe someone can chime in?


----------



## Geocranium

I'm assuming like all other Performance Samples patches, the marcato can double as a staccato by just playing the note short enough.


----------



## jaketanner

Geocranium said:


> I'm assuming like all over Performance Samples patches, the marcato can double as a staccato by just playing the note short enough.


Hope so..I am also hoping that there will be master patches, where we wouldn't need to KS, and it will adjust based off our performance.


----------



## JohannesR

Geocranium said:


> I'm assuming like all other Performance Samples patches, the marcato can double as a staccato by just playing the note short enough.


Fingers crossed!!


----------



## sathyva

Audio Ollie said:


> That's the beauty of NCS. It's extremely tight and consistent by default. You're never going to have a note that's off time with the others, too loud/quiet, or stand out because of tonal differences. It's a massive time saver and makes it that much easier to just write music when you don't have to fight with the library. It just does what you want it to. It's required tons of extra recording and post production time to get that kind of consistancy, but I think it's what's going to make it stand out against all other string libraries on the market.



Can't wait !!!!!


----------



## sathyva

Audio Ollie said:


> Section sizes are 8,6,5,4. It can sound pretty cinematic.
> 
> Articulations:
> 
> - Col Legno
> - Con Sordino
> - Harmonics
> - Legato
> - Marcato
> - Pizzicato
> - Dirty Pizz
> - Spiccato
> - Tremelo
> - Trills
> 
> All shorts are playable rep patches.



Can't wait no more !!!


----------



## jaketanner

@Audio Ollie , will there be any "performance" type patches? Where it's based off velocity for switching between legato and shorts? And will there be other legato types other than bow change?


----------



## jaketanner

@Audio Ollie ....Sorry for asking, but what are the chances of divisi? I know the sections are small, but would be great to be able to divide the violins or the basses...4 can be a bit heavy against 8 violins at times. Would have been nice to have a solo bass added. I know..it's a lot to ask, but maybe for an update....wishful thinking


----------



## chapbot

Please DO NOT add divisi as that will delay the release by another year


----------



## jaketanner

chapbot said:


> Please DO NOT add divisi as that will delay the release by another year


----------



## jaketanner

Shit. Didn’t think about that. Lol. Ok no divisi


----------



## chapbot

Jasper just posted the first Nashville demo on their SoundCloud page. I'd link it but don't know how to get the link from my phone LOL


----------



## Daniel

chapbot said:


> Jasper just posted the first Nashville demo on their SoundCloud page. I'd link it but don't know how to get the link from my phone LOL



That playlist is private, not shareable :-D


----------



## jaketanner

Daniel said:


> That playlist is private, not shareable :-D


can't find it


----------



## jonathanparham

I heard them on FB. Let me try

Quick Sketch three mic positions


----------



## jaketanner

jonathanparham said:


> I heard them on FB. Let me try
> 
> Quick Sketch three mic positions


Sounds nice a warm. Love that dark tone.


----------



## axb312

jonathanparham said:


> I heard them on FB. Let me try
> 
> Quick Sketch three mic positions


Tremolos sounded really nice to me...


----------



## jaketanner

Big question is how long are we needing to wait???


----------



## Saxer

jaketanner said:


> Big question is how long are we needing to wait???


About one month ago they said about a few month. So from now on probably about a few month.


----------



## Supremo

Legato sounds like "wah-wah-wah" to me...


----------



## eli0s

The tone is nice. I guess the legato is only detache..?


----------



## Heartii

still prefer VSL legato for the upcoming price and wait the sales. I think that if you already have chamber strings like spitfire, it not worth to get them because you will achieve the same result. I will save my money. Sounds good to me by the way.


----------



## Eptesicus

Hm, not quite as impressed i was hoping to be. Early days though.

Don;t get me wrong it sounds nice, but i was expecting this to wow me based on other performance samples stuff.


----------



## Land of Missing Parts

I like the composition.


----------



## Geocranium

I think it sounds incredible. I hope there's also slurs recorded with bow-change transitions.


----------



## Sid Francis

Supremo said:


> Legato sounds like "wah-wah-wah" to me...


Funny because I exactly tried to listen if these strings have a sucking effect and for me everything was quite okay. And they have a very special tone that I find very appealing. I think I could identify them immediately amongst a dozen others...


----------



## NeonMediaKJT

I wonder how much of the dynamic layers is being shown in the demos


----------



## Batrawi

they sound more con moto-ish than chamber-y....really sad cause I was hoping for that intimate gentle sounding strings with some sweet soft vibrato in a woody enviroment rather than the usual energetic stuff already done by performance samples


----------



## chapbot

Batrawi said:


> they sound more con moto-ish than chamber-y....really sad cause I was hoping for that intimate gentle sounding strings with some sweet soft vibrato in a woody enviroment rather than the usual energetic stuff already done by performance samples


Yep, my first thought was "sounds like con moto." Hopefully other demos will give a broader picture.


----------



## IdealSequenceG

The tone is really nice. But only one type of legato?


----------



## Sid Francis

Batrawi said:


> they sound more con moto-ish than chamber-y....really sad cause I was hoping for that intimate gentle sounding strings with some sweet soft vibrato in a woody enviroment rather than the usual energetic stuff already done by performance samples


Yes, that was my impression too. "Where is the difference?" came immediately to mind


----------



## jaketanner

Sid Francis said:


> Yes, that was my impression too. "Where is the difference?" came immediately to mind


After comparing the Con Moto demo to this one, you may be right...not much of a difference at all. However, even if it sounds similar...I've been wanting the missing articulations for Con Moto anyway...maybe this is it? LOL Hope we are wrong, because a different library would be nice.


----------



## Saxer

Sid Francis said:


> Yes, that was my impression too. "Where is the difference?" came immediately to mind


Probably that the Nashville is a complete string library (including shorts and pizz and stuff). But I think it's Jasper's kind of demoing that let these strings sound so familiar.


----------



## Eptesicus

Batrawi said:


> they sound more con moto-ish than chamber-y....really sad cause I was hoping for that intimate gentle sounding strings with some sweet soft vibrato in a woody enviroment rather than the usual energetic stuff already done by performance samples



Yeh.

It sounds very much like con moto, but somehow with worse legato.


----------



## constaneum

so only 3 mic positions? not like LAMP with more mic options? I'm actually hoping there's spot mic.


----------



## Vik

The NCS section sizes are quite similar for Con Moto (8 violins, 6 violas, 6 cellos and 6 basses) and NCS (8 violins, 6 violas, 5 cellos and 5 basses), but after having heard NCS in demos only and CM in real life, my impression is that they sound similar enough to be used together, but different enough to offer something the other product doesn't . But I agree that the initial NCS impression sounded rather detache to me (compared with Con Moto). I'm also a little confused by the NCS descriptions I've heard so far, they're apparently recorded in a relative dry space but also more ambient than Con Moto (which can sound quite wide using the Decca Tree and Wide mic options).


----------



## constaneum

Vik said:


> The NCS section sizes are quite similar for Con Moto (8 violins, 6 violas, 6 cellos and 6 basses) and NCS (8 violins, 6 violas, 5 cellos and 5 basses), but after having heard NCS in demos only and CM in real life, my impression is that they sound similar enough to be used together, but different enough to offer something the other product doesn't . But I agree that the initial NCS impression sounded rather detache to me (compared with Con Moto). I'm also a little confused by the NCS descriptions I've heard so far, they're apparently recorded in a relative dry space but also more ambient than Con Moto (which can sound quite wide using the Decca Tree and Wide mic options).



but the close mic doesn't sound too much different from the tree with a slight more detail. hmmm


----------



## Vik

Fair enough, but the Con Moto Tree, especially if used along with the Wide option, certainly sounds more ambient than the Close mic (of course), and Nashville will apparently sound more ambient than Con Moto. In other words: time will tell.


----------



## jaketanner

I think for those of us that have Con Moto and other PS libraries, this one has to be a game changer to buy into it. No more one trick pony for triple the cost. I don't mind paying, and have bought into the PS sound (because it's awesome), but I am frustrated that I can only do legato with it...and the fact it's an Audio Ollie release, is actually worse since we probably won't get any loyalty discounts for this library...or any discount aside from the "intro" price. SO unless it's a must have, I may just pass on it. I have also gotten used to having divisi, and if you are going to go all out on a library, divisi is a must (even at this low a player count)...at least a 2nd Vin. 

Gonna wait for more demos and official release to make a full decision, but so far, nothing impressive as said before. Sound is excellent, but what makes THIS stand out?


----------



## Geocranium

I don't know why I'm just now noticing the section sizing. Isn't 5 basses a bit much for a chamber ensemble?


----------



## constaneum

So far for chamber strings, I think spitfire chamber strings sound better.


----------



## jaketanner

@Audio Ollie ...while I know that you guys are not exactly Performance Samples, but what are the chances that your Chamber Strings will sound close to Con Moto? I can't get enough of that sound, and it drives me absolutely insane that it's only legato...but the sound is unmatched and I have about 5 -6 other strings libraries that are considered high-end and none come close to what I can achieve with Con Moto...Jasper knows his stuff...so is there any similarity in the sound and playability? Take into account the size differences and room differences...is the sampling approach the same being that Jasper is involved? I'm dying here... LOL


----------



## NickDorito

Get hyped for June


----------



## jaketanner

NickDorito said:


> Get hyped for June


If you’re messing with me I’ll take it personally. Lmao. You got some insider news? Been waiting for this.


----------



## Rob Elliott

Hopeful.


----------



## chapbot

I think it's about time for a new audio demo


----------



## Gene Pool

Geocranium said:


> Isn't 5 basses a bit much for a chamber ensemble?



Yes. Two is all you need.


----------



## Vik

Gene Pool said:


> Two is all you need.


One would be better IMO - or three, or four/five. Two is very difficult, pitch wise, with strings.


----------



## jaketanner

chapbot said:


> I think it's about time for a new audio demo


Screw the demo release the product already. Lol


----------



## Geocranium

Gene Pool said:


> Yes. Two is all you need.


 
Yeah I certainly find it odd that a chamber ensemble has the same amount of players in the bass section as Cinematic Studio Strings


----------



## Gene Pool

I hope this library is a big success and I know it will be very useful to a lot of composers. I'm sure it will sound great. That aside (and yes, I realize that no one is being forced to buy this), the lack of second violins is a curious choice and will be a deal breaker for some.

So, the library used 8, 6, 5, 4, that's 23 players, and those are not ideal chamber ensemble proportions for a true chamber sound. For that you'd have 6, 6, 4, 4, 2, which is 22 players, including second violins. So, one less musician to hire for a complete chamber string orchestra with ideal numbers. Obviously you'd still have presumably about 25% more studio time and editing work (and whatever else). Admittedly, I have no idea whether the market would bear a roughly 25% higher price.

Second violins are not used just for the purpose of having another violin part. In real world scoring they are often used for their position—e.g., background harmony and resonance, interplay with the first violins, accompanying woodwind solos, a less upfront effect, etc. MIDI tricks, re-pitching and re-panning degrade the quality of tone, especially when it comes to bow sound, and I don't know if their implementation of pitch change for the second violins will affect the timing elements of the samples, but I would think not. But overall, such workarounds don't really address real world usage of Violins II.

I didn't see mention of whether these were recorded in situ, but if they were, perhaps a supplement of the missing section will be offered. Who knows?


----------



## jaketanner

constaneum said:


> So far for chamber strings, I think spitfire chamber strings sound better.


Spitfire is badly out of tune and it’s been sitting in my drive


----------



## jonathanparham

Gene Pool said:


> They should be going for these proportions:



I've watched this three times


----------



## jaketanner

Geocranium said:


> Yeah I certainly find it odd that a chamber ensemble has the same amount of players in the bass section as Cinematic Studio Strings


It works for the Con Moto sound...I love the bass heavy sections, add a beautiful warmth. No need to go traditional in this day and age, especially if it's geared toward cinematic orchestrating.


----------



## jaketanner

Gene Pool said:


> I hope this library is a big success and I know it will be very useful to a lot of composers. I'm sure it will sound great. That aside (and yes, I realize that no one is being forced to buy this), the lack of second violins is a curious choice.
> 
> If the library used 8, 6, 5, 4, that's 23 players, and those are not ideal chamber ensemble proportions for a true chamber sound. For that you'd have 6, 6, 4, 4, 2, which is 22 players, including second violins. So, one less musician to hire for a complete chamber string orchestra with ideal numbers. Obviously you'd still have presumably about 25% more studio time and editing work (and whatever else). Admittedly, I have no idea whether the market would bear a roughly 25% higher price.
> 
> Second violins are not used just for the purpose of having another violin part. In real world scoring they are often used for their position—e.g., background harmony and resonance, interplay with the first violins, accompanying woodwind solos, etc. MIDI tricks, re-pitching and re-panning degrade the quality of tone, especially when it comes to bow sound, and I don't know if their implementation of pitch change for the second violins will affect the timing elements of the samples, but I would think not. But overall, such workarounds don't really address real world usage of Violins II.
> 
> I didn't see mention of whether these were recorded in situ, but if they were, perhaps a supplement of the missing section will be offered. Who knows?


I can't wait for this...only thing that scares me is the price.. LOL I have created a sound for myself using the Con Moto library, but there are second violins and also a free ensemble violin that can be layered...so the sound is great. If NCS is anywhere close in sound to Con Moto, I am not worried about the second violins...at least not for legato. CSS is actually a pretty close contender sound wise, and in the midst of things, can easily double up in there.


----------



## muk

Gene Pool said:


> I didn't see mention of whether these were recorded in situ, but if they were, perhaps a supplement of the missing section will be offered. Who knows?



The fact that there are no second violins strongly suggests that they were not recorded in situ. It would be much harder to fake second violins if the first ones were recorded to the left.
My experience with Century Strings has taught me that I much prefer strings being recorded in situ. This, together with the lack of second violins (and section sizes that are not really to my taste) will make this a pass for me.


----------



## Vik

jaketanner said:


> Spitfire is badly out of tune and it’s been sitting in my drive


 Well, one reason string ensembles sound like string ensembles is that they aren't playing exactly the same pitch.  I tried to mix an album once where the violins had dubber himself several times in order to try to make it sound like a V1-ensemble - but it didn't … it sounded awful because his pitch was way too perfect in all the takes, so I had to use a less talented violin player to add 'human touch' to that virtual V1-section to solve problem. Personally, I'm generally happy with SCS, some of it is excellent, but with only 3 players in all sections except the V1 section, it's much easier to _hear _the outoftune-ness than in most other libraries. IMO SCS would be more useful as a standalone library if it was 5-4-4-4-4 (or even 5-5-5-4-4). But of course, then it wouldn't be SCS!


----------



## Saxer

Con Moto sounds to me like bow change legato all over. I find it hard to make chord changes without the bow change gap. Maybe I'm wrong about the bow changes but the gap is there. Great for melodic but harder for pad-like motion. The latter works better with regular longs (without legato transitions) but I think for a specialized legato library this shouldn't be. I'm looking forward to NCS but I'm afraid the legatos could be less flexible too.


----------



## CT

This is maybe the wrong thread for this general gripe, but the fact that bow change transitions seem to be the default "legato" choice for strings bugs me. It's easier to fake that than fingered transitions. Wouldn't it be better to have fingered legato if there can only be one?


----------



## jaketanner

Vik said:


> Well, one reason string ensembles sound like string ensembles is that they aren't playing exactly the same pitch.  I tried to mix an album once where the violins had dubber himself several times in order to try to make it sound like a V1-ensemble - but it didn't … it sounded awful because his pitch was way too perfect in all the takes, so I had to use a less talented violin player to add 'human touch' to that virtual V1-section to solve problem. Personally, I'm generally happy with SCS, some of it is excellent, but with only 3 players in all sections except the V1 section, it's much easier to _hear _the outoftune-ness than in most other libraries. IMO SCS would be more useful as a standalone library if it was 5-4-4-4-4 (or even 5-5-5-4-4). But of course, then it wouldn't be SCS!


I’m considering trying scs on a piece I wrote for pipe organ. Originally thought a quarter would be nice also, but I’m curious how a chamber size would sound. So will be putting it through it’s paces.

as for layering a single player...impossible to get an ensemble sound. It’s the same timing, and same instrument.had the player at least brought several violins to try and layer, that would have sounded a lot nicer. But you might be right about exposed tuning, but since we are dealing with libraries, it’s just the same over and over again. A live player might hit a tuning issue here and there then adjust...but samples are the same over and over. But gonna try various patches and see if that doesn’t fix some issues.


----------



## jaketanner

muk said:


> The fact that there are no second violins strongly suggests that they were not recorded in situ. It would be much harder to fake second violins if the first ones were recorded to the left.
> My experience with Century Strings has taught me that I much prefer strings being recorded in situ. This, together with the lack of second violins (and section sizes that are not really to my taste) will make this a pass for me.


I used to hate center recorded strings also...however, if you want to be flexible and more modern with scoring, insitu means a lot of different things in today’s world. Basses yo the middle is quite common. Being able to to pan things without phase issues is a plus.


----------



## jaketanner

miket said:


> This is maybe the wrong thread for this general gripe, but the fact that bow change transitions seem to be the default "legato" choice for strings bugs me. It's easier to fake that than fingered transitions. Wouldn't it be better to have fingered legato if there can only be one?


I’m guessing that now change legato sounds more realistic. I know Cinesamples feels that way because their library is also bow change.


----------



## Geocranium

jaketanner said:


> It works for the Con Moto sound...I love the bass heavy sections, add a beautiful warmth. No need to go traditional in this day and age, especially if it's geared toward cinematic orchestrating.



Don't get me wrong, I love the sound of Con Moto, I was just hoping that the title of Nashville Chamber Strings meant that we should be expecting the sound of a traditional chamber ensemble. I wouldn't say Con Moto is good for a chamber string sound, but the section sizes are almost identical to those of NCS. This to me looks like it'll be more akin to a full Con Moto strings library, which in itself is awesome, but it's far from a traditional chamber ensemble.


----------



## jaketanner

Geocranium said:


> Don't get me wrong, I love the sound of Con Moto, I was just hoping that the title of Nashville Chamber Strings meant that we should be expecting the sound of a traditional chamber ensemble. I wouldn't say Con Moto is good for a chamber string sound, but the section sizes are almost identical to those of NCS. This to me looks like it'll be more akin to a full Con Moto strings library, which in itself is awesome, but it's far from a traditional chamber ensemble.


Yes..definitely not traditional chamber size. I think what makes this "chamber" is more detailed recording despite the size...but I've been yearning for a proper Con Moto library...this might b it...sound is close.


----------



## sathyva

Can't wait !!!!!


----------



## NeonMediaKJT

So is the price likely to be more close to the full collection of Con Moto or LA Modern Perc?


----------



## jaketanner

NeonMediaKJT said:


> So is the price likely to be more close to the full collection of Con Moto or LA Modern Perc?


I wish we had some sort of a heads up..I mean they must know by now what is fair to them...just need to know how much to save, and also I am wondering if Audio Ollie is going to honor any loyalty discounts if someone has the full Con Moto library...would suck if not.


----------



## A minor

jonathanparham said:


> I've watched this three times


I've watched it 5 times now and just found the whole piece to listen to. Thank you for sharing it.


----------



## chapbot

It's time for my monthly "do you have any new audio demos / when will it be released" post ❤


----------



## jaketanner

chapbot said:


> It's time for my monthly "do you have any new audio demos / when will it be released" post ❤


I can only hold off buy something else for so long.. LOL.


----------



## jaketanner

Saxer said:


> Great for melodic but harder for pad-like motion


I have been adding a little bit of CSS under or replacing one instrument to fill in those gaps. They sound very similar if you play with the mics...well worth the blend.


----------



## jaketanner

Is anyone saving for the NCS library and putting off buying others? I have been waiting it out, but if it's not released some time soon, I am just gonna get better woodwinds. Been holding off for this library, but no one is saying anything as to a potential release. Don't want to be holding off for months.


----------



## AndyP

jaketanner said:


> Is anyone saving for the NCS library and putting off buying others? I have been waiting it out, but if it's not released some time soon, I am just gonna get better woodwinds. Been holding off for this library, but no one is saying anything as to a potential release. Don't want to be holding off for months.


NCS and EW Opus are the libraries I am curious about this year.
Actually ... so actually ... I don't need another string or orchestra library.  

LSCS, SA Studio Strings Pro, VSL Synchron-ized Chamber Strings, the strings in Ark 4 are also very good, and in fact I like to use the Divisi in the Hollywood Strings which can have a certain chamber character (in general I use the divisi of the Hollywood Strings most at the moment).

And I don't even want to think about all the other string libraries I have ... 

The Con Moto strings are one of my favorites for rich legato strings, for me they don't have a chamber strings character.

It will depend on the price. If NCS is going to be over $400, they must be very convincingly different from what I already have. 
After all, these articulations offer what I miss in the Con Moto strings, especially tremolos. A fade from legato to tremolo would be a dream. How do the shorts sound? Still so many open questions ...

I'm in no hurry so I can wait.


----------



## chapbot

jaketanner said:


> Is anyone saving for the NCS library and putting off buying others? I have been waiting it out, but if it's not released some time soon, I am just gonna get better woodwinds. Been holding off for this library, but no one is saying anything as to a potential release. Don't want to be holding off for months.


A watched pot never boils and nothing could be more true in the sample library world LOL! Last October they were thinking maybe by the end of the year, at the beginning of the year they were thinking 2-3 months. The last and only audio demo was 8 weeks ago. Who knows, maybe they hit a snag and had to re-record something? These are not big companies, many are only one person or a few people. I have kind of stalled my own projects hoping this would come out but after hearing the demo I have a feeling my own secret sauce of layered libraries will work just as good in the end. And having said all this it could very well come out on Friday. Or late November.


----------



## jaketanner

AndyP said:


> It will depend on the price. If NCS is going to be over $400, they must be very convincingly different from what I already have.


definitely over $400...unless there is a loyalty discount if you own all of the Con Moto and then some. So I hope.


----------



## jaketanner

Wish we'd get some replies from @Audio Ollie on this release...any updates, more demos? Pricing would be a huge help. Thanks.


----------



## NickDorito

It's never coming out


----------



## jaketanner

NickDorito said:


> It's never coming out


Well then I got a bunch of money to spend.


----------



## Polkasound

jaketanner said:


> Well then I got a bunch of money to spend.



Well then, perhaps I can interest you in a brand new chromatic accordion library...


----------



## jaketanner

@Audio Ollie ...seriously, can we get some sort proof of life for the NCS library? Thanks.


----------



## Lionel Schmitt

Yea c'mon already! It's strange to have an amazing library for months without being able to use it cuz it's not released


----------



## AndyP

I like to wait a little longer if the result is right.
The first teasers were promising.
I have patience and when the time comes I let myself be surprised.
Until then I have enough "toys" to pass the time.


----------



## Saxer

Probably the release is synced to Cinematic Studio Woodwinds.


----------



## jaketanner

I want them to take their time. I know it’s gonna b great, just give some form of acknowledgment that they’re being worked on at least. We got teaser demos months ago then silence.


----------



## Lionel Schmitt

Saxer said:


> Probably the release is synced to Cinematic Studio Woodwinds.


Or Winds of Winter.


----------



## Kartus

Is this new demo from 28th of June also from NCS?


----------



## jaketanner

Kartus said:


> Is this new demo from 28th of June also from NCS?



Sounds new. But their lack of communication and presence here isn’t good. Most developers interact more. I know if Jasper made the strings, they’re gonna be great. Just curious what Audio Ollies role in it was. I love Performance Samples so hoping it’s on par with con Moto.


----------



## Lionel Schmitt

Kartus said:


> Is this new demo from 28th of June also from NCS?



That's something different


----------



## pawelmorytko

jaketanner said:


> Sounds new. But their lack of communication and presence here isn’t good. Most developers interact more. I know if Jasper made the strings, they’re gonna be great. Just curious what Audio Ollies role in it was. I love Performance Samples so hoping it’s on par with con Moto.


Im sure they said somewhere their role was the recording side of things, making sure they had the best quality samples they could, and pass those on to jasper to work his magic


----------



## jaketanner

pawelmorytko said:


> Im sure they said somewhere their role was the recording side of things, making sure they had the best quality samples they could, and pass those on to jasper to work his magic


that makes sense then...glad to hear that. My worry now then is that Jasper is tied up with his own library releases and not sure if he's putting the time into this release as well...haven't heard any news at all from anyone. That's not a good sign.


----------



## chapbot

jaketanner said:


> that makes sense then...glad to hear that. My worry now then is that Jasper is tied up with his own library releases and not sure if he's putting the time into this release as well...haven't heard any news at all from anyone. That's not a good sign.


My impression was just the opposite - I thought they both worked on the library and then it would be an Audio Ollie release. It seems like I remember seeing Jasper directing someone in the comments to be watching Ollie's page.


----------



## jaketanner

chapbot said:


> My impression was just the opposite - I thought they both worked on the library and then it would be an Audio Ollie release. It seems like I remember seeing Jasper directing someone in the comments to be watching Ollie's page.


Right...I meant that if Jasper is the coder and putting the samples together, it's on him, not A.O. But with Jasper's own libraries for P.S., I am wondering if NCS is on the back burner...not sure what the deal is between them. Because last I got word from Audio ollie was that it was close and possibly the end of June...but silence.


----------



## olvra

Kartus said:


> Is this new demo from 28th of June also from NCS?




too much bow change, no one plays like that


----------



## jaketanner

olvra said:


> too much bow change, no one plays like that


I actually think this is not NCS but Jaspers new violin ensemble. I believe there are coming soon libraries on their site.


----------



## prodigalson

chapbot said:


> My impression was just the opposite - I thought they both worked on the library and then it would be an Audio Ollie release. It seems like I remember seeing Jasper directing someone in the comments to be watching Ollie's page.



I, for one, am certainly hoping its an Audio Ollie release and not a Performance Samples product. The gentleman at Audio Ollie is far more gracious and respectful of users and customers. In my experience, Jasper Blunk has a lack of concern/respect for his customers to a degree that borders on disdain. 

If this is released by the Audio Ollie company you might actually get some customer support and an answer to an email.


----------



## gpax

prodigalson said:


> I, for one, am certainly hoping its an Audio Ollie release and not a Performance Samples product. The gentleman at Audio Ollie is far more gracious and respectful of users and customers. In my experience, Jasper Blunk has a lack of concern/respect for his customers to a degree that borders on disdain.
> 
> If this is released by the Audio Ollie company you might actually get some customer support and an answer to an email.


Even as the development is very good, I had a bit of a mini-crisis recently with respect to reconciling two distinctly different Performance Samples business models of the same name. I even backed off a purchase at Audio Ollie as I was conflicted about this.

I have purchased unsupported PS products directly, and gotten what I wanted, but realized recently I actually do not care to forgo support. or be ignored. I use one library constantly, the other leaving me feeling like I made a generous donation to ongoing development. But it is what it is, which is “as is.” (Rap that).

So I would much rather wait to see what happens under the auspices of Audio Ollie with Nashville Strings (if it is done through him), and invest in that collaborative effort with PS instead. Oliver was very congenial in my recent email inquiry about a product.


----------



## Pedro Camacho

prodigalson said:


> In my experience, Jasper Blunk has a lack of concern/respect for his customers to a degree that borders on disdain.


Oh boy... I can't possibly tell you how you are wrong about this.
I am not endorsed by either Jasper/PS or Oliver/AO so here goes:

Jasper Blunk is an actual blessing to the sampling world. I think most developers, at some point, got his libraries to learn how he did such deep and perfect legato simulations in a sample library.

We have great developers to take out GREAT performances from the people they sample (Tari comes to my mind, I love his work!), great developers in the scripting side of things (LASS was amazing when it came out, followed by OT, etc), great developers making great legato scripts (CSS, Musical Sampling).

Jasper is probably one of the very few that gets ALL 3 in each of his releases.
This comes out from his own sweat, hard work and personal hand made tweaks in EACH and every sample. He doesn't outsource anything, all comes from him. I know he works harder than most and he is a perfectionist and, probably, that is the reason why he has less time to answer emails.

He was also gracious enough to have recorded, edited, directed and scripted all my private sample libraries (which were his training ground into his PS company now).

What I notice is that his libraries are usually so realistic, my clients usually simply assume it is a real recording and don't even praise me for a "great mockup".

This reminds me a video I saw about the BEST visual effects in Hollywood and there are movies NO one even praised the VFX/3D etc simply because it looks 100% real and no one even questions it is not real.

Jasper's work allows me to create absolutely hyper realistic stuff.


----------



## Lionel Schmitt

It's an Audio Ollie release.



prodigalson said:


> I, for one, am certainly hoping its an Audio Ollie release and not a Performance Samples product. The gentleman at Audio Ollie is far more gracious and respectful of users and customers. In my experience, Jasper Blunk has a lack of concern/respect for his customers to a degree that borders on disdain.
> 
> If this is released by the Audio Ollie company you might actually get some customer support and an answer to an email.



How disrespectful can you really be towards your customers if you mention just about every limitation and issue of your libraries on your page? I mean, just look at the PerfPerc page! A lot of the stuff he mentions I'm not even bothered by.

He is hurting his revenue so people are not disappointing by his products/their limitations. Which other developer does that?? Yea - NONE. Or maybe 1 out of 300?

Unanswered mails happen with other developers too but they don't mention limitations of their products.
That fact alone makes him more respectful and transparent than most others.


----------



## artinro

I'll also step in here to say that from my perspective, Jasper is an absolute gentleman to deal with.
Incredibly giving of his time and expertise and sharing of his talents in private conversation, I've found....honestly beyond what almost any developer I've ever spoken with would be willing. As Pedro says above, he's also one of the most gifted and innovative sample developers and my work has benefited immeasurably from the fruits of his labor. Yes, his products have certain limitations and the commercial releases are designed to address specific goals, but he's VERY upfront about that on his site and also about the way he handles support. 

All of this is to say that I'd really recommend just continuing to email or message if you haven't been able to get through. I've found him to be a complete gentleman.


----------



## Igorianych

And yet, have any thoughts how soon we will see this wonderful library?


----------



## Audio Ollie

Hey Guys,

The library is very close to completion. We're just finalizing a few things and preparing all the presentation material!

Just to clarify, this is an Audio Ollie release. All info relating to Nashville Strings can be found on our website, social media pages or here when we make commercial announcements. We do offer customer support, so please feel free to get in touch here or at [email protected] and I'll get back to you as soon as I can. If you want to ask me a question here directly, make sure to tag my name so I get notified.

As always, thanks for your enthusiasm and patience!

Ollie


----------



## jaketanner

Audio Ollie said:


> Hey Guys,
> 
> The library is very close to completion. We're just finalizing a few things and preparing all the presentation material!
> 
> Just to clarify, this is an Audio Ollie release. All info relating to Nashville Strings can be found on our website, social media pages or here when we make commercial announcements. We do offer customer support, so please feel free to get in touch here or at [email protected] and I'll get back to you as soon as I can. If you want to ask me a question here directly, make sure to tag my name so I get notified.
> 
> As always, thanks for your enthusiasm and patience!
> 
> Ollie


@Audio Ollie Hi..let me be the first to ask then...since it's an A.O. release, BUT...Jasper did have a hand in it, is there any loyalty cross grade if you own a lot of PS libraries?


----------



## jaketanner

Pedro Camacho said:


> What I notice is that his libraries are usually so realistic, my clients usually simply assume it is a real recording and don't even praise me for a "great mockup".


I absolutely agree. It's the only strings that I use, and layered in with CSS just for a bit more smoothness, it's an absolute joy...the sound is incredibly realistic. I have two killer compositions that I am mixing now as part of my demo reel, and they sound awesome. 

The only thing I can say about Jasper, and not even in a bad way, is that he may come across as a bit arrogant, because he knows his libraries are that good...and I do believe that he makes the libraries for himself as well...that if people WANT to buy them, that's good too...but he seems like he's doing them as a labor of love.

I am waiting on NCS, and I am sure it's going to be one killer library.

I think that at some point he would train an apprentice to get the libraries out faster. I also can't wait for the woodwinds to come out. The flute demo on the PS site is fantastic!


----------



## Audio Ollie

jaketanner said:


> @Audio Ollie Hi..let me be the first to ask then...since it's an A.O. release, BUT...Jasper did have a hand in it, is there any loyalty cross grade if you own a lot of PS libraries?



Hi Jake,

No, there isn't.


----------



## jaketanner

Audio Ollie said:


> Hi Jake,
> 
> No, there isn't.


Can you give us an idea of an intro price then?


----------



## Audio Ollie

jaketanner said:


> Can you give us an idea of an intro price then?



It'll be priced very competitively.


----------



## pawelmorytko

jaketanner said:


> Can you give us an idea of an intro price then?


My guess is $599 with $449 intro price, will be gutted if it's any higher. Will be a nice surprise if it's any lower though since they skipped on violins 1/2 and articulations are essentials only


----------



## jaketanner

pawelmorytko said:


> My guess is $599 with $449 intro price, will be gutted if it's any higher. Will be a nice surprise if it's any lower though since they skipped on violins 1/2 and articulations are essentials only


Jasper said it was a bread and butter library, but I agree. Unless it’s some kind of magical, anything above $449 is high even $449 is high as an intro considering what Audio Imperia just released.


----------



## pawelmorytko

jaketanner said:


> Jasper said it was a bread and butter library, but I agree. Unless it’s some kind of magical, anything above $449 is high even $449 is high as an intro considering what Audio Imperia just released.


Yeah it is, $599 is steep and rivals SCS, but SCS is justified by the hall and loads of extra articulations. But to be honest I was just going off Audio Ollies previous pricing on their libraries, which are quite pricey


----------



## jaketanner

Audio Ollie said:


> It'll be priced very competitively.





pawelmorytko said:


> Yeah it is, $599 is steep and rivals SCS, but SCS is justified by the hall and loads of extra articulations. But to be honest I was just going off Audio Ollies previous pricing on their libraries, which are quite pricey


well LAMP was engineered by Alan Meyerson. Understandable there’s going to be a price for that expertise. .


----------



## mcalis

olvra said:


> too much bow change, no one plays like that


You should look at the text in the Performance Samples logo, the bit where it says "not for purists" 

All joking aside, let's be real here: the amount of people who will notice this (which is a far larger group than those that care) is absolutely minimal. The vast majority of people could be fooled into thinking they were hearing a real orchestra decades ago. What counts far more is how the music makes you feel, and that excerpt sends chills up my spine. 

Don't get me wrong here, you're free to care about these things, I just don't think it's a very important detail is what I'm trying to say.


----------



## jaketanner

mcalis said:


> You should look at the text in the Performance Samples logo, the bit where it says "not for purists"
> 
> All joking aside, let's be real here: the amount of people who will notice this (which is a far larger group than those that care) is absolutely minimal. The vast majority of people could be fooled into thinking they were hearing a real orchestra decades ago. What counts far more is how the music makes you feel, and that excerpt sends chills up my spine.
> 
> Don't get me wrong here, you're free to care about these things, I just don't think it's a very important detail is what I'm trying to say.


well if this thing doesn't come out soon, I'm moving on...waited at least a year for this library and they said soon weeks ago. I wish they would also give some indication of a price, since there is no loyalty discount for owners of a lot of Performance Samples libraries...which kinds sucks since they're partnered with them. I'll give them no more than two weeks.. LOL Then Dimension Strings it is.


----------



## Go To 11

Audio Ollie said:


> It'll be priced very competitively.


Any update on the libe for us? Cheers!


----------



## jaketanner

Go To 11 said:


> Any update on the libe for us? Cheers!


I remember that, since he replied to me . LOL But still doesn't tell us much. Who are they considering the competition? If it is VSl, then it's gonna be expensive, if they feel it's CSS, then we are talking


----------



## jaketanner

Here we go again... LOL. Is there any update at all on this library? @Audio Ollie? much appreciated, thanks.


----------



## AndyP

NickDorito said:


> It's never coming out


Ma be they will be released together with CSW?


----------



## chapbot

jaketanner said:


> Here we go again... LOL. Is there any update at all on this library? @Audio Ollie? much appreciated, thanks.


This is hilarious, I literally was just going to post something like this. Well, Ollie knows he'll have at least two potential buyers LOL. Maybe he could give us a little soundclip?


----------



## jaketanner

chapbot said:


> This is hilarious, I literally was just going to post something like this. Well, Ollie knows he'll have at least two potential buyers LOL. Maybe he could give us a little soundclip?


It has to be ready soon...not sure how much I can keep holding off these other sales, but I've been good waiting.. LOL.


----------



## jaketanner

I think I've had enough of silence from Audio Ollie. At the very least I think developers need to be in communication with their customer base and not just sign off and not respond at all in weeks. I'm out no matter how good it is...Moving on. It's most likely never coming out anyway.


----------



## Audio Ollie

jaketanner said:


> I think I've had enough of silence from Audio Ollie. At the very least I think developers need to be in communication with their customer base and not just sign off and not respond at all in weeks. I'm out no matter how good it is...Moving on. It's most likely never coming out anyway.



Hi Jake,

I put in an effort to communicate with folks here on VI, sometimes to discuss the production of yet to be released products but mostly to interact with customers who are working with libraries that have already been purchased. While I appreciate your continued enthusiasm, I find your repeated demands and entitled attitude to be completely unreasonable. Do you think other developers are going to give you regular updates on the production of their next big releases, let alone pricing?

I'm usually opposed to the idea of sharing big projects with the public before they're ready to ship, but decided to be more open with Nashville Strings. This was partly to cater to Jasper's more transparent approach (he tends to share a lot of WIP alpha patches with PS) but also to have a dialogue with other composers which would (in theory) ultimately lead to a better product. The problem with this approach is that it can create impatience and eventually even resentment from the potential customer base. You've demonstrated this quite clearly above. 

Just to put some things into perspective - We are not a large company. Audio Ollie is a one man company who works with a handful of very talented, creative, passionate people, but we are by no means a big operation. Most of the people who work with me have other time commitments, hell, Jasper has his own company to run! Our production time is not going to match that of other very large sample devs BUT, with this small team comes a very high level of focus and attention to detail that I feel really makes the difference. The extra time we're putting in now is to ultimately present you with a better instrument. Sometimes unexpected things come up as we're working and writing with the instruments that add a substantial amount of time to the production process. Often times with think of new things to add or get a bunch of feedback from the beta team which we want to include or address.

All that being said, if I don't respond to your questions, it's usually because I don't have an answer for you that hasn't already been given. You can be rest assured that'll you'll be informed when we're ready to give you an update on the release but until then, I ask you to please remain patient.

All the best,

Ollie


----------



## chapbot

jaketanner said:


> I think I've had enough of silence from Audio Ollie. At the very least I think developers need to be in communication with their customer base and not just sign off and not respond at all in weeks. I'm out no matter how good it is...Moving on. It's most likely never coming out anyway.


This is all very curious. Way back at the beginning of this thread, Jasper (now deactivated) posted "It's a full-on workhorse studio string library that required a massive recording budget and an enormous amount of work & experience. Considering the patch consistency, finesse and reasonably comprehensive nature I think you'll be pleased."

As I read through the posts, all audio demos have vanished. The one demo I heard, as I said, didn't sound much different from Con Moto. Jasper's new Vista demos sound much more like I expected Nashville to sound - clear, crisp and realistic.

I would have guessed Nashville fell through by now except for the fact that: it evidently cost a lot of time and money to produce, and Ollie mentioned a little over a month ago he was putting final touches on it.

I'm still interested, but have decided to take advantage of all the Audio Imperia sales for now.

EDIT: Ollie replied as I was writing this. Glad to see the project is still alive!


----------



## jaketanner

Audio Ollie said:


> Hi Jake,
> 
> I put in an effort to communicate with folks here on VI, sometimes to discuss the production of yet to be released products but mostly to interact with customers who are working with libraries that have already been purchased. While I appreciate your continued enthusiasm, I find your repeated demands and entitled attitude to be completely unreasonable. Do you think other developers are going to give you regular updates on the production of their next big releases, let alone pricing?
> 
> I'm usually opposed to the idea of sharing big projects with the public before they're ready to ship, but decided to be more open with Nashville Strings. This was partly to cater to Jasper's more transparent approach (he tends to share a lot of WIP alpha patches with PS) but also to have a dialogue with other composers which would (in theory) ultimately lead to a better product. The problem with this approach is that it can create impatience and eventually even resentment from the potential customer base. You've demonstrated this quite clearly above.
> 
> Just to put some things into perspective - We are not a large company. Audio Ollie is a one man company who works with a handful of very talented, creative, passionate people, but we are by no means a big operation. Most of the people who work with me have other time commitments, hell, Jasper has his own company to run! Our production time is not going to match that of other very large sample devs BUT, with this small team comes a very high level of focus and attention to detail that I feel really makes the difference. The extra time we're putting in now is to ultimately present you with a better instrument. Sometimes unexpected things come up as we're working and writing with the instruments that add a substantial amount of time to the production process. Often times with think of new things to add or get a bunch of feedback from the beta team which we want to include or address.
> 
> All that being said, if I don't respond to your questions, it's usually because I don't have an answer for you that hasn't already been given. You can be rest assured that'll you'll be informed when we're ready to give you an update on the release but until then, I ask you to please remain patient.
> 
> All the best,
> 
> Ollie


I admit I may have been a bit overzealous...LOL I didn't mean disrespect, and certainly appreciate that this takes time...but just speaking from frustration. Maybe as you said, it's best to not engage sometimes because then we expect you (developers), to always be here...Take VSL for example; Ben is ALWAYS on here answering questions and updates..(not always on new releases however), but some time frame is generally expected when there is a soft announcement. 

Believe me...if I didn't care either, I would not be looking for them...just that there are so many releases lately and everyone seems to be coming out with libraries and I have been holding off spending anything until NCS is released. This should also tell you something that people are going to buy it (90% sure).  

Maybe just a word or two..even if you say "give us a few months", but we'd rather hear something from you than silence...our minds will run wild that it's either been abandoned or VERY delayed. 

Anyway...I will keep an open mind about updates from now on, and hopefully this will be released sooner than later. I would hate it if I buy something next week, then NCS is released and I miss out on the intro pricing..LOL

But...I'll wait.

Thank you for the reply...it's all we ask..


----------



## jaketanner

chapbot said:


> Ollie mentioned a little over a month ago he was putting final touches on it.


Yes...this is what prompted me to keep inquiring. Final touches means maybe a month tops? But I don't blame you...lots of killer sale lately and BF is around the corner.


----------



## axb312

Just hope it has round robins


----------



## Obi-Wan Spaghetti

Are Nashville Strings and Vista Strings the same thing?


----------



## Go To 11

Obi-Wan Spaghetti said:


> Are Nashville Strings and Vista Strings the same thing?


No. Nashville are recorded in Nashville and Vista in Europe. The former a full library and the latter a legato library it seems so far.


----------



## Kartus

Nashville should be released "before end of year":


Audio Ollie said:


> Hey! The update itself is complete but we're still working on the content to go along with it. We've got a few projects going in parallel at the moment, including Nashville Strings, which we're gearing to release before the end of the year so things are kind of crazy on our end. If not out by the end of November, it will be shortly after! Thanks for hanging in there, and please feel free to keep adding multi/groove requests in the meantime.
> 
> Ollie


----------



## Go To 11

Kartus said:


> Nashville should be released "before end of year":


Thanks for sharing!


----------



## NeonMediaKJT

Anyone have links to those demos that were shared a month or so ago?


----------



## Go To 11

Would love to know how it's all going @Audio Ollie - cheers!


----------



## Audio Ollie

Go To 11 said:


> Would love to know how it's all going @Audio Ollie - cheers!


Keep an eye out next week


----------



## Go To 11

Audio Ollie said:


> Keep an eye out next week


Great stuff!


----------



## Drundfunk

Audio Ollie said:


> Keep an eye out next week


Dark times lie ahead of the cyclopes....


----------



## Kurosawa

Hype!


----------



## chapbot

Audio Ollie said:


> Keep an eye out next week


I feel faint.


----------



## jaketanner

chapbot said:


> I feel faint.


Well let’s not get too carried away. There was no promise of an actual release. Maybe another teaser and a later release date.


----------



## MA-Simon

Damn, I just spent all that money on AROOF!

Vista, Nashville, Cyberpunk 2077, Valhalla at the same time? Shoot me.


----------



## jaketanner

MA-Simon said:


> Damn, I just spent all that money on AROOF!


Yeah...that library didn't appeal to me whatsoever...LOL Especially not after just getting BBCSO...but I knew it was just a matter of time.


----------



## chapbot

jaketanner said:


> Well let’s not get too carried away. There was no promise of an actual release. Maybe another teaser and a later release date.


Please do not destroy my hope.


----------



## jaketanner

chapbot said:


> Please do not destroy my hope.


To be honest...so much time has past that I'm not even sure I want it anymore.. LMAO. Have to see what it all sounds like once released to get excited about it again.


----------



## chapbot

jaketanner said:


> To be honest...so much time has past that I'm not even sure I want it anymore.. LMAO. Have to see what it all sounds like once released to get excited about it again.


I just picked up Con Moto because of the fantastic sale and holy crap do those violins sound fantastic in my pop track! I'm really looking forward to Vista also and I think Nashville will tie the whole thing together because if I remember correctly the demo (since deleted) sounded a lot like Con Moto.


----------



## jaketanner

chapbot said:


> I just picked up Con Moto because of the fantastic sale and holy crap do those violins sound fantastic in my pop track! I'm really looking forward to Vista also and I think Nashville will tie the whole thing together because if I remember correctly the demo (since deleted) sounded a lot like Con Moto.


it sounded close yes...will see. I really like CM, and would use it exclusively if it had all the bread and butter articulations. SO will see...no rush for me now anyway. But next week seems promising...


----------



## Casiquire

Poor AudioOllie, just trying to give us a little hope and here we go getting all pessimistic about it haha. But on the bright side there's a TON of interest in these and it does seem like they're trying to take their time, deliver the best product they can, and that's exactly the right thing to do!


----------



## Igorianych

The week is almost over! Should we wait yet?


----------



## Go To 11

It's definitely 'next week' now. Looking forward to it.


----------



## Batrawi

Go To 11 said:


> It's definitely 'next week' now. Looking forward to it.


It's ALWAYS 'next week' from now


----------



## jaketanner

https://www.audioollie.com/nashvillescoringstrings?goal=0_a3627f37cd-cb88fd0a47-168957262&mc_cid=cb88fd0a47&mc_eid=e8ee1f684f

Sounds like there are no RRs for the shorts in the demos...don't sound great. :(


----------



## Nils Neumann

jaketanner said:


> https://www.audioollie.com/nashvillescoringstrings?goal=0_a3627f37cd-cb88fd0a47-168957262&mc_cid=cb88fd0a47&mc_eid=e8ee1f684f
> 
> Sounds like there are no RRs for the shorts in the demos...don't sound great. :(


Yep, that staccato part sounded horrible, why would use that as a demo?
Longs sound beautiful though


----------



## NeonMediaKJT

jaketanner said:


> https://www.audioollie.com/nashvillescoringstrings?goal=0_a3627f37cd-cb88fd0a47-168957262&mc_cid=cb88fd0a47&mc_eid=e8ee1f684f
> 
> Sounds like there are no RRs for the shorts in the demos...don't sound great. :(


They sound like Fluid Shorts to me


----------



## jaketanner

NeonMediaKJT said:


> They sound like Fluid Shorts to me


Fluid shorts is awesome. I have it and no way sounded like that to me. Sounded like another Areia type sound. Need to hear the walkthroughs though because the demos sound bad.


----------



## NeonMediaKJT

jaketanner said:


> Fluid shorts is awesome. I have it and no way sounded like that to me. Sounded like another Areia type sound. Need to hear the walkthroughs though because the demos sound bad.


it has that pre-hit before the note that makes it sound like fluid shorts to me. I'm guessing it used a similar technique. Doesn't sound bad to me, honestly.


----------



## jaketanner

NeonMediaKJT said:


> it has that pre-hit before the note that makes it sound like fluid shorts to me. I'm guessing it used a similar technique. Doesn't sound bad to me, honestly.


Too early to tell for me. I need to explore it more before I can say for sure. I’ll check it out later today when I have more time.


----------



## axb312

@Audio Ollie How many RRs and Dynamic layers on the shorts?

Also, how many dynamic layers and RRs on the longs?

How long is intro pricing for?

What about keyswitchable patches?

Were the ensemble patches recorded as such or were they stitched together from individual instruments?

Will there be any further loyalty pricing for those who own other Audio Ollie libs?


----------



## lettucehat

They sound good in the walkthrough, although it's interesting to see we're just dropping "staccato" as a thing in libraries these days. Everything is spiccato I guess. Also is "tremelo" an accepted spelling?


----------



## Obi-Wan Spaghetti

Maybe you guys forgot what a no RR staccato sounds like? I don't here the typical gun mmachine effet so I'm not sure what you guys are talking about? I think they sounds great.


----------



## NeonMediaKJT

the shorts sound very good in the walkthrough, imo.


----------



## Cheezus

I don't get it, how are people saying there's no round robins when in the walkthrough they literally explain that the shorts are sourced from performed repetitions? I don't hear any machine gun in the walkthrough.

The ensemble harmonics patch sounded amazing!


----------



## lettucehat

Under discussed thus far - it's not a Kontakt Player library!


----------



## chapbot

I just jumped on the forum to say I still am holding on to my hope. Then saw that the library has been released and now I am in a swoon.


----------



## axb312

Sounds goood! Suprised at:

1. Lack of second Violins - yes I know this has been talked about before.
2. No Vib control
3. Single short variation

What was shown in the walkthrough was awesome though. Con Sordino and harmonics sound dreamy.


----------



## Lionel Schmitt

Here are the violins shorts in the walkthrough exposed... Plenty of RR!


----------



## gst98

The technical side of things is really impressive, options for noisy samples and adsr controls is amazing


----------



## ryanstrong

Articulation list


----------



## Manaberry

gst98 said:


> The technical side of things is really impressive, options for noisy samples and adsr controls is amazing


Agreed!
I hope they will add such a feature for LAMP update. I had some hard times with noise.


----------



## axb312

DarkestShadow said:


> Here are the violins shorts in the walkthrough exposed... Plenty of RR!




Nice Demo!


----------



## ryanstrong

Manaberry said:


> Agreed!
> I hope they will add such a feature for LAMP update. I had some hard times with noise.


The AHDSR feature is already in LAMP. Just copy over settings as a starting point.






Using these settings in the LAMP modulation page actually sounds great as a starting point to denoise.


----------



## Akarin

"tremelo" makes my eyes bleed.


----------



## chapbot

DarkestShadow said:


> Here are the violins shorts in the walkthrough exposed... Plenty of RR!



They sound glorious - crisp and with a bite.


----------



## Rob Elliott

Did I see there is no vib control??? Is there 'rebowing'?

EDIT: sustain pedal = rebow


----------



## chapbot

Akarin said:


> "tremelo" makes my eyes bleed.











Tremelo - Wikipedia







en.m.wikipedia.org


----------



## chapbot

Rob Elliott said:


> Did I see there is no vib control??? Is there 'rebowing'?


Yes, hold down the sustain pedal for rebowing.


----------



## stargazer

Rob Elliott said:


> Did I see there is no vib control??? Is there 'rebowing'?
> 
> EDIT: sustain pedal = rebow


----------



## stargazer

Wonderful harmonics and CS!


----------



## axb312

If he can, I'd love to see Jean Gabriel do a walkthrough of his demo. Sounds stellar.


----------



## NickDorito

What in the world? It's just OUT. All of a sudden. I was expecting an announcement of a release date so I'm pleasantly surprised.

Sounds great to me.


----------



## chapbot

ALTM said:


> Under discussed thus far - it's not a Kontakt Player library!


Huh? !IMPORTANT! Requires Kontakt Full version 5.8 +


----------



## Obi-Wan Spaghetti

Vista price is also out now. Was just wondering about that.( *Price: $249 intro, $339 full – CM loyalty intro TBA* )


----------



## LHall

This sounds really good to me. I've recorded many of these players in this studio for years and it really sounded to me like they captured the room as well as Nashville's wonderful musicians. 

I've written to Ollie to find out about keyswitch options as I didn't see that addressed. If I missed it, someone let me know!


----------



## Sovereign

I find the short note runs impressive. Dammit!


----------



## Obi-Wan Spaghetti

Could a library like that be release without keyswitch in 2020? That's so weird!


----------



## Cheezus

Very interested in this library but there's some open questions:

1. Are there any keyswitch multi patches? Didn't look like it from the technical video.

2. How many dynamic layers? If it was mentioned anywhere in the two walkthroughs I missed it.

3. The first walkthrough mentioned that there is just "one" legato that triggers differently depending on intervals, but I didn't hear whether or not it was possible to trigger portamento through velocity etc. Also wondering if the 140 ms pre-delay will work just as well with all the different types of legato.

4. How do the runs work? Are they recorded runs or are they generated from separate samples? They hinted at being able to adjust them in some way but not enough details.


----------



## Sovereign

Well I bit the bullet will check it out later.


----------



## CT

Interesting. Good choice of articulations. No terribly glaring omissions or fluff. I like that! No 2nd fiddles is annoying but whatever, and I don't really mind the lack of vibrato control, necessarily. Guess I should actually listen to it now....


----------



## Beans

Playing along with JXL Brass and Modus while watching the walkthrough, it seems that it could be pretty easy to blend them with Nashville Scoring Strings.

I like that.

Funny enough, I was planning on making some Nashville hot chicken for dinner tonight.


----------



## Manaberry

Beans said:


> Playing along with JXL Brass and Modus while watching the walkthrough, it seems that it could be pretty easy to blend them with Nashville Scoring Strings.
> 
> I like that.
> 
> Funny enough, I was planning on making some Nashville hot chicken for dinner tonight.



I was exactly thinking the same about JXL as a brass companion to Nashville strings. Gonna try like you something on the walkt.


----------



## LHall

I'm thinking that the "stacks" on several articulations would serve as 2nd violins maybe?


----------



## AndyP

Akarin said:


> "tremelo" makes my eyes bleed.


But these tremelos sound much better than most tremolos ...


----------



## NoamL

Will listen in more detail after work today but my first impression is that the rebows and low strings are particularly impressive. The ensemble size and no 2nds is kind of a drawback for me but could be a feature for other people.


----------



## rvb

chapbot said:


> Tremelo - Wikipedia
> 
> 
> 
> 
> 
> 
> 
> en.m.wikipedia.org


Haha, ooh, I guess that explains why I often make this spelling error, I live quite close to that town..


----------



## AndyP

How high is the sampledelay? In the walkthrough it looks like there is a significant delay between the playing of the keys and the sound.


----------



## Cheezus

AndyP said:


> How high is the sampledelay? In the walkthrough it looks like there is a significant delay between the playing of the keys and the sound.


In the technical walkthrough they mentioned it's 140 ms for most patches, but for tremolo and marcato it's 80 ms.


----------



## AndyP

Cheezus said:


> In the technical walkthrough they mentioned it's 140 ms for most patches, but for tremolo and marcato it's 80 ms.


Thanks, I have not seen the technical walkthrough yet.


----------



## Zhao Shen

This is gorgeous stuff. Major respect to developers like Jasper and Ollie who push the envelope. Even if for whatever reason this library isn't for you, there should always be a respect for the hard work of developers trying their best to set new standards for realism in sampling.

As a side note that I just can't resist making, it's ironic (though perhaps not unexpected) that a leap forward for sampling comes from this surprise same-day release with fully-featured walkthroughs rather than a product marketed months ahead of time that promises to revolutionize sampling as we know it before releasing a couple of sustain patches.


----------



## Geocranium

Oh god, the slurred runs. Oh god I'm not gonna buy another library am I? I've been eye-ing OT's OSR for ages now to get that effect, but this library's intro price is almost the same as the entire OT library... plus it comes with a whole string library.


----------



## jaketanner

Listened to everything and still not totally convinced...meaning it's not exactly the sound I expected...but then again, the sound I expected was only in my head.. LOL. But I have to compare it with CM, since it's along the same premise I think...sourced from performance, and apparently Jasper had a hand in it...but just doesn't sound as natural to me as the Performance Samples strings do...it sounds slightly more processed than I'd like...like a "tight" sound, especially from the basses...Reminds me of the Classic mic from Areia, but I won't make a final decision until I hear more demos. Still on the fence if I need it now after getting BBCPro...but I'm very open to the idea.


----------



## jeremiahpena

Sound-wise it reminds me a lot of the focused string sound in many Bear McCreary scores (and looks like Outlander was recorded there, so that makes sense). Sounds really great to me.

The B recordings means the library would work for divisi. A+B for full section, then split into A and B for chords. 

The only thing that has me scratching my head is the lack of full keyswitch patches. First Afflatus and now this, although Afflatus at least has the excuse of having so many different flavors that a combined patch might not make sense. I can't think of any reason not to include a keyswitch patch for this.


----------



## filipjonathan

Wow! I love how this sounds!!


----------



## Drundfunk

jeremiahpena said:


> The only thing that has me scratching my head is the lack of full keyswitch patches. First Afflatus and now this, although Afflatus at least has the excuse of having so many different flavors that a combined patch might not make sense. I can't think of any reason not to include a keyswitch patch for this.


Could be because of the different pre-delays for marcato and tremolos. But apart from that I don't know. I'd love to hear from Ollie about his vision, always gives you good insight how to use the library. But I still have to watch the walkthrough, so maybe he covers it a little bit.


----------



## Scamper

I like the sound of it, but not a fan of separated patches for each articulation and a mix mic would have been nice to have.


----------



## chapbot

Just purchased and downloading. I was wondering what the section sizes were then remembered it was mentioned earlier in this thread. Here it is for any interested (from Jasper)

The library is 8-6-5-4 (the idea was half of the standard 16-[14]-12-10-8). Recorded in a moderately dry (by my personal standards) room, with close to 70 session hours across the sections. Up to four (and in one case 5) dynamics - there's focus here on fairly dynamic patches, as well as attention to detail in regards to smoothness between different dynamics.


----------



## filipjonathan

chapbot said:


> Just purchased and downloading. I was wondering what the section sizes were then remembered it was mentioned earlier in this thread. Here it is for any interested (from Jasper)
> 
> The library is 8-6-5-4 (the idea was half of the standard 16-[14]-12-10-8). Recorded in a moderately dry (by my personal standards) room, with close to 70 session hours across the sections. Up to four (and in one case 5) dynamics - there's focus here on fairly dynamic patches, as well as attention to detail in regards to smoothness between different dynamics.


Let us know what you think. I think it sounds really nice!


----------



## Sovereign

Just an early impression after loading a couple of patches, but this is very, very much a Jasper Blunk library. It oozes PS. It reminds me instantly of Con Moto, the way the violins or cellos sound and behave, the vibrato, etc.


----------



## jaketanner

Sovereign said:


> Just an early impression after loading a couple of patches, but this is very, very much a Jasper Blunk library. It oozes PS. It reminds me instantly of Con Moto, the way the violins or cellos sound and behave, the vibrato, etc.


Do you have CM to compare against? Also how long did it take to download?


----------



## stfciu

DarkestShadow said:


> Here are the violins shorts in the walkthrough exposed... Plenty of RR!



Hi Lionel,

Well it seems you had some time spent with the library  could you give us some more insight and what are your impressions?

Another great demo btw. Congratulations.


----------



## Sovereign

jaketanner said:


> Do you have CM to compare against? Also how long did it take to download?


I own CM yeah. Took me over an hour, I have a 500 mbit fiber connection but it came in at around 60-80 mbit/s.

Edit: Only just noticed that there are no staccatos, not sure how I missed that. Not sure if there is glissando either for the legatos. Thought I heard that in the walkthrough, guess I heard wrong?


----------



## jaketanner

Sovereign said:


> I own CM yeah. Took me over an hour, I have a 500 mbit fiber connection but it came in at around 60-80 mbit/s.
> 
> Edit: Only just noticed that there are no staccatos, not sure how I missed that. Not sure if there is glissando either for the legatos. Thought I heard that in the walkthrough, guess I heard wrong?


That’s not too bad for download. And the gloss seems to be interval and velocity dependent? Not sure...but not dedicated.

yeah no staccato. But maybe you can lengthen the spiccato in the ADSR?


----------



## prodigalson

Sovereign said:


> I own CM yeah. Took me over an hour, I have a 500 mbit fiber connection but it came in at around 60-80 mbit/s.
> 
> Edit: Only just noticed that there are no staccatos, not sure how I missed that. Not sure if there is glissando either for the legatos. Thought I heard that in the walkthrough, guess I heard wrong?



The impression I get from the walkthrough is that the marcato patch is actually similar to fluid shorts in that it can be “performed” as many short note lengths (and Marcato longs) with key off releases ?


----------



## jaketanner

Damn it I may need to get it. Lol


----------



## Geocranium

Sovereign said:


> Edit: Only just noticed that there are no staccatos, not sure how I missed that. Not sure if there is glissando either for the legatos. Thought I heard that in the walkthrough, guess I heard wrong?



I think it's like with some of Jasper's other libraries where glisses will trigger with certain intervals where it's natural for the players to do so.


----------



## lettucehat

prodigalson said:


> The impression I get from the walkthrough is that the marcato patch is actually similar to fluid shorts in that it can be “performed” as many short note lengths (and Marcato longs) with key off releases ?



Does FS I/II actually do this, like Caspian/Adventure? i was under the impression they were spiccatos only.


----------



## Paul Cardon

jeremiahpena said:


> Sound-wise it reminds me a lot of the focused string sound in many Bear McCreary scores (and looks like Outlander was recorded there, so that makes sense). Sounds really great to me.
> 
> The B recordings means the library would work for divisi. A+B for full section, then split into A and B for chords.
> 
> The only thing that has me scratching my head is the lack of full keyswitch patches. First Afflatus and now this, although Afflatus at least has the excuse of having so many different flavors that a combined patch might not make sense. I can't think of any reason not to include a keyswitch patch for this.


Bear has a habit of recording in these smaller spaces rather than the big ones, like Ocean Way or the sadly defunct "The Bridge" in Glendale (previously a favorite of Bear's), so that's not surprising!

The thing I like most about the sound is it feels like TV and video games, a lot of which are recorded in Ocean Way or rooms like it. Tight and punchy and bit iconic as of recent.

Definitely not the bigger sound of AIR or Abbey Road. More of a "session" sound.


----------



## Obi-Wan Spaghetti

Drundfunk said:


> Could be because of the different pre-delays for marcato and tremolos.



Yea that makes sense. I still think they should offer that option.


----------



## Obi-Wan Spaghetti

There are multiscipt for kontakt that can help fix the keyswitch problem. I think OTS has one don't they? Scripts like CPCandKeyswitcher, or Keyswitcher. There might be newer scripts to do that.

But then you will have to manualy edit and move spic, legatos etc in the midi editor. Or route to individual audio track and deal with the latency there...

edited: i found OTS multi script. https://www.orangetreesamples.com/blog/free-keyswitch-router-multiscript

P.S. Cubase keyswitch function might be sophisticated enough to allow keyswitching while dealing with delays. But would probably require using various tracks. I don't know...


----------



## Lionel Schmitt

stfciu said:


> Hi Lionel,
> 
> Well it seems you had some time spent with the library  could you give us some more insight and what are your impressions?
> 
> Another great demo btw. Congratulations.


Many thanks! :D

I don't say much about libraries generally because people should make up their own mind.
Impressions are meaningless with something as subjective.
I thought it's great, despite spiccatos being a bit long for spiccs, violins legato and sustain being a bit weaker than other sections IMO...
I had no RR for marcatos but maybe that changed. Based on a glance it looks like the library is quite significantly overhauled/enriched compared to what I had. I didn't check out the final version yet... 
so I can't fairly say much anyway.


----------



## chapbot

So far loaded up violin, viola and cello. They do have a super realistic sound to them, maybe it's because I am using the pure samples that haven't been denoised (Nashville comes with two samples folders: denoised and one natural.) I have always been annoyed at sample libraries that suck the life out of the sound by being denoised.


----------



## chapbot

Paul Cardon said:


> The thing I like most about the sound is it feels like TV and video games, a lot of which are recorded in Ocean Way or rooms like it. Tight and punchy and bit iconic as of recent.


My first impressions exactly. I'm going to put these in a pop track I'm working on and I anticipate they will cut through the mix nicely. I feel like they sound just like they would if I had done a string session.


----------



## chapbot

DarkestShadow said:


> Many thanks! :D
> 
> I don't say much about libraries generally because people should make up their own mind.
> Impressions are meaningless with something as subjective.
> I thought it's great, despite spiccatos being a bit long for spiccs, violins legato and sustain being a bit weaker than other sections IMO...
> I had no RR for marcatos but maybe that changed. Based on a glance it looks like the library is quite significantly overhauled/enriched compared to what I had. I didn't check out the final version yet...
> so I can't fairly say much anyway.


Yep I was concerned about the violins from what you said but so far they are fantastic for me, I bet they were reworked.


----------



## Jack Weaver

Gotta say... I don't have any violin spiccs that sound as good as these in all my libraries. 
I A'B'd against Ollie's walkthru video. They're just so lively and light. 

My wallet is vibrating. 

.


----------



## Ryan Fultz

After getting LAMP last year and finding it to be my favorite percussion library, with an approach to the midi mapping that really suits my percussion background, Audio Ollie have a lot of good will built up from me.

This may well be the impulse buy of the season for me.


----------



## muziksculp

Nashville Scoring Strings sound very good.

I guess they decided to change the name from Nashville Chamber Strings to Nashville Scoring Strings. So maybe the the OP can edit the title.

I wonder why they left out Staccato ? Maybe they picked up this bad habit from Spitfire Audio ? (Just kidding). But, honestly, Staccato is not a luxury articulation, it's just as an important articulation as Detache. Maybe one can use the Marcato, and adjust the volume envelope to simulate Stacc. ? or ... ? a bit puzzled by this decision.

I like the acoustics, and they seem to have put a lot of attention to some cool features like having a 'B' section to layer with, to get a larger string section sound. The Legatos, Tremelos, Pizz. , all sound wonderful, also having Legato, and Sustain Sordino Options is a big +, great Harmonics, and Spicc.

The intro price is attractive, but I'm not sure I need another Strings Library at this time, hehe.. I'm always tempted by Strings Libraries, but I might just wait for a few more weeks and see if I get this one, or just pass.

Meanwhile, I'm still hoping that 8dio releases Century Strings 2.0 , also we might see Hoopus, LASS 3, or other String libraries before the end of this year.


----------



## Mike Fox

Sounds so sick! The realism, detail, and warmth are all there!


----------



## muziksculp

OK. So... Who's getting NSS ?


----------



## Mike Fox

muziksculp said:


> OK. So... Who's getting NSS ?


I think a lot of people will!

This sounds like something truly new and different. Everything from the timbre of the strings to the sound of the room. And if the playability is there? It's going to be a hit!

I love that they recorded performances, instead of one shot takes. That approach really adds to the realism (i wish more developers did that), and you can hear it in those spiccatos!

I'm really excited about this one!


----------



## axb312

Theres also no mention of Performance Samples/ Jasper Blunk anywhere in relation to NSS. What happened there I wonder...


----------



## filipjonathan

axb312 said:


> Theres also no mention of Performance Samples/ Jasper Blunk anywhere in relation to NSS. What happened there I wonder...


Plus, they released their products on the same day... 🤔


----------



## John R Wilson

Just taken a look at Nashville strings. Sounds good, however, I think that VISTA probably sounds better in the demos than Nashville strings. Will be interested to see what the Con Moto loyalty intro pricing is going to be for VISTA. Would have liked to have seen some more shorts in Nashville strings.


----------



## Andrew0568

I'd love to hear some audio from those of you who have already downloaded!


----------



## muziksculp

John R Wilson said:


> Would have liked to have seen some more shorts in Nashville strings



Same thought here. At least a short Stacc. and Normal Stacc. would have been so useful. Actually, this and having no key-switch patches are holding me back.


----------



## muziksculp

filipjonathan said:


> Plus, they released their products on the same day... 🤔



What library did Perfomance Samples release today ?


----------



## John R Wilson

muziksculp said:


> Same thought here. At least a short Stacc. and Normal Stacc. would have been so useful. Actually, this and having no key-switch patches are holding me back.



I would have been more interested if it had a more variety of shorts and at least a normal Stacc as you mentioned but as it currently is I would probably prefer VISTA for its legatos and cheaper price.


----------



## chapbot

muziksculp said:


> What library did Perfomance Samples release today ?


Jasper didn't release it (Vista), just announced pricing.


----------



## muziksculp

chapbot said:


> Jasper didn't release it (Vista), just announced pricing.



Thanks @chapbot . 

I see. So, it's just a price announcement. I'm also guessing that Vista is mainly long/legato articulations, no shorts.


----------



## chapbot

muziksculp said:


> Thanks @chapbot .
> 
> I see. So, it's just a price announcement. I'm also guessing that Vista is mainly long/legato articulations, no shorts.


Correct, no shorts. Just amazing longs and legatos


----------



## jaketanner

DarkestShadow said:


> I had no RR for marcatos but maybe that changed. Based on a glance it looks like the library is quite significantly overhauled/enriched compared to what I had


DIdn't you create a demo for it? How could you create a showcase demo if the library was not complete? Seems weird or did I misunderstand?


----------



## Emmanuel Rousseau

jaketanner said:


> DIdn't you create a demo for it? How could you create a showcase demo if the library was not complete? Seems weird or did I misunderstand?


That's not uncommon at all, demo tracks are often made with beta versions of the libraries.


----------



## lettucehat

axb312 said:


> Theres also no mention of Performance Samples/ Jasper Blunk anywhere in relation to NSS. What happened there I wonder...



*AIR THE BEEF*


----------



## jaketanner

whitewasteland said:


> That's not uncommon at all, demo tracks are often made with beta versions of the libraries.


That seems a bit backwards to post a demo to showcase a library when it's better than in the demo? Had no idea this was a thing...so disregard the demos.


----------



## ProfoundSilence

jaketanner said:


> That seems a bit backwards to post a demo to showcase a library when it's better than in the demo? Had no idea this was a thing...so disregard the demos.


making a library is a lot of money and time - that you're not making any money for... it's important to get the product out to start making your investment back, and not releasing a library so some demo writers can make some stuff doesn't sound like anyone wins. 

If I was waiting for a library and couldn't get it because people are trying to work on demos it would feel silly, especially since many of them were already able to make them with beta versions of the instruments.


----------



## Jdiggity1

Indeed, it is often the process of making the demos that finds many of the "things that need to be fixed" before release. Using a library* in context* is an important part of Beta testing.


----------



## Nicola74

In the walkthrough he says "we've included a second pass of all the articulations"; does this mean that we have a sort of second violins without phase issues?


----------



## jaketanner

ProfoundSilence said:


> If I was waiting for a library and couldn't get it because people are trying to work on demos it would feel silly, especially since many of them were already able to make them with beta versions of the instruments.


I would just think that once changes were made or "overhauled and enriched", the demo writers can simply swap out the fully functioning version...not hold up the demo and start writing it. This is news to me if it's how it works for every developer...at least in PS early demos, it's fully disclosed that it's an early version. All good...now I know.


----------



## Raphioli

ALTM said:


> *AIR THE BEEF*


@axb312's and your post makes me a bit worried. I hope they are cool with each other because I'd love to see future collaborations between the two.


----------



## lettucehat

Raphioli said:


> @axb312's and your post makes me a bit worried. I hope they are cool with each other because I'd love to see future collaborations between the two.



Don't be worried by comment, I'm just having fun. There's no indication of a problem - perhaps there was no agreement to mention Jasper's involvement on the product page.


----------



## tabulius

Congratulations on the release! This sounds a very well recorded and balanced library. This is the first time when basses sounded beautiful while playing melodies. I really like the agile legato and many composers have said that they feel the vibrato on CSS, Soaring Strings, and the like is too much - here they are much more subtle. I agree that this is great for certain types of moments and moods, but I've never had any problem with the more "romantic" vibrato either.

Violins B, could be used as 2nd violins I wonder? But no key switches?! I'm not a fan of those (would prefer performance patches), but usually, those are the best and fastest option for writing in my opinion rather than using different midi tracks and cut and copy instrument parts in a bunch of channels. It's great to hear that there are also non-denoised samples! Only one dynamic layer for the marcatos? It sounded that everything was double forte.

Some of you wondered if Vista's sound will fit with NSS. Personally, I think it should be ok when speaking of a full mix. When I'm combining different libraries (dry, wet, or between), I'm always thinking of it as if I'm adding mic positions. So the drier library serves as the closer mics and the wet library adds the hall mics. I never had problems with combining the different styles of libraries together. Also, I'm usually sending the drier libraries more to the reverb to balance things out.


----------



## JGRaynaud

axb312 said:


> If he can, I'd love to see Jean Gabriel do a walkthrough of his demo. Sounds stellar.


 
There are two reasons I probably won't do that : 

1) My ASIO without even starting to play the music is already pretty high. Adding a video capture software above that would lead to a lot of artefacts in the sound (cuts everywhere, crackling,..). As a side note, the fact that it is heavy for my computer isn't related to the samples libraries but to a lack of space on my hard drives... I've momentarily put a lot of libraries on one big external hard drive which is not good for the CPU and the ASIO.

2) I've made a lot of runs in the music while the library doesn't have a run patch, so in a way I demonstrated stuff that most of people would not use the library for, unless they are as stubborn as me and want to find a way to write whatever they have in mind. To do these runs I've made a subtle layering of spiccato + tremolo + trills that needed a good balance to sound cohesive then I sent the runs to group channels to add some fx to glue them all a bit more (mainly a little compression), which is not a conventional use.

I attached a little screen capture so you can have a better view of my process.


----------



## tabulius

modiel said:


> There are two reasons I probably won't do that :
> 
> 1) My ASIO without even starting to play the music is already pretty high. Adding a video capture software above that would lead to a lot of artefacts in the sound (cuts everywhere, crackling,..). As a side note, the fact that it is heavy for my computer isn't related to the samples libraries but to a lack of space on my hard drives... I've momentarily put a lot of libraries on one big external hard drive which is not good for the CPU and the ASIO.
> 
> 2) I've made a lot of runs in the music while the library doesn't have a run patch, so in a way I demonstrated stuff that most of people would not use the library for, unless they are as stubborn as me and want to find a way to write whatever they have in mind. To do these runs I've made a subtle layering of spiccato + tremolo + trills that needed a good balance to sound cohesive then I sent the runs to group channels to add some fx to glue them all a bit more (mainly a little compression), which is not a conventional use.
> 
> I attached a little screen capture so you can have a better view of my process.



Wasn't there a specific slurred run patches made? Why didn't you use those?


----------



## JGRaynaud

tabulius said:


> Wasn't there a specific slurred run patches made? Why didn't you use those?



I didn't have any run patch in the beta version. Maybe they added a run patch since then (they were still working on the library when I finished my demo) but I'll have to check the list of articulations of the final release to be sure.


----------



## ProfoundSilence

tabulius said:


> Wasn't there a specific slurred run patches made? Why didn't you use those?


doesnt look like there is any run patch, he's just using the old' tricks to get a run sound.


----------



## jeremiahpena

ProfoundSilence said:


> doesnt look like there is any run patch, he's just using the old' tricks to get a run sound.



There actually is a runs-like multi included according to the walkthrough (at 22:25).


----------



## JGRaynaud

jeremiahpena said:


> There actually is a runs-like multi included according to the walkthrough (at 22:25).



That's great !


----------



## tabulius

ProfoundSilence said:


> doesnt look like there is any run patch, he's just using the old' tricks to get a run sound.



There was a clear mention of a runs patch in the walkthrough, but I didn't see any mention of it in the articulation list. I hope that other Youtubers will take a look at this library and show how these are working in action.


----------



## Sovereign

The 'runs' multi uses an age-old mockup 'trick'.


----------



## filipjonathan

chapbot said:


> Jasper didn't release it (Vista), just announced pricing.


Ah that's right, my bad.


----------



## Lionel Schmitt

jaketanner said:


> DIdn't you create a demo for it? How could you create a showcase demo if the library was not complete? Seems weird or did I misunderstand?


Not weird. When writing demos the library can be 99,9% done or very rough and incomplete. I've heard some crazy stories about people having to use some raw samples because the scripting wasn't done yet for some of the patches  

In this case it seemed to be mostly complete, but there still have been major additions and probably some finer finesse that I'll only spot when playing with the full lib.


----------



## MA-Simon

Very excited to play arround with this. Already downloaded. From what bits I could play around this morning it sounded fantastic!

Unshure if the B version are just shifted samples or alternate recordings though? Patch size seems to stay the same and it does not appear to load new samples.

Would love an expansion with a few more added articulations: Portamento / Staccato / Detache and maybe 2-3 RR on the Marcatos.


----------



## Vladimir Bulaev

MA-Simon said:


> and maybe 2-3 RR on the Marcatos.


Marcato have no Round Robins?


----------



## JeffvR

Sounds very good! Is there a patch list with number of RR's and dynamic layers?


----------



## Kevperry777

Gotta give props to some features you don’t see everyday such as the compression, filtering and non-noise reduction version.

In some ways, sounds like a prettier version of LASS. Lots of realism, clarity, huge lows.....but way better room and softness of tone.


----------



## Batrawi

I love the tone, warmth and the balanced amount of vibrato in this library, yet... is that a bow-change I'm hearing in most of these legato transitions? anyone can confirm this?


----------



## axb312

modiel said:


> There are two reasons I probably won't do that :
> 
> 1) My ASIO without even starting to play the music is already pretty high. Adding a video capture software above that would lead to a lot of artefacts in the sound (cuts everywhere, crackling,..). As a side note, the fact that it is heavy for my computer isn't related to the samples libraries but to a lack of space on my hard drives... I've momentarily put a lot of libraries on one big external hard drive which is not good for the CPU and the ASIO.
> 
> 2) I've made a lot of runs in the music while the library doesn't have a run patch, so in a way I demonstrated stuff that most of people would not use the library for, unless they are as stubborn as me and want to find a way to write whatever they have in mind. To do these runs I've made a subtle layering of spiccato + tremolo + trills that needed a good balance to sound cohesive then I sent the runs to group channels to add some fx to glue them all a bit more (mainly a little compression), which is not a conventional use.
> 
> I attached a little screen capture so you can have a better view of my process.



Thanks for the reply. The runs are exactly what I would love to see a breakdown of. They sound pretty fluid.

For ASIO, artefacts, you could try turning the sample rate up to 2048 etc. etc. since you won't be playing anything in.


----------



## JGRaynaud

axb312 said:


> Thanks for the reply. The runs are exactly what I would love to see a breakdown of. They sound pretty fluid.
> 
> For ASIO, artefacts, you could try turning the sample rate up to 2048 etc. etc. since you won't be playing anything in.



I'm already at the maximum for the buffer size (1024 in my case)


----------



## Manaberry

modiel said:


> I'm already at the maximum for the buffer size (1024 in my case)



If someday you are interested to do video recording or something, I have set up OBS Studio with a proper Line-in from my Apollo (which is a pain in the ass to get proper feedback from on Windows, I'm also at a high buffer size) and the video processing is handled by the GPU (nvenc / NVIDIA 1650). It gives you plenty of room for music as OBS only uses 1/2% of CPU. Runs pretty smoothly. Just to say there is some workaround but it's not an exact science.

But yeah, music first


----------



## DSmolken

tabulius said:


> Congratulations on the release! This sounds a very well recorded and balanced library. This is the first time when basses sounded beautiful while playing melodies.


As a bassist, I have to wonder if basses sounding beautiful playing melodies is unrealistic, haha.


----------



## LHall

DSmolken said:


> As a bassist, I have to wonder if basses sounding beautiful playing melodies is unrealistic, haha.


Not unusual with these players! I've worked many times with at least one and probably more of the bassists in this library. Stellar musicians that can play beautiful melodies with great passion.


----------



## prodigalson

ALTM said:


> Does FS I/II actually do this, like Caspian/Adventure? i was under the impression they were spiccatos only.



Sorry, I misspoke. I meant Adventure Strings. But still, if the Marcatos function like AS then I think I’d be pretty ok with that...


----------



## axb312

modiel said:


> I'm already at the maximum for the buffer size (1024 in my case)


Oh.:(.

If you do find a way, that'd be awesome. I really liked your demo.


----------



## TeamLeader

Jack Weaver said:


> Gotta say... I don't have any violin spiccs that sound as good as these in all my libraries.
> 
> .



Which libs do you have to compare these to Jack? Thanks?


----------



## LHall

Well for me I think I just solved the keyswitch dilemma. Can't believe I never tried this before, but the ARC keyswitch template in my beloved LASS allows me to drop in a patch from another library.


----------



## Kevperry777

LHall said:


> Well for me I think I just solved the keyswitch dilemma. Can't believe I never tried this before, but the ARC keyswitch template in my beloved LASS allows me to drop in a patch from another library.



WHHHAT? That is breaking news.


----------



## sinkd

This is a great sounding library. My impression of the spiccs is that maybe they are a little too tight which starts to sound less natural, even with RRs. If I did not have LASS configured to be able to deliver much of the same kind of sound, I would definitely consider NSS. The pizzicatos, in particular, are gorgeous.


----------



## ProfoundSilence

LHall said:


> Well for me I think I just solved the keyswitch dilemma. Can't believe I never tried this before, but the ARC keyswitch template in my beloved LASS allows me to drop in a patch from another library.


@tack made flex router so you can have a much more powerful, customizable alternative to control all your kontakt libraries. Doesn't have any fancy pictures or anything - but yeah, there are a few other options, flexrouter just works wonders and is free.


----------



## filipjonathan

Come on guys, we're waiting for those YouTube reviews!


----------



## Kent

sinkd said:


> This is a great sounding library. My impression of the spiccs is that maybe they are a little too tight which starts to sound less natural, even with RRs. If I did not have LASS configured to be able to deliver much of the same kind of sound, I would definitely consider NSS. The pizzicatos, in particular, are gorgeous.


I was just thinking exactly these thoughts. (I’ll still probably end up getting NSS at some point though...)


----------



## Ryan Fultz

Seriously considering this library. For those that have it, did you run into any issues with creating a 2nd violins section or find some best practices for creating one? The only thing holding me back from an instant purchase is that I haven't had a library where I've had to deal with this scenario before, though I know this isn't the only one to go this route.


----------



## ProfoundSilence

Something about the room tone makes me think this might be an interesting comparison with CSS. Might be a situation where you can combine both libraries pretty effortlessly


----------



## Batrawi

let's hope for a review from @Cory Pelizzari before the intro price ends. That would help A LOT for all those who are still making up their mind...


----------



## ryanstrong

LHall said:


> Not unusual with these players! I've worked many times with at least one and probably more of the bassists in this library. Stellar musicians that can play beautiful melodies with great passion.








Having been at the sessions I can say the bassists were incredible, blown away! One of the bassists had an instrument that looked like it came from the wardrobe of Narnia.


----------



## Laptoprabbit

MA-Simon said:


> Very excited to play arround with this. Already downloaded. From what bits I could play around this morning it sounded fantastic!
> 
> Unshure if the B version are just shifted samples or alternate recordings though? Patch size seems to stay the same and it does not appear to load new samples.
> 
> Would love an expansion with a few more added articulations: Portamento / Staccato / Detache and maybe 2-3 RR on the Marcatos.



I think lack of those articulations, especially portamento, will force me to skip this one...


----------



## Manaberry

If I get my hands on a copy, I will be able to stream it on Twitch or record for Youtube at 4K res. I would love to try the lib and especially to fulfill all the questions that release has raised.


----------



## NathanTiemeyer

Wow, I was not expecting this to come out so soon. Now i'm torn between this and Vista! I can not get enough of the Jasper Blunk performance-based sampling- it makes composing so much more enjoyable.


----------



## axb312

Paging @Cory Pelizzari @Daniel James @Dirk Ehlert @Waywyn . Your views on this lib would be greatly appreciated.


----------



## Lionel Schmitt

axb312 said:


> Paging @Cory Pelizzari @Daniel James @Dirk Ehlert @Waywyn . Your views on this lib would be greatly appreciated.


dear god..................


----------



## chapbot

Kevperry777 said:


> In some ways, sounds like a prettier version of LASS. Lots of realism, clarity, huge lows.....but way better room and softness of tone.


Yep! I was thinking the exact same thing, that this is what I wished LASS sounded like.


----------



## prodigalson

LHall said:


> Well for me I think I just solved the keyswitch dilemma. Can't believe I never tried this before, but the ARC keyswitch template in my beloved LASS allows me to drop in a patch from another library.



Cool! For me, the answer is pretty straightforward though. Simply a Kontakt Multi with each nki loaded set to separate MIDI channels and a an articulation set set to trigger with KS via MIDI channel


----------



## prodigalson

sinkd said:


> This is a great sounding library. My impression of the spiccs is that maybe they are a little too tight which starts to sound less natural, even with RRs.



Im wondering if part of this is due to the recording approach of performances of repeated notes. Consecutive notes sound more connected sure but the initial note is also pulled from a sequence so it sounds almost like the beginning of the phrase starts with an up bow instead of a down bow which would be more natural. To my ear, the downbeat of each phrase sounds almost truncated with kind of a subtle swell into the attack instead of a clear downbow as would be more expected?


----------



## Land of Missing Parts

Sovereign said:


> Just an early impression after loading a couple of patches, but this is very, very much a Jasper Blunk library. It oozes PS. It reminds me instantly of Con Moto, the way the violins or cellos sound and behave, the vibrato, etc.


Is there legato con sordino? The specs say: "Legato (Alt Sordino)", but I'm not sure how to interpet the "Alt" part of that. Seems like this would be a selling point they'd want to showcase.


----------



## Batrawi

Land of Missing Parts said:


> but I'm not sure how to interpet the "Alt" part of that.


seems like a shy/fancy way to say altered or scripted


----------



## Jack Weaver

TeamLeader said:


> Which libs do you have to compare these to Jack? Thanks?


I compared the violin spiccs to these libraries I own:
All Spitfire strings
All OT strings
CSS
Cinesamples
All VSL
Afflatus
EW HS

.


slight edit: I no longer own VSL Dimension Strings (sold it some time ago). I want to be fair about it.


----------



## Mike Fox

sinkd said:


> This is a great sounding library. My impression of the spiccs is that maybe they are a little too tight



No such thing.


----------



## peladio

Batrawi said:


> let's hope for a review from @Cory Pelizzari before the intro price ends. That would help A LOT for all those who are still making up their mind...



Daniel James as well..there are plenty of guys who make solid videos but anyone who received a NFR is essentially making a walkthrough. Beta testers and people who received it for free are always biased so I'd only trust a reviewer who spent his/her own money..


----------



## Mike Fox

peladio said:


> Beta testers and people who received it for free are always biased so I'd only trust a reviewer who spent his/her own money..


Cory Pelizzari and Daniel James are about as unbiased as they come. If you're really familiar with their reviews, you'd know they aren't blindsided by free library excitement. They've actually upset developers once or twice because of their honesty (which i sincerely admire).


----------



## Beans

peladio said:


> Beta testers and people who received it for free are always biased so I'd only trust a reviewer who spent his/her own money..



I'm not going to blindly trust any review, but we do have evidence of reviewers who have received free products, yet actively call out that they've either refused to review it or reviewed it with constructive criticism. I'll add Jay Asher to the list, as I believe he's transparently called out one that he declined to review.


----------



## peladio

Mike Fox said:


> Cory Pelizzari and Daniel James are about as unbiased as they come. If you're really familiar with their reviews, you'd know they aren't blindsided by free library excitement. They've actually upset developers once or twice because of their honesty (which i sincerely admire).



Yes that's precisely what I meant and why I added Daniel to Cory's name..I know they are unbiased and that's why I'd trust their opinion over those who are obviously biased

Walkthoughs are definitely helpful as in the end you're the one making the decision..however, they aren't as useful as reviews from knowledgeable guys like Cory and Daniel to those who are undecided..


----------



## muziksculp

chapbot said:


> Yep! I was thinking the exact same thing, that this is what I wished LASS sounded like.



Looking forward to see LASS 3 released, with easy to use setup, improved sonic character. Hopefully it will be released soon.


----------



## Go To 11

Land of Missing Parts said:


> Is there legato con sordino? The specs say: "Legato (Alt Sordino)", but I'm not sure how to interpet the "Alt" part of that. Seems like this would be a selling point they'd want to showcase.


I can confirm there is Legato Sordino!


----------



## jadedsean

muziksculp said:


> Looking forward to see LASS 3 released, with easy to use setup, improved sonic character. Hopefully it will be released soon.


Any specific date released?


----------



## Mike Fox

peladio said:


> Yes that's precisely what I meant and why I added Daniel to Cory's name..I know they are unbiased and that's why I'd trust their opinion over those who are obviously biased
> 
> Walkthoughs are definitely helpful as in the end you're the one making the decision..however, they aren't as useful as reviews from knowledgeable guys like Cory and Daniel to those who are undecided..


Ah! Gotcha! My misunderstanding.


----------



## muziksculp

jadedsean said:


> Any specific date released?



No, sadly there is no date as to when it will be finally released. 

I just posted asking for some feedback on the AudioBro Forums. It would be great if they release it this month.


----------



## Go To 11

For anyone wondering, the entire library is doubled. It should be really marketed as a Divisi Symphonic library. I can see why they changed the name from Nashville Chamber to Nashville Scoring strings. It's so much more than Chamber strings. And yes, the B sections sound totally different throughout. I would have no issue regarding the Violins B as Violins Two in a Chamber band. And for a Symphonic band, I'd simply not play the exact same note at the exact same time. So exciting to be able to make a Symphonic Violins section, both playing legato, half Con Sordino and half not! I can totally see now why they didn't spend time recording Violins Two, and focused on bang for buck otherwise. If anyone wants me to spit out anything in particular, let me know. So far, it just works, and sounds fantastic.


----------



## muziksculp

Go To 11 said:


> For anyone wondering, the entire library is doubled. It should be really marketed as a Divisi Symphonic library. I can see why they changed the name from Nashville Chamber to Nashville Scoring strings. It's so much more than Chamber strings. And yes, the B sections sound totally different throughout. I would have no issue regarding the Violins B as Violins Two in a Chamber band. And for a Symphonic band, I'd simply not play the exact same note at the exact same time. So exciting to be able to make a Symphonic Violins section, both playing legato, half Con Sordino and half not! I can totally see now why they didn't spend time recording Violins Two, and focused on bang for buck otherwise. If anyone wants me to spit out anything in particular, let me know. So far, it just works, and sounds fantastic.



Any way you can play a Staccato short with this library ?


----------



## axb312

Go To 11 said:


> For anyone wondering, the entire library is doubled. It should be really marketed as a Divisi Symphonic library. I can see why they changed the name from Nashville Chamber to Nashville Scoring strings. It's so much more than Chamber strings. And yes, the B sections sound totally different throughout. I would have no issue regarding the Violins B as Violins Two in a Chamber band. And for a Symphonic band, I'd simply not play the exact same note at the exact same time. So exciting to be able to make a Symphonic Violins section, both playing legato, half Con Sordino and half not! I can totally see now why they didn't spend time recording Violins Two, and focused on bang for buck otherwise. If anyone wants me to spit out anything in particular, let me know. So far, it just works, and sounds fantastic.



Random noodles of whatever sounds good to you would be great.


----------



## chapbot

muziksculp said:


> Looking forward to see LASS 3 released, with easy to use setup, improved sonic character. Hopefully it will be released soon.


I have zero hope for a release anytime soon... How long have they been talking about it? Years?


----------



## Emmanuel Rousseau

Go To 11 said:


> For anyone wondering, the entire library is doubled. It should be really marketed as a Divisi Symphonic library. I can see why they changed the name from Nashville Chamber to Nashville Scoring strings. It's so much more than Chamber strings. And yes, the B sections sound totally different throughout. I would have no issue regarding the Violins B as Violins Two in a Chamber band. And for a Symphonic band, I'd simply not play the exact same note at the exact same time. So exciting to be able to make a Symphonic Violins section, both playing legato, half Con Sordino and half not! I can totally see now why they didn't spend time recording Violins Two, and focused on bang for buck otherwise. If anyone wants me to spit out anything in particular, let me know. So far, it just works, and sounds fantastic.



Really sorry to ask this as I'm trying very hard to contain my excitement : are you 100% sure that the B sections are another set of samples and not some transposition wizardry?


----------



## Kevperry777

whitewasteland said:


> Really sorry to ask this as I'm trying very hard to contain my excitement : are you 100% sure that the B sections are another set of samples and not some transposition wizardry?



He says in the tech walkthrough video they recorded a second pass of each articulation.


----------



## muziksculp

chapbot said:


> I have zero hope for a release anytime soon... How long have they been talking about it? Years?



Yeah.. I know, but let's give them a chance. I'm still hoping it will be released this year, surely better if it will be out this month.


----------



## gst98

Go To 11 said:


> For anyone wondering, the entire library is doubled. It should be really marketed as a Divisi Symphonic library. I can see why they changed the name from Nashville Chamber to Nashville Scoring strings. It's so much more than Chamber strings. And yes, the B sections sound totally different throughout. I would have no issue regarding the Violins B as Violins Two in a Chamber band. And for a Symphonic band, I'd simply not play the exact same note at the exact same time. So exciting to be able to make a Symphonic Violins section, both playing legato, half Con Sordino and half not! I can totally see now why they didn't spend time recording Violins Two, and focused on bang for buck otherwise. If anyone wants me to spit out anything in particular, let me know. So far, it just works, and sounds fantastic.



Are the symhonic/doubled patches good? we didn't get to hear much of them in legato or longs articualtions, so I was wondering if doubling the players up sounds natural at all?


----------



## lettucehat

prodigalson said:


> Sorry, I misspoke. I meant Adventure Strings. But still, if the Marcatos function like AS then I think I’d be pretty ok with that...



Yeah you just got me excited about Fluid Shorts! I hope PS does something like this though, they nailed it with Caspian.


----------



## Emmanuel Rousseau

Kevperry777 said:


> He says in the tech walkthrough video they recorded a second pass of each articulation.



Yes sir, but @MA-Simon also said :


> Unshure if the B version are just shifted samples or alternate recordings though? Patch size seems to stay the same and it does not appear to load new samples.



So WHO'S RIGHT ?


----------



## Land of Missing Parts

whitewasteland said:


> Yes sir, but @MA-Simon also said :
> 
> So WHO'S RIGHT ?


The B version is bloopers and outtakes.


----------



## Beans

It's not very clear here:




> The "B" patches are essentially a second pass of the same articulation.



But yes, the sizes (in MB) seem to be the same.


----------



## Andrajas

I love the sound of this, congrats on the release!


----------



## Go To 11

whitewasteland said:


> Really sorry to ask this as I'm trying very hard to contain my excitement : are you 100% sure that the B sections are another set of samples and not some transposition wizardry?


They sound different to my ears. They really did do the whole thing twice. Love it!


----------



## Go To 11

gst98 said:


> Are the symhonic/doubled patches good? we didn't get to hear much of them in legato or longs articualtions, so I was wondering if doubling the players up sounds natural at all?


Sounds really good to me. It's a symphonic sound, so meatier, but because it's two patches, it has all the benefits of when you double one sample library with another and those tiny holes are smoothed out. Except it's doubling with itself in the same room.


----------



## Go To 11

Funny you should say that... There is an extra alt of Cello Spiccato and Pizzicato...


Land of Missing Parts said:


> The B version is bloopers and outtakes.


----------



## filipjonathan

@Go To 11 what about that 'runs' patch? Is it there? Is it good? How playable is it? Thank you!!!


----------



## Go To 11

filipjonathan said:


> @Go To 11 what about that 'runs' patch? Is it there? Is it good? How playable is it? Thank you!!!


There is no dedicated run patch that I can see I'm afraid! Fast notes sound pretty good, though.


----------



## filipjonathan

Go To 11 said:


> There is no dedicated run patch that I can see I'm afraid! Fast notes sound pretty good, though.


That's odd. He even played it in the walkthrough. 🤔


----------



## Ruffian Price

The runs are multis, they combine articulations.


----------



## jaketanner

Strikes me as a bit odd that the walkthrough shows doubling of the con legno art and not the legato. Who the heck double con legno?? And why is that some feature worth mentioning. So maybe doubling with B for legato just doesn’t sound good.


----------



## ansthenia

Demos sounds great! No 2nd Violins is a huge bummer for me personally but I'm intrigued about this A/B business. Gonna wait for some more impressions and thoughts from people before I jump on that intro price.

Although what's with the walkthrough vid thinking we want to stare at that guys face while he's playing the patches and not talking instead of showing his screen...lol


----------



## rainierjmartin

Could someone who has the library demonstrate the runs multi patches? They sounded really good in the walkthrough.


----------



## Francis Bourre

ansthenia said:


> Although what's with the walkthrough vid thinking we want to stare at that guys face while he's playing the patches and not talking instead of showing his screen...lol


Fyi, it's not played live. I wanted to have a look on the voicings of the spicc parts, and it's not doable at all with 2 hands. I can imagine it's a common practice in walkthroughs nowadays, the temptation must be too high to render the whole thing as perfect as you can.
Btw, if the library sounds good using programming, it means it will sound good at the end. And this walkthrough sounds really good to my ears.


----------



## Go To 11

filipjonathan said:


> That's odd. He even played it in the walkthrough. 🤔





filipjonathan said:


> That's odd. He even played it in the walkthrough. 🤔


Apologies! I hadn't even looked in that folder yet! Re-watched the video to get the right patch.


----------



## Go To 11

Go To 11 said:


> Apologies! I hadn't even looked in that folder yet! Re-watched the video to get the right patch.


It's a combo patch of shorts and trills that, depending on the velocity you draw in, can give the tone of a major or minor run - and a run ending on a trill is fun, too, if you want it. Mission: Impossible comes to mind.


----------



## ALittleNightMusic

"A new benchmark" - would be curious to understand what that means. Is it the scripting? Is it the dynamic layers or RRs? They've left out staccatos it would seem and don't have any "special" articulations (dynamic swells, sul pont, flautando, etc.). No separate violins II section either.

Looking forward to the reviews.


----------



## Manaberry

Ok guys, grab a drink or something, we go for an NSS test drive in half an hour on Twitch.





*Rendez-vous here*

**

I will start the stream as soon as the download is finished and the library installed. Time to answer some questions! I've done a doodle today, so there is already plenty of notes to play with.


----------



## chapbot

ALittleNightMusic said:


> "A new benchmark" - would be curious to understand what that means. Is it the scripting? Is it the dynamic layers or RRs? They've left out staccatos it would seem and don't have any "special" articulations (dynamic swells, sul pont, flautando, etc.). No separate violins II section either.
> 
> Looking forward to the reviews.


My personal feel after playing with the library for several hours last night is that I'm getting a little more sense of realism than I'm getting with any other library I use. It's not like a huge technological leap but it is making my ears perk up when I stand back and listen to what I've just worked on.


----------



## Cheezus

chapbot said:


> My personal feel after playing with the library for several hours last night is that I'm getting a little more sense of realism than I'm getting with any other library I use. It's not like a huge technological leap but it is making my ears perk up when I stand back and listen to what I've just worked on.


Performance Samples libraries definitely give me the same sense. They just sound "right."


----------



## Mike Fox

chapbot said:


> My personal feel after playing with the library for several hours last night is that I'm getting a little more sense of realism than I'm getting with any other library I use. It's not like a huge technological leap but it is making my ears perk up when I stand back and listen to what I've just worked on.


This is kinda what i hear when watching the walkthrough. There seems to be a special sense of realism to these strings, especially with the spiccatos/marcatos.


----------



## ALittleNightMusic

chapbot said:


> My personal feel after playing with the library for several hours last night is that I'm getting a little more sense of realism than I'm getting with any other library I use. It's not like a huge technological leap but it is making my ears perk up when I stand back and listen to what I've just worked on.



Interesting - have you switched back and forth to your previous favorite string libraries? I noticed that new purchases / libraries can have a honeymoon period where they seem "unmatched", which then evolves into a more realistic perspective over time. Do you plan on replacing strings in your current template with these? The demos sound ok to me - but nothing exceptionally special. Clearly others are hearing something they like though.


----------



## pulsedownloader

Manaberry said:


> Ok guys, grab a drink or something, we go for an NSS test drive in half an hour on Twitch.
> 
> 
> 
> 
> 
> *Rendez-vous here*
> 
> **
> 
> I will start the stream as soon as the download is finished and the library installed. Time to answer some questions! I've done a doodle today, so there is already plenty of notes to play with.




Wow nice download speed


----------



## gst98

chapbot said:


> My personal feel after playing with the library for several hours last night is that I'm getting a little more sense of realism than I'm getting with any other library I use. It's not like a huge technological leap but it is making my ears perk up when I stand back and listen to what I've just worked on.



Is that with the samples with noises left in?


----------



## Manaberry

Ok the installation is almost complete, I've started the live!


----------



## chapbot

Go To 11 said:


> Sounds really good to me. It's a symphonic sound, so meatier, but because it's two patches, it has all the benefits of when you double one sample library with another and those tiny holes are smoothed out. Except it's doubling with itself in the same room.


Thanks for posting this! I feel the violas are a little weak by themselves in my track, so I used your idea and doubled them with the B version - really helped and made them beefier. I can confirm they sound the same yet do NOT phase. Great doubling and would be perfect for divis.


----------



## chapbot

gst98 said:


> Is that with the samples with noises left in?


Yes, I'm using the NOISY samples


----------



## MA-Simon

Can someone please test: Cellos - Legato, transition from low C1 to G1 and A1 to C1. Can you hear phasing.  Maybe It's just my download that got messed up again with pulse.


----------



## chapbot

ALittleNightMusic said:


> Interesting - have you switched back and forth to your previous favorite string libraries? I noticed that new purchases / libraries can have a honeymoon period where they seem "unmatched", which then evolves into a more realistic perspective over time. Do you plan on replacing strings in your current template with these? The demos sound ok to me - but nothing exceptionally special. Clearly others are hearing something they like though.


Yes, I have just replaced my old strings with Nashville in a pop track I'm currently working on and will A/B tonight or tomorrow after I've done some mixing. I was using a frankenstein mix of Soaring Strings and Spitfire Studio, so that should tell you the sound I'm after - something that's dry and will cut through a mix. My initial reaction was that the string sound went from using a really good VST to a string section I recorded. I'm feeling a "spacial-ness" to the samples, maybe because I'm using the noisy version of the samples. Also understand if people are wanting to do classical mockups this may not be the ideal library for that, although I would think it could be coaxed into anything. It feels more commerical, and that's probably why there isn't a laundry list of articuations. I don't need staccato, for instance, I only ever use spiccs.


----------



## chapbot

MA-Simon said:


> Can someone please test: Cellos - Legato, transition from low C1 to G1 and A1 to C1. Can you hear phasing.  Maybe It's just my download that got messed up again with pulse.


I am finding an occassional bug - using a cello with pedal to trigger rebow on a certain note can sometimes cause an audio glitch - but not every time, maybe 1 out of 3 playbacks.


----------



## filipjonathan

Go To 11 said:


> It's a combo patch of shorts and trills that, depending on the velocity you draw in, can give the tone of a major or minor run - and a run ending on a trill is fun, too, if you want it. Mission: Impossible comes to mind.


Thanks!


----------



## Go To 11

chapbot said:


> I am finding an occassional bug - using a cello with pedal to trigger rebow on a certain note can sometimes cause an audio glitch - but not every time, maybe 1 out of 3 playbacks.


Are you pressing the note - then holding the pedal down - letting the note go and pressing again? Sorry to be so dense. Which note is bugging for you? I'm loving the rebow so far, I don't have any other libe that can do clear double-note melodies, which is amazing given how often they appear in my (and others) music!


----------



## Go To 11

MA-Simon said:


> Can someone please test: Cellos - Legato, transition from low C1 to G1 and A1 to C1. Can you hear phasing.  Maybe It's just my download that got messed up again with pulse.


Those legatos seem fine on mine... My first Pulse download broke and my second gave me dead nkis at 0 bytes each. Third time lucky. @pulsedownloader - seems to be some issues on this one for some of us.


----------



## pulsedownloader

Go To 11 said:


> Those legatos seem fine on mine... My first Pulse download broke and my second gave me dead nkis at 0 bytes each. Third time lucky. @pulsedownloader - seems to be some issues on this one for some of us.



Can you drop us an email at [email protected] please and we can take a look? Also please ensure you're using the latest version of the app


----------



## jaketanner

chapbot said:


> Yes, I'm using the NOISY samples


Are there noisy and clean samples for both A and B?


----------



## Kevinside

The legatos of nss sounds so great... Libraries like Century Strings or Areia are sounding awful in comparsion...


----------



## jaketanner

My finger is on the trigger. Just a few more good demos.


----------



## Beans

Go To 11 said:


> Funny you should say that... There is an extra alt of Cello Spiccato and Pizzicato...



Wait, are you serious, or did you rename to that? I don't have anything like that in my install.

EDIT: Weird, I see "dirtypizz" in my Samples folder, but I don't see any such Instrument.

EDIT 2: Okay, I see that the Instrument I have named "Cellos (Alt) - Pizzicato" seems to pull in the "dirty" samples...


----------



## gst98

To anyone who has both, how would you say NSS legato is in comparison with Con Moto legato?


----------



## Manaberry

Just finished a 2 hours tour of Nashville. There is still a lot to explore but I've tried to review some stuff already. If you can handle my french accent and my amazing (that not true) piano skill, here you go: 

There is also Con Moto featured in this live.

This weekend I will craft a proper walkthrough video like I did with Spitfire Studio Strings Spiccato Patch (like the everything demonstration).

One thing for sure about Nashville, miking setup is splendid. I do love what every mic brings to the table.


----------



## filipjonathan

I find it a bit odd that there aren't any reviews or demos on YT yet.


----------



## chapbot

jaketanner said:


> Are there noisy and clean samples for both A and B?


Yes. It's an entire samples folder that you replace. You get a noisy folder and a de-noised folder


----------



## jaketanner

chapbot said:


> Yes. It's an entire samples folder that you replace. You get a noisy folder and a de-noised folder


That’s good then. Wonder how the noisy and clean samples layer?


----------



## Cory Pelizzari

Mike Fox said:


> Cory Pelizzari and Daniel James are about as unbiased as they come. If you're really familiar with their reviews, you'd know they aren't blindsided by free library excitement. They've actually upset developers once or twice because of their honesty (which i sincerely admire).


You're right there. Ever since my video on LA Modern Percussion, Audio Ollie have ignored all my emails, so it looks like I won't be getting a review copy of Nashville Scoring Strings. Everyone will have to wait a few months while I save up for that and Audio Imperia's new strings.


----------



## chapbot

jaketanner said:


> That’s good then. Wonder how the noisy and clean samples layer?


Interesting question, I would imagine they would layer fine since they're the same players?


----------



## Lionel Schmitt

chapbot said:


> Interesting question, I would imagine they would layer fine since they're the same players?


hm.. I don't quite get it. Those should be the same samples with and without noise reduction.
Thus you'd get a volume bump or phasing.


----------



## jaketanner

DarkestShadow said:


> hm.. I don't quite get it. Those should be the same samples with and without noise reduction.
> Thus you'd get a volume bump or phasing.


Well my thinking was if the. Leaned samples were processed more, that would/might shift the phase so they’re not perfectly aligned. This making them layerable. But honestly I really like the small size, would just be a good option if we can layer.


----------



## axb312

I don't get it - how did they get 2 sets of samples for each instrument group and a seemingly big number of dynamic layers and RRs in 20 GB (size of noised/ de-noised sample set)?

CSS sample folder is 32 GB for me.


----------



## jaketanner

axb312 said:


> I don't get it - how did they get 2 sets of samples for each instrument group and a seemingly big number of dynamic layers and RRs in 20 GB (size of noised/ de-noised sample set)?
> 
> CSS sample folder is 32 GB for me.


Could be the resolution of the files. Are they 44.1 or 48? Might make a bit of a difference in size. Or compressed files.


----------



## Lionel Schmitt

axb312 said:


> I don't get it - how did they get 2 sets of samples for each instrument group and a seemingly big number of dynamic layers and RRs in 20 GB (size of noised/ de-noised sample set)?
> 
> CSS sample folder is 32 GB for me.


No 2nd violins, 4 types of regular shorts (port, stactiss, stacc, spicc) in CSS vs 2 (marc, spicc + 1 extra for cellos) in NCS.
Shouldn't that be enough to make up for the difference?
Or different resolutions as Jake mentioned.


----------



## Saxer

And no non-vib layer.


----------



## Laptoprabbit

Cory Pelizzari said:


> You're right there. Ever since my video on LA Modern Percussion, Audio Ollie have ignored all my emails, so it looks like I won't be getting a review copy of Nashville Scoring Strings. Everyone will have to wait a few months while I save up for that and Audio Imperia's new strings.



Just took a look at your LA percussion review and it seemed pretty fair, showing the pros as well as cons and actually leaving a positive impression. It's within anyone's right to decline but to ghost like that seems a bit unsavory.


----------



## mojamusic

Cory Pelizzari said:


> You're right there. Ever since my video on LA Modern Percussion, Audio Ollie have ignored all my emails, so it looks like I won't be getting a review copy of Nashville Scoring Strings. Everyone will have to wait a few months while I save up for that and Audio Imperia's new strings.



I'd be willing to contribute 20 bucks toward you getting the library! You have been influential in SO MANY of my purchases and non-purchases. Anybody else interested? We would need like 15 people!


----------



## jaketanner

@DarkestShadow ...since you worked with both NSS and Vista, what exactly was the involvement of Jasper in NSS since it's really not mentioned? I ask this because I LOVE PS...Con Moto is an incredible sounding library and the playability is fantastic...seems that there is a lot of hype around Vista being nearly untouchable with the new techniques that Jasper has put into it...can we expect any of that in NSS? I have waited for a very long time for these to come out...LOL and want to be sure that Jasper had a hand in it...I really wouldn't consider them otherwise tbh, because I trust Jasper 100%. I have been wanting a CM style library with bread and butter articulations for years...I was hoping NSS would be it.

Anything you can say on this would be most helpful, I'm sure to a lot of us that think the same way. Thanks!


----------



## peladio

Cory Pelizzari said:


> You're right there. Ever since my video on LA Modern Percussion, Audio Ollie have ignored all my emails, so it looks like I won't be getting a review copy of Nashville Scoring Strings.



lol..

Exactly what I was saying in my previous post..keep up the great work


----------



## Peros

Anyone knows for how long is the intro price?


----------



## Manaberry

Peros said:


> Anyone knows for how long is the intro price?



From the commercial thread:


----------



## ProfoundSilence

Manaberry said:


> Ok the installation is almost complete, I've started the live!


I'm following buddy, Nice to see you streaming! I'll get back to it when work slows down a little


----------



## Obi-Wan Spaghetti

Peros said:


> Anyone knows for how long is the intro price?


They have a 30% 0ff sale(same as intro price) going on on all their libraries until dec. 1st, so i guess it's the same with intro price.


----------



## Obi-Wan Spaghetti

Manaberry said:


> From the commercial thread:


May i ask where you saw that thread? Thanks for the video btw. Will watch later.


----------



## Manaberry

Obi-Wan Spaghetti said:


> May i ask where you saw that thread? Thanks for the video btw. Will watch later.


Sure thing, here you go: https://vi-control.net/community/threads/out-now-nashville-scoring-strings.100543/


----------



## ricoderks

Go To 11 said:


> There is no dedicated run patch that I can see I'm afraid! Fast notes sound pretty good, though.


There is in the multis, but its old school trickery: spiccato with trills layered. Sounds pretty good though!


----------



## Penthagram

I just got the library. I will share later probably some examples if I have time. Out of the box I like a lot the sound, and like a lot the rebow if you use the sustain pedal. Violins legato from G4 to f4 and f4 to e4 has problems. you can hear the string pluck very loud. seems there is a pizzicato happening at the same time in the recording. Hopefully this can be fixed


----------



## Vik

axb312 said:


> I don't get it - how did they get 2 sets of samples for each instrument group and a seemingly big number of dynamic layers and RRs in 20 GB (size of noised/ de-noised sample set)?
> 
> CSS sample folder is 32 GB for me.


The CSS specs says 34.5GB hard drive space, and the Nashville specs says 45 GB hard drive space. The required hard drive space isn't necessarily equal to the final size of the folder.


----------



## ricoderks

Go To 11 said:


> They sound different to my ears. They really did do the whole thing twice. Love it!


Wellll im not sure to be honest. I discovered the following:

Violins legato + Violins Legato B both are 0.87gb with close and decca. Total memory of kontakt stays on 0.87 too. When i opened the instrument options of Violins B, I saw the instrument was transposed +2.
When setting that back to 0 and tuning the samples plus 2 in the main interface i got phasing issues. Seems legatos are not recorded twice. But the trick they use sound super convincing.

I'm seeing this technique used on most "Symphonic multis"

So.... Whats the 2-pass recording then!? Is the library actually recorded twice for the B patches??

Wish they were a bit more transparant about what you're actually buying, thats all.
Sound is nice, transpose trick works too. No problem there.




EDIT: Well, just looked back the walktrough. He says it pretty clear actually! So Totally my bad!
The library is recorded ONCE (of course). Then the patches have a second pass (transpose trick i guess) for SIMULATING a larger section. 

That means, I've interpreted that wrong the first time probably because of my enthusiasm. Absolutely love the library already and it gets a well deserved spot in my template. 

R


----------



## Manaberry

Hey guys, I just finished a video showcasing mics of the legato patches (for those who like to hear what every mic position sounds like)



It does take time to make those videos so the next one will probably be uploaded later this week. (Pizz, Spicc, Marcato)

EDIT: I do apologize for any overdose linked to the repetitive tune :D


----------



## Casiquire

sinkd said:


> This is a great sounding library. My impression of the spiccs is that maybe they are a little too tight which starts to sound less natural, even with RRs. If I did not have LASS configured to be able to deliver much of the same kind of sound, I would definitely consider NSS. The pizzicatos, in particular, are gorgeous.


I actually don't think it sounds unnatural. I think that in the sample world we've been trained that hearing the same note performed too consistently is a bad thing and libraries actually tend to introduce TOO MUCH inconsistency just for people who buy samples, for the sake of rubbing it in our face that there are round robins and no machine gunning. In the real world though live orchestras perform so consistently that they can often sound a bit like machine guns. I think these sound pretty good.


----------



## ricoderks

Also a short in context example.
Doubled with con moto. But not as loud as Nashville.


----------



## Casiquire

ricoderks said:


> Wellll im not sure to be honest. I discovered the following:
> 
> Violins legato + Violins Legato B both are 0.87gb with close and decca. Total memory of kontakt stays on 0.87 too. When i opened the instrument options of Violins B, I saw the instrument was transposed +2.
> When setting that back to 0 and tuning the samples plus 2 in the main interface i got phasing issues. Seems legatos are not recorded twice. But the trick they use sound super convincing.
> 
> I'm seeing this technique used on most "Symphonic multis"
> 
> So.... Whats the 2-pass recording then!? Is the library actually recorded twice for the B patches??
> 
> Wish they were a bit more transparant about what you're actually buying, thats all.
> Sound is nice, transpose trick works too. No problem there.
> 
> 
> 
> 
> EDIT: Well, just looked back the walktrough. He says it pretty clear actually! So Totally my bad!
> The library is recorded ONCE (of course). Then the patches have a second pass (transpose trick i guess) for SIMULATING a larger section.
> 
> That means, I've interpreted that wrong the first time probably because of my enthusiasm. Absolutely love the library already and it gets a well deserved spot in my template.
> 
> R


That's a serious disappointment


----------



## Kevperry777

Casiquire said:


> That's a serious disappointment



Indeed. 

So by this measure, spitfire chamber strings could be called spitfire scoring strings.

And while there are not individual sections, Neo’s true A and B sound great


----------



## Emmanuel Rousseau

Disappointed as well but I'd like to remind everyone this was not a selling point of the library, no mention of these A and B sections on the product page. Ollie could have been a little clearer about this in the walkthrough but that's it. No hard feelings!


----------



## Kevperry777

whitewasteland said:


> Disappointed as well but I'd like to remind everyone this was not a selling point of the library, no mention of these A and B sections on the product page. Ollie could have been a little clearer about this in the walkthrough but that's it. No hard feelings!



True. And if it sounds good- awesome. 

The walkthrough is vague...but right up to the edge of implying that the 2nd layer is a true 2nd pass. (c’mon man just say it) So the question is this for the whole library? Shorts and all transposed and layered?

Heck...I can do that with most every string library own and double it’s size.


----------



## jaketanner

whitewasteland said:


> Ollie could have been a little clearer about this in the walkthrough but that's it. No hard feelings!


This seems to be a theme where Ollie doesn’t engage in answering any questions. The YT walkthrough seems to suffer from this as well. Not one reply to a bunch of legit questions...at least not the last time I checked. This is not cool. Sure he might be busy, but then he should have disclosed everything upfront.


----------



## Mike Fox

jaketanner said:


> This seems to be a theme where Ollie doesn’t engage in answering any questions. The YT walkthrough seems to suffer from this as well. Not one reply to a bunch of legit questions...at least not the last time I checked. This is not cool. Sure he might be busy, but then he should have disclosed everything upfront.


Kinda feels like trying to get ahold of Verizon customer support.


----------



## Kevperry777

I think I’d say that this actually does involve a selling point of the library. “We recorded a chamber size string section, but we are calling it scoring strings because we transposed and layered to double the sound” isn’t quite the same.

If that is indeed what this is.


----------



## jaketanner

Mike Fox said:


> Kinda feels like trying to get ahold of Verizon customer support.


Lmao


----------



## Montisquirrel

This was just released. Not everyone in the world will check a forum every 5min like some people here.
I find it unbeliveable how some people here are demanding their personal niche needs and questions, not only after the release but also before. Maybe this library is not for you because it seams you don't make any music at all seeing some names here writing 24/7. Sorry, but I just had to say this.


----------



## jaketanner

Kevperry777 said:


> I think I’d say that this actually does involve a selling point of the library. “We recorded a chamber size string section, but we are calling it scoring strings because we transposed and layered to double the sound” isn’t quite the same.


Sounds a bit deceitful whether it was intentional I don’t know. If this is true, it says a lot about his integrity and a good reason for me to avoid buying. Sadly, I had such high hopes.


----------



## method1

Kevperry777 said:


> I think I’d say that this actually does involve a selling point of the library. “We recorded a chamber size string section, but we are calling it scoring strings because we transposed and layered to double the sound” isn’t quite the same.
> 
> If that is indeed what this is.



I agree with you there, in the video he says "essentially a 2nd pass" - that implies a 2nd set of recordings to me, if it's not the case it needs to be made clear, because transposing the same samples in a new patch is not a 2nd pass 🤷‍♀️


----------



## ricoderks

Casiquire said:


> That's a serious disappointment


Hmmm yeahnnnoyeah a tiny bit. The trick works great. I just didn't pay attention to vid.


whitewasteland said:


> Disappointed as well but I'd like to remind everyone this was not a selling point of the library, no mention of these A and B sections on the product page. Ollie could have been a little clearer about this in the walkthrough but that's it. No hard feelings!


Yeah i feel exactly the same! Im totally ok with it as is right now. Already amazing out of the box


----------



## ka00

method1 said:


> I agree with you there, in the video he says "essentially a 2nd pass" - that implies a 2nd set of recordings to me, if it's not the case it needs to be made clear, because transposing the same samples in a new patch is not a 2nd pass 🤷‍♀️



"So we included a second pass of all the articulations". That's a major selling point. If it's not true, that's quite misleading indeed.


----------



## Manaberry

Anyone having huge disk issues on Kontakt while having NSS hosted in VEP?


----------



## Beans

Mike Fox said:


> Kinda feels like trying to get ahold of Verizon customer support.



More like, "trying to get ahold of Verizon customer support from a third party smartphone fan site at which a Verizon executive has previously made rare appearances."

I'm not saying that there aren't valid questions here that would be lovely to have been addressed in existing documentation or at VI-C, but there is a Contact form on the Audio Ollie web site. I wouldn't be surprised if they were dealing with those first.


----------



## jaketanner

Montisquirrel said:


> This was just released. Not everyone in the world will check a forum every 5min like some people here.


This was released two days ago...and not ONE single reply or engagement from Ollie here, or on YT. So in two days he hasn't checked to follow up on a long anticipated release? It's like a waiter bringing your food and never coming back to the table...LOL I don't think it's unreasonable to expect some form of communication given the amount of fair questions.


----------



## Mike Fox

Beans said:


> More like, "trying to get ahold of Verizon customer support from a third party smartphone fan site at which a Verizon executive has previously made rare appearances."


I'll roll with that!


----------



## ProfoundSilence

jaketanner said:


> This was released two days ago...and not ONE single reply or engagement from Ollie here, or on YT. So in two days he hasn't checked to follow up on a long anticipated release? It's like a waiter bringing your food and never coming back to the table...LOL I don't think it's unreasonable to expect some form of communication given the amount of fair questions.


Honestly, there are plenty who don't interact here often. It's unfortunately sometimes the smart thing to do.


Spitfire had some silence where it was more or less an announcement only thing - Mike Patti I don't really see around often either - and I can't help but feel like wallbank and blunk are a rare sighting as well.

Just set the pitch forks down for now and give it some room to breathe, while I do like both LAMP and Scoring Synths - I can tell you that people weren't the kindest about the way LAMP was laid out. He took a stance, one that actually lines up with some of the best actual composers in the business - and a bunch of hobbyists felt it was "unacceptable" and even though he made his case(one that I actually understand now that I own it and see the value in that sort of setup) plenty refused to budge. 

Hate to simp for developers, but I can't help but remind people to have a little perspective. Some people(won't name them, but it should be fairly obvious) tend to be very enthusiastic about every new release and then act like it's the end of the world when the product doesnt match the product they imagined it was when they were hyped up. Misqouting/misunderstanding what developers put out on products, sometimes just imagining entire instruments that were never recorded and treating it like it's somehow a flaw of a library that they didn't include something you think it should have. 

Audio Ollie is a VERY small developer, very small product line, very short time on the markets at all - and this is an incredible release for him, given his resources. Even if I'm not in the market for another string library, this thing is it's own take on the bread and butter string library - and has strengths and weaknesses like other offerings. I appreciate the healthy competition, and while there is certainly some confusion about a 2nd set of samples that I think should be ironed out, the more criticism that comes out before it's addressed the less incentive he has to address it. Easier to just let the product speak for itself.


----------



## jaketanner

ProfoundSilence said:


> Honestly, there are plenty who don't interact here often. It's unfortunately sometimes the smart thing to do.
> 
> 
> Spitfire had some silence where it was more or less an announcement only thing - Mike Patti I don't really see around often either - and I can't help but feel like wallbank and blunk are a rare sighting as well.
> 
> Just set the pitch forks down for now and give it some room to breathe.


I know...and equally frustrating when they do it also. But so many legit questions, and now the whole 2nd pass thing really needs to be addressed because it's marketed differently. But I'm gonna wait and see how this plays out.. LOL But I'm ready to buy soon as some things get ironed out.


----------



## Beans

Plus, doesn't this intro deal go through the end of the month? I agree, give it some breathing room.


----------



## tabulius

Anyone tried to contact via the support email if you have questions? The forum might not be the best place for support. He said to use [email protected]


----------



## Audio Ollie

Hey Guys,


Finally getting an opportunity to hop on here and respond to some of your comments and questions. It’s been a crazy last few days so I appreciate your patience. 


Firstly, I can't thank you enough for all of the enthusiasm. It's really cool to hear what each of you are responding to on an individual level when it comes to Nashville Scoring Strings. 


I’d like to clear a few things up since there seems to be a bit of confusion here. I try to be as clear and transparent as I can be on the walkthroughs, but sometimes I articulate things in a way which can be misinterpreted so I’ll try to cover as many points as I can for now:



*The B Patches*

The B patches are transposed, re-pitched, and processed to serve as a second layer. At some point in the production process we tested this layering approach and thought it sounded really great. In many cases I actually even prefer the B patches for their warmer, slightly larger sound, and so I decided to include it as a part of the library under the philosophy that if it sounds good, it is good. That being said, I in no way intended to mislead you into thinking we recorded the entire library twice. I can see how the phrase “second pass” could be interpreted this way, so I do acknowledge why there might have been a misunderstanding. I do want to point out, however, that I did not present the B patches as a major selling point of the library, even if you personally perceived it to be so. 99% of the audio examples in the walkthrough use the main patches, none of the demos include the B patches, and we don’t really mention it on the site because it was just a bonus aspect to the library. Of course you could independently do this with any library, but we saved you the time by creating the B patches and (symphonic) patches. The section size makes this approach particularly viable, so again we decided there was no harm in including it since as some of you have already mentioned, it sounds great. 

Regarding the name switch from Chamber Strings to Scoring Strings - this had absolutely nothing to do with the B layers being included and everything do to with the sound. NSS doesn’t really sound like a chamber size strings ensemble which is something that people mentioned ages ago upon hearing the first examples. At that point we all decided to change the name. The section sizes are larger than a chamber size as well, which was yet another reason to slightly shift the branding.



*Shorts*


The shorts patches have 4 dynamics and 7 round robbin. What some of you are noticing in Michal's demo is how the library sounds perfectly quantized. NSS was edited so that if you're locked to the grid, you are REALLY locked to the grid. All of the transients will hit the beat perfectly. Most libraries aren't edited this tightly. Also, due to the fact that we thoroughly matched the timbres of all the notes, there won't be a round robbin that ever stands out from the others. This is great, because you have full control of the level of humanization. You won't have to fight the library to get the performance you want in that respect. You'll notice the shorts in the walkthrough (which were played in), sound very 'human'. 


The spiccato's are short but not so much that they can't do staccato like performances. If you're familiar with CSS they fall somewhere right in the middle of their Spiccs and Staccs. If I need something a little bit longer, I'll just layer with the Marcatos. You can hear in the walkthrough, during the marcato section that I have the spiccato layered in at times. 



*Alt Sordinos*


Similar to the B patches, the alt sordinos are not unique recordings. We eq matched the true sordino longs and processed the patches so that they would match very closely. Again, we thought it sounded awesome and so we included them. 


*Keyswitching*


There is no keyswitching in the library and probably won't be. Based on how the individual patches are designed, key switching wasn't really a viable option within a single patch. It looks like someone above already found a solution if that's your preferred way of working. 




Thank you again for your comments. Please be patient with me when it comes to VI posts as we have an unimaginable amount of support emails to respond to as well. Generally, the best way to get a quick response from me is at [email protected].



Ollie


----------



## Lionel Schmitt

jaketanner said:


> @DarkestShadow ...since you worked with both NSS and Vista, what exactly was the involvement of Jasper in NSS since it's really not mentioned? I ask this because I LOVE PS...Con Moto is an incredible sounding library and the playability is fantastic...seems that there is a lot of hype around Vista being nearly untouchable with the new techniques that Jasper has put into it...can we expect any of that in NSS? I have waited for a very long time for these to come out...LOL and want to be sure that Jasper had a hand in it...I really wouldn't consider them otherwise tbh, because I trust Jasper 100%. I have been wanting a CM style library with bread and butter articulations for years...I was hoping NSS would be it.
> 
> Anything you can say on this would be most helpful, I'm sure to a lot of us that think the same way. Thanks!


I don't mention anything that isn't mentioned by AO or PS  
There have been some posts about it here though... 
In the end it doesn't matter, just go by your ears as to whether it's of interest or not. 
There will certainly a bunch of overviews coming up soon.


----------



## Henrik B. Jensen

Still, if you want to take advantage of communication channels such as Youtube as well as a forum full of potential customers, people these days expect it to be a 2-way communication between company and customers. It's not like it would take 5 hours to throw in a few replies on Youtube and here.

Edit:
Ah, good to see reply above. Nice!


----------



## jaketanner

DarkestShadow said:


> I don't mention anything that isn't mentioned by AO or PS
> There have been some posts about it here though...
> In the end it doesn't matter, just go by your ears as to whether it's of interest or not.
> There will certainly a bunch of overviews coming up soon.


My ears tell me I'm still on the fence..LOL If Jasper is involved and applied his techniques, I can go blind and buy because I already have a lot of PS libraries and know what I'm getting. But I will wait...still time for the intro price  Thanks for the reply.


----------



## jaketanner

Audio Ollie said:


> Firstly, I can't thank you enough for all of the enthusiasm. It's really cool to hear what each of you are responding to on an individual level when it comes to Nashville Scoring Strings.


I want to say...while we may all get over the top...it's purely out of excitement and WANTING to buy the library...not because of any hate or dislike (speaking for myself). Just wanted to put that out there... So thank you for joining us.


----------



## Kevperry777

Audio Ollie said:


> Thank you again for your comments. Please be patient with me when it comes to VI posts as we have an unimaginable amount of support emails to respond to as well. Generally, the best way to get a quick response from me is at [email protected].



Very helpful clarity.... thanks for dropping in Ollie. And as a Nashvillian, thanks for featuring our great players here and the fantastic Ocean Way room.


----------



## jaketanner

Bought!


----------



## filipjonathan

jaketanner said:


> Bought!


Now let us know how YOU like it!


----------



## jaketanner

filipjonathan said:


> Now let us know how YOU like it!


You know I will..LOL


----------



## ricoderks

Audio Ollie said:


> Hey Guys,
> 
> 
> Finally getting an opportunity to hop on here and respond to some of your comments and questions. It’s been a crazy last few days so I appreciate your patience.
> 
> 
> Firstly, I can't thank you enough for all of the enthusiasm. It's really cool to hear what each of you are responding to on an individual level when it comes to Nashville Scoring Strings.
> 
> 
> I’d like to clear a few things up since there seems to be a bit of confusion here. I try to be as clear and transparent as I can be on the walkthroughs, but sometimes I articulate things in a way which can be misinterpreted so I’ll try to cover as many points as I can for now:
> 
> 
> 
> *The B Patches*
> 
> The B patches are transposed, re-pitched, and processed to serve as a second layer. At some point in the production process we tested this layering approach and thought it sounded really great. In many cases I actually even prefer the B patches for their warmer, slightly larger sound, and so I decided to include it as a part of the library under the philosophy that if it sounds good, it is good. That being said, I in no way intended to mislead you into thinking we recorded the entire library twice. I can see how the phrase “second pass” could be interpreted this way, so I do acknowledge why there might have been a misunderstanding. I do want to point out, however, that I did not present the B patches as a major selling point of the library, even if you personally perceived it to be so. 99% of the audio examples in the walkthrough use the main patches, none of the demos include the B patches, and we don’t really mention it on the site because it was just a bonus aspect to the library. Of course you could independently do this with any library, but we saved you the time by creating the B patches and (symphonic) patches. The section size makes this approach particularly viable, so again we decided there was no harm in including it since as some of you have already mentioned, it sounds great.
> 
> Regarding the name switch from Chamber Strings to Scoring Strings - this had absolutely nothing to do with the B layers being included and everything do to with the sound. NSS doesn’t really sound like a chamber size strings ensemble which is something that people mentioned ages ago upon hearing the first examples. At that point we all decided to change the name. The section sizes are larger than a chamber size as well, which was yet another reason to slightly shift the branding.
> 
> 
> 
> *Shorts*
> 
> 
> The shorts patches have 4 dynamics and 7 round robbin. What some of you are noticing in Michal's demo is how the library sounds perfectly quantized. NSS was edited so that if you're locked to the grid, you are REALLY locked to the grid. All of the transients will hit the beat perfectly. Most libraries aren't edited this tightly. Also, due to the fact that we thoroughly matched the timbres of all the notes, there won't be a round robbin that ever stands out from the others. This is great, because you have full control of the level of humanization. You won't have to fight the library to get the performance you want in that respect. You'll notice the shorts in the walkthrough (which were played in), sound very 'human'.
> 
> 
> The spiccato's are short but not so much that they can't do staccato like performances. If you're familiar with CSS they fall somewhere right in the middle of their Spiccs and Staccs. If I need something a little bit longer, I'll just layer with the Marcatos. You can hear in the walkthrough, during the marcato section that I have the spiccato layered in at times.
> 
> 
> 
> *Alt Sordinos*
> 
> 
> Similar to the B patches, the alt sordinos are not unique recordings. We eq matched the true sordino longs and processed the patches so that they would match very closely. Again, we thought it sounded awesome and so we included them.
> 
> 
> *Keyswitching*
> 
> 
> There is no keyswitching in the library and probably won't be. Based on how the individual patches are designed, key switching wasn't really a viable option within a single patch. It looks like someone above already found a solution if that's your preferred way of working.
> 
> 
> 
> 
> Thank you again for your comments. Please be patient with me when it comes to VI posts as we have an unimaginable amount of support emails to respond to as well. Generally, the best way to get a quick response from me is at [email protected].
> 
> 
> 
> Ollie


Thanks for the reply and man!
Really cleared things up. You guys created something very special!


----------



## lucor

I thought I was done with string libraries for a long while, but now I'm most certainly gonna buy both NSS and Vista within a few weeks. Damnit Jasper...


----------



## Tinesaeriel

I am so so SOOOOO CLOSE to pulling the trigger. I've been looking for a cleaner, brighter strings alternative to CSS for a while; I thought Imperia might've been it, but those legatos just do not do the job, but _this_ library! Whew! That legato sounds _spectacular_, and I almost don't even hear how there's not even a 2nd violins instrument. 

I don't have the money right now, and I'll probably miss the intro offer, but this is definitely now on my to-get list. I adore the sound - part of me wishes it was a symphonic sized section, but the depth and huge-ness this library is already capable of sounding like, just from the demos, has me sold.


----------



## ansthenia

So they basically just did the transposition trick and decided to make them their own patches and act like it was a second recording or something? err......


----------



## lucor

ansthenia said:


> So they basically just did the transposition trick and decided to make them their own patches and act like it was a second recording or something? err......



I don't get why people are making such a big deal out of those B patches. They aren't at all what the library is about, they are not even advertised or mentioned on the product page.
All they are is a nice little addition to an already fantastic library.


----------



## jaketanner

ansthenia said:


> So they basically just did the transposition trick and decided to make them their own patches and act like it was a second recording or something? err......


This was explained by Ollie above.


----------



## jaketanner

lucor said:


> I don't get why people are making such a big deal out of those B patches.


I understand why...because it was believed they were a completely different recording..."2nd pass" implies this very clearly, but Ollie has since apologized and explained it...but prior to his explanation it totally seemed like it was a bit deceitful...regardless if it's what the library was about, it was mentioned furthering our excitement. Just a miscommunication.


----------



## ricoderks

ansthenia said:


> So they basically just did the transposition trick and decided to make them their own patches and act like it was a second recording or something? err......


No, read the comment from Ollie on the previous page. They did not pretend it was a second recording. He used the phrase 'we did a second pass' or something like that. He meant the double nki patches. In those B patches they did some nice trickery. Some of us thought it was a second pass of recordings. But like mentioned above too, you can easily cheat for 'violins 2' with the b patch. Or write divisi!


----------



## Vladimir Bulaev

Exactly! I do this with all my favorite libraries. A tricky approach! It is a pity, however, that these are not new recordings of samples, but development for this probably took another couple of years.


----------



## ansthenia

ricoderks said:


> No, read the comment from Ollie on the previous page. They did not pretend it was a second recording. He used the phrase 'we did a second pass' or something like that. He meant the double nki patches. In those B patches they did some nice trickery. Some of us thought it was a second pass of recordings. But like mentioned above too, you can easily cheat for 'violins 2' with the b patch. Or write divisi!


Ah ok, nice. My bad I missed Ollie's comment.


----------



## sinkd

jaketanner said:


> Bought!


OK. Who had Wednesday 11:00 - 12:00 in the pool?


----------



## Nicola74

Maybe I shouldn't post this audio example because I didn't work so much on it, I wouldn't like to give a bad impression about this library.
My first impression is very, very good IMHO!!
This is a very short piece (just a beginning...) that I wrote to see how NSS works in orchestral contest, trying some articulations; I didn't tweak volumes at all, just out of the box with an added reverb (Space II).
No mix, no master, no eq and so on.
Two files, the first is complete and the second is strings only.


----------



## jaketanner

I must have missed the post where I think someone explains how I can have BOTH dirty and cleaned samples and just switch between them...is this possible without replacing the actual samples? Or do I need to keep swapping them out...sorry for this question again, but don't want to make any mistakes and mess up the routing. Thanks.


----------



## method1

jaketanner said:


> I must have missed the post where I think someone explains how I can have BOTH dirty and cleaned samples and just switch between them...is this possible without replacing the actual samples? Or do I need to keep swapping them out...sorry for this question again, but don't want to make any mistakes and mess up the routing. Thanks.



Have 2 instances of the library. Make a new folder, copy the specific instruments and samples over.


----------



## jaketanner

method1 said:


> Have 2 instances of the library.


One with dirty and deleted clean and vice versa?


----------



## method1

jaketanner said:


> One with dirty and deleted clean and vice versa?



Yes.


----------



## filipjonathan

Nicola74 said:


> Maybe I shouldn't post this audio example because I didn't work so much on it, I wouldn't like to give a bad impression about this library.
> My first impression is very, very good IMHO!!
> This is a very short piece (just a beginning...) that I wrote to see how NSS works in orchestral contest, trying some articulations; I didn't tweak volumes at all, just out of the box with an added reverb (Space II).
> No mix, no master, no eq and so on.
> Two files, the first is complete and the second is strings only.


Wow this has such a Williams sound to it. I love it!


----------



## Henrik B. Jensen

filipjonathan said:


> Wow this has such a Williams sound to it. I love it!


Or LOTR! Yes, sounds great!


----------



## Casiquire

Nicola74 said:


> Maybe I shouldn't post this audio example because I didn't work so much on it, I wouldn't like to give a bad impression about this library.
> My first impression is very, very good IMHO!!
> This is a very short piece (just a beginning...) that I wrote to see how NSS works in orchestral contest, trying some articulations; I didn't tweak volumes at all, just out of the box with an added reverb (Space II).
> No mix, no master, no eq and so on.
> Two files, the first is complete and the second is strings only.


All that modesty, and then it sounds great in the end lol if that's what you do in thirty seconds imagine what you could make if we gave you a couple minutes


----------



## Vladimir Bulaev

Nicola74 said:


> Maybe I shouldn't post this audio example because I didn't work so much on it, I wouldn't like to give a bad impression about this library.
> My first impression is very, very good IMHO!!
> This is a very short piece (just a beginning...) that I wrote to see how NSS works in orchestral contest, trying some articulations; I didn't tweak volumes at all, just out of the box with an added reverb (Space II).
> No mix, no master, no eq and so on.
> Two files, the first is complete and the second is strings only.


Wow! I have only good impressions! And a great composition is born, continue in the same spirit!


----------



## chapbot

Interesting what Ollie said about the B violins, I had already decided I like the B versions better.


----------



## Casiquire

lucor said:


> I don't get why people are making such a big deal out of those B patches. They aren't at all what the library is about, they are not even advertised or mentioned on the product page.
> All they are is a nice little addition to an already fantastic library.


Because if it was a full recorded second pass, it WOULD be a big deal and we'd be asking "Why ISN'T this a main selling point!" The fact that it's not is a pretty big part of why I am less likely to get the library, since i write with so much divisi


----------



## Douglas Romayne

Nicola74 said:


> Maybe I shouldn't post this audio example because I didn't work so much on it, I wouldn't like to give a bad impression about this library.
> My first impression is very, very good IMHO!!
> This is a very short piece (just a beginning...) that I wrote to see how NSS works in orchestral contest, trying some articulations; I didn't tweak volumes at all, just out of the box with an added reverb (Space II).
> No mix, no master, no eq and so on.
> Two files, the first is complete and the second is strings only.



Nicely done. It confirms a couple of things I suspected from the official demos. Represents the lib well. Thanks for posting.


----------



## DSP Bill

Nicola74 said:


> Maybe I shouldn't post this audio example because I didn't work so much on it, I wouldn't like to give a bad impression about this library.
> My first impression is very, very good IMHO!!
> This is a very short piece (just a beginning...) that I wrote to see how NSS works in orchestral contest, trying some articulations; I didn't tweak volumes at all, just out of the box with an added reverb (Space II).
> No mix, no master, no eq and so on.
> Two files, the first is complete and the second is strings only.


Very nice!


----------



## GNP

Sometimes it's hard to find what is deceitful and what is not. Sometimes you get idiots like....

A: "I love listening to my old favorite records! I believe they're playing live! Not like today's digital musicians!"

B: "Here's the tapes-to-Pro Tools mix session of one of the songs on your favorite record"

A: "What??? How come there are so many layers of audio here??? Is this a deceit??? If they're all playing live, there should only be ONE layer of audio!!!! Ohhh okay I've made up my mind, there's deceit going on here!"


----------



## Tinesaeriel

I, er... I pulled the trigger.

Thoughts so far, after a few hours of noodling:

This is, in basically every way, Cinematic Studio String's perfect counterpart:

Legato - The legato is fantastic in this library. Agile and nimble while never seeming too super fake. Only thing is, I feel the legato is _too _agile, in away. When you're playing slow passages, you can feel the legato yearning to gallop off over the hill. You're better off with CSS for slower legato passasges, but you can still make these strings shine in a pinch.

One gripe I do have with it so far, though, are the longs: They are very - detached longs? Like, the attacks and releases make it so that it's a very bouncy long articulation. You can do detache and longer marcato notes with the longs, but for regular longs, you're gonna have to do some editing in Kontatk, because they are noticeably too bouncy and abrupt for pad/chord writing.

Still, though, I can forgive this two quirks because the tone is literally perfect for my own tastes. Clear and bright but also smooth and not too strident, as opposed to CSS's dark, almost muffled tone.

Here's a short test demo I made in the last few hours testing this library out. There's no processing on these like EQ or compression, etc., just panning and reverb.

I'm really loving this library so far, especially the symphonic multis. You can seriously get a pretty damn big sound outta this library.


----------



## jaketanner

Tinesaeriel said:


> When you're playing slow passages, you can feel the legato yearning to gallop off over the hill


I am pretty sure Ollie covers this very thing in the walkthrough. That you can do something to hear the slower legato. Forgot exactly where but it was mentioned.


----------



## Sovereign

Tinesaeriel said:


> Legato - The legato is fantastic in this library. Agile and nimble while never seeming too super fake. Only thing is, I feel the legato is _too _agile, in away. When you're playing slow passages, you can feel the legato yearning to gallop off over the hill. You're better off with CSS for slower legato passasges, but you can still make these strings shine in a pinch.


 This is an issue I personally have with Con Moto as well, the transitions are rather speedy and do not lend themselves for slower passages. Tried a reduction in speed of around 25% using time machine on the interval groups in Kontakt, which to me sounded way better. But that's a bit of a hack. The speed of the intervals should be velocity sensitive.


----------



## prodigalson

Tinesaeriel said:


> One gripe I do have with it so far, though, are the longs: They are very - detached longs? Like, the attacks and releases make it so that it's a very bouncy long articulation. You can do detache and longer marcato notes with the longs, but for regular longs, you're gonna have to do some editing in Kontatk, because they are noticeably too bouncy and abrupt for pad/chord writing.



There is a dedicated ADSR in the Modulation page, surely you could play around with this to get a slower attack and longer release?


----------



## ALittleNightMusic

Is there such a thing as legato speed control? Some libraries offer that - or offer a fast / runs legato and a slow legato patch.


----------



## Raphioli

Sovereign said:


> Tried a reduction in speed of around 25% using time machine on the interval groups in Kontakt, which to me sounded way better.



This sounds interesting.
I wonder if @Audio Ollie could create an update patch that has a button and knob which enables time stretching of the intervals. Of course it'll take up more processing power, but if it sounds good, it'll be worth it.


----------



## feck

The fidelity on these is absolutely amazing. Especially the low end - I can't think of another library that I have which has such a robust, full frequency sound. Reminds me of Heavyocity VI's - they are so much richer and larger timbre-wise compared to the rest. Great work, Ollie! Super happy with the purchase.


----------



## Mike Fox

Every time i listen to these strings, they sound better and better to my ears. Those spiccatos sound mean AF!

And as @feck mentioned, the low end seems to be huge, yet controlled. Very nice!


----------



## ProfoundSilence

lucor said:


> I don't get why people are making such a big deal out of those B patches. They aren't at all what the library is about, they are not even advertised or mentioned on the product page.
> All they are is a nice little addition to an already fantastic library.


Audio Ollie Nashville B Strings - Out Now!


----------



## Obi-Wan Spaghetti

Sounds like legatos have RR, anyone can confirm that?


----------



## jaketanner

prodigalson said:


> There is a dedicated ADSR in the Modulation page, surely you could play around with this to get a slower attack and longer release?


The modulation doesn’t work for legato. It’s only available for the shorts I think. At least it’s what I saw in mine.


----------



## Sean J

This library sounds great! I'd buy it in a heartbeat if it comes to StaffPad.

The faster attack/release on sustains is great to me as it's far more agile then Spitfire's crescendo sustains.
The wide mics are great.
The enveloped releases are great.
The dynamic controls are great.

It's tempting, just hard to justify anything outside of SP right now.

Congrats on finishing!


----------



## prodigalson

jaketanner said:


> The modulation doesn’t work for legato. It’s only available for the shorts I think. At least it’s what I saw in mine.



I think he was talking about the longs though, not the legato right? Maybe I misunderstood.


----------



## Beans

prodigalson said:


> I think he was talking about the longs though, not the legato right? Maybe I misunderstood.



I think so, too, but I also don't think any of the longs have the Modulation options.


----------



## Tinesaeriel

So, actually, after noodling about more, I discovered the longs behave normally if you play low velocity, though it's pretty sensitive as to when it starts playing detache/marcato-like. Don't know why it wasn't working before, though.


----------



## prodigalson

Beans said:


> I think so, too, but I also don't think any of the longs have the Modulation options.



That’s really wierd. Why would the shorts have a volume ADSR but not the longs?


----------



## Dave Connor

Obi-Wan Spaghetti said:


> Sounds like legatos have RR, anyone can confirm that?


Do you mean the legato _transitions_? That's certainly important to a lot of folks and a long way toward realism.


----------



## Obi-Wan Spaghetti

Dave Connor said:


> Do you mean the legato _transitions_? That's certainly important to a lot of folks and a long way toward realism.



Yea i know and that's why I'm hoping that this is the case. I say this base on Tinesaeriel's demo earlier on this page where he uses arpeggios. The legatos are certainly consistent in this example but i can't say i hear repetitions. Maybe just wishful thinking on my part.

I'm pretty sure Vista will offer RR anyways but I'd be great if NSS did.


----------



## Patrick de Caumette

I certainly didn't feel i needed another string library until i heard this.
Great job, and great tone!


----------



## Obi-Wan Spaghetti

Yea i think that was a case of wishful hearing on my part and that there are in fact no RR for legatos. Maybe Ollie could fix that and use the very "controversial" second pass to do that in a future update?


----------



## jaketanner

Beans said:


> I think so, too, but I also don't think any of the longs have the Modulation options.


Correct...no modulation on longs either.


----------



## ProfoundSilence

jaketanner said:


> Correct...no modulation on longs either.


Might still be managable, 

open it up in the wrench and take a peak


----------



## jaketanner

BTW, I can confirm that at least the violins in NSS blend seamlessly with the violins from BBCSO. WHat's cool actually with this combination, is that BBC is panned in situ, whereas NSS I believe is either centered or much closer...so you get an added depth to the sound if you sneak in a little (of either one).


----------



## jaketanner

Tips and tricks: Let me know if it's just me.

*1)* So to me, it seems that violin B, is slightly different in the way it handles legato...a bit smoother, less choppy and actually warmer...I do believe this was mentioned already and no doubt it's because of the transpose, but still sounds very natural to me.

*2)* Use the dirty sample violin (not B, although might also work with B). Click on the wrench tool and scale down to *INSTRUMENT INSERT FX*. Add in the *FILTER* as the 2nd insert: *Legacy HP4*. Move the cutoff to around 242 cycles...slight noise still but usable, still nice and full, and also seems a bit smoother legato than the cleaned samples. You can save this as a preset or default...allows you to use the dirty samples but with a healthy in-between clean sound built in. 

I did experiment with other filters, but settled on the legacy HP4...I'm sure others will also work fine.


----------



## DJiLAND

I think the pitch is a little low, not 440Hz. Maybe 337? 336?


----------



## jadedsean

Obi-Wan Spaghetti said:


> Sounds like legatos have RR, anyone can confirm that?



Ollie mentioned it on the main thread. He also answers some more questions over there so might be a good idea to have a read. 

“3 dynamics on the legatos, 4 on the longs”


----------



## Obi-Wan Spaghetti

jadedsean said:


> Ollie mentioned it on the main thread. He also answers some more questions over there so might be a good idea to have a read.
> 
> “3 dynamics on the legatos, 4 on the longs”



I did read the main thread and didn't read anything about legato RR(not to be confused with regular RR like spic etc). Correct me if I'm wrong.


----------



## Vladimir Bulaev

Obi-Wan Spaghetti said:


> I did read the main thread and didn't read anything about legato RR(not to be confused with regular RR like spic etc). Correct me if I'm wrong.


There are no Legato RR's and never have been in any libraries. And in the future, as far as I know, no developer mentioned this. Correct me if I'm wrong.


----------



## Sovereign

Vladimir Bulaev said:


> There are no Legato RR's and never have been in any libraries. And in the future, as far as I know, no developer mentioned this. Correct me if I'm wrong.


8Dio Adagio.


----------



## Obi-Wan Spaghetti

Vladimir Bulaev said:


> There are no Legato RR's and never have been in any libraries. And in the future, as far as I know, no developer mentioned this. Correct me if I'm wrong.



I'm pretty sure Vista will have legato RR. Unless my memory is playing tricks on me...


----------



## Emmanuel Rousseau

jadedsean said:


> Ollie mentioned it on the main thread. He also answers some more questions over there so might be a good idea to have a read.
> 
> “3 dynamics on the legatos, 4 on the longs”


 Dynamic layers and Round Robins are two entirely different things!


----------



## Obi-Wan Spaghetti

From the Vista page: "same-note bow-change repetition samples, and more.."

you can hear it on the 1st demo too.

edited: Oh crap i totally miss-read that didn't i lol... Ok it's late. by!


----------



## Vladimir Bulaev

Sovereign said:


> 8Dio Adagio.


Are we still talking about true Legato Round Robins? How many are there?


----------



## sinkd

DJiLAND said:


> I think the pitch is a little low, not 440Hz. Maybe 337? 336?


Surely that cannot be the case?


----------



## Sovereign

Vladimir Bulaev said:


> Are we still talking about true Legato Round Robins? How many are there?


That I don't know from memory, you'd have to check the specs on the product page. But it's the only library which has these, so it does exist.


----------



## Go To 11

Hey everyone!

Here’s an hour long walkthrough of Nashville Scoring Strings. I compare it to Spitfire Chamber and Symphonic Strings, and Cinematic Studio Strings. I play with mic positions and try my reverb setup to give it a larger sound; I try regular patches and combinations of A and B patches; and I try and get through all of the articulations once, across the various sections. I even tried to get that flautando sound with a fun combo towards the end…

This is my first time doing a real-time stream, and I’m not a keyboard player so it’s basic scales (!), but it should give you a really good sense of how the library sounds if you’re on the fence or just curious to hear more. I can follow up to this with another one, if there’s anything else you’d like to see and hear. Cheers!


----------



## Beans

Go To 11 said:


> This is my first time doing a real-time stream, and I’m not a keyboard player so it’s basic scales (!), but it should give you a really good sense of how the library sounds if you’re on the fence or just curious to hear more. I can follow up to this with another one, if there’s anything else you’d like to see and hear.



I'm only four minutes in on the video, but I appreciate this clinical, emotionally detached approach to showing off the library, starting with a couple of basic notes for each mic, as well as the clear examples of which velocities trigger which samples.

NSS isn't perfect (is there one? nah...), but I'm a big fan. It's pairing well with JXL Brass and VSL BBO percussion. Just gotta figure out woodwinds...


----------



## filipjonathan

Go To 11 said:


> Hey everyone!
> 
> Here’s an hour long walkthrough of Nashville Scoring Strings. I compare it to Spitfire Chamber and Symphonic Strings, and Cinematic Studio Strings. I play with mic positions and try my reverb setup to give it a larger sound; I try regular patches and combinations of A and B patches; and I try and get through all of the articulations once, across the various sections. I even tried to get that flautando sound with a fun combo towards the end…
> 
> This is my first time doing a real-time stream, and I’m not a keyboard player so it’s basic scales (!), but it should give you a really good sense of how the library sounds if you’re on the fence or just curious to hear more. I can follow up to this with another one, if there’s anything else you’d like to see and hear. Cheers!



Oh man, that first melody you play with the violins really makes me wish there was portamento, cause it's got that oriental vibe. Anyway, continuing to watch it 

EDIT I went through it quickly and noticed you havent demoed the runs multi. Any chance of doing that and let us know what's like? Maybe a short audio demo?


----------



## Go To 11

Beans said:


> I'm only four minutes in on the video, but I appreciate this clinical, emotionally detached approach to showing off the library, starting with a couple of basic notes for each mic, as well as the clear examples of which velocities trigger which samples.
> 
> NSS isn't perfect (is there one? nah...), but I'm a big fan. It's pairing well with JXL Brass and VSL BBO percussion. Just gotta figure out woodwinds...


Thanks so much! It’s sort of how I audition any new library, step by step, pulling up the keyboard editor to check those low velocity attacks too and in this case to show you a rebow sustain visually. Hope you enjoy the rest of it!


----------



## Go To 11

filipjonathan said:


> Oh man, that first melody you play with the violins really makes me wish there was portamento, cause it's got that oriental vibe. Anyway, continuing to watch it
> 
> EDIT I went through it quickly and noticed you havent demoed the runs multi. Any chance of doing that and let us know what's like? Maybe a short audio demo?


Ah yes, good spot. Sure thing I can do that later today.


----------



## Henrik B. Jensen

Go To 11 said:


> Hey everyone!
> 
> Here’s an hour long walkthrough of Nashville Scoring Strings. I compare it to Spitfire Chamber and Symphonic Strings, and Cinematic Studio Strings. I play with mic positions and try my reverb setup to give it a larger sound; I try regular patches and combinations of A and B patches; and I try and get through all of the articulations once, across the various sections. I even tried to get that flautando sound with a fun combo towards the end…
> 
> This is my first time doing a real-time stream, and I’m not a keyboard player so it’s basic scales (!), but it should give you a really good sense of how the library sounds if you’re on the fence or just curious to hear more. I can follow up to this with another one, if there’s anything else you’d like to see and hear. Cheers!



I will have to listen to this comparison some more, but my first impression is that CSS sounds amazing still. 

Edit: Which is not to imply that NSS sounds bad - it sounds great too!


----------



## Erik

Go To 11 said:


> Hey everyone!
> 
> Here’s an hour long walkthrough of Nashville Scoring Strings. I compare it to Spitfire Chamber and Symphonic Strings, and Cinematic Studio Strings. I play with mic positions and try my reverb setup to give it a larger sound; I try regular patches and combinations of A and B patches; and I try and get through all of the articulations once, across the various sections. I even tried to get that flautando sound with a fun combo towards the end…
> 
> This is my first time doing a real-time stream, and I’m not a keyboard player so it’s basic scales (!), but it should give you a really good sense of how the library sounds if you’re on the fence or just curious to hear more. I can follow up to this with another one, if there’s anything else you’d like to see and hear. Cheers!



Thanks for doing this!
I like the sound very much, but the legato is for me not always very fluent to be honest, I hear also "attack" sounds in the background. Even strange ones around 39:34. Not the butter type of CSS anyway, but maybe I am the only one who bothers. Again thanks for this job you did (my piano skills are equally basic btw).


----------



## Go To 11

Erik said:


> Thanks for doing this!
> I like the sound very much, but the legato is for me not always very fluent to be honest, I hear also "attack" sounds in the background. Even strange ones around 39:34. Not the butter type of CSS anyway, but maybe I am the only one who bothers. Again thanks for this job you did (my piano skills are equally basic btw).


Sure thing! I hear those too at that point - I think we're potentially listening to bow change legatos and not fingered legatos, which CSS has? In general the latter sounds smoother. Hard to say for sure though, but you're right in that instance the CSS legato is more invisible. Both still great libraries, and personally I'm really happy to have an alternative that offers a brighter string sound that I've been looking for for a while.


----------



## jaketanner

Beans said:


> Just gotta figure out woodwinds


You just missed a killer sale from VSL...they have some of the best winds out there.


----------



## Beans

jaketanner said:


> You just missed a killer sale from VSL...they have some of the best winds out there.



Synchron-ized Woodwinds? Yeah, I'm familiar. I ran a demo of the SEs, so I have a vague understanding of what the full deal would be like.

Mostly, I'm doing my best to hold out on true Synchron editions for anything VSL.

As is, I have and enjoy BBCSO Pro and Infinite Woodwinds (and have but rarely reach for EWHO woodwinds), but woodwinds are under-represented on my drives as compared with strings and brass.


----------



## Jaap

Just saw Jasper posting this on his Facebook timeline (with no futher info)

"
OFFICIAL STATEMENT IN REGARDS TO RECENT COMMENTS AND QUESTIONS IN CONNECTION WITH AUDIO OLLIE'S "NASHVILLE SCORING STRINGS" SAMPLE LIBRARY:
Jasper Blunk / Performance Samples LLC is no longer associated with Audio Ollie's recent release "Nashville Scoring Strings" or with Audio Ollie.
"


----------



## Zedcars

I keep searching YT for some reviews but so far there are very few. I wonder why. Early days I suppose but normally these types of reviews are done quite quickly I thought.


----------



## peladio

Jaap said:


> Just saw Jasper posting this on his Facebook timeline (with no futher info)
> 
> "
> OFFICIAL STATEMENT IN REGARDS TO RECENT COMMENTS AND QUESTIONS IN CONNECTION WITH AUDIO OLLIE'S "NASHVILLE SCORING STRINGS" SAMPLE LIBRARY:
> Jasper Blunk / Performance Samples LLC is no longer associated with Audio Ollie's recent release "Nashville Scoring Strings" or with Audio Ollie.
> "


----------



## Beans

Zedcars said:


> I keep searching YT for some reviews but so far there are very few. I wonder why. Early days I suppose but normally these types of reviews are done quite quickly I thought.



It's also election week in the United States. I'm seeing an overall reduction of content from multiple industries our household follows.

Could be a partial reason, maybe not.


----------



## Zedcars

Jaap said:


> Just saw Jasper posting this on his Facebook timeline (with no futher info)
> 
> "
> OFFICIAL STATEMENT IN REGARDS TO RECENT COMMENTS AND QUESTIONS IN CONNECTION WITH AUDIO OLLIE'S "NASHVILLE SCORING STRINGS" SAMPLE LIBRARY:
> Jasper Blunk / Performance Samples LLC is no longer associated with Audio Ollie's recent release "Nashville Scoring Strings" or with Audio Ollie.
> "


Speculation on: Artistic disagreement? Political disagreement? Friendly parting of ways? I guess we’ll never know. Speculation off.


----------



## Emmanuel Rousseau

I personally couldn't care less if Jasper Blunk is involved or not with this library (not being disrespectful to the guy, I think he is brillant). All I care about is the product, not the names.


----------



## Kevinside

I am curious... Whats so special with Nashville Scoring Strings... They sound very good..., but nothing, which cannot be achieved with CSS,SSS,SyStrPro and other contenders out there...


----------



## Beans

whitewasteland said:


> I personally couldn't care less if Jasper Blunk is involved or not in this library (not being disrespectful to the guy, I think he is brillant). All I care about is the product, not the names.



It can certainly be an indication of how a product _might _turn out and give us some hope. But once it's out, it's easy enough to judge on its own quality.


----------



## AdamKmusic

whitewasteland said:


> I personally couldn't care less if Jasper Blunk is involved or not with this library (not being disrespectful to the guy, I think he is brillant). All I care about is the product, not the names.


You should though, Jaspers sampling techniques was probably one of the USPs of this library


----------



## muziksculp

Kevinside said:


> I am curious... Whats so special with Nashville Scoring Strings... They sound very good..., but nothing, which cannot be achieved with CSS,SSS,SyStrPro and other contenders out there...



Same curiosity here. I don't hear anything very special, or outstanding in what I hear so far from NSS. Also missing some important articulations, and no key-switches, not helping me get excited about it.


----------



## Emmanuel Rousseau

AdamKmusic said:


> You should though, Jaspers sampling techniques was probably one of the USPs of this library


If I like it, can afford it and see a use for it, I'll buy it  No need to overthink everything.

Edit: By the way, who said this library didn't benefit from Jasper Blunk's knowledge? The man just wrote the two companies aren't associated anymore.


----------



## Beans

Kevinside said:


> I am curious... Whats so special with Nashville Scoring Strings... They sound very good..., but nothing, which cannot achieved with CSS,SSS,SyStrPro and other contenders out there...



Just my opinions:

I like the room, as the recordings and performing sound rich (not too harsh, not too dark) without overwhelming other tracks. Without someone committing to a full screencast of an entire composing and mixing session, however, you won't really get a good sense of how it seems to need less work to sit well with others.
I think the mics use the room well, and in unique ways from one another. You can see this in what's been posted so far.
The legato is pretty agile. As lovely as CSS is, NSS gets to where you need it to go without exaggeration, while still being connected. You can see this in what's been posted so far.
It doesn't have Berlin Strings + Expansions level of articulations, but it has a good deal of bread and butter. It would have been much better, though, if it matched up with at least CSS here (I'm generally fine with the shorts NSS has, but would have loved measured trem).
I likely would not have bought this at the full price. Only intro.


----------



## Laptoprabbit

muziksculp said:


> I don't hear anything very special, or outstanding in what I hear so far from NSS. Also missing some important articulations, and no key-switches, not helping me get excited about it.



Agree, think this might have shaken things up in 2016 but not now. Skipping this and waiting for a full strings library from Performance Sampling.


----------



## ka00

whitewasteland said:


> Well to be honest I think a lot of people on this forum like turning people into half-gods


----------



## AndyP

I pass at NSS and go with SysPro.

It's not that I don't like the sound, but with SysPro I get a package that offers me more at a lower price (standard) and sounding more like it covers an area that I miss or say is underrepresented. 

I was also waiting for NCS, but I'm not really convinced that this is what I need or want (now).

But I can't rule out that I might jump on the bandwagon sometime next year.


----------



## MA-Simon

Jaap said:


> OFFICIAL STATEMENT IN REGARDS TO RECENT COMMENTS AND QUESTIONS IN CONNECTION WITH AUDIO OLLIE'S "NASHVILLE SCORING STRINGS" SAMPLE LIBRARY:
> Jasper Blunk / Performance Samples LLC is no longer associated with Audio Ollie's recent release "Nashville Scoring Strings" or with Audio Ollie.


That makes me feel quite confused and weird about Nashville. Honestly would like to know what happened? Maybe the library was supposed to include more, but Ollie had to release early and the expansion is cut contend Jasper still worked on?

I mostly buy stuff to support developers, this makes me feel unshure if my support was made in the right place or not. Knowing nothing, I am feeling a bit put off and annoyed by this turn of events. 
And yes, it does tarnish my enjoyment of this library.


----------



## paulwr

I live in Nashville and the orchestra and the string session players are top notch. Most orchestral game music is done here now, and a lot of movie and tv orchestral music. I for one would be very interested in this new library if they offer divisi. Otherwise, it won't fit what I do most of the time. Spitfire missed the mark badly when their Studio Strings, which did offer divisi, neglected to give the smaller groups the ability to slide. So after all these years, LASS remains my money string library.


----------



## artomatic

Great sounding library. 
But no portamento - no purchase.


----------



## chapbot

Beans said:


> Just my opinions:
> 
> I like the room, as the recordings sound rich (not too bright, not too dark) without overwhelming other tracks. Without someone committing to a full screencast of an entire composing and mixing session, however, you won't really get a good sense of how it seems to need less work to sit well with others.
> I think the mics use the room well, and in unique ways from one another. You can see this in what's been posted so far.
> The legato is pretty agile. As lovely as CSS is, NSS gets to where you need it to go without exaggeration, while still being connected. You can see this in what's been posted so far.
> It doesn't have Berlin Strings + Expansions level of articulations, but it has a good deal of bread and butter. It would have been much better, though, if it matched up with at least CSS here (I'm generally fine with the shorts NSS has, but would have loved measured trem).
> I likely would not have bought this at the full price. Only intro.


I second all these opinions, except I do believe this is worth it at full price for my needs (pop music.)


----------



## chapbot

ka00 said:


>


I would, without hesitation, print this out as a full-size poster and put it up in my studio.


----------



## Sean J

The library sounds great.

I like agile/smart patches, especially legato w/ RR's, sustain w/ RR's, etc. But this library still has many features exactly as I prefer them.

Speed questions:
Tremolo: are 8th notes @ 140bpm convincing or just sustain?
Legato: Can it How to Train Your Dragon? (a fast melody)?

I swear 200bpm is in my veins. So yes, these things matter to me a lot. But... let's face it. It's still a great sounding library.


----------



## chapbot

AndyP said:


> I pass at NSS and go with SysPro.
> 
> It's not that I don't like the sound, but with SysPro I get a package that offers me more at a lower price (standard) and sounding more like it covers an area that I miss or say is underrepresented.
> 
> I was also waiting for NCS, but I'm not really convinced that this is what I need or want (now).
> 
> But I can't rule out that I might jump on the bandwagon sometime next year.


I have also purchased Sys pro and believe that it and Nashville are my best purchases this year (so far.) I'm covered now with wet and dry strings. I think the programming in each is next step. I anticipate Vista being the icing on my string cake ♥️


----------



## AndyP

chapbot said:


> I have also purchased Sys pro and believe that it and Nashville are my best purchases this year (so far.) I'm covered now with wet and dry strings. I think the programming in each is next step. I anticipate Vista being the icing on my string cake ♥


Yep, Vista is extraordinary. I have never felt more emotion in any other library.

I am really happy that the intro price for SysPro has been extended. I would have been very annoyed if I had missed this.


----------



## Obi-Wan Spaghetti

WTH is Sys Pro?


----------



## Beans

Obi-Wan Spaghetti said:


> WTH is Sys Pro?



Synchron Strings Pro by VSL


----------



## chapbot

paulwr said:


> I live in Nashville and the orchestra and the string session players are top notch. Most orchestral game music is done here now, and a lot of movie and tv orchestral music. I for one would be very interested in this new library if they offer divisi. Otherwise, it won't fit what I do most of the time. Spitfire missed the mark badly when their Studio Strings, which did offer divisi, neglected to give the smaller groups the ability to slide. So after all these years, LASS remains my money string library.


Agreed. Oh, how I loved LASS. I still try to love it but when I fire it up it just sounds so dog-eared. Hopefully by 2027 LASS 3 will arrive.


Obi-Wan Spaghetti said:


> WTH is Sys Pro?


It's a bacterial infection.


----------



## Obi-Wan Spaghetti

I get a sense people under appreciate all these connected notes? That IS special cause it adds an other layer of realism. It's subtle but still a game changer imo. No other library does that as far as i know, even CSS no? To me, NSS is everything that's missing from CM and Vista plus and additional legato where musician are holding back compare to Vista wich is useful imo. You don't always wants those soaring leads violins right? What's most exciting for me is that i have a feeling that these libraries will mix well together if you use the right mic plus reverb.


----------



## Obi-Wan Spaghetti

Beans said:


> Synchron Strings Pro by VSL


Thanks, Beans.


----------



## Christianus

chapbot said:


> It's a bacterial infection.


Thank God it's not a virus...


----------



## Raphioli

Jaap said:


> Just saw Jasper posting this on his Facebook timeline (with no futher info)
> 
> "
> OFFICIAL STATEMENT IN REGARDS TO RECENT COMMENTS AND QUESTIONS IN CONNECTION WITH AUDIO OLLIE'S "NASHVILLE SCORING STRINGS" SAMPLE LIBRARY:
> Jasper Blunk / Performance Samples LLC is no longer associated with Audio Ollie's recent release "Nashville Scoring Strings" or with Audio Ollie.
> "



Well that's shocking...

I posted a few pages back that I had some worries, because I would want to see future collaboration projects from them.
Jasper is constantly innovating his sample techniques, so I would've wanted to see those techniques implemented in things like LAMP2 or the NSS expansion :(

I was suspecting MAYBE, initially Audio Ollie(AO) and Performance Samples(PS) enthusiastically worked on NSS, but took a lot more time to develop than expected.
Then PS started working on their own project (possibly with new sampling techniques) before NSS release and started promoting it before NSS release, which MAYBE AO didn't feel comfortable with?
This is my personal assumption and I maybe completely wrong.

This is very disappointing/sad to hear nevertheless. :(


----------



## ansthenia

Sean J said:


> I have wondered if he's an Aaron Venture or Spitfire about updates. OT resampled legato and ww mics for free. Because they owned their product. Aaron owns everything. It's easy to buy in, when you know you're not going to get ripped off or forgotten. But why did I wonder with Ollie? Simple. He's just been a bit sparse / unclear on details. Well, for a one-man-band that's common. So, I'd cut him a break. It's only been a few days. *I'm far more interested in where the library is going than where it is in this very moment.*



He has mentioned, in the commercial announcements section, that there is an expansion in the works, which will be discounted for owners of the main NSS library.


----------



## Henrik B. Jensen

Where are all the reviews for this thing (Guy Michelmore, Sample Library Review etc.)?

(I think @Cory Pelizzari mentioned he's not getting libraries for review from Ollie anymore because of his LAMP-review, which apparently Ollie wasn't pleased with)


----------



## Obi-Wan Spaghetti

In other news: Prince Harry and his wife Meghan, Duchess of Sussex are having a baby...


----------



## Audio Ollie

Composer Ramin Djawadi reached out to us to share his first impressions of Nashville Scoring Strings!


----------



## muziksculp

What is the size of the string sections of NSS (# of Players) ?


----------



## NYC Composer

Audio Ollie said:


> Composer Ramin Djawadi reached out to us to share his first impressions of Nashville Scoring Strings!


Yeah, but what does HE know.


----------



## Audio Ollie

muziksculp said:


> What is the size of the string sections of NSS (# of Players) ?



Section sizes are 8-6-5-4


----------



## Henrik B. Jensen

Were NFR copies of the library sent out to people such as Guy Michelmore etc. for review? It would be interesting to see what the various reviewers had to say about the library.


----------



## filipjonathan

hbjdk said:


> Were NFR copies of the library sent out to people such as Guy Michelmore etc. for review? It would be interesting to see what the various reviewers had to say about the library.


Yeah I was also expecting some reviews to be out already 🤷🏻‍♂️


----------



## muziksculp

Audio Ollie said:


> Section sizes are 8-6-5-4



Thanks.


----------



## Land of Missing Parts

Vladimir Bulaev said:


> Are we still talking about true Legato Round Robins? How many are there?


It looks like some of Adagio's legato patches have three round robins, actually.


----------



## Emmanuel Rousseau

Hey all, just tried the library for the first time and I thought I would try the legato articulations right away with a melody I love : Sally's Song (The Nightmare Before Christmas), composed by Danny Elfman. I played it from memory so apologizes if it's not 100% faithful to the original.


----------



## Igorianych

whitewasteland said:


> Hey all, just tried the library for the first time and I thought I would try the legato articulations right away with a melody I love : Sally's Song (The Nightmare Before Christmas), composed by Danny Elfman. I played it from memory so apologizes if it's not 100% faithful to the original.




Whoa! And what is this utility for switching cc?


----------



## Emmanuel Rousseau

Igorianych said:


> Whoa! And what is this utility for switching cc?


This is a feature of my Wacom tablet (it has totally replaced my mouse since several years). You press a physical button on the tablet and one of these on screen menus appears right where the cursor is, which makes it super-fast for macros.


----------



## Emmanuel Rousseau

A very quick test with Close mics only + reverb (Breeze 2) on a more pop-oriented setting


----------



## Mike Fox

whitewasteland said:


> Hey all, just tried the library for the first time and I thought I would try the legato articulations right away with a melody I love : Sally's Song (The Nightmare Before Christmas), composed by Danny Elfman. I played it from memory so apologizes if it's not 100% faithful to the original.



Dude.


----------



## Mike Fox

whitewasteland said:


> A very quick test with Close mics only + reverb (Breeze 2) on a more pop-oriented setting


So good! Any way you'd be willing to post a spiccato sample using the close mics?


----------



## Ashermusic

whitewasteland said:


> Hey all, just tried the library for the first time and I thought I would try the legato articulations right away with a melody I love : Sally's Song (The Nightmare Before Christmas), composed by Danny Elfman. I played it from memory so apologizes if it's not 100% faithful to the original.





I hear bow change-bow change-bow change- bow change. Is that how the original is?


----------



## jaketanner

Beans said:


> Synchron-ized Woodwinds? Yeah, I'm familiar. I ran a demo of the SEs, so I have a vague understanding of what the full deal would be like.
> 
> Mostly, I'm doing my best to hold out on true Synchron editions for anything VSL.
> 
> As is, I have and enjoy BBCSO Pro and Infinite Woodwinds (and have but rarely reach for EWHO woodwinds), but woodwinds are under-represented on my drives as compared with strings and brass.


I meant more about the solo instruments that included a ton of their winds...it's for the older instrument player, but I got the PRO version, and the samples sound incredible...BOGO offer was insane...LOL


----------



## jaketanner

MA-Simon said:


> That makes me feel quite confused and weird about Nashville. Honestly would like to know what happened? Maybe the library was supposed to include more, but Ollie had to release early and the expansion is cut contend Jasper still worked on?
> 
> I mostly buy stuff to support developers, this makes me feel unshure if my support was made in the right place or not. Knowing nothing, I am feeling a bit put off and annoyed by this turn of events.
> And yes, it does tarnish my enjoyment of this library.


Sad to say, that if Jasper was not, or had little involvement, I would not have been so into this...I did get it, and while the very few tests I did it sounds good, I would still have reserved getting it if this had come out sooner. I am a huge fan of PS...THIS IS MY OPINION and speculating: but to think that it could have been even better had Jasper been fully on board kind of bums me out.


----------



## Emmanuel Rousseau

Mike Fox said:


> So good! Any way you'd be willing to post a spiccato sample using the close mics?


Will do tomorrow


----------



## Emmanuel Rousseau

Ashermusic said:


> I hear bow change-bow change-bow change- bow change. Is that how the original is?



I'm not sure if this is a guenine question or a tongue in cheek one 
Just in case : of course this is not the case in the original. It has already been stated many times you can't control the legato type in this library.


----------



## Mike Fox

whitewasteland said:


> Will do tomorrow


Thanks!


----------



## chapbot

Ashermusic said:


> I hear bow change-bow change-bow change- bow change. Is that how the original is?


I think you need to stay on the Kirk Hunter post.


----------



## Geocranium

Ashermusic said:


> I hear bow change-bow change-bow change- bow change. Is that how the original is?



The original obviously isn't a new bow change for every note, but with this library you don't get the luxury of slurs as it's only bow-change legato. So it certainly makes sense that you all hear is bow-change bow-change, because that's all it's capable of doing.


----------



## ricoderks

Sorry guys! Could NOT wait to share this. Its not finished yet but... man oh man, do i like the library. Is used together with con moto here and there, csss for some detail here and there. Csb and other stuff... cant wait to finish the track. Of course inspired by the AMAZING Bear McCreary <3


----------



## Henrik B. Jensen

ricoderks said:


> Sorry guys! Could NOT wait to share this. Its not finished yet but... man oh man, do i like the library. Is used together woth con moto here and there, csss for some detail here and there. Csb and other stuff... cant wait to finish the track. Of course inspired by the AMAZING Bear McCreary <3


That's beautiful!


----------



## filipjonathan

ricoderks said:


> Sorry guys! Could NOT wait to share this. Its not finished yet but... man oh man, do i like the library. Is used together with con moto here and there, csss for some detail here and there. Csb and other stuff... cant wait to finish the track. Of course inspired by the AMAZING Bear McCreary <3


Can we please have the midi file of this bit????????? It's so beautiful!!!!!


----------



## ricoderks

filipjonathan said:


> Can we please have the midi file of this bit????????? It's so beautiful!!!!!


Haha sorry man, no. Appreciated though!



hbjdk said:


> That's beautiful!


Thanks, will post the end result when finished!


----------



## Ashermusic

Geocranium said:


> The original obviously isn't a new bow change for every note, but with this library you don't get the luxury of slurs as it's only bow-change legato. So it certainly makes sense that you all hear is bow-change bow-change, because that's all it's capable of doing.


 
Really? No slurred legato? That surprises me.


----------



## filipjonathan

ricoderks said:


> Haha sorry man, no. Appreciated though!
> 
> 
> Thanks, will post the end result when finished!


Worth a shot  Can't wait for the finished product!!


----------



## Scamper

ricoderks said:


> Sorry guys! Could NOT wait to share this. Its not finished yet but... man oh man, do i like the library. Is used together with con moto here and there, csss for some detail here and there. Csb and other stuff... cant wait to finish the track. Of course inspired by the AMAZING Bear McCreary <3


The whole thing sounds pretty great and I like the brass placement here. Also curious about what percussion library was used.
After getting your hands on NSS, how you like it compared to CSS?


----------



## Cheezus

ricoderks said:


> Sorry guys! Could NOT wait to share this. Its not finished yet but... man oh man, do i like the library. Is used together with con moto here and there, csss for some detail here and there. Csb and other stuff... cant wait to finish the track. Of course inspired by the AMAZING Bear McCreary <3


That sounded AWESOME


----------



## AEF

Go To 11 said:


> Hey everyone!
> 
> Here’s an hour long walkthrough of Nashville Scoring Strings. I compare it to Spitfire Chamber and Symphonic Strings, and Cinematic Studio Strings. I play with mic positions and try my reverb setup to give it a larger sound; I try regular patches and combinations of A and B patches; and I try and get through all of the articulations once, across the various sections. I even tried to get that flautando sound with a fun combo towards the end…
> 
> This is my first time doing a real-time stream, and I’m not a keyboard player so it’s basic scales (!), but it should give you a really good sense of how the library sounds if you’re on the fence or just curious to hear more. I can follow up to this with another one, if there’s anything else you’d like to see and hear. Cheers!




There are some great things about NSS from this video clearly. But CSS with CSSS and whatever effects you are using via the Directional Mixer and Sample Delay (would love to hear more about that actually) show me I will stick with CSS for now.


----------



## ricoderks

Scamper said:


> The whole thing sounds pretty great and I like the brass placement here. Also curious about what percussion library was used.
> After getting your hands on NSS, how you like it compared to CSS?


Thanks! Brass is mostly csb room and close with some pro q3 and eventide room on top. Compared to css i really feel nashville has a better and smoother tone and better mic placements. Css still wins for the articulations. It also has good legato for slow stuff mainly but can be a tad too sluggish (is that a word?) for faster stuff. Csss and css blend really well with nashville with some eq and panning but the vibrato can also be too much sometimes. This was personally for me a good selling point for nashville.l, it has a more controlled vibrato. Nashville is not perfect and misses some content but that's so easy to fix with libraries I already have. Its overal really really solid and im filling the gaps with css where nashville misses articulations. Other than that I really have noting bad to say about it really. Still need to explore it more in depth but it gives very good results in short amount of times. Thats where it absolutely wins from css anyway haha. But hey.... They are both great libraries, for different uses. For now I prefer nashville, because of the tone. 

Rico


----------



## ricoderks

Scamper said:


> The whole thing sounds pretty great and I like the brass placement here. Also curious about what percussion library was used.
> After getting your hands on NSS, how you like it compared to CSS?


Oh, percussion is some pandora patches from project sam. Cymbal swells, epic percussion stuff and bass drum (x2, one pitched down an octave for more sub boom. Put that one in some verb for longer rumble)


----------



## Scamper

ricoderks said:


> They are both great libraries, for different uses. For now I prefer nashville, because of the tone.



Thanks, that's the impression, that I got from Nashville so far.
Since it's a similar thing to CSS, but still different, it should be a good alternative, especially if you're looking for a brighter, deeper, "better" sound. Because of the tone, Nashville might be a better allrounder, but playing around with CSS next to Nashville, there's still a liveliness in CSS, that I'm very happy with.

It's probably also a plus, if you don't have to deal with heavy legato delays.


----------



## Emmanuel Rousseau

ricoderks said:


> It also has good legato for slow stuff mainly but can be a tad too sluggish (is that a word?) for faster stuff


Hey Rico ! I just found out the Longs articulation can sound really nice on some faster melodies, even small runs. Attack is velocity dependant, and to my ears it can sound quite connected when playing with the harder velocities. Let me know what you think 

I love this library more and more. With just a touch of reverb it sounds absolutely lovely !


----------



## ricoderks

whitewasteland said:


> Hey Rico ! I just found out the Longs articulation can sound really nice on some faster melodies, even small runs. Attack is velocity dependant, and to my ears it can sound quite connected when playing with the harder velocities. Let me know what you think
> 
> I love this library more and more. With just a touch of reverb it sounds absolutely lovely !


Hey man! Thanks for the tip. For runs with css i also tend to try that OR use the marcato patch without overlay. Both on max velocity. But it sounded too sterile and clean. And you really cant do the trills trick that easily with css since it needs you to press 2 keys at least. This works really cool with nash actually i think. Its an old trick but the blurry trills give a better sound instead of a 'super fast' legato!

Rico


----------



## OleJoergensen

ricoderks said:


> Sorry guys! Could NOT wait to share this. Its not finished yet but... man oh man, do i like the library. Is used together with con moto here and there, csss for some detail here and there. Csb and other stuff... cant wait to finish the track. Of course inspired by the AMAZING Bear McCreary <3


Holly Molly, that sounds great!


----------



## ricoderks

OleJoergensen said:


> Holly Molly, that sounds great!


Thanks!


----------



## RMH

ricoderks said:


> Sorry guys! Could NOT wait to share this. Its not finished yet but... man oh man, do i like the library. Is used together with con moto here and there, csss for some detail here and there. Csb and other stuff... cant wait to finish the track. Of course inspired by the AMAZING Bear McCreary <3



Wonderful!
CSB is my favorite!
NSS Strings run sounds is perfect to me.
I already have the Strings pro of VSL. There's a variety of stringed instruments. I'm wondering if I should buy it or not.I'm waiting for CSW.


----------



## ricoderks

RMH said:


> Wonderful!
> CSB is my favorite!
> NSS Strings run sounds is perfect to me.
> I already have the Strings pro of VSL. There's a variety of stringed instruments. I'm wondering if I should buy it or not.I'm waiting for CSW.


Yeah man can't wait for CSW. Hope it lives up to our expectations! (Probably it will). Don't know anything about the VSL ones unfortunately. I think they sampled it traditionally?


----------



## RMH

Audio Ollie said:


> Section sizes are 8-6-5-4



I have a question!
There is no sample portamento?


----------



## RMH

ricoderks said:


> Yeah man can't wait for CSW. Hope it lives up to our expectations! (Probably it will). Don't know anything about the VSL ones unfortunately. I think they sampled it traditionally?


I've never seen vsl before either. From the sound, the light and detailed tone is alive. It seems to be a good instrument to express a little Japanese animation style. It feels different from NSS. It's like the halfway point between the symphony and the chamber. The vsl orchestra version is very classical, but sys pro feels a bit out of that tone. Like pop ballads would go well with it.


----------



## Henrik B. Jensen

I just got NSS yesterday and I'm loving it!
The room has such a beautiful sound.
Check out a basic example with Cellos *here*.








Please keep in mind that I'm just a happy amateur getting started with composing 
This upload is merely to demonstrate how lovely the room sounds.


----------



## ricoderks

RMH said:


> I have a question!
> There is no sample portamento?


Read previous post or the content list on the website: No portamento


----------



## Henrik B. Jensen

This library is pure joy to use btw. It inspires me to sit down and play the keyboard as well as learn how to write String music. EWHO Diamond never did tbh, in part because of the Play-interface which I now see I do not find attractive to use, and in part because of the sheer Instrument-patch-bloat of EWHO.


----------



## RMH

ricoderks said:


> Read previous post or the content list on the website: No portamento


Oh, that's a little disappointing. I think that part should be layered on other instruments.


----------



## Casiquire

hbjdk said:


> I just got NSS yesterday and I'm loving it!
> The room has such a beautiful sound.
> Check out a basic example with Cellos *here*.
> 
> 
> 
> 
> 
> 
> 
> 
> Please keep in mind that I'm just a happy amateur getting started with composing
> This upload is merely to demonstrate how lovely the room sounds.


Thank you for this. It is DRY. I can understand some of the comparisons with LASS also, it sounds like the tail is cut short. Being a huge fan of LASS, i like that approach


----------



## Henrik B. Jensen

Casiquire said:


> Thank you for this. It is DRY. I can understand some of the comparisons with LASS also, it sounds like the tail is cut short. Being a huge fan of LASS, i like that approach


It's interesting you say this because LASS was the other library I was considering along with CSS. But LASS is more expensive, and to me it also looks a bit complicated to setup (and possible to use too).

CSS I really like the sound of, but it's also got that "muffled" tone, plus you have to mess with sample offset or whatever it is for legato.

So NSS was a good alternative for me, and in fact I like it's tone most of both LASS and CSS (and Synchron Strings Pro, which I also looked at). NSS sounds gorgeous IMO. I wish it had Staccato/Staccatissimo and 2nd Violins though.


----------



## Henrik B. Jensen

The "tail cut short"-thing you mention may just be me that have cut it off with CC 7.

(I did say I was a happy amateur, which I definitely am! )


----------



## Henrik B. Jensen

I added an example where the CC 7 fade out at the end was removed:

https://app.box.com/s/bebvjs3i3cfcboyh4m3d8tad5bcjcbg1
Then the CC 7 does not "interfere", i.e. you can hear the natural ending of the samples.


----------



## Casiquire

hbjdk said:


> It's interesting you say this because LASS was the other library I was considering along with CSS. But LASS is more expensive, and to me it also looks a bit complicated to setup (and possible to use too).
> 
> CSS I really like the sound of, but it's also got that "muffled" tone, plus you have to mess with sample offset or whatever it is for legato.
> 
> So NSS was a good alternative for me, and in fact I like it's tone most of both LASS and CSS (and Synchron Strings Pro, which I also looked at). NSS sounds gorgeous IMO. I wish it had Staccato/Staccatissimo and 2nd Violins though.


NSS has all their articulations in separate patches? Then LASS isn't any more complicated, LASS has all the articulations in separate patches you can load however you want 😊


----------



## Henrik B. Jensen

Casiquire said:


> NSS has all their articulations in separate patches? Then LASS isn't any more complicated, LASS has all the articulations in separate patches you can load however you want 😊


Hehe yes, but LASS has all that extra scripting stuff - AutoArranger and what not. I could also see in some threads that other people mentioned they never managed setting up ARC (though a few also said it wasn't complicated really, and once setup, that's it, you don't have to mess any more with that). Anyway, I ended up getting NSS which I am very happy with


----------



## ansthenia

It would be awesome if the expansion they're currently working on has 2nd violins


----------



## ricoderks

RMH said:


> Oh, that's a little disappointing. I think that part should be layered on other instruments.


Maybe in the expansion! Ollie?


----------



## RMH

ricoderks said:


> Maybe in the expansion! Ollie?


It's the best if they add it through an update. 😉 I mean, I've already taken NSS to heart. 🤣


----------



## ricoderks

ansthenia said:


> It would be awesome if the expansion they're currently working on has 2nd violins


Probably not. Why would they? Better focus on other articulations for the patches. Or special techniques.


----------



## Kent

hbjdk said:


> Hehe yes, but LASS has all that extra scripting stuff - AutoArranger and what not. I could also see in some threads that other people mentioned they never managed setting up ARC (though a few also said it wasn't complicated really, and once setup, that's it, you don't have to mess any more with that). Anyway, I ended up getting NSS which I am very happy with


That stuff makes LASS easier to manage, not harder. It’s very easy to set up ARC, too, especially if you start with the pre-made multi. I love being able to access each sub-section granularly OR the full section, all in one loaded Kontakt instance, with no fancy workarounds in the DAW required (not that I’m averse to those—it’s one of the main reasons I prefer Logic in fact—but providing this functionality stock is a huge help)


----------



## Ashermusic

It does sound very nice. Is the lack of slurred legatos a problem for any of you who have it? Personally, I use slurred legatos more than bow change legatos


----------



## Emmanuel Rousseau

Ashermusic said:


> It does sound very nice. Is the lack of slurred legatos a problem for any of you who have it? Personally, I use slurred legatos more than bow change legatos



It would be very cool to have alternative legato transitions in the planned expansion, but it already works very well. The type of legato actually depends on the interval, and you'll have slurs here and there but yeah... mostly bow change !


----------



## Land of Missing Parts

whitewasteland said:


> Seems like they are sampled up to an octave (I don't know if this is the usual process)


Yes. Usually an octave up and an octave down, I think.


----------



## ALittleNightMusic

Ashermusic said:


> It does sound very nice. Is the lack of slurred legatos a problem for any of you who have it? Personally, I use slurred legatos more than bow change legatos



This is one of the things that unfortunately hurts Areia and Nucleus as well. Every legato transition sounds like a bow change (is bumpy). Audio Imperia had to add a smoothing knob which just cuts into the next sample but then you get something a little synth-like. Having recorded slurred / fingered legatos does make a difference.


----------



## jaketanner

RMH said:


> Oh, that's a little disappointing. I think that part should be layered on other instruments.


Not a ton of portamento in movie music. But would have been nice. I think getting Vista will solve that since it’s just for legato anyway.


----------



## RMH

jaketanner said:


> Not a ton of portamento in movie music. But would have been nice. I think getting Vista will solve that since it’s just for legato anyway.


It's a shame it might not be used only for movie music. Of course, it's an instrument that has sound specialized for certain genres, but I think it can be used in various genres depending on its use.😉


----------



## jaketanner

RMH said:


> It's a shame it might not be used only for movie music. Of course, it's an instrument that has sound specialized for certain genres, but I think it can be used in various genres depending on its use.😉


I think the name implies it’s intended use. But certainly you can use it for anything.


----------



## RMH

jaketanner said:


> I think the name implies it’s intended use. But certainly you can use it for anything.


Yes! it is!
I'm really wondering if I should buy an introprice!


----------



## Go To 11

ricoderks said:


> Sorry guys! Could NOT wait to share this. Its not finished yet but... man oh man, do i like the library. Is used together with con moto here and there, csss for some detail here and there. Csb and other stuff... cant wait to finish the track. Of course inspired by the AMAZING Bear McCreary <3


Wow this is stunning! What a great testament to proper orchestration and knowing how to use the tools. Hats off.


----------



## jaketanner

RMH said:


> Yes! it is!
> I'm really wondering if I should buy an introprice!


I have them. Sound pretty great. You have time and I’m sure more videos will come out with walkthroughs and mock-ups.


----------



## RMH

jaketanner said:


> I have them. Sound pretty great. You have time and I’m sure more videos will come out with walkthroughs and mock-ups.


That's right. There's still a period, so I'll have to check it out. Actually, the Cinematic Studio series was my goal this time, but an unexpected instrument appeared.🤣


----------



## OleJoergensen

Non denoised samples

has anyone tried these?
I tried to use them as suggested in the instruction video but it seems there are some samples missing.
1st violiin harmonics
Cello legato
I did not check it al .....


----------



## Emmanuel Rousseau

OleJoergensen said:


> Non denoised samples
> 
> has anyone tried these?
> I tried to use them as suggested in the instruction video but it seems there are some samples missing.
> 1st violiin harmonics
> Cello legato
> I did not check it al .....



Got the same problem with some samples in the cello legato. I tried to do a batch resave but I guess it only made it worse  So I redownloaded the library to be sure, and dumped the non-denoised folder. I trust Audio Ollie to denoise better than I would do anyway


----------



## OleJoergensen

whitewasteland said:


> Got the same problem with some samples in the cello legato. I tried to do a batch resave but I guess it only made it worse  So I redownloaded the library to be sure, and dumped the non-denoised folder. I trust Audio Ollie to denoise better than I would do anyway


I just wanted to here the non-denoised samples


----------



## turnerofwheels

Very tempting, my main string libraries are all big hall libraries, so I have been eyeing CSS for well, years now... I do like the overall sound (tone and image) of this one in the walkthroughs a touch more, even with the limitations being expressed here. Hmm.


----------



## OleJoergensen

It still needs some work but maybe it can inspirer.....


----------



## MA-Simon

+1 on the missing cello legato samples for non-denoised.


----------



## ricoderks

OleJoergensen said:


> It still needs some work but maybe it can inspirer.....



I would suggest slightly randomizing the legato transitions!


----------



## OleJoergensen

ricoderks said:


> I would suggest slightly randomizing the legato transitions!


Thank you Rico but how to do that?


----------



## star.keys

OleJoergensen said:


> It still needs some work but maybe it can inspirer.....




That sounds absolutely stellar. subscribed to your channel! More demos and walkthroughs would be most welcome.


----------



## ricoderks

OleJoergensen said:


> Thank you Rico but how to do that?


Move around the start of midi notes slightly in the pianoroll. One maybe just in front of the bar and some slightly after. But make sure the notes are still connected to trigger legato. That can mean extending the end of some notes too! I think that can improve it as a mockup! Looking forward to the next video!


----------



## Casiquire

Me: Let me take a few weeks to learn the quirks of my new library, set up a template, see where it really shines.

The guy she tells you not to worry about:



ricoderks said:


> Sorry guys! Could NOT wait to share this. Its not finished yet but... man oh man, do i like the library. Is used together with con moto here and there, csss for some detail here and there. Csb and other stuff... cant wait to finish the track. Of course inspired by the AMAZING Bear McCreary <3


----------



## ricoderks

Casiquire said:


> Me: Let me take a few weeks to learn the quirks of my new just, set up a template, see where it really shines.
> 
> The guy she tells you not to worry about:


Ha! Thanks! I'll Post more soon! Maybe even a walkthrough.


----------



## filipjonathan

ricoderks said:


> Ha! Thanks! I'll Post more soon! Maybe even a walkthrough.


Please, do a walkthrough!! 😃


----------



## lucor

I can confirm the missing samples for the samples without noise reduction.

Also, does anyone know what the difference is between the "Con Sordino" and "Longs (Alt Sordino)" patches? One with simulated the other with actual recorded sordino maybe?


----------



## ricoderks

lucor said:


> I can confirm the missing samples for the samples without noise reduction.
> 
> Also, does anyone know what the difference is between the "Con Sordino" and "Longs (Alt Sordino)" patches? One with simulated the other with actual recorded sordino maybe?


Oh yeah! Was wondering the same!


----------



## Emmanuel Rousseau

lucor said:


> I can confirm the missing samples for the samples without noise reduction.
> 
> Also, does anyone know what the difference is between the "Con Sordino" and "Longs (Alt Sordino)" patches? One with simulated the other with actual recorded sordino maybe?



"Con Sordino" is real recorded sordino, and "Alt Sordino" is simulated, exactly. Same with the Legato Alt Sordino


----------



## Henrik B. Jensen

*Here's* an example with Viola+Cello spiccatos


----------



## OleJoergensen

ricoderks said:


> Move around the start of midi notes slightly in the pianoroll. One maybe just in front of the bar and some slightly after. But make sure the notes are still connected to trigger legato. That can mean extending the end of some notes too! I think that can improve it as a mockup! Looking forward to the next video!


Thank you for sharing this technic, I will try it out


----------



## OleJoergensen




----------



## jaketanner

OleJoergensen said:


>



Sounds choppy and I have both libraries. Doesn't seem like you're overlapping the notes to trigger the smooth legato...hard to tell, but looks quantized...sorry if this is not the case.


----------



## jaketanner

whitewasteland said:


> "Con Sordino" is real recorded sordino, and "Alt Sordino" is simulated, exactly. Same with the Legato Alt Sordino


Are you certain it's real recorded? I thought Ollie mentioned that it was faked, or was that only for the legato sordino?


----------



## jaketanner

OleJoergensen said:


> Non denoised samples
> 
> has anyone tried these?
> I tried to use them as suggested in the instruction video but it seems there are some samples missing.
> 1st violiin harmonics
> Cello legato
> I did not check it al .....


I noticed also...I did a manual browse for the samples and redirected to the main folder and resolved the issue...Have to do it every time though...doesn't remember, so I think the samples are just misplaced somewhere. Maybe @Audio Ollie can address this soon.


----------



## CT

jaketanner said:


> Sounds choppy and I have both libraries. Doesn't seem like you're overlapping the notes to trigger the smooth legato...hard to tell, but looks quantized...sorry if this is not the case.



It sounds right to me. BBCSO is fingered legato only, NSS as I understand it is bowed legato only. The latter is naturally a less smooth sound.


----------



## jaketanner

Mike T said:


> It sounds right to me. BBCSO is fingered legato only, NSS as I understand it is bowed legato only. The latter is naturally a less smooth sound.


I have NSS...and BBC...also been working with Con Moto, which is also bow change, and it's smooth...maybe one or two intervals here and there, but nothing that can't be fixed with dynamic automation...the scale up in the video sounds weird to me and not sure how much overlap of the notes there is...sometimes you really need to overlap more than usual to trigger the legato.

I will need to do some more tests with NSS as I have my system down at the moment, but that just doesn't sound right for something Jasper had his hand in. Anyway...hoping that it does indeed sound better. I also noticed that the B strings are a bit smoother, and the dirty samples also seem to be a bit smoother. But this has me worried...LOL will see.


----------



## OleJoergensen

jaketanner said:


> I noticed also...I did a manual browse for the samples and redirected to the main folder and resolved the issue...Have to do it every time though...doesn't remember, so I think the samples are just misplaced somewhere. Maybe @Audio Ollie can address this soon.


I did try that but the search was very long and sometimes Kontakt stopped searching so I gave up. I will try again .


----------



## OleJoergensen

jaketanner said:


> Sounds choppy and I have both libraries. Doesn't seem like you're overlapping the notes to trigger the smooth legato...hard to tell, but looks quantized...sorry if this is not the case.


Thank you for commenting Jake. Al inspiration that can get a better results is good . 
They are overlapped but I will try a longer overlap. But the point is that Im experimenting with adding NSS because BBC strings leagto are not that good.... to my taste .
If I remember right there will be a BBC legato update....
And a NSS “expansion pack”...maybe slur legato....
There are exciting days!


----------



## jaketanner

OleJoergensen said:


> Thank you for commenting Jake. Al inspiration that can get a better results is good .
> They are overlapped but I will try a longer overlap. But the point is that Im experimenting with adding NSS because BBC strings leagto are not that good.... to my taste .
> If I remember right there will be a BBC legato update....
> And a NSS “expansion pack”...maybe slur legato....
> There are exciting days!


Nss and BBC layer quite nicely...that much I tested..LOL. The legato in BBC strings has that stupid overlay...try adding the sustain pedal for the whole thing and see if that helps. Holding the sustain down removed the overlay.


----------



## CT

jaketanner said:


> Holding the sustain down removed the overlay.



Are you sure about that? The short overlay is velocity dependent. You don't need to hold the sustain pedal down to avoid them. I suspect you just weren't hearing them anymore since the sustain pedal was forcing a transition between every note instead of new attacks.


----------



## jaketanner

Mike T said:


> Are you sure about that? The short overlay is velocity dependent. You don't need to hold the sustain pedal down to avoid them. I suspect you just weren't hearing them anymore since the sustain pedal was forcing a transition between every note instead of new attacks.


I guess it’s velocity also, but the sustain gets rid of them so you don’t need to worry about velocity. If not mistaken, I believe this is the legato fix...so it mimics the winds which I think have legato and the extended legato. But to be fair, I haven’t done very much testing yet. Just moved and have limited ability.


----------



## Emmanuel Rousseau

jaketanner said:


> Are you certain it's real recorded? I thought Ollie mentioned that it was faked, or was that only for the legato sordino?


Read again mate


----------



## Kent

jaketanner said:


> I noticed also...I did a manual browse for the samples and redirected to the main folder and resolved the issue...Have to do it every time though...doesn't remember, so I think the samples are just misplaced somewhere. Maybe @Audio Ollie can address this soon.


Sounds like you need to do a batch re-save


----------



## ricoderks

Hi Everyone,

Here's an update of the piece I'm working on. Gonna make a video too. Upload it this week.

Rico


----------



## star.keys

I keep asking myself whether I need another strings library, since I own nearly every strings library on the planet. However there is something (realism) about NCS that probably makes the rest of the libraries sound a bit dated now. Please convince me that I don't need this library since I have already got SCS, OT Berlin, CSS, SSS, 8Dio etc.!!


----------



## muziksculp

star.keys said:


> I keep asking myself whether I need another strings library, since I own nearly every strings library on the planet. However there is something (realism) about NCS that probably makes the rest of the libraries sound a bit dated now. Please convince me that I don't need this library since I have already got SCS, OT Berlin, CSS, SSS, 8Dio etc.!!



I'm not convinced I need NSS. Got too many String libraries, and don't hear any magic here. I might change my mind if I hear something super special. So far, I haven't .


----------



## star.keys

muziksculp said:


> I'm not convinced I need NSS. Got too many String libraries, and don't hear any magic here. I might change my mind if I hear something super special. So far, I haven't .



Thank you!


----------



## OleJoergensen

ricoderks said:


> Hi Everyone,
> 
> Here's an update of the piece I'm working on. Gonna make a video too. Upload it this week.
> 
> Rico


It sounds very good! I look forward to your video.
Which Brass library do you use in this example?


----------



## chapbot

star.keys said:


> I keep asking myself whether I need another strings library, since I own nearly every strings library on the planet. However there is something (realism) about NCS that probably makes the rest of the libraries sound a bit dated now. Please convince me that I don't need this library since I have already got SCS, OT Berlin, CSS, SSS, 8Dio etc.!!


After having played with Nashville for exactly a week it is my main string library. It is not a huge leap forward, however it is a step forward to my ears in realism. I have found that I still need to layer with it and typically I am layering solo strings as kind of a first chair.


----------



## ricoderks

muziksculp said:


> I'm not convinced I need NSS. Got too many String libraries, and don't hear any magic here. I might change my mind if I hear something super special. So far, I haven't .



Never enough string libraries! 



OleJoergensen said:


> It sounds very good! I look forward to your video.
> Which Brass library do you use in this example?



Thanks! I use CSB and some cinebrass!


----------



## NeonMediaKJT

star.keys said:


> I keep asking myself whether I need another strings library, since I own nearly every strings library on the planet. However there is something (realism) about NCS that probably makes the rest of the libraries sound a bit dated now. Please convince me that I don't need this library since I have already got SCS, OT Berlin, CSS, SSS, 8Dio etc.!!


There will be another string library or five out next year most likely that'll promise to be better than the last ones.


----------



## jaketanner

kmaster said:


> Sounds like you need to do a batch re-save


I will..soon as I am sure where I want to store NSS.


----------



## jaketanner

ricoderks said:


> Hi Everyone,
> 
> Here's an update of the piece I'm working on. Gonna make a video too. Upload it this week.
> 
> Rico


Awesome work man!


----------



## Vladimir Bulaev

Here is a test of libraries with Legato that I did not so long ago, added to it to compare NSS, it is at the very end.


----------



## jaketanner

star.keys said:


> I keep asking myself whether I need another strings library, since I own nearly every strings library on the planet. However there is something (realism) about NCS that probably makes the rest of the libraries sound a bit dated now. Please convince me that I don't need this library since I have already got SCS, OT Berlin, CSS, SSS, 8Dio etc.!!


See above post...HEAR above post.  And yes, I have NSS and its really that good...very similar to Con Moto which I believe are some of the most realistic and "human" sounding strings out there.


----------



## jaketanner

star.keys said:


> I keep asking myself whether I need another strings library, since I own nearly every strings library on the planet. However there is something (realism) about NCS that probably makes the rest of the libraries sound a bit dated now. Please convince me that I don't need this library since I have already got SCS, OT Berlin, CSS, SSS, 8Dio etc.!!


Being that you have SSS...I'm gonna play a bit of devil's advocate here...listen to Episode 7 or The Queen's Gambit on Netflix...it's all SSO...sounds pretty awesome if that's what you are writing.


----------



## Obi-Wan Spaghetti

Vladimir Bulaev said:


> Here is a test of libraries with Legato that I did not so long ago, added to it to compare NSS, it is at the very end.




Thanks for that. But i noticed none of those libraries nailed the arpeggios at the end and i was thinking either Jasper or Ollie should record a bunch of arpeggio performance and edit out of it an instrument that can finally do realistic arpeggios. Maybe they could get back together? For the kids? Think about the kids!


----------



## ALittleNightMusic

Vladimir Bulaev said:


> Here is a test of libraries with Legato that I did not so long ago, added to it to compare NSS, it is at the very end.




Thank you for doing this! Certainly cures any GAS I had


----------



## Fry777

jaketanner said:


> Being that you have SSS...I'm gonna play a bit of devil's advocate here...listen to Episode 7 or The Queen's Gambit on Netflix...it's all SSO...sounds pretty awesome if that's what you are writing.



Do you have a source for this ? The composer said they recorded in Budapest... unless you're referring to a layering ?


----------



## ALittleNightMusic

jaketanner said:


> Being that you have SSS...I'm gonna play a bit of devil's advocate here...listen to Episode 7 or The Queen's Gambit on Netflix...it's all SSO...sounds pretty awesome if that's what you are writing.



Technically, it's the Budapest Orchestra. But he composed the entire score with SSO (they did leave in some pizzicato samples in the final version though).

There are though a number of Spitfire libraries in the final version like OACE, BDT, and Kepler.


----------



## oooooooooooooooooh

Vladimir Bulaev said:


> Here is a test of libraries with Legato that I did not so long ago, added to it to compare NSS, it is at the very end.




Wow, excellent comparison, thank you! I'm actually pretty surprised by how well Hollywood Strings held its own. I don't have any of the libraries listed (I just have Spitfire Studio Professional Strings right now), but for me Con Moto, SCS, OT, and Nashville sounded the best.


----------



## jaketanner

Fry777 said:


> Do you have a source for this ? The composer said they recorded in Budapest... unless you're referring to a layering ?


The composer just did a complete video on the libraries he uses specifically the piano, but also about the orchestra. It’s on FB. Can’t remember what group.


----------



## prodigalson

muziksculp said:


> I'm not convinced I need NSS. Got too many String libraries, and don't hear any magic here. I might change my mind if I hear something super special. So far, I haven't .



+1 here.


----------



## jaketanner

Here it is.


----------



## ansthenia

NeonMediaKJT said:


> There will be another string library or five out next year most likely that'll promise to be better than the last ones.


You mean the upcoming game changer that's next-gen and state of the art and sets a new benchmark in orchestral strings? I can't wait!


----------



## Ashermusic

I have a flash alert and I will let you guess which developer wrote this to me:

" We will have a new marketing approach, more modest and less hyper. It will read something like
" Here is our newest library. We are really quite pleased with the way it sounds and plays and we sincerely hope you will be as well, as it reflects our personal vision of what we want to achieve. However, we recognize that no library will please everyone equally."

Have you guessed who? Right, NONE, nada, zero, zed. Not gonna happen. We live in the age of marketing hype that began in the '50's and has bloated into the monster we now live with.


----------



## Toecutter

Performance Samples seem to do just that. We even have a list of the library limitations on the product's page. Who else... Alex Wallbank? Always underpromise and overdeliver, very down to earth developer.


----------



## turnerofwheels

Vladimir Bulaev said:


> Here is a test of libraries with Legato that I did not so long ago, added to it to compare NSS, it is at the very end.




Interesting. If anything this made me give Soaring Strings a second listen--though it's probably more suited for this style.


----------



## Toecutter

I would love to get some feedback from Con Motto and Nashville users. Seems like a no-brainer, $60 more and I get all common articulations instead of legato only. 

Do you miss Violins 2? Can I use the second pass instruments to play unison lines V1+V2 without phasing issues?

Any regrets with this library? Or Con Motto?


----------



## ricoderks

Toecutter said:


> I would love to get some feedback from Con Motto and Nashville users. Seems like a no-brainer, $60 more and I get all common articulations instead of legato only.
> 
> Do you miss Violins 2? Can I use the second pass instruments to play unison lines V1+V2 without phasing issues?
> 
> Any regrets with this library? Or Con Motto?


Dont miss V2, yes u can use the second pass to play unison with Vlns a and Vlns b (to imitate v1 And 2)

I agree with previous posts on not needing this library. We All got everything we need for a long time anyway. All articulations, fx, legatos etc we all have it. To me it was very clear: i like the tone, and the performance sampling. I do think it adds a little bit more to the realism factor. That being said. Im not gonna ditch other libraries. I see this as an extension of what ive got and will probably mostly layer libraries anyway. But when IS a new library really reeeeeeaally special? To me its the inbetween notes stuff, you only have with live recording. Could be placebo haha


----------



## jaketanner

ok...finally got my controller up and after a few minutes of running through the library I could have done without it...sad to say. I bought into the hype. Now it's not bad, but the spiccatos are completely unplayable at fast speeds...unless you are playing maybe one note at a time, it's a no go, however if programmed in, they do sound good...for someone like me that likes to play all the parts live, it's very frustrating. Even Fluid Shorts that has a big delay as well in the normal patch is at least playable...well more so anyway.

There is some serious phasing in the legato cello...more in the dirty samples, but from lowest C to G (5th up and overlapping the notes), I hear phasing like playing the same not or some kind of cross fade transition...the crazy part is that it doesn't happen as much every time, and varies per dynamic...also seems to be more prevalent on the Decca mic. This seems to be more apparent also in the dirty samples...maybe due to the low end bleed which then makes sense.

I compared the smoothness of the legato to Con Moto...I feel this is the standard in terms of bow change legato...The overall legato is much more geared to slow playing. At faster tempos Con Moto (while also not meant for fast legato), is slightly better and less choppy/disconnected...not the greatest I am sad to say...I have to truly question if Jasper really did anything here at all...But some disconnection is bound to happen with bow change legato only, but should be smoother. EDIT: My test was dry with no reverb...adding reverb smooths it out a lot, so maybe that's the key...still not as smooth as Con Moto I'm afraid, but definitely better than before.

There is a weird tone to the violin legato also that I find annoying...in the middle register at about mid dynamic it sounds a bit harsh maybe. I have to question my hearing on this one as my headphones are plugged into my computer rather than my interface for the time being...but if anyone can check that I'd appreciated it.

I definitely have to do more testing over the new few days or week, but so far if I could request a refund I would. Sorry...not truly what was expected I guess...I do think some issues can be addressed with better scripting, but not 100% satisfied for how I like to write.


----------



## OleJoergensen

Vladimir Bulaev said:


> Here is a test of libraries with Legato that I did not so long ago, added to it to compare NSS, it is at the very end.



A wonderful musical demo, thank you for sharing.
I was quite impressed by Hollywood strings(vintage +close) and Soaring strings.
They al sound good. I like the most Berlin strings, Con moto and Nashville, Nasville has such a beautiful tone.


----------



## MA-Simon

jaketanner said:


> There is some serious phasing in the legato cello...more in the dirty samples, but from lowest C to G


Yes, I mentioned this earlier. Hard to use.

You can adjust the shorts delay for realtime playing in the advanced menu, then set it back wen you are done.


----------



## chapbot

jaketanner said:


> ok...finally got my controller up and after a few minutes of running through the library I could have done without it...sad to say. I bought into the hype. Now it's not bad, but the spiccatos are completely unplayable at fast speeds...unless you are playing maybe one note at a time, it's a no go, however if programmed in, they do sound good...for someone like me that likes to play all the parts live, it's very frustrating. Even Fluid Shorts that has a big delay as well in the normal patch is at least playable...well more so anyway.
> 
> There is some serious phasing in the legato cello...more in the dirty samples, but from lowest C to G (5th up and overlapping the notes), I hear phasing like playing the same not or some kind of cross fade transition...the crazy part is that it doesn't happen as much every time, and varies per dynamic...also seems to be more prevalent on the Decca mic. This seems to be more apparent also in the dirty samples...maybe due to the low end bleed which then makes sense.
> 
> I compared the smoothness of the legato to Con Moto...I feel this is the standard in terms of bow change legato...The overall legato is much more geared to slow playing. At faster tempos Con Moto (while also not meant for fast legato), is slightly better and less choppy/disconnected...not the greatest I am sad to say...I have to truly question if Jasper really did anything here at all...But some disconnection is bound to happen with bow change legato only, but should be smoother. EDIT: My test was dry with no reverb...adding reverb smooths it out a lot, so maybe that's the key...still not as smooth as Con Moto I'm afraid, but definitely better than before.
> 
> There is a weird tone to the violin legato also that I find annoying...in the middle register at about mid dynamic it sounds a bit harsh maybe. I have to question my hearing on this one as my headphones are plugged into my computer rather than my interface for the time being...but if anyone can check that I'd appreciated it.
> 
> I definitely have to do more testing over the new few days or week, but so far if I could request a refund I would. Sorry...not truly what was expected I guess...I do think some issues can be addressed with better scripting, but not 100% satisfied for how I like to write.


Yep that's the scary thing about buying libraries, you just don't know if one will work for your style until you get it under your fingers. When I first started I got Spitfire Chamber because everybody on this forum raves about them. Within an hour I knew they would not work for me and there they sit on my hard drive, never used. On the other hand, within an hour Nashville became my main string library 😃 When Vista releases I have a feeling I will be set with strings.


----------



## NeonMediaKJT

ansthenia said:


> You mean the upcoming game changer that's next-gen and state of the art and sets a new benchmark in orchestral strings? I can't wait!


That's the one. Lol


----------



## NeonMediaKJT

jaketanner said:


> ok...finally got my controller up and after a few minutes of running through the library I could have done without it...sad to say. I bought into the hype. Now it's not bad, but the spiccatos are completely unplayable at fast speeds...unless you are playing maybe one note at a time, it's a no go, however if programmed in, they do sound good...for someone like me that likes to play all the parts live, it's very frustrating. Even Fluid Shorts that has a big delay as well in the normal patch is at least playable...well more so anyway.
> 
> There is some serious phasing in the legato cello...more in the dirty samples, but from lowest C to G (5th up and overlapping the notes), I hear phasing like playing the same not or some kind of cross fade transition...the crazy part is that it doesn't happen as much every time, and varies per dynamic...also seems to be more prevalent on the Decca mic. This seems to be more apparent also in the dirty samples...maybe due to the low end bleed which then makes sense.
> 
> I compared the smoothness of the legato to Con Moto...I feel this is the standard in terms of bow change legato...The overall legato is much more geared to slow playing. At faster tempos Con Moto (while also not meant for fast legato), is slightly better and less choppy/disconnected...not the greatest I am sad to say...I have to truly question if Jasper really did anything here at all...But some disconnection is bound to happen with bow change legato only, but should be smoother. EDIT: My test was dry with no reverb...adding reverb smooths it out a lot, so maybe that's the key...still not as smooth as Con Moto I'm afraid, but definitely better than before.
> 
> There is a weird tone to the violin legato also that I find annoying...in the middle register at about mid dynamic it sounds a bit harsh maybe. I have to question my hearing on this one as my headphones are plugged into my computer rather than my interface for the time being...but if anyone can check that I'd appreciated it.
> 
> I definitely have to do more testing over the new few days or week, but so far if I could request a refund I would. Sorry...not truly what was expected I guess...I do think some issues can be addressed with better scripting, but not 100% satisfied for how I like to write.


lol. I like how you started by trying to not let the hype get to you. Then the hype got to you.


----------



## jaketanner

chapbot said:


> Yep that's the scary thing about buying libraries, you just don't know if one will work for your style until you get it under your fingers. When I first started I got Spitfire Chamber because everybody on this forum raves about them. Within an hour I knew they would not work for me and there they sit on my hard drive, never used. On the other hand, within an hour Nashville became my main string library 😃 When Vista releases I have a feeling I will be set with strings.


The spiccato are completely unplayable live for me...but once programmed they sound good. I found briefly, that using the Decca and wide, gave a much smoother sound. I definitely need to use it some more to see if it's gonna work..I was relying on Jasper to make this library all the CM should have been...not sure that's the case.

I have SCS also, and have literally never used it either..LOL


----------



## jaketanner

NeonMediaKJT said:


> lol. I like how you started by trying to not let the hype get to you. Then the hype got to you.


LOL..they hype about this library has had me for over a year...and truthfully only because Jasper had a hand in it...otherwise I would have never bothered...I love Performance Samples, and this is not 100% there yet...maybe with some revisions. But gonna give it more of a chance before rolling it out completely...but "don't believe the hype" should be the Moto for us all..


----------



## jaketanner

MA-Simon said:


> Yes, I mentioned this earlier. Hard to use.
> 
> You can adjust the shorts delay for realtime playing in the advanced menu, then set it back wen you are done.


Ah ok...I can always just use a piano to play it in, but I'll try that, thanks.


----------



## jaketanner

MA-Simon said:


> Yes, I mentioned this earlier. Hard to use.
> 
> You can adjust the shorts delay for realtime playing in the advanced menu, then set it back wen you are done.


Just tried it..you mean put the offset all the way right? Works great then...sound isn't that great, BUT...LOL it does allow me to play it live.. thank you!


----------



## NeonMediaKJT

jaketanner said:


> LOL..they hype about this library has had me for over a year...and truthfully only because Jasper had a hand in it...otherwise I would have never bothered...I love Performance Samples, and this is not 100% there yet...maybe with some revisions. But gonna give it more of a chance before rolling it out completely...but "don't believe the hype" should be the Moto for us all..


I've done it plenty of time haha. I genuinely think most of us are addicted to buying more gear/libs


----------



## jaketanner

NeonMediaKJT said:


> I've done it plenty of time haha. I genuinely think most of us are addicted to buying more gear/libs


Now I have to stop...until Performance Samples releases their orchestra...LOL I have CM so not really hooked on Vists (thank god)...LOL


----------



## ricoderks

NeonMediaKJT said:


> I've done it plenty of time haha. I genuinely think most of us are addicted to buying more gear/libs


Who!? Us!? Naaaaaaahhhhh xD


----------



## peladio

muziksculp said:


> I'm not convinced I need NSS. Got too many String libraries, and don't hear any magic here. I might change my mind if I hear something super special. So far, I haven't .



Same, nothing CSS and HS can't already do and better..


----------



## Beans

I genuinely do like the room sound of NSS, as well as how the different mics change things up. It's a fine purchase for the intro price.

I'm (mostly) holding my tongue about the idea of a paid expansion, since there some great developers out there that don't make you pay for major updates (Strezov) and some that make pretty small financial asks for big refreshes (8dio).

We'll see where Audio Ollie lands on pricing and content. I'd love to see fingered legato and measured trem.


----------



## Douglas Romayne

Toecutter said:


> I would love to get some feedback from Con Motto and Nashville users. Seems like a no-brainer, $60 more and I get all common articulations instead of legato only.
> 
> Do you miss Violins 2? Can I use the second pass instruments to play unison lines V1+V2 without phasing issues?
> 
> Any regrets with this library? Or Con Motto?



I have to say that Con Motto is a great regret for me. I grabbed the bundle last month at full price for a project thinking it would give me the sound and performance I needed but it doesn't. I imagine for very specific moments it works but it is truly limited to one sound. Every note is a bumpy bow change. Had I spent $200 I'd feel less pain but at $500+ it is a big case of buyer's remorse.

Do not have Nashville yet but already, for the sound, features, play-ability and price, it's clear it's a good choice and use of finances.


----------



## Obi-Wan Spaghetti

peladio said:


> Same, nothing CSS and HS can't already do and better..



Are the shorts in CSS and HS taken from performances? If not then what you said here just isn't true.


----------



## ALittleNightMusic

Obi-Wan Spaghetti said:


> Are the shorts in CSS and HS taken from performances? If not then what you said he just isn't true.



Does the sampling technique matter or how it sounds in the end product? In the end, all sampling is "taken from performances" - but maybe not long phrases.


----------



## Obi-Wan Spaghetti

ALittleNightMusic said:


> Does the sampling technique matter or how it sounds in the end product?



Both matters. CSS and HS sounds great. But like what has been said before, the technique NSS and PS uses add an other layer of realism. And they sounds great too imo. Not knocking down CSS and HS on the contrary.


----------



## peladio

Obi-Wan Spaghetti said:


> Are the shorts in CSS and HS taken from performances? If not then what you said he just isn't true.



Technically you may be right..however tbh I don't care how they sampled it..I only care about the end product and Nashville certainly doesn't sound more realistic than those two to my ears


----------



## Toecutter

Douglas Romayne said:


> I have to say that Con Motto is a great regret for me. I grabbed the bundle last month at full price for a project thinking it would give me the sound and performance I needed but it doesn't. I imagine for very specific moments it works but it is truly limited to one sound. Every note is a bumpy bow change. Had I spent $200 I'd feel less pain but at $500+ it is a big case of buyer's remorse.
> 
> Do not have Nashville yet but already, for the sound, features, play-ability and price, it's clear it's a good choice and use of finances.



Thanks a lot! That's the sort of unbiased opinion I'm looking for. What kind of sound and performance you needed that led you to regret?


----------



## Go To 11

jaketanner said:


> LOL..they hype about this library has had me for over a year...and truthfully only because Jasper had a hand in it...otherwise I would have never bothered...I love Performance Samples, and this is not 100% there yet...maybe with some revisions. But gonna give it more of a chance before rolling it out completely...but "don't believe the hype" should be the Moto for us all..


The irony about this is I’m pretty sure you single handedly created the hype for this library!


----------



## jadedsean

Go To 11 said:


> The irony about this is I’m pretty sure you single handedly created the hype for this library!


This 👆🏻


----------



## peladio

Go To 11 said:


> The irony about this is I’m pretty sure you single handedly created the hype for this library!



lol very true..


----------



## jaketanner

Go To 11 said:


> The irony about this is I’m pretty sure you single handedly created the hype for this library!


I just posted about this...LOL years ago Jasper actually told me to wait for it...two years ago I think...I had emailed him about something to sod with CM at the time...so yeah, I was psyched since.


----------



## RMH

Ok, Guys.
The advent of new instruments is always exciting.

It's hard to choose even though I like the sound very much.

My final goal is to build a chamber string.

I've already got my eye on Spitfire's chamber strings.
Also, the instruments that I have are good ones in my heart.

Spitfire BBCSO, SStS
CSS
8dio CS

Do I need an NSS here?
Legato, Fast run, Marccato.. etc...


----------



## Tinesaeriel

I noodled about with it again! Put EQ and all other processing goodies on it this time, so it's not raw like last time.

This is the first string library I feel that you can really do bouncy writing with. The legatos and longs do an excellent job of combining the legato transitions and the release samples to make playing really fun when you want to do a line with a lot of modulating between long and short notes. Obviously you can't do true, hard-attack staccatos here or anything, but you can write a really good galloping line.


----------



## Ashermusic

Tinesaeriel said:


> I noodled about with it again! Put EQ and all other processing goodies on it this time, so it's now raw like last time.
> 
> This is the first string library I feel that you can really do bouncy writing with. The legatos and longs do an excellent job of combining the legato transitions and the release samples to make playing really fun when you want to do a line with a lot of modulating between long and short notes. Obviously you can't do true, hard-attack staccatos here or anything, but you can write a really good galloping line.



We need a whinny audio clip!


----------



## jaketanner

Hey all...JUST FOR FUN...here is a simple NSS spiccato test along with Fluid Shorts 1. This is an excerpt from a composition I am working on, and has been modified for this comparison.

No processing except a limiter (Weiss MM-1) set to transparent mode on the mix bus...just to give a bit of volume, but the sound is the sound. This is quantized in...*Note*, this performance at this speed is not possible live with either library due to the delay unless you change the offset or use the ultra tight patch.

*MORE NOTES:* This is NOT a who's better, but a comparison...I set both with ALL mics in that are available...again, not an Apples to Apples comparison, this is for sound and performance. I am saying this a few times so that I don't get angry posts about it not being matched perfectly..LOL

*FS 1*...tight patch as recommended for the performance. I have the "wet" all the way up, there is NO reverb, this is the natural hall sound...wanted to show this otherwise it was too dry.
*NSS*...All mics in (not the default, and close mics panned slightly for in situ). No additional reverb, there is no wet/dry adjustment...this is the natural room sound.

To reiterate this is not an apples to apples test, it is merely to show the sonic differences between the two libraries if anyone is interested...It is what is possible, not which is best and I leveled them accordingly.

I love them both, and as you can tell, they each have their place depending on the rest of the orchestration.

Another side note: The extra bass from FS is because I don't think the basses respond that quickly...NSS is tighter with the recorded basses, hence sounds a bit cleaner.


----------



## Obi-Wan Spaghetti

I prefer NSS here. Sounds more raw while FS should kind of plastic in comparison. Seems to have something to do with acoustics. I don't know...


----------



## jaketanner

Obi-Wan Spaghetti said:


> I prefer NSS here. Sounds more raw while FS should kind of plastic in comparison. Seems to have something to do with acoustics. I don't know...


I think the lack of that "wetness" makes a difference. NSS is definitely not as clean in comparison, but I think they each have their place.


----------



## ricoderks

Hi again,

I'm reading comments suggesting its either the one or the other that is better. Or that you dont need NSS because all samples are done by other developers anyway. To me its a justified purchase, even with all the other stuff I already have. Maybe only for inspiration even. I think the legato example here somewhere shows indeed that older libraries can still really shine in the right hands, so yes, you dont NEED new stuf anyway. If you have EWHO for example you're done! If you only want to write music you even can do it with an 90s keyboard orchestral sounds. And again, yes, the content from NSS is already in my library by different developers, but done different. Thats important for me personally. Difference! I carefully look for sound, playability and realism. If those 3 boxes more or less tick for me, its an justified purchase. I barely use 1 sampledevelopers room anymore anyway, like sony or east west. That became limited very fast. I use whatever I want, that gives inspiration! With some positioning and eq you can make that work too. Plus is gives you a more unique sound! That must be worth something, right? Not defending NSS, just saying its a great library to me.

Also:


----------



## OleJoergensen

ricoderks said:


> Hi again,
> 
> I'm reading comments suggesting its either the one or the other that is better. Or that you dont need NSS because all samples are done by other developers anyway. To me its a justified purchase, even with all the other stuff I already have. Maybe only for inspiration even. I think the legato example here somewhere shows indeed that older libraries can still really shine in the right hands, so yes, you dont NEED new stuf anyway. If you have EWHO for example you're done! If you only want to write music you even can do it with an 90s keyboard orchestral sounds. And again, yes, the content from NSS is already in my library by different developers, but done different. Thats important for me personally. Difference! I carefully look for sound, playability and realism. If those 3 boxes more or less tick for me, its an justified purchase. I barely use 1 sampledevelopers room anymore anyway, like sony or east west. That became limited very fast. I use whatever I want, that gives inspiration! With some positioning and eq you can make that work too. Plus is gives you a more unique sound! That must be worth something, right? Not defending NSS, just saying its a great library to me.
> 
> Also:



Thank you for sharing!
Lovely composition and good walk through.


----------



## OleJoergensen

jaketanner said:


> Nss and BBC layer quite nicely...that much I tested..LOL. The legato in BBC strings has that stupid overlay...try adding the sustain pedal for the whole thing and see if that helps. Holding the sustain down removed the overlay.


Hello Jake.

I tried make the overlap longer and it works , also adjusting the velocity helps. I can't hear any difference using the sustain pedal thou. 
Thank you for advice.


----------



## Beans

Is this the first extensive review in the wild?


----------



## Go To 11

ricoderks said:


> Hi again,
> 
> I'm reading comments suggesting its either the one or the other that is better. Or that you dont need NSS because all samples are done by other developers anyway. To me its a justified purchase, even with all the other stuff I already have. Maybe only for inspiration even. I think the legato example here somewhere shows indeed that older libraries can still really shine in the right hands, so yes, you dont NEED new stuf anyway. If you have EWHO for example you're done! If you only want to write music you even can do it with an 90s keyboard orchestral sounds. And again, yes, the content from NSS is already in my library by different developers, but done different. Thats important for me personally. Difference! I carefully look for sound, playability and realism. If those 3 boxes more or less tick for me, its an justified purchase. I barely use 1 sampledevelopers room anymore anyway, like sony or east west. That became limited very fast. I use whatever I want, that gives inspiration! With some positioning and eq you can make that work too. Plus is gives you a more unique sound! That must be worth something, right? Not defending NSS, just saying its a great library to me.
> 
> Also:



This is just awesome. Love the breakdown afterwards, too. Cheers!


----------



## ricoderks

Go To 11 said:


> This is just awesome. Love the breakdown afterwards, too. Cheers!


Thanks man!


----------



## ScarletJerry

ricoderks said:


> Hi again,
> 
> I'm reading comments suggesting its either the one or the other that is better. Or that you dont need NSS because all samples are done by other developers anyway. To me its a justified purchase, even with all the other stuff I already have. Maybe only for inspiration even. I think the legato example here somewhere shows indeed that older libraries can still really shine in the right hands, so yes, you dont NEED new stuf anyway. If you have EWHO for example you're done! If you only want to write music you even can do it with an 90s keyboard orchestral sounds. And again, yes, the content from NSS is already in my library by different developers, but done different. Thats important for me personally. Difference! I carefully look for sound, playability and realism. If those 3 boxes more or less tick for me, its an justified purchase. I barely use 1 sampledevelopers room anymore anyway, like sony or east west. That became limited very fast. I use whatever I want, that gives inspiration! With some positioning and eq you can make that work too. Plus is gives you a more unique sound! That must be worth something, right? Not defending NSS, just saying its a great library to me.
> 
> Also:




Wow! Love this demo for so many reasons. Great piece, and also the breakdown is very informative. Also, its one of the most realistic virtual instrument pieces that I've ever heard.


----------



## ricoderks

ScarletJerry said:


> Wow! Love this demo for so many reasons. Great piece, and also the breakdown is very informative. Also, its one of the most realistic virtual instrument pieces that I've ever heard.


Kind words! Thank you so much!


----------



## Beans

Lovely breakdown. You could probably build quite the following and added income with this approach, if it's a quick workflow for you.


----------



## jaketanner

OleJoergensen said:


> Hello Jake.
> 
> I tried make the overlap longer and it works , also adjusting the velocity helps. I can't hear any difference using the sustain pedal thou.
> Thank you for advice.


The sustain for BBC legato is only for the first notes IF not overlapped. So if there is a break in the notes, you can avoid the overlay with the sustain pedal.


----------



## BlueGreenBoy

[/QUOTE]

Really nice! Is the CB Brass referred to Cinesamples?


----------



## ricoderks

BlueGreenBoy said:


>




Really nice! Is the CB Brass referred to Cinesamples?
[/QUOTE]
Yes!


----------



## Douglas Romayne

Toecutter said:


> Thanks a lot! That's the sort of unbiased opinion I'm looking for. What kind of sound and performance you needed that led you to regret?



I was working on a project where the mockups were also the final orchestra tracks so I needed an element that had a "live" vibe to it. I'm using other string libs as well and, based on the demos, it looked as if Con Motto would offer that missing part. Unfortunately, that was not the case. Every note starts with an ugly "bump" and the prominent bow change on every note makes it impossible to get a smooth, lyrical line. And the timbre of the lib does not play nice with my other strings.


----------



## turnerofwheels

Well, these newer demos do sound quite good--a very particular style. Still sitting on the fence for that "dry" string library but at least there's the rest of the month to decide


----------



## jaketanner

Beans said:


> Is this the first extensive review in the wild?



This is an issue with poor documentation...we don't know what's what with this library.. too many mysteries and wish there was a manual...can't find one.


----------



## Patrick de Caumette

No articulation switching in 2020: really?!


----------



## mojamusic

Patrick de Caumette said:


> No articulation switching in 2020: really?!



In Logic you can use Articulation mapping for keyswitching, right? (I think I actually like it's functionality better) How about ProTools or other DAWs? Could that be a viable alternative?


----------



## Obi-Wan Spaghetti

There free multi scripts for kontakt to work around this keyswitch problem guys. You find some of them in this thread earlier.


----------



## oooooooooooooooooh

mojamusic said:


> In Logic you can use Articulation mapping for keyswitching, right? (I think I actually like it's functionality better) How about ProTools or other DAWs? Could that be a viable alternative?



Expression maps in Cubase would make this very simple, actually. While I appreciate full patches with keyswitches, if you know your way around expression maps then this isn't a problem at all.


----------



## jaketanner

Hey all...can someone please verify this for me. I hear a very weird vibrato that should not be there when playing the 2nd C from left with the violin legato patch.

NOTES: play C-G-C from the low register holding each note into the next...the second C wobbles...Dynamics at about 60% and up...less with lower dynamics, but this should not happen.

Much more pronounced with all mics in.

Thanks.


----------



## jaketanner

New bug...if someone can please verify: Cello Legato. Lowest C to G (5th up)...the note phases at about 75% dynamics. Two sound issues already and I am just at legato...and there is also some weird pan movement through various dynamics...similar to old 8DIO. I really like the sound of this library...but if I can find these issues within minutes, why didn't anyone else before release? 

I know there is some give and take with performance sourced samples, noises here and there and I am more than willing to accept that, but the phasing in the cello and wobble in the violin are unusable at those dynamics. Hoping they can be addressed with an update. 

Overall..despite those issue I do like it.


----------



## Si_Withenshaw

jaketanner said:


> New bug...if someone can please verify: Cello Legato. Lowest C to G (5th up)...the note phases at about 75% dynamics. Two sound issues already and I am just at legato...and there is also some weird pan movement through various dynamics...similar to old 8DIO. I really like the sound of this library...but if I can find these issues within minutes, why didn't anyone else before release?
> 
> I know there is some give and take with performance sourced samples, noises here and there and I am more than willing to accept that, but the phasing in the cello and wobble in the violin are unusable at those dynamics. Hoping they can be addressed with an update.
> 
> Overall..despite those issue I do like it.




Yeah I've noticed this phasing issue quite often whenever the low C is involved. Not just on the C to G transition. It's not subtle!


----------



## Igorianych

jaketanner said:


> New bug...if someone can please verify: Cello Legato. Lowest C to G (5th up)...the note phases at about 75% dynamics. Two sound issues already and I am just at legato...and there is also some weird pan movement through various dynamics...similar to old 8DIO. I really like the sound of this library...but if I can find these issues within minutes, why didn't anyone else before release?
> 
> I know there is some give and take with performance sourced samples, noises here and there and I am more than willing to accept that, but the phasing in the cello and wobble in the violin are unusable at those dynamics. Hoping they can be addressed with an update.
> 
> Overall..despite those issue I do like it.



Yes, really a fifth of a C-G, and C-G#
great octave gives phaser to G.

I hope there will be an update that resolves these negligence.
There is a good example of Spitfire who reworked the HZ string well.


----------



## jaketanner

Igorianych said:


> Yes, really a fifth of a C-G, and G#
> great octave gives phaser to G.
> 
> I hope there will be an update that resolves these negligence.
> There is a good example of Spitfire who reworked the HZ string well.


Testing more patches now. The Viola Legato are beautiful...better and smoother than the violins which pisses me off..LOL Oh well...more testing..wish I'd been a part of beta...LOL


----------



## Igorianych

While Chellos b Legato sounds great in the same place...


----------



## jaketanner

Igorianych said:


> While Chello b Legato sounds great in the same place...


most of the B patches are smoother...imagine a result of the transposing, which I don't mind that much because they seem useable. A bit darker, less clarity but smoother. 

I also wish there was a name distinction between the denoised samples and the dirty...hard to tell by looking at the GUI as they are identically named. There should be some sort of distinguishing mark at least.


----------



## Go To 11

As a non-Kontakt pro how do I unlink the samples from the denoised and relink again to the originals?


----------



## Kent

jaketanner said:


> most of the B patches are smoother...imagine a result of the transposing, which I don't mind that much because they seem useable. A bit darker, less clarity but smoother.
> 
> I also wish there was a name distinction between the denoised samples and the dirty...hard to tell by looking at the GUI as they are identically named. There should be some sort of distinguishing mark at least.


That's probably so the NKIs can find the samples no matter which batch is used. The name is the same so it links up.


----------



## jaketanner

kmaster said:


> That's probably so the NKIs can find the samples no matter which batch is used. The name is the same so it links up.


what's wrong with having an asterisk after the raw samples? You just make two sets...some distinction somewhere would have been nice.


----------



## jaketanner

Go To 11 said:


> As a non-Kontakt pro how do I unlink the samples from the denoised and relink again to the originals?


What do you mean? The best way to do this is to create TWO instances in the files...one with dirty, one with clean. Then just load the ones you want.


----------



## Hendrixon

jaketanner said:


> Testing more patches now. The Viola Legato are beautiful...better and smoother than the violins which pisses me off..LOL Oh well...more testing..wish I'd been a part of beta...LOL



If you were doing the beta this lib was out maybe in Q2 2023... right after the first 10nm Intel desktop cpu


----------



## jaketanner

Hendrixon said:


> If you were doing the beta this lib was out maybe in Q2 2023... right after the first 10nm Intel desktop cpu


But it would be perfect! LMAO


----------



## Go To 11

jaketanner said:


> What do you mean? The best way to do this is to create TWO instances in the files...one with dirty, one with clean. Then just load the ones you want.


Thanks - how do I link the instruments to the dirty samples tho? Or do they do that automatically if I copy paste the NKIs into a different folder with them?


----------



## jaketanner

Go To 11 said:


> Thanks - how do I link the instruments to the dirty samples tho? Or do they do that automatically if I copy paste the NKIs into a different folder with them?


Just duplicate the main folder and delete the normal from one and the dirty from the other. Make sure you name the main folder so you know which is which because they look the same once in Kontakt.


----------



## MA-Simon

jaketanner said:


> Just duplicate the main folder and delete the normal from one and the dirty from the other. Make sure you name the main folder so you know which is which because they look the same once in Kontakt.


Carefull with Batch resave though. It will not care if you slected either.


----------



## whinecellar

Just grabbed this today. Nice alternative to my other go-to strings - I like the brighter, more detailed sound as opposed to, say, CSS (which I also love - dark and warm). I've recorded these players at Ocean Way myself, and they are absolutely top notch - nice to support my neighbors!

I just had a brief play of a few instruments so I have a long way to go to get familiar with the library. Initial thoughts:

1.No all-inclusive keyswitched instruments - you'll need a separate track for everything. Seems a bit odd in 2020. CSS is my favorite in this area - I have the whole library in 5 tracks.

2. The legatos are really minimal and fast - you can't coax slower lines approaching portamento out of this.

3. From a quick comparison, the walkthrough demo on their site seems a bit "treated" (more room tone - I spotted Seventh Heaven in his session) compared to what I'm getting out of it, even with the surround mics turned up. I need to dig into this further.

4. The 'B' patches are a nice option; without them, you have a nice medium section. Add them, and you have twice as many players.

5. The approach to dynamics is a bit different - I find myself using the "Expand" slider to give me a wider dynamic range. Not bad, just different.

6. The Offset thing is also different - with it down, it feels sluggish to play given the 140ms 'air' at the front of the samples. I like that option though.

7. I wish I had a bit of release control when playing longer ensemble patches - the release is a little short for some more emotional playing.

8. I really wish the mix sliders showed their values when moving them; as of now you have to guess when trying to match mixes between instruments.

9. The Marcato patches aren't velocity sensitive AT ALL - you have to use the mod wheel for any dynamics. Um... not ideal.

10. Definitely some pokey room resonances to work around in the 400-500 Hz range. This is true of most libraries though as samples build up and overlap.


Looking forward to trying the non-denoised samples - I like the idea of some reality in there.

So far so good - a nice new color to paint with - great sound, but it definitely has some growing to do!


----------



## jaketanner

whinecellar said:


> I really wish the mix sliders showed their values when moving them; as of now you have to guess when trying to match mixes between instruments.


You mean for the mics right? I feel the same...trying to match between two instances is hard...purely for a/b purposes..otherwise I don't care really since they all have different volumes anyway.


whinecellar said:


> Looking forward to trying the non-denoised samples - I like the idea of some reality in there.


They sound fuller...but you will need to high pass them, especially the bass instruments and lower registers, and in some cases they sound smoother.


----------



## chapbot

For those complaining about lack of key switches understand that people like me would never in a million years (and if you held a gun to my head) would ever use a key switch patch. I always separate legatos from marcatos and spiccatos for complete control. Yet another reason why this library is probably more pointed in the commercial direction.


----------



## ALittleNightMusic

chapbot said:


> For those complaining about lack of key switches understand that people like me would never in a million years (and if you held a gun to my head) would ever use a key switch patch. I always separate legatos from marcatos and spiccatos for complete control. Yet another reason why this library is probably more pointed in the commercial direction.



There's nothing commercial or not commercial about providing key switches. It is easy with all keyswitch libraries to boil it down to single articulations, but if you don't provide a keyswitch patch at all, you have to jump through hoops to set it up. Seems like an odd choice to make given the competition and standard practice for libraries.


----------



## Patrick de Caumette

chapbot said:


> For those complaining about lack of key switches understand that people like me would never in a million years (and if you held a gun to my head) would ever use a key switch patch. I always separate legatos from marcatos and spiccatos for complete control. Yet another reason why this library is probably more pointed in the commercial direction.


Maybe you don't, but after doing the one track-per-articulation for years until, finally, technology caught up, i certainly do not want to have to break a MIDI performance into smaller bits and jack up the track count.
If there are work arounds, it would be appreciated if the developer created those patches to make up for this oversight.


----------



## Patrick de Caumette

Personally, i fell for the library after watching the walkthrough, but loading the patches and playing through a few articulations, it seems that the walkthrough was not out of the box.
But it is too early for me to further comment, as i haven't spent any significant amount of time playing around...


----------



## donnyluvd2bowl

ALittleNightMusic said:


> There's nothing commercial or not commercial about providing key switches. It is easy with all keyswitch libraries to boil it down to single articulations, but if you don't provide a keyswitch patch at all, you have to jump through hoops to set it up. Seems like an odd choice to make given the competition and standard practice for libraries.



yeah literally wtf is chapbot talking about-- he thinks no big composers use articulation switching?


----------



## whinecellar

chapbot said:


> For those complaining about lack of key switches understand that people like me would never in a million years (and if you held a gun to my head) would ever use a key switch patch. I always separate legatos from marcatos and spiccatos for complete control. Yet another reason why this library is probably more pointed in the commercial direction.



Great. No one is forcing you to work the way many others do. But when you have large templates with high track counts, it is extremely convenient and efficient when a library like CSS has everything easily accessible in one track. It works flawlessly.

To have to create a new track for every articulation in a library is tedious and inefficient for a LOT of composers - it would sure be nice to at least have the option.


----------



## whinecellar

Patrick de Caumette said:


> Personally, i fell for the library after watching the walkthrough, but loading the patches and playing through a few articulations, it seems that the walkthrough was not out of the box...



Yeah, after playing with it a bit I went back and watched his video because I felt like it’s much more dry than it seemed in the walkthrough. I spotted Seventh Heaven and some Fabfilter in his session. Kinda bummed about that because I was expecting more of that gorgeous Ocean Way room tone, but even with the extra mic positions, it doesn’t sound quite like that.

Still getting around it and liking the library a lot though...


----------



## Patrick de Caumette

whinecellar said:


> Yeah, after playing with it a bit I went back and watched his video because I felt like it’s much more dry than it seemed in the walkthrough. I spotted Seventh Heaven and some Fabfilter in his session. Kinda bummed about that because I was expecting more of that gorgeous Ocean Way room tone, but even with the extra mic positions, it doesn’t sound quite like that.
> 
> Still getting around it and liking the library a lot though...


My feeling, exactly.
Not great to hype up the sound of a walkthrough.
Fortunately, the discount made this an easy decision, and if post processing can get that sound, then i am fine with the choice.
But I feel the developer has some work to do to make this a must-buy (multi articulation patches, bug fixes, further tweaking of the legato, and more honest walkthroughs in the future)


----------



## Obi-Wan Spaghetti

Patrick de Caumette said:


> If there are work arounds, it would be appreciated if the developer created those patches to make up for this oversight.



Yea he should provide a multi with all the articulations loased and a multi script to switch between those articulations. Or at least provide a how to guide to do it. I bet a lot of people didn't buy it just for that. Anyway, i found a how to guide on Youtube to do this using the free KS Router multi script. See below.








Orange Tree Samples


Highly realistic bass and guitar sample libraries for KONTAKT.




www.orangetreesamples.com


----------



## Patrick de Caumette

Obi-Wan Spaghetti said:


> Yea he should provide a multi with all the articulations loased and a multi script to switch between those articulations. Or at least provide a how to guide to do it. I bet a lot of people didn't buy it just for that. Anyway, i found a how to guide on Youtube to do this using the free KS Router multi script. See below.
> 
> 
> 
> 
> 
> 
> 
> 
> Orange Tree Samples
> 
> 
> Highly realistic bass and guitar sample libraries for KONTAKT.
> 
> 
> 
> 
> www.orangetreesamples.com



Thank you so much for this!


----------



## Obi-Wan Spaghetti

Patrick de Caumette said:


> Thank you so much for this!



Sure. But note that while this solves the KS problem it doesn't solve everyting. For example, if you want to play with the mics volume, you have to go into the interface of each individual instruments to set this up wich takes time. I'd advise to save that multi in kontakt once you're satisfy. I don't own NSS and I've never used this scrip and don't use multi a lot so it's best you experiment yourself. An other option would be to use Kontakt multi output and route each mics to it's individual output and then you can control the mics volume globally in kontakt or in your daw? Worth a try. Good luck!

edited: Also, if you daw allows this, save the whole thing as a track preset or template might help. Also worth looking into.


----------



## Vladimir Bulaev

whinecellar said:


> 1.No all-inclusive keyswitched instruments - you'll need a separate track for everything. Seems a bit odd in 2020. CSS is my favorite in this area - I have the whole library in 5 tracks.


Use the *FlexRouter* multiscript for this purpose. You will have one track per instrument with any articulations with keyswitches for your own settings. Moreover, you can include multiple layering articulations at the same time. For example, if you want, you can use Spiccato or Marcato with Legato at the same time and get a very flexible performance patch. Or trill and spiccato will allow you to do quick playable runs.


----------



## Zero&One

I grabbed this after watching the walkthrough and some helpful advice from Jake.

I immediately noticed the treatment though. Compared it with the video as I initially thought I was doing something wrong. Why they did't just put a disclaimer at the beginning is beyond me. Several videos do this and I have no problem with that, DJ for example and again I have no issue with that.
But the video is made to look like he's just chilling, pulling up default patches, when he's not from what I hear.

Anyway, I liked the sound and approach and that hasn't changed. It sounds very different to my current arsenal and that's exactly what I wanted. Too many times I get libraries that claim this, only to find they sound very similar to everything else.

Thanks for the KS tools, going to set them up now.


----------



## mcalis

ricoderks said:


> Hi again,
> 
> I'm reading comments suggesting its either the one or the other that is better. Or that you dont need NSS because all samples are done by other developers anyway. To me its a justified purchase, even with all the other stuff I already have. Maybe only for inspiration even. I think the legato example here somewhere shows indeed that older libraries can still really shine in the right hands, so yes, you dont NEED new stuf anyway. If you have EWHO for example you're done! If you only want to write music you even can do it with an 90s keyboard orchestral sounds. And again, yes, the content from NSS is already in my library by different developers, but done different. Thats important for me personally. Difference! I carefully look for sound, playability and realism. If those 3 boxes more or less tick for me, its an justified purchase. I barely use 1 sampledevelopers room anymore anyway, like sony or east west. That became limited very fast. I use whatever I want, that gives inspiration! With some positioning and eq you can make that work too. Plus is gives you a more unique sound! That must be worth something, right? Not defending NSS, just saying its a great library to me.
> 
> Also:



Really beautiful piece Rico! I really love how much forward motion it has, and of course it's beautifully mixed 

I was wondering about the arpeggiating cello line and if it was NSS doing that (which would've been super impressive), but managed to find out what it was through the Youtube comments. Regardless, NSS sounds very pretty here.


----------



## ricoderks

mcalis said:


> Really beautiful piece Rico! I really love how much forward motion it has, and of course it's beautifully mixed
> 
> I was wondering about the arpeggiating cello line and if it was NSS doing that (which would've been super impressive), but managed to find out what it was through the Youtube comments. Regardless, NSS sounds very pretty here.


Oh yes i forgot to include that in the walktrough! Its Ben Osterhouse! Oscillation Strings. Great little library. It kinda has to be a pre recorded phrase too. Doing this in midi absolutely wont work (yet)

Thank you man!


Edit: String Flow Cello not Oscillation Strings


----------



## Beans

ricoderks said:


> Oh yes i forgot to include that in the walktrough! Its Ben Osterhouse! Oscillation Strings. Great little library. It kinda has to be a pre recorded phrase too. Doing this in midi absolutely wont work (yet)



I didn't realize Oscillation Strings could arpeggiate like that. Are we sure we're talking about the same snippet? Pretty cool trick, if so.


----------



## ricoderks

Beans said:


> I didn't realize Oscillation Strings could arpeggiate like that. Are we sure we're talking about the same snippet? Pretty cool trick, if so.


Oh snap you're right. I meant string flow cello (duh) the other one is pretty cool too though!


----------



## Beans

ricoderks said:


> Oh snap you're right. I meant string flow cello (duh) the other one is pretty cool too though!



Thanks for clarifying! You're so right, it's not feasible to do with midi. I recall about five years ago buying a wav file from somewhere to drop in a couple of bars for a project, lamenting that I didn't have any control over it.

Wish I had a need for more of Ben's stuff. It's fantastic.


----------



## Hendrixon

I watched the walkthrough again, Pro-Q 3 on each track and Gullfoss + Seventh Heaven on master out. sorry, that's not how a library should be presented.


----------



## Beans

Hendrixon said:


> I watched the walkthrough again, Pro-Q 3 on each track and Gullfoss + Seventh Heaven on master out. sorry, that's not how a library should be presented.



Was there nothing in the video(s) like, "Hey, here's a quick bit out of the box; now, here are my preferred plug-in settings"?


----------



## jaketanner

Hendrixon said:


> I watched the walkthrough again, Pro-Q 3 on each track and Gullfoss + Seventh Heaven on master out. sorry, that's not how a library should be presented.


I found the opposite here. That it sounded worse in the video. Lol.

I agree there should be a disclaimer. Not many walkthrough do though and they usually doctor it up. The ones that don’t will be sure to say “out the box” or no additional processing. But that is also not how we use samples, so I think he wanted to show the possibility and how it would sound with eq and reverb.

I can see how this is a bit deceitful if you are looking for it to sound that way out of the box.


----------



## Hendrixon

It actually started with an interview of Casey, former Lexicon engineer and now the "cas" in Bricasti, then moved to showcase that Gullfoss is NOT an exciter... after that I think there was something about legato? I'm not sure cause that's when the pizza guy arrived


----------



## prodigalson

jaketanner said:


> Not many walkthrough do though and they usually doctor it up.



and with 8DIO at least, even though they don't tell you, you KNOW there's additional reverb because everything has verb tails so long they could only be real if they recorded in the Taj Mahal.


----------



## Hendrixon

jaketanner said:


> I found the opposite here. That it sounded worse in the video. Lol.
> 
> I agree there should be a disclaimer. Not many walkthrough do though and they usually doctor it up. The ones that don’t will be sure to say “out the box” or no additional processing. But that is also not how we use samples, so I think he wanted to show the possibility and how it would sound with eq and reverb.
> 
> I can see how this is a bit deceitful if you are looking for it to sound that way out of the box.



Compression? fine.
Limiting? sure.
EQ? no no.
Reverb?! when a huge part of any library is the room? its like going to bed with a girl and waking up near a dude.


----------



## Beans

jaketanner said:


> I found the opposite here. That it sounded worse in the video. Lol.
> 
> I agree there should be a disclaimer. Not many walkthrough do though and they usually doctor it up. The ones that don’t will be sure to say “out the box” or no additional processing. But that is also not how we use samples, so I think he wanted to show the possibility and how it would sound with eq and reverb.
> 
> I can see how this is a bit deceitful if you are looking for it to sound that way out of the box.



While I agree that many/most/all users will apply some additional processing to it, deceit is a binary issue. You can't "sort of" deceive someone. Whether with intention or not, you either deceived someone or didn't.

Though, I expect you were largely just being nice with your wording since VI-C is generally a pleasant place to be. 

*Again, I don't recall the specifics of the video, so this is a general statement not necessarily targeted at NSS.*

But imagine if Paul or Christian applied an Abbey Road Studio One impulse response when doing a walkthrough of AROOF, and the only way you'd know is if you caught a glimpse of the bottom of the screen.

Additionally, it's important to know how something sounds out of the box so I can understand my baseline for how I want to transform the content. If it's already transformed from the root product without clarity, that's a problem.


----------



## Hendrixon

prodigalson said:


> and with 8DIO at least, even though they don't tell you, you KNOW there's additional reverb because everything has verb tails so long they could only be real if they recorded in the Taj Mahal.



One of the reasons why I don't own any 8dio lib...


----------



## Hendrixon

OT state in every walkthrough that all sounds are out of the box library only.


----------



## jaketanner

prodigalson said:


> and with 8DIO at least, even though they don't tell you, you KNOW there's additional reverb because everything has verb tails so long they could only be real if they recorded in the Taj Mahal.


yes and that was one library I was thinking of too...LOL


----------



## peladio

Hendrixon said:


> I watched the walkthrough again, Pro-Q 3 on each track and Gullfoss + Seventh Heaven on master out. sorry, that's not how a library should be presented.



Yeah..that's not ok


----------



## jaketanner

Hendrixon said:


> Compression? fine.
> Limiting? sure.
> EQ? no no.
> Reverb?! when a huge part of any library is the room? its like going to bed with a girl and waking up near a dude.


so you don't like the room? It is fairly dry...drier than Con Moto for sure, but it does take reverb VERY well...not a lot of effort is needed so that's good.


----------



## Hendrixon

Paul of SA made a demo track for AR1, he uploaded that track twice to the AR1 page.
Why? because he added few bits to the track that were not from AR1, so the second upload was the same demo but only with AR1 sound.


----------



## Hendrixon

jaketanner said:


> so you don't like the room?



Well Gullfoss, that abomination (in my view of course), boosts around 13kHz-14kHz and around 100Hz while sucking dry the mids... and it does all that DYNAMICALLY.

When I'll know how the room really sound, I'll answer that question


----------



## jaketanner

Beans said:


> While I agree that many/most/all users will apply some additional processing to it, deceit is a binary issue. You can't "sort of" deceive someone. Whether with intention or not, you either deceived someone or didn't.
> 
> Though, I expect you were largely just being nice with your wording since VI-C is generally a pleasant place to be.
> 
> *Again, I don't recall the specifics of the video, so this is a general statement not necessarily targeted at NSS.*
> 
> But imagine if Paul or Christian applied an Abbey Road Studio One impulse response when doing a walkthrough of AROOF, and the only way you'd know is if you caught a glimpse of the bottom of the screen.
> 
> Additionally, it's important to know how something sounds out of the box so I can understand my baseline for how I want to transform the content. If it's already transformed from the root product without clarity, that's a problem.


I agree totally that Ollie should have been very upfront with it. I guess I've seen and listened to so many libraries that I either assume there is processing on it (Which I don't like in a walkthrough), or it is showing off the O.O.T.B. sound. 

My personal opinion is this: I truly believe that Ollie is just not as experienced in making walkthroughs or selling the libraries as most other developers that have been doing it for over a decade, and that's ok...gotta start somewhere. What has me more ticked off when watching the walkthrough is that he mis-pronounces Con Legno and Con Sordino and that drives me nuts...LOL No excuse for that and shows me that maybe this isn't his strong suit...HOWEVER, with the help of Jasper, this library did manage to make an impression. I am working through many of the patches, and I have found a few issues that I think can be addressed in an update. Mostly though, I do like the sound and I will try and use it for a new composition some time soon.


----------



## jaketanner

Hendrixon said:


> Well Gullfoss, that abomination (in my view of course), boosts around 13kHz-14kHz and around 100Hz while sucking dry the mids... and it does all that DYNAMICALLY.
> 
> When I'll know how the room really sound, I'll answer that question


I don't use any "quick fix" plugins...ever since I mix for a living also.. LOL But, I can tell you the room sound is fairly dry, even with the surround mics...not bone dry like VSL...but dry in comparison to most libraries. What baffles me though, is that there is mention of NSS being recorded in a space that does some scoring work...so either they record there because the room sound is great, or because it offers more flexibility since it isn't very ambient.


----------



## Zero&One

Yeah the reverb wasn't really an issue for me. I did watch Dom's walkthrough also and found that very helpful. As you say Jake, it takes well to reverb and that's what I wanted.

Btw @jaketanner I know the close mics get panned as per the videos. Do you also pan the other mics positions the same?


----------



## ag75

Hendrixon said:


> Compression? fine.
> Limiting? sure.
> EQ? no no.
> Reverb?! when a huge part of any library is the room? its like going to bed with a girl and waking up near a dude.


When chasing “tail” it happens.


----------



## jaketanner

Zero&One said:


> Btw @jaketanner I know the close mics get panned as per the videos. Do you also pan the other mics positions the same?


Truthfully...experimenting a lot with the violin especially, and the close mic does nothing for me. With all mics in, if you pop in the close mic in and out, there is zero change for me. The only benefit I can see for the close mic is to pan it...leave all other mics mostly in the middle, but be careful with the WIDE mic, as this seems to be a bit unpredictable in terms of the pan. I would not pan all mics though.


----------



## jaketanner

Can someone please try this: Cello legato patch, but should work with others...play a random chord...hit several notes at the same time like you're playing a piano...I get a crazy HIT sound...LOL Of course doesn't happen with straight legato, but if you try and play a stab...it sounds nuts. Wish it was in tune...but uses the same samples no matter what notes I play, so something is up there. Of course it is not how it's intended...but find it interesting. Was an accidental find.


----------



## Hendrixon

jaketanner said:


> I don't use any "quick fix" plugins...ever since I mix for a living also.. LOL But, I can tell you the room sound is fairly dry, even with the surround mics...not bone dry like VSL...but dry in comparison to most libraries. What baffles me though, is that there is mention of NSS being recorded in a space that does some scoring work...so either they record there because the room sound is great, or because it offers more flexibility since it isn't very ambient.



A room has two main parts (although they break down to several parts each):
* Reflections
* Frequency Spectrum/Modes

Reverb masks the first and eq (and ewww Gullfoss) ruin the second.
Ok I get it, there are minimal reflections (thought the walkthrough has plenty short ones).
But what about the second part? can you tell me also how it sound... in words?




> My personal opinion is this: I truly believe that Ollie is just not as experienced in making walkthroughs or selling the libraries



I'm with you on that one 110%
That's why I didn't declare war or something, I just share my disappointment and add jokes along the way to make it light reading. I hope Ollie will fix what needs fixing.


----------



## jaketanner

Hendrixon said:


> But what about the second part? can you tell me also how it sound... in words?


Not sure I follow what you're asking. Sorry.


----------



## Zero&One

jaketanner said:


> Can someone please try this: Cello legato patch, but should work with others...play a random chord...hit several notes at the same time like you're playing a piano...I get a crazy HIT sound...LOL Of course doesn't happen with straight legato, but if you try and play a stab...it sounds nuts. Wish it was in tune...but uses the same samples no matter what notes I play, so something is up there. Of course it is not how it's intended...but find it interesting. Was an accidental find.



I done the same by accident just a few mins ago. I thought I had enabled some other instrument :D

Loving the low octave patch! I almost started wring a metal tune here


----------



## jaketanner

Zero&One said:


> I done the same by accident just a few mins ago. I thought I had enabled some other instrument :D
> 
> Loving the low octave patch! I almost started wring a metal tune here


that's not it...unless you were showing me something else..LOL. I get this anomaly.


----------



## Hendrixon

jaketanner said:


> Not sure I follow what you're asking. Sorry.



When I said I don't know how the room sounds, you said (well, wrote in words) its pretty dry.
What I meant mostly was I don't know how it sounds from the frequency aspect (because of the eq and gullpuss) so since I trust you I hoped you can also tell me, in words, how the spectrum sounds  
Never mind lol


----------



## Hendrixon

jaketanner said:


> that's not it...unless you were showing me something else..LOL. I get this anomaly.



???
What was that in the upload?


----------



## Beans

jaketanner said:


> that's not it...unless you were showing me something else..LOL. I get this anomaly.



Haha, yes, I've got that "effect" as well.


----------



## Zero&One

jaketanner said:


> that's not it...unless you were showing me something else..LOL. I get this anomaly.



Yeah that piano like “plink!” That’s what I got lol
The clip was just that low patch


----------



## jaketanner

Hendrixon said:


> ???
> What was that in the upload?


no...that was purposely triggered...I was messing around to show that that HIT comes out in the legato patches if you stab a bund of keys...like three or more...LOL


----------



## jaketanner

Zero&One said:


> Yeah that piano like “plink!” That’s what I got lol
> The clip was just that low patch


AH ok, thought so..and the low strings do sound nice.


----------



## jaketanner

Beans said:


> Haha, yes, I've got that "effect" as well.


Can't really call this a BUG...it's more of a byproduct for whatever scripting there is. Wish it was in key of the notes I played...then that would be super cool


----------



## whinecellar

Patrick de Caumette said:


> ...if post processing can get that sound, then i am fine with the choice...



Yeah, I also grabbed Spitfire Abbey Road One yesterday, so it’s been a fun day of trying to get them to sit in the same “space.” I was able to get NSS sounding phenomenal and very similar to Abbey Road One by using a custom early reflection and then a scoring stage preset I made in Acon Verberate - that’s become my favorite verb by far for real spaces.

But yeah, the more I think about it, the more vexed I am when a library is presented in a walk-through ”doctored” without any disclaimer. I thought that I was hearing room mics and the sound of Ocean Way, and it turns out there’s very little in the actual product. Not cool.

Still, really liking the library even if it takes a bit of work to make it sound the way it was presented.


----------



## Henrik B. Jensen

jaketanner said:


> Can someone please try this: Cello legato patch, but should work with others...play a random chord...hit several notes at the same time like you're playing a piano...I get a crazy HIT sound...LOL Of course doesn't happen with straight legato, but if you try and play a stab...it sounds nuts. Wish it was in tune...but uses the same samples no matter what notes I play, so something is up there. Of course it is not how it's intended...but find it interesting. Was an accidental find.


Yep, same for me. Found out immediately after buying, but never got around to stating it here.


----------



## Henrik B. Jensen

Let me correct: I notice this when starting playback of a project at a point where the Cello legato patch plays. Then I get that crazy HIT sound you mention.

Edit:
And it comes even though I only play 1 Cello legato note at the place in the project, i.e. I haven't recorded me holding down a chord.


----------



## Henrik B. Jensen

jaketanner said:


> that's not it...unless you were showing me something else..LOL. I get this anomaly.


Yep, 100% this sound I get also.


----------



## jaketanner

hbjdk said:


> Let me correct: I notice this when starting playback of a project at a point where the Cello legato patch plays. Then I get that crazy HIT sound you mention.
> 
> Edit:
> And it comes even though I only play 1 Cello legato note at the place in the project, i.e. I haven't recorded me holding down a chord.


Damn


----------



## Beans

whinecellar said:


> Yeah, I also grabbed Spitfire Abbey Road One yesterday, so it’s been a fun day of trying to get them to sit in the same “space.” I was able to get NSS sounding phenomenal and very similar to Abbey Road One by using a custom early reflection and then a scoring stage preset I made in Acon Verberate - that’s become my favorite verb by far for real spaces.



If I can get away from work long enough (and get my new PSU shipped in tonight), this will probably be my weekend - matching other libraries to AR1. I'm awful at mixing, so it's going to be quite laborious.


----------



## jaketanner

Beans said:


> If I can get away from work long enough (and get my new PSU shipped in tonight), this will probably be my weekend - matching other libraries to AR1. I'm awful at mixing, so it's going to be quite laborious.


Be cautious in trying to force libraries to match. Usually we pick libraries that might blend well with little processing. All you need to do is match the tones more than the space.


----------



## Lee Blaske

jaketanner said:


> Be cautious in trying to force libraries to match. Usually we pick libraries that might blend well with little processing. All you need to do is match the tones more than the space.



That's true. Libraries SHOULDN'T all sound the same. We want different characters, spaces, levels of intensity, etc. so that our final product can sound unique.

Taking a bunch of libraries and forcing them sound the same is like trying to pound a round peg into a square hole. No need to invite every library you own to every project.


----------



## Beans

jaketanner said:


> Be cautious in trying to force libraries to match. Usually we pick libraries that might blend well with little processing. All you need to do is match the tones more than the space.



I agree, but

It's a bit fun;
Expectations are low; and
It's a reason why I have so many libraries. I may favor one brass library for its playability, but it doesn't match up with the favored strings library. And around and around we go.
I'm not exactly looking to perfectly blend something like Xsample Contemporary Strings with Ark 1, but I do want to see how Synchron Strings Pro can sit with AROOF's percussion and CineBrass.


----------



## Hendrixon

I've been doing eq matching in analog since I heard EVH's guitar tone on vinyl LOL
When software tools started happening, it became easier to use a spectrum analyzer and visually match things. today with ir capturing and eq matching plugins its really easy.

With VI's I use it a lot to get a sound I want on a VI that plays the way I want, or if I want two VIs to coexist like good friends. sometimes I match one to the other and sometimes I find a good middle "voice".

Its almost not possible to match things 1 to 1, there are so many variants that change across time domain, mid<>side, velocity, keys, reflections and many more... and all of them do it dynamically.

It doesn't always work, but its a lot of fun when it does because you've just created something that no one has, not even the developers of the libraries


----------



## whinecellar

Lee Blaske said:


> Libraries SHOULDN'T all sound the same.
> 
> Taking a bunch of libraries and forcing them sound the same is like trying to pound a round peg into a square hole...



Yes, all true. For me, it’s not about getting libraries to sound the same - they won’t - it’s about getting them to sound reasonably like they’re inhabiting the same space. Big difference. And usually it’s just a matter of adding some ER to libraries that were recorded really dry.

That new Abbey Road library is so ridiculously good at capturing the inimitable signature of that room. Trying to use NSS in the same piece doesn’t quite work out of the box - you end up thinking “hey, how did the strings suddenly move so much closer to me?” 

Easily remedied though


----------



## Beans

Lee Blaske said:


> That's true. Libraries SHOULDN'T all sound the same. We want different characters, spaces, levels of intensity, etc. so that our final product can sound unique.
> 
> Taking a bunch of libraries and forcing them sound the same is like trying to pound a round peg into a square hole. No need to invite every library you own to every project.



Don't tell blakus, who I believe said he's put more time into matching libraries in his template than into anything else!


----------



## jaketanner

whinecellar said:


> Yes, all true. For me, it’s not about getting libraries to sound the same - they won’t - it’s about getting them to sound reasonably like they’re inhabiting the same space. Big difference. And usually it’s just a matter of adding some ER to libraries that were recorded really dry.
> 
> That new Abbey Road library is so ridiculously good at capturing the inimitable signature of that room. Trying to use NSS in the same piece doesn’t quite work out of the box - you end up thinking “hey, how did the strings suddenly move so much closer to me?”
> 
> Easily remedied though


But are you remedying something there isn’t anything wrong with? NSS is meant to be used a certain way, AR1 has its own use. Trying to force them to do what they’re not meant to might yield poor results.


----------



## whinecellar

jaketanner said:


> But are you remedying something there isn’t anything wrong with? NSS is meant to be used a certain way, AR1 has its own use. Trying to force them to do what they’re not meant to might yield poor results.



Nah. There are plenty of reasons to mix libraries - I’ve done it for years, like many others here. NSS has a brighter, more detailed sound and works great for adding a bit of detail and “bite” to a library like Abbey Road, particularly the short articulations.

if you know what you’re doing with mixing, it’s an easy thing to do and can yield great results. It’s not a matter of “remedying something wrong”, it’s simply a creative and sonic choice, very much along the same lines as using different mic positions.


----------



## jaketanner

whinecellar said:


> Nope. There are plenty of reasons to mix libraries - I’ve done it for years, like many others here. NSS has a brighter, more detailed sound and works great for adding a bit of detail and “bite” to a library like Abbey Road, particularly the short articulations.
> 
> if you know what you’re doing with mixing, it’s an easy thing to do and can yield great results. It’s not a matter of “remedying something wrong”, it’s simply a creative and sonic choice, very much along the same lines as using different mic positions.


Mixing libraries yes of course. Trying to convert one library to sound or behave to match another when it’s not intended is another. Not saying you can’t mix libraries, I’m saying there are so many libraries that DO blend well without much effort, rather than forcing one to be what it’s not.


----------



## whinecellar

jaketanner said:


> Mixing libraries yes of course. Trying to convert one library to sound or behave to match another when it’s not intended is another. Not saying you can’t mix libraries, I’m saying there are so many libraries that DO blend well without much effort, rather than forcing one to be what it’s not.



I think we are missing each other here. In a previous comment I said I’m not trying to make one library sound like another. I *do* try to make them sound like they’re occupying the same space, however, which is something entirely different.


----------



## jaketanner

whinecellar said:


> I think we are missing each other here. In a previous comment I said I’m not trying to make one library sound like another. I *do* try to make them sound like they’re occupying the same space, however, which is something entirely different.


Ah ok.


----------



## Beans

whinecellar said:


> I think we are missing each other here. In a previous comment I said I’m not trying to make one library sound like another. I *do* try to make them sound like they’re occupying the same space, however, which is something entirely different.



Ah, the English language. I didn't gather this difference, either. I'm with you.


----------



## jaketanner

In the ADDITIONAL patches...I see only cello spiccato and Pizz. They seem to have almost no latency...I missed this in the walkthrough, what is the point in ONLY the cello? Would love to have a no latency patch for all...sorry if this has been addressed.


----------



## Obi-Wan Spaghetti

jaketanner said:


> In the ADDITIONAL patches...I see only cello spiccato and Pizz. They seem to have almost no latency...I missed this in the walkthrough, what is the point in ONLY the cello? Would love to have a no latency patch for all...sorry if this has been addressed.



You can adjust the latency in the interface so it's easier to play but it doesn't sounds as good. There's a page in there to adjust that.


----------



## jaketanner

Obi-Wan Spaghetti said:


> You can adjust the latency in the interface so it's easier to play but it doesn't sounds as good. There's a page in there to adjust that.


Yes it’s the offset in the tabs. But specifically the folder of additional patches. Why? Lol


----------



## Obi-Wan Spaghetti

jaketanner said:


> Yes it’s the offset in the tabs. But specifically the folder of additional patches. Why? Lol


No idea. Noticed if there a difference in size? Could it be theyedited the samples differenly to save ram? I don't know...


----------



## jaketanner

Obi-Wan Spaghetti said:


> No idea. Noticed if there a difference in size? Could it be theyedited the samples differenly to save ram? I don't know...


I will check technical walkthrough and see if it’s mentioned.


----------



## AEF

Hendrixon said:


> I watched the walkthrough again, Pro-Q 3 on each track and Gullfoss + Seventh Heaven on master out. sorry, that's not how a library should be presented.


Doesn't sit well with me, and I won't be purchasing as a result.


----------



## Laptoprabbit

Hendrixon said:


> I watched the walkthrough again, Pro-Q 3 on each track and Gullfoss + Seventh Heaven on master out. sorry, that's not how a library should be presented.



Yikes.


----------



## Bighill

Laptoprabbit said:


> Yikes.





Hendrixon said:


> I watched the walkthrough again, Pro-Q 3 on each track and Gullfoss + Seventh Heaven on master out. sorry, that's not how a library should be presented.


I don´t understant the problem with that. Ist´t this close to how it wold be used in an actual professional situation?


----------



## Toecutter

Bighill said:


> I don´t understant the problem with that. Ist´t this close to how it wold be used in an actual professional situation?


When I watch a walkthrough by the developer, I want to hear the out of the box unprocessed samples, for obvious reasons.


----------



## Ashermusic

Toecutter said:


> When I watch a walkthrough by the developer, I want to hear the out of the box unprocessed samples, for obvious reasons.



Me too.


----------



## Bighill

Toecutter said:


> When I watch a walkthrough by the developer, I want to hear the out of the box unprocessed samples, for obvious reasons.


To me it doesn´t matter _that _much, but I must say I was pleasently surprised that the library was drier than I thought. Sounds marvelous, and takes my real M7 very well


----------



## turnerofwheels

Toecutter said:


> When I watch a walkthrough by the developer, I want to hear the out of the box unprocessed samples, for obvious reasons.


Yes. Libraries are a big purchase and there's no way to demo them before buying. The whole point of a walkthrough is to show you exactly what you are getting so you can see if it fits your workflow, not someone else's.

This isn't a dealbreaker for me--it just means I have to rely on other walkthroughs.


----------



## Hendrixon

It seems that it does matter to you that your M7 is real... I'm confused


----------



## Mike Fox

As someone who used to regularly do reviews for sample libraries, I'll just say that I made a conscious effort to never add any plugins to the library i was reviewing (at least without making the viewer aware of it).

And believe me, there were times where I REALLY wanted to throw some reverb or delay on, but knew that I would be representing the library in a way that doesn't truly reflect its "out of the box" sound, which is the most important part, imho.


----------



## Beans

Mike Fox said:


> As someone who used to regularly do reviews for sample libraries, I'll just say that I made a conscious effort to never add any plugins to the library i was reviewing (at least without making the viewer aware of it).



It was your video that put me over the edge for Afflatus Strings.


----------



## Mike Fox

Beans said:


> It was your video that put me over the edge for Afflatus Strings.


Ah, you're too kind! Glad you liked the review!


----------



## Land of Missing Parts

Yeah, developers should make it clear if they are using additional effects during a walkthrough.


----------



## Tom Ferguson

Although I totally agree that it would be much much better to make walkthroughs that have zero processing on them, at least he made it obvious there was processing on them by making it clearly visible in the walkthrough (at least to non-beginners). Obviously it would still much better to actually state that there is processing for complete disambiguation, but I don't think it's right to imply that he's trying to pull a fast one in that regard as it would have been simple enough not to show it in the video and have no one the wiser. 

IMO in the future he should just do unprocessed walkthroughs, or at least show specifically what he's doing on each plugin instance (including master buss) and why, as at least it would give an idea of how much is being done or not and for what reason. 

The way he could somewhat remedy this and show us some good will would be either; do another unprocessed walkthrough and/or make a video about how he likes to process the library and give some before and afters. The later would turn what can be interpreted as a shitty move into an educational thing.


----------



## jaketanner

Tom Ferguson said:


> The way he could somewhat remedy this and show us some good will would be either; do another unprocessed walkthrough and/or make a video about how he likes to process the library and give some before and afters. The later would turn what can be interpreted as a shitty move into an educational thing.


Right. I thought no for those still on the fence, Ollie needs to make another video. And add a disclaimer to this one.


----------



## VivianaSings

Bighill said:


> I don´t understant the problem with that. Ist´t this close to how it wold be used in an actual professional situation?



No. In many of the professional situations I've been hired to score or mix, I wouldn't let gullfoss within 100 miles of it. Nor would I use Seventh Heaven as it's a knockoff of the Bricasti, right? I don't use a bricasti. I use a Quantec yardstick which to me sounds miles ahead of a bricasti (and yes, I own a bricasti as well and use it also for other things but not for realistic rooms or halls). 

So the way ollie is using this library is nowhere near representative of how I'd use it in professional situations.


----------



## Go To 11

VivianaSings said:


> No. In many of the professional situations I've been hired to score or mix, I wouldn't let gullfoss within 100 miles of it. Nor would I use Seventh Heaven as it's a knockoff of the Bricasti, right? I don't use a bricasti. I use a Quantec yardstick which to me sounds miles ahead of a bricasti (and yes, I own a bricasti as well and use it also for other things but not for realistic rooms or halls).
> 
> So the way ollie is using this library is nowhere near representative of how I'd use it in professional situations.


FWIW Seventh Heaven is the best reverb plug-in I’ve ever used. I showcased it on/off NSS in my hour long first impression walkthrough which I pasted here a while back. Potentially a good watch if you’re curious how it sounds dry.


----------



## Halfstar

Remember that AR1 was also recorded to 2" tape. Adding a tape emulation to NSS may help it out a bit if you want to make them blend with AR1


----------



## AEF

Perhaps Ollie could tell us the exact settings for ProQ, Gulfoss, and Seventh Heaven, so as to be able to use his library best and as he clearly intends it?


----------



## Hendrixon

Gulfoss is dynamic...
For that matter Pro-Q can also have dynamic bands.

It's pointless, he simply needs to make an unprocessed walkthrough.
There is no need to shoot the whole walkthough again and explain everything again.
Just do a few minutes of showcasing how the library sounds out of the box, no need for fancy video editing either, he could even do just a screen capture, like a youtube review.

And just to be clear, no one here is against, we are all for


----------



## Bighill

Maybe the settings were flat on both the eq and compression?


----------



## doctoremmet

@Cory Pelizzari just announced he’ll be doing a review soon. He usually does not add any outside effects plugins and I appreciate his videos very much. I guess this will be helpful for y’all.


----------



## Audio Ollie

Hey All,

Just want to give you a quick update this morning. 

*The phase bug in the celli has been fixed and the missing non denoised samples added. I'll be sending out an update sometime this evening or tomorrow. *

Regarding the walkthrough processing, I actually didn't use Pro Q on any of the audio in the walk. I was working in a project where I had started building a small template and those muted tracks all had a blank instance of EQ on them. 

Gulfoss was on the master because at a few moments while playing very loudly with polyphony, the low mids were building up and clipping the master. It wasn't really doing much at all other than to keep those levels in check so I didn't have to turn everything down. 

The reverb was a touch of Seventh Heaven Large Hall A. In 99% of cases I'd imagine people will be applying some reverb to the library. We actually intended to include a reverb ITB which would have been active by default, but there's the whole licensing issue with kontakt convolutions so we passed on that.

If you listen to any score done at Oceanway, you're hearing the room with reverb added. It's a unique space in that the natural ambiance of that church was heavily dampened leaving a very predominant early reflection. It's quite dry, but you still hear the 'walls' of the space. It's great because it takes extremely well to reverb and gives people more flexibility, but without adding that tail, the sound is incomplete. For this reason, it made sense for me to demonstrate the library with that ambiance added.

All that being said, I had originally planned to include completely dry audio from the walk as an available download on the video and site but I got side tracked with a million and one other priorities pre release. I will upload those in the next few days and make them available here so you can hear it completely dry and even experiment with your own verbs to see how well it takes. 


Ollie


----------



## jaketanner

Audio Ollie said:


> Hey All,
> 
> Just want to give you a quick update this morning.
> 
> *The phase bug in the celli has been fixed and the missing non denoised samples added. I'll be sending out an update sometime this evening or tomorrow. *
> 
> Regarding the walkthrough processing, I actually didn't use Pro Q on any of the audio in the walk. I was working in a project where I had started building a small template and those muted tracks all had a blank instance of EQ on them.
> 
> Gulfoss was on the master because at a few moments while playing very loudly with polyphony, the low mids were building up and clipping the master. It wasn't really doing much at all other than to keep those levels in check so I didn't have to turn everything down.
> 
> The reverb was a touch of Seventh Heaven Large Hall A. In 99% of cases I'd imagine people will be applying some reverb to the library. We actually intended to include a reverb ITB which would have been active by default, but there's the whole licensing issue with kontakt convolutions so we passed on that.
> 
> If you listen to any score done at Oceanway, you're hearing the room with reverb added. It's a unique space in that the natural ambiance of that church was heavily dampened leaving a very predominant early reflection. It's quite dry, but you still hear the 'walls' of the space. It's great because it takes extremely well to reverb and gives people more flexibility, but without adding that tail, the sound is incomplete. For this reason, it made sense for me to demonstrate the library with that ambiance added.
> 
> All that being said, I had originally planned to include completely dry audio from the walk as an available download on the video and site but I got side tracked with a million and one other priorities pre release. I will upload those in the next few days and make them available here so you can hear it completely dry and even experiment with your own verbs to see how well it takes.
> 
> 
> Ollie


One of the first things I noticed is how well it takes to reverb.
Thanks for the update. I believe there was a couple more bugs I personally found aside from the phasing. Forgot at the moment, but hopefully you will be working on an update. I think it had something to do with a double trigger in the lower register again with the violins. Thanks.


----------



## whinecellar

@Audio Ollie - thanks for that explanation; that all makes sense. After a few days of use, I concur that the library takes extremely well to all different sorts of reverb treatments. For my tastes, I use a custom IR for early reflections that sounds remarkably like the overall vibe of Abbey Road One (the sound of that room has always been the benchmark for me) - along with an overall tail from Acon Digital Verberate - probably my favorite reverb right now for “real” spaces. It’s truly a magical combination.

I would love to see some of the points addressed that I raised earlier in this thread, but so far so good… Congrats on an excellent sounding library!


----------



## Go To 11

Lows and Highs doing Pizz on Ensemble patches (except Spitfire Studio which is just Celli). Blind shootout so you can choose based on the tone you like most. Century v2.0 Mic A and B included. 7 Total sounds in a row, x2. Low, then High. Results in 24h!


----------



## Secret Soundworks

Go To 11 said:


> Lows and Highs doing Pizz on Ensemble patches (except Spitfire Studio which is just Celli). Blind shootout so you can choose based on the tone you like most. Century v2.0 Mic A and B included. 7 Total sounds in a row, x2. Low, then High. Results in 24h!



Thanks! Can you do the same with spiccatos maybe?


----------



## Manaberry

Am I the only one having huge disk issues with NSS? It's so confusing...


----------



## Go To 11

Secret Soundworks said:


> Thanks! Can you do the same with spiccatos maybe?


Sure, I'll export that later.


----------



## jadedsean

Manaberry said:


> Am I the only with having huge disk issues with NSS? It's so confusing...


Yes i also have this issue when loading all mics and bussing them to my outputs. I was planning on contacting support.


----------



## Manaberry

jadedsean said:


> Yes i also have this issue when loading all mics and bussing them to my outputs. I was planning on contacting support.



I'm "glad" I am not alone. I've exactly the same issue. I've contacted the support and for now, Oliver has no clue why we have this problem. Neither do I.

So yeah, just contact them to raise awareness a bit more


----------



## Peter Satera

chapbot said:


> For those complaining about lack of key switches understand that people like me would never in a million years (and if you held a gun to my head) would ever use a key switch patch. I always separate legatos from marcatos and spiccatos for complete control. Yet another reason why this library is probably more pointed in the commercial direction.



I know I'm a few pages late. But, it's most likely to do with preference, and even DAW setup.

For me, it's quite an important feature to have as I combine it with BRSO which takes it beyond basic switching articulation. It's speeds me right up and allows me to choose the articulation and maintain it to all one track.

BRSO can convert keyswitches to colours, so I simply choose the colour. It's more important than that too. It will also trigger multiple articulations within a single instrument, at the _same time_, means you can layer the articulations to change the accent of it. It works really well with JXL Brass.

You can see here, in AR1 it's triggering Marcato, holding it and then triggering staccatissimo. By not having it at all, you take all this away from my workflow.



View attachment 2020-11-18 12-52-33.mp4


----------



## Vladimir Bulaev

Manaberry said:


> I'm "glad" I am not alone. I've exactly the same issue. I've contacted the support and for now, Oliver has no clue why we have this problem. Neither do I.


The same thing. When you turn on all the microphones and distribute them to different outputs during performance, the samples are played, but then they stop abruptly. The Disk 0% indicator lights up red at this point. :- ( Going back to all microphones sent by default, there are no problems. Didn't have such bugs with other libraries. Tested on m.2 SSD


----------



## jadedsean

Cool I will open support ticket la


Manaberry said:


> I'm "glad" I am not alone. I've exactly the same issue. I've contacted the support and for now, Oliver has no clue why we have this problem. Neither do I.
> 
> So yeah, just contact them to raise awareness a bit more



Yes I will open support ticket later, truthfully it’s just not a feasible option as it stands to add it to my template.


----------



## Dirk Ehlert

Gonna do a livestream tomorrow if you wanna check out the lib with me


----------



## Tinesaeriel

Did another short, super simple test, this time trying out the spiccatos/staccatos.

From this test, I've found the library can go pretty darn fast and sound pretty awesome in that regard; you can easily do super fast spiccato lines or even measured tremolos with these patches. I'd still love to see more short note types in the upcoming addition Audio Ollie is working on, but for right now, I'm definitely satisfied!

Processed and unprocessed versions included; the unprocessed just has panning and reverb applied.


----------



## Beans

Tinesaeriel said:


> Did another short, super simple test, this time trying out the spiccatos/staccatos.
> 
> From this test, I've found the library can go pretty darn fast and sound pretty awesome in that regard; you can easily do super fast spiccato lines or even measured tremolos with these patches.



Yes, I feel that the shorts have a unique, swift, thick sound that somehow doesn't manage to overwhelm a mix.


----------



## Raphioli

Tinesaeriel said:


> Did another short, super simple test, this time trying out the spiccatos/staccatos.
> 
> From this test, I've found the library can go pretty darn fast and sound pretty awesome in that regard; you can easily do super fast spiccato lines or even measured tremolos with these patches. I'd still love to see more short note types in the upcoming addition Audio Ollie is working on, but for right now, I'm definitely satisfied!
> 
> Processed and unprocessed versions included; the unprocessed just has panning and reverb applied.


Really like how those sound.
Also like the short piece (how it evolves towards the end). Not sure why, but kind of reminds me of Mark Isham


----------



## Audio Ollie

Here is a link to the raw walkthrough audio as promised: 









NSS Dry Walk Audio


Shared with Dropbox




www.dropbox.com





Update should be good to go by this evening!


----------



## reids

VivianaSings said:


> No. In many of the professional situations I've been hired to score or mix, I wouldn't let gullfoss within 100 miles of it. Nor would I use Seventh Heaven as it's a knockoff of the Bricasti, right? I don't use a bricasti. I use a Quantec yardstick which to me sounds miles ahead of a bricasti (and yes, I own a bricasti as well and use it also for other things but not for realistic rooms or halls).
> 
> So the way ollie is using this library is nowhere near representative of how I'd use it in professional situations.


Nice. There's been lots of recommendations for Gulfoss by users here and many others as well who are against using it because they do not like what it's doing to the mix. May I ask what are your essential staple tools you use when mixing a score? Recommendations? Thanks.


----------



## ag75

How long is the $349 price good for?


----------



## Go To 11

Go To 11 said:


> Lows and Highs doing Pizz on Ensemble patches (except Spitfire Studio which is just Celli). Blind shootout so you can choose based on the tone you like most. Century v2.0 Mic A and B included. 7 Total sounds in a row, x2. Low, then High. Results in 24h!







For anyone who was curious!


----------



## pulsedownloader

Hi all, the update is now available for Nashville Scoring Strings in Pulse. *Please ensure you're on the latest version of Pulse (v40.0.4) before downloading the update*. If you're not on the latest version of Pulse, you can close the app completely and reopen and it should install the latest version, or you can simply install it from the website again and it will be the latest version. 

Here are some notes on how to get the update:


If your product shows as "Open" in Pulse, it means its installed - you should shortly see "Update Available" and can click into it and click on "Update to v1.1"
If your product shows as "Install" in Pulse, it means you either haven't installed it yet, or you installed it, then moved it so Pulse no longer knows where you product is. If you want to re-locate the product for Pulse, hover over the product in Pulse, click on the settings cog and press "Re-connect" then select the new location of your library. Pulse should then show "Update Available"
If you're downloading the product from scratch today, it will download the new v1.1 version
You can check the what version of your product is installed (eg. v1.0 / v1.1 etc.) by clicking into the product image - it will show you the version number there.
If you have any questions or issues at all, please just drop us an email at [email protected] and we can help you out via email.


----------



## Hendrixon

Tinesaeriel said:


> Did another short, super simple test, this time trying out the spiccatos/staccatos.
> 
> From this test, I've found the library can go pretty darn fast and sound pretty awesome in that regard; you can easily do super fast spiccato lines or even measured tremolos with these patches. I'd still love to see more short note types in the upcoming addition Audio Ollie is working on, but for right now, I'm definitely satisfied!
> 
> Processed and unprocessed versions included; the unprocessed just has panning and reverb applied.



Can you please add the same unprocessed one without reverb?
Thanks


----------



## nordicguy

ag75 said:


> How long is the $349 price good for?



"Nashville Scoring Strings will be available for $349 until December 1st, $499 thereafter."


----------



## Go To 11

pulsedownloader said:


> Hi all, the update is now available for Nashville Scoring Strings in Pulse. *Please ensure you're on the latest version of Pulse (v40.0.4) before downloading the update*. If you're not on the latest version of Pulse, you can close the app completely and reopen and it should install the latest version, or you can simply install it from the website again and it will be the latest version.
> 
> Here are some notes on how to get the update:
> 
> 
> If your product shows as "Open" in Pulse, it means its installed - you should shortly see "Update Available" and can click into it and click on "Update to v1.1"
> If your product shows as "Install" in Pulse, it means you either haven't installed it yet, or you installed it, then moved it so Pulse no longer knows where you product is. If you want to re-locate the product for Pulse, hover over the product in Pulse, click on the settings cog and press "Re-connect" then select the new location of your library. Pulse should then show "Update Available"
> If you're downloading the product from scratch today, it will download the new v1.1 version
> You can check the what version of your product is installed (eg. v1.0 / v1.1 etc.) by clicking into the product image - it will show you the version number there.
> If you have any questions or issues at all, please just drop us an email at [email protected] and we can help you out via email.


Is there any way to download the new NKIs only? I've split my samples out into Noised and Denoised now and I can't remember what the original folder structure looked like, in order to relink Pulse to my folder. Or - can you screenshot me the original folder structure so I can rebuild it for Pulse?


----------



## pulsedownloader

Go To 11 said:


> Is there any way to download the new NKIs only? I've split my samples out into Noised and Denoised now and I can't remember what the original folder structure looked like, in order to relink Pulse to my folder. Or - can you screenshot me the original folder structure so I can rebuild it for Pulse?



The product update contains some new nkis plus samples - there's no way to install just the nkis. If you want to re-link your installation to Pulse, click on "Reconnect" and select the new location of your product. Pulse will auto install (merge/overwrite) the files if your directory is correct. If not, it will create new directories for the new files. Generally people don't change the file structure after installation so there's no "nice" way to do this


----------



## Go To 11

pulsedownloader said:


> The product update contains some new nkis plus samples - there's no way to install just the nkis. If you want to re-link your installation to Pulse, click on "Reconnect" and select the new location of your product. Pulse will auto install (merge/overwrite) the files if your directory is correct. If not, it will create new directories for the new files. Generally people don't change the file structure after installation so there's no "nice" way to do this


Thank you for the swift reply. Understood. This library is a bit different as there are twice the samples provided, clean and noisy, so a bit of reshuffling is sort of essential to make that work I think, unless I'm doing it wrong. I'll try rebuild the initial structure of it from memory but if you can - a screenshot would be most helpful. Thanks!


----------



## pulsedownloader

Go To 11 said:


> Thank you for the swift reply. Understood. This library is a bit different as there are twice the samples provided, clean and noisy, so a bit of reshuffling is sort of essential to make that work I think, unless I'm doing it wrong. I'll try rebuild the initial structure of it from memory but if you can - a screenshot would be most helpful. Thanks!



Yes the samples were already split up in the original version too. The original and new version has this structure:


----------



## ricoderks

Hey hey!

Don't know if this was answered yet... In vienna ensemble the samples sometimes cutoff here after the preload buffer size it seems. So i only get a very short sustain before the samples will get cut off. If i increase the preload buffer size, the sample plays a tiny bit longer. Any solution to this?

Rico


----------



## Hendrixon

Audio Ollie said:


> Here is a link to the raw walkthrough audio as promised:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> NSS Dry Walk Audio
> 
> 
> Shared with Dropbox
> 
> 
> 
> 
> www.dropbox.com
> 
> 
> 
> 
> 
> Update should be good to go by this evening!



Listened to the raw files... and I like it... both sound and legato


----------



## Go To 11

pulsedownloader said:


> Yes the samples were already split up in the original version too. The original and new version has this structure:


Awesome thank you for the screenshot! The reason I split it all out is that there's only one of each Instrument patch; so how does one play the Noisy samples one minute, and the Denoised samples another minute? My solution was to dupe the Instruments and then link one set to the Noisy and one set to the Denoised. Does that make sense, and do you have a better way I should switch about that keeps the original folder structure in tact?


----------



## pulsedownloader

Go To 11 said:


> Awesome thank you for the screenshot! The reason I split it all out is that there's only one of each Instrument patch; so how does one play the Noisy samples one minute, and the Denoised samples another minute? My solution was to dupe the Instruments and then link one set to the Noisy and one set to the Denoised. Does that make sense, and do you have a better way I should switch about that keeps the original folder structure in tact?



I'd suggest asking @Audio Ollie


----------



## ricoderks

Go To 11 said:


> Awesome thank you for the screenshot! The reason I split it all out is that there's only one of each Instrument patch; so how does one play the Noisy samples one minute, and the Denoised samples another minute? My solution was to dupe the Instruments and then link one set to the Noisy and one set to the Denoised. Does that make sense, and do you have a better way I should switch about that keeps the original folder structure in tact?


This is mentioned a couple times, Duplicate the whole library. Delete the denoised from one set and the non denoised from the other. Maybe batch resave both folders too to the correct folders.

Cheers!


----------



## Go To 11

ricoderks said:


> This is mentioned a couple times, Duplicate the whole library. Delete the denoised from one set and the non denoised from the other. Maybe batch resave both folders too to the correct folders.
> 
> Cheers!


I think you've misunderstood the conversation we were having? Duplicating, which is what I did, creates an issue with Pulse, because the folder structure changes and it doesn't recognise the library any more.


----------



## Go To 11

pulsedownloader said:


> Yes the samples were already split up in the original version too. The original and new version has this structure:


Can you confirm that above is the screenshot for Nashville 1.1? Mine seems to have updated but as per your photo the instruments are still listed as v1.0. Just checking that that's intended. Thanks.


----------



## pulsedownloader

Check the "date modified" of the new files [eg. Cellos - Legato (Alt Sordino)] and you should see they've been recently updated?


----------



## ricoderks

Go To 11 said:


> I think you've misunderstood the conversation we were having? Duplicating, which is what I did, creates an issue with Pulse, because the folder structure changes and it doesn't recognise the library any more.


AH like that, yes i misunderstood. So, maybe keep 1 original folder, for updates and like you said too dupe the instruments folder. Name that one noisy instruments or something, link those to the noisy samples. Downside is, you need to make those instruments after every update.


----------



## pulsedownloader

Please note, we'll be releasing an update to Pulse next month that will allow you to download specific product updates and manually install them...for situations like this


----------



## ricoderks

pulsedownloader said:


> Please note, we'll be releasing an update to Pulse next month that will allow you to download specific product updates and manually install them...for situations like this


oh by the way. odd question. When i've purchased LAMP ive got the install instructions for continuata. Is there a way to move that to Pulse?


----------



## ricoderks

ricoderks said:


> Hey hey!
> 
> Don't know if this was answered yet... In vienna ensemble the samples sometimes cutoff here after the preload buffer size it seems. So i only get a very short sustain before the samples will get cut off. If i increase the preload buffer size, the sample plays a tiny bit longer. Any solution to this?
> 
> Rico


It seems it has something to do with multi mics. When using them on default output it seems fine. When using output 3/4 or 5/6 the disk goes to 100%... So, When using the mics in vienna on SEPARATE outputs the notes cutoff. When using the mics on DEFAULT output its totally fine. Can anybody confirm this?


----------



## Manaberry

ricoderks said:


> Hey hey!
> 
> Don't know if this was answered yet... In vienna ensemble the samples sometimes cutoff here after the preload buffer size it seems. So i only get a very short sustain before the samples will get cut off. If i increase the preload buffer size, the sample plays a tiny bit longer. Any solution to this?
> 
> Rico


You have the same problem as me. As soon as you route multiple audio output, disk usage goes red (even at 0%) and voices are killed.

I'm sent an email to the support with a video to showcase the issue a week ago. I invite you to do the same. The more we are reporting that issue, the better.


----------



## pulsedownloader

ricoderks said:


> oh by the way. odd question. When i've purchased LAMP ive got the install instructions for continuata. Is there a way to move that to Pulse?



I'm not too sure about that. I'd suggest asking Audio Ollie


----------



## ricoderks

Go To 11 said:


> I think you've misunderstood the conversation we were having? Duplicating, which is what I did, creates an issue with Pulse, because the folder structure changes and it doesn't recognise the library any more.



Oh sorry misunderstood! Maybe just use 1 folder like you said and dupe the instruments. Call it instruments noisy or something. You need to do that after every update wich kinda sucks...


Manaberry said:


> You have the same problem as me. As soon as you route multiple audio output, disk usage goes red (even at 0%) and voices are killed.


Yes sorry not 100% even at 0%! Maybe a bug too?


----------



## Manaberry

There is no such bug with LAMP. Something's wrong within NSS code or something yep.


----------



## Go To 11

pulsedownloader said:


> Check the "date modified" of the new files [eg. Cellos - Legato (Alt Sordino)] and you should see they've been recently updated?


Boom! Very good idea. Thanks very much.


----------



## Beans

Dirk has been live with NSS for a bit here:


----------



## jaketanner

Can someone please confirm this OTHER bug...viola legato patch. Hight G, G# transition between them from notes before is slow. from G to G# and back down is slower in response to other notes...While this may not be as big an issue since they're at the top range, if you are doubling violins it can present an issue.

Thanks


----------



## Igorianych

jaketanner said:


> Can someone please confirm this OTHER bug...viola legato patch. Hight G, G# transition between them from notes before is slow. from G to G# and back down is slower in response to other notes...While this may not be as big an issue since they're at the top range, if you are doubling violins it can present an issue.
> 
> Thanks



Yes, there is! Indeed, an attack with a bad delay


----------



## jaketanner

Igorianych said:


> Yes, there is! Indeed, an attack with a bad delay


Good...then it's not my copy only. I sent a ticket to Ollie.


----------



## ricoderks

jaketanner said:


> Good...then it's not my copy only. I sent a ticket to Ollie.


Man they should hire you as beta testers, haha!


----------



## Drumdude2112

So whats the overall 'consensus' on NSS thus far ?...I have SCS , Areia , and bought Afflatus with the current sale do i 'need' NSS ? (i know only me can answer that but curious if it can bring anything 'special' to the table with what i already own .


----------



## Manaberry

Drumdude2112 said:


> So whats the overall 'consensus' on NSS thus far ?...I have SCS , Areia , and bought Afflatus with the current sale do i 'need' NSS ? (i know only me can answer that but curious if it can bring anything 'special' to the table with what i already own .


 
In your position, I would just play with Afflatus along with SCS and Areia and see next year if indeed there is a need to get NSS. If you like the "Ocean Way sound", go for it. If you don't need it, then stick with your already owned libraries


----------



## jaketanner

Drumdude2112 said:


> So whats the overall 'consensus' on NSS thus far ?...I have SCS , Areia , and bought Afflatus with the current sale do i 'need' NSS ? (i know only me can answer that but curious if it can bring anything 'special' to the table with what i already own .


I can help you solve this...This is from someone who has a lot of string libraries. It becomes harder and harder to use them all. And while many people layer them, I don't see the need to layer the libraries you currently have. So let's say you get NSS, now you have 4 string libraries, all different. Unless you are working on various projects constantly, you may not even get to use them all. I would not even count SCS in this debate since it's completely different and has it's own specific use...But I've had SCS for about 3 years now and have yet to use it, I've had Synchron Strings 1 for about 6 months and have yet to use it...and many more...not because they're bad, but because I haven't gotten around to writing anything for them yet...but I do have ideas.. 

So moral here is, NSS will go on sale again, so if you do not need it immediately and can wait maybe 6 months before you use it, then I'd wait...maybe get more SSDs...LOL Otherwise I can fully recommend it.

NSS has the sound and playability that works for me...I don't like dainty sounding strings or strings that are too smooth or clean and the vibrato at a moderate level (if there is no control). I am a huge fan of Performance Samples, and seems that Jasper had some hand in this library...but no one knows to what extent, but it does sound similar to his approach. NSS has a sound that seems "real" for lack of a better term...when you first hear it, it's a double take as to whether it's live or not...at least for me. It is far from perfect of course, but it is still early on, and updates are already in the works.


----------



## Vik

Hi Drumdude, I wish I could say that you have three libraries already, and that's more than enough (I don't know Areia, but IMO both the others you mention are good – in different ways) – but I can't claim that, especially for strings. With all that the libraries you have can do, there's real chance that you haven't been using their potential fully at all – and when you're well into that process, you'll probably know you need some other libraries – and why.



Drumdude2112 said:


> So whats the overall 'consensus' on NSS thus far ?...I have SCS , Areia , and bought Afflatus with the current sale do i 'need' NSS ? (i know only me can answer that but curious if it can bring anything 'special' to the table with what i already own .


I have no direct comment to that, but in general, I think it's better to invest in a few libraries that you know (or at least think that you know) that you're going to use than to invest in libraries that you're not sure if you're going to need. There's probably around 150 string libraries out there now, and our time is probably better spent on getting to know the libraries we have properly that gradually turning into a 'library shopper' without even noticing it.


----------



## Drumdude2112

thanks for the replys fella's 😁👍🏻


----------



## whinecellar

Got NSS about 2 weeks ago and only had a brief time playing with it by itself and was impressed despite some growing pains which I think could be easily overcome - see my previous post in this thread.

Now getting my first chance to use it in a project and I'm noticing the Full Ensemble patches (both regular and Con Sordino) have some intonation issues that are keeping me from being able to use it for sketching. Anyone else hearing that? I don't have time to check all the single/non ensemble patches right now - gotta move on. Hoping maybe it was just isolated to those patches because I was really liking the overall presentation of this library...


----------



## jaketanner

whinecellar said:


> Got NSS about 2 weeks ago and only had a brief time playing with it by itself and was impressed despite some growing pains which I think could be easily overcome - see my previous post in this thread.
> 
> Now getting my first chance to use it in a project and I'm noticing the Full Ensemble patches (both regular and Con Sordino) have some intonation issues that are keeping me from being able to use it for sketching. Anyone else hearing that? I don't have time to check all the single/non ensemble patches right now - gotta move on. Hoping maybe it was just isolated to those patches because I was really liking the overall presentation of this library...


Just played through the LONGS ensemble patch with the dirty samples...didn't really hear much of an issue. Is there a specific interval that is the issue? Usually it's only between certain notes. I also prefer the dirty sample far better for most things...rolling off a bit of low end when needed.


----------



## Secret Soundworks

Very interested to hear how those who picked up NSS and have been using it in their projects for some days/weeks now are getting along with it. How is the workflow, ease of use, consistency when you use it in your projects? Any big hurdles you face when using it? Where does it stand with your other string libraries?

Any input would be appreciated


----------



## Hendrixon

Also if anyone with NSS got AR1... thoughts?


----------



## nowimhere

I got it and love it. Its incredibly dry, but that's okay as all you have to do is toss on some reverb and your good to go. I also bought a sustain pedal to get access to the rebowing feature on the longs and legatos. Which was a good investment beyond even just NSS.

It's a great lib. Highly recommend it!


----------



## Secret Soundworks

nowimhere said:


> I got it and love it. Its incredibly dry, but that's okay as all you have to do is toss on some reverb and your good to go. I also bought a sustain pedal to get access to the rebowing feature on the longs and legatos. Which was a good investment beyond even just NSS.
> 
> It's a great lib. Highly recommend it!



Awesome, great to hear! Any problems you are running into? Seems to be just a nice straight to the point library with little fuss. Not the most articulations but has the basics.


----------



## nowimhere

Secret Soundworks said:


> Awesome, great to hear! Any problems you are running into? Seems to be just a nice straight to the point library with little fuss. Not the most articulations but has the basics.



Intitally , it takes a bit to load, but a batch resave solves that. 
Maybe not a lot of articulations but hot damn it sounds amazing. 
Not getting any spitfire or OT libs for orchestral strings because of NSS.

At least not for now. I've spent wayyyy too much money this month ($3500)
And I still have another 1k to spend, to its more of a 
"buy what you need, not what you want" kind of thing right now


----------



## chapbot

Secret Soundworks said:


> Very interested to hear how those who picked up NSS and have been using it in their projects for some days/weeks now are getting along with it. How is the workflow, ease of use, consistency when you use it in your projects? Any big hurdles you face when using it? Where does it stand with your other string libraries?
> 
> Any input would be appreciated


I absolutely love it. I had been working on a pop track with my other string library and replaced it with Nashville. I sat in my car, compared the mixes and Nashville won hands down for realism and clarity.


----------



## ag75

chapbot said:


> I absolutely love it. I had been working on a pop track with my other string library and replaced it with Nashville. I sat in my car, compared the mixes and Nashville won hands down for realism and clarity.


That’s good to hear. I’m very much interested in this for a pop string sound.


----------



## Emmanuel Rousseau

I've been working on horror tracks mostly lately, so I still have to test NSS in more "classical" orchestration, but all I can say so far is that the Con Legnos, Pizz, Spics & Trems are amazing


----------



## jaketanner

whitewasteland said:


> I've been working on horror tracks mostly lately, so I still have to test NSS in more "classical" orchestration, but all I can say so far is that the Con Legnos, Pizz, Spics & Trems are amazing


I can definitely see this sound for horror...Love the RAW samples.


----------



## Mike Fox

whitewasteland said:


> I've been working on horror tracks mostly lately



Clips, or it didn't happen!


----------



## Secret Soundworks

chapbot said:


> I absolutely love it. I had been working on a pop track with my other string library and replaced it with Nashville. I sat in my car, compared the mixes and Nashville won hands down for realism and clarity.




Awesome. Which string library did you use on the track before that?


----------



## whinecellar

Man, I keep running into tuning/intonation issues with it - it just sounds a bit out in a lot of cases. I'll have to do some tests to narrow it down, but for some reason a lot of the trouble spots are around 'A' notes - it's flat much of the time. If I throw Autotune on single lines, it's consistently pulling the performance up as much as 20 cents or so. I've checked Kontakt - nothing is out there - and other libraries are fine. It's just NSS...


----------



## chapbot

Secret Soundworks said:


> Awesome. Which string library did you use on the track before that?


A Frankenstein mix of layers, mostly Spitfire Studio with various first chairs thrown in. I like dry libraries. I had used LASS for years, then moved over to mostly Spitfire Studio or VSL Chamber. Tried some Audio Imperia but it's a little too epic for me but does sound great. Also use Soaring Strings.


----------



## VivianaSings

whinecellar said:


> Man, I keep running into tuning/intonation issues with it - it just sounds a bit out in a lot of cases. I'll have to do some tests to narrow it down, but for some reason a lot of the trouble spots are around 'A' notes - it's flat much of the time. If I throw Autotune on single lines, it's consistently pulling the performance up as much as 20 cents or so. I've checked Kontakt - nothing is out there - and other libraries are fine. It's just NSS...



Is it just in the full ensemble patches like you originally said or are you hearing the intonation issues in the individual string instrument patches as well?


----------



## whinecellar

VivianaSings said:


> Is it just in the full ensemble patches like you originally said or are you hearing the intonation issues in the individual string instrument patches as well?



I don't have time at the moment to check everything, but I just did a quick pass of the same part with regular and con sordino ensemble patches, and then with regular and con sordino violins. Intonation is wonky with all of them - see what you think:









Dropbox - File Deleted


Dropbox is a free service that lets you bring your photos, docs, and videos anywhere and share them easily. Never email yourself a file again!




www.dropbox.com





As it is, I can't use any of these patches, which is a bummer.


----------



## Emmanuel Rousseau

whinecellar said:


> I don't have time at the moment to check everything, but I just did a quick pass of the same part with regular and con sordino ensemble patches, and then with regular and con sordino violins. Intonation is wonky with all of them - see what you think:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Dropbox - File Deleted
> 
> 
> Dropbox is a free service that lets you bring your photos, docs, and videos anywhere and share them easily. Never email yourself a file again!
> 
> 
> 
> 
> www.dropbox.com
> 
> 
> 
> 
> 
> As it is, I can't use any of these patches, which is a bummer.



I'll have a listen tomorrow! If you're using the "Alt" Sordinos, these are the sustain samples with a sordino EQ so maybe the whole issue is coming from one patch (Violins Sustains). Let's hope this can be fixed with some sample editing from Audio Ollie. Thanks for sending the files!


----------



## VivianaSings

whinecellar said:


> I don't have time at the moment to check everything, but I just did a quick pass of the same part with regular and con sordino ensemble patches, and then with regular and con sordino violins. Intonation is wonky with all of them - see what you think:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Dropbox - File Deleted
> 
> 
> Dropbox is a free service that lets you bring your photos, docs, and videos anywhere and share them easily. Never email yourself a file again!
> 
> 
> 
> 
> www.dropbox.com
> 
> 
> 
> 
> 
> As it is, I can't use any of these patches, which is a bummer.



Yikes! You can hear it right off the bat. It seems to be varying degrees for each audio sample but that could just be that the timbre of certain patches just exacerbates the tuning issues more.

Have you tried reaching out to tech support at Audio Ollie? It's crazy that tuning like this slipped through the cracks.


----------



## jaketanner

whinecellar said:


> I don't have time at the moment to check everything, but I just did a quick pass of the same part with regular and con sordino ensemble patches, and then with regular and con sordino violins. Intonation is wonky with all of them - see what you think:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Dropbox - File Deleted
> 
> 
> Dropbox is a free service that lets you bring your photos, docs, and videos anywhere and share them easily. Never email yourself a file again!
> 
> 
> 
> 
> www.dropbox.com
> 
> 
> 
> 
> 
> As it is, I can't use any of these patches, which is a bummer.


I have NSS...did you download the latest update? I tried the ensemble sordino and didn't find any intonation issue. I didn't listen to your files a they require a download. If you are able to post mp3, I can listen to see. Also, keep in mind the ensemble patches are NOT true ensembles..they are derived from the individual articulations and you can create one yourself also...albeit with more RAM usage...but it's not really a true ensemble and has some issues as a result.


----------



## Manaberry

@ricoderks Hey man, still having the disk issue?


----------



## ricoderks

Manaberry said:


> @ricoderks Hey man, still having the disk issue?


Seems like the problem disappeared! Really dont know why. Maybe Ollie sneeky hacked my slave pc...


----------



## Manaberry

Happy for you man! I still have the issue sadly, and I'm currently investigating it. I hope to find the solution very soon as I would like to start using the library.

If you have anything that could be useful to know, please let me know :D 
This issue drives me nuts.


----------



## ricoderks

Manaberry said:


> Happy for you man! I still have the issue sadly, and I'm currently investigating it. I hope to find the solution very soon as I would like to start using the library.
> 
> If you have anything that could be useful to know, please let me know :D
> This issue drives me nuts.



Its really strange. On the pc where ive had the problem i didnt change a thing! I just tested multiple mics again to different outputs without 1 dropout. Sort of frustrated too that it has solved itself. I like to know the cause too haha.


----------



## bfreepro

Edit: The phasing issue has been fixed, but I had to completely delete the library and re-download everything using Pulse. Using the "update" function within the Pulse downloader did not work for me, only a complete re-download and re-install fixed the phasing issue. So if you have that issue, try this, even if you have updated and it says you're using Version 1.1

Anyone noticing any phasing with any of the legato or long notes? Like this in the cello legato... 

The legato transitions sometimes seems non-existent to me, or in some cases with the cellos, have a very noticeable and unnatural "bump" which I've come to expect with many string libraries, but was hoping this would be better. Sometimes there are no audible transitions or connections between notes. Great tone, no doubt, great room, great players and concept... BUT... no keyswitches is a bit antiquated, no portamento is unfortunate, sometimes not very impressed with the versatility of the legato so far, sometimes it sounds amazing but others too detached. (I play the violins in the video just to show the disconnected nature of the legato sometimes, no phasing in the violins that I've noticed)

Definitely not a bad library, just not really blown away or "wowed" yet on the playability aspect, though the tone and openness of the sound is amazing (warm and silky but also a ton of clarity)


----------



## Gabriel S.

bfreepro said:


> Anyone noticing any phasing with any of the legato or long notes? Like this in the cello legato...
> 
> The legato transitions sometimes seems non-existent to me, with no audible transitions or connection between notes sometimes... not impressed so far. Great tone, no doubt, great room, great players and concept... BUT... no keyswitches, and this hit-or-miss legato with no portamento, and now phasing in the cellos at that dynamic level... yeah. Not very impressed.




Wow that's serious phasing. Hope it gets fixed soon!


----------



## bfreepro

Gabriel S. said:


> Wow that's serious phasing. Hope it gets fixed soon!


Me too! How have you guys been getting in contact with them, just through the "Contact" form on their page? Or do they have a separate support form or email address?

Also I don't like when people just sit around and tear a library apart, so, I wanna say this as well, the tone and room is amazing and I am quite impressed with how the legato handles fast passages, like this: 

Very agile without being too "synthy". The shorts are also very realistic. Just wish the legato would have multiple types or at least some portamento to handle really slow, emotive lines as well. And I have hopes the phasing will be fixed soon. Just hard not to be a bit disappointed when you run into those issues. Again, not a bad library at all.


----------



## jaketanner

bfreepro said:


> Anyone noticing any phasing with any of the legato or long notes? Like this in the cello legato...
> 
> The legato transitions sometimes seems non-existent to me, or in some cases with the cellos, have a very noticeable and unnatural "bump" which I've come to expect with many string libraries, but was hoping this would be better. Sometimes there are no audible transitions or connections between notes. Great tone, no doubt, great room, great players and concept... BUT... no keyswitches, no portamento, and now phasing in the cellos at that dynamic level... yeah. Not very impressed with the versatility of the legato so far. (I play the violins in the video just to show the disconnected nature of the legato sometimes, no phasing in the violins that I've noticed)
> 
> Definitely not a bad library, just not really blown away or "wowed" yet.



Did you update the library? They fixed the cello phase thing about two weeks ago. I noticed it soon as I got the library.


----------



## bfreepro

jaketanner said:


> Did you update the library? They fixed the cello phase thing about two weeks ago. I noticed it soon as I got the library.


I bought it less than 2 weeks ago so I would assume that's the updated version, but if not, how would I update it?


----------



## jaketanner

bfreepro said:


> I bought it less than 2 weeks ago so I would assume that's the updated version, but if not, how would I update it?


most likely it is then...but you can check in the download installer...Pulse I believe. Once logged in, it will show up as an update on the picture.


----------



## bfreepro

jaketanner said:


> most likely it is then...but you can check in the download installer...Pulse I believe. Once logged in, it will show up as an update on the picture.


No update in pulse. Guess it's not really fixed yet lol


----------



## jaketanner

bfreepro said:


> No update in pulse. Guess it's not really fixed yet lol


weird...I will need to check again.


----------



## bfreepro

jaketanner said:


> weird...I will need to check again.


It only happens in a certain dynamic range, I noticed it when my mod wheel was like 3/4 of the way up. Only in the Cellos A legato so far.


----------



## jaketanner

bfreepro said:


> It only happens in a certain dynamic range, I noticed it when my mod wheel was like 3/4 of the way up. Only in the Cellos A legato so far.


The lower range is the phase issue I pointed out Specifically C to G lowest octave. This has been fixed. I have zero phase issues. I would double check your version numbers.


----------



## jaketanner

bfreepro said:


> It only happens in a certain dynamic range, I noticed it when my mod wheel was like 3/4 of the way up. Only in the Cellos A legato so far.


should be version 1.1


----------



## bfreepro

jaketanner said:


> should be version 1.1


Ah I think you're right, mine said the same as yours with "changelog version 1.1", and had no option to update it. I then manually updated Pulse and it then said I had an update available for the library which is downloading now. Thanks for pointing that out.


----------



## jaketanner

bfreepro said:


> Ah you're right, mine said the same as yours with "changelog version 1.1", and had no option to update it. I then manually updated Pulse and it then said I had an update available for the library which is downloading now. Thanks for pointing that out.


let us now how it goes...


----------



## Emmanuel Rousseau

My version was updated with Pulse a few weeks ago and I noticed exactly the same issue with the Cellos A yesterday. From lowest C to G, only on the loudest dynamic layer. Using the "noisy" samples.

So either the update didn't work (but it fixed some missing samples pathes on the non-denoised samples), either it didn't fix this particular issue?


----------



## bfreepro

whitewasteland said:


> My version was updated with Pulse a few weeks ago and I noticed exactly the same issue with the Cellos A yesterday. From lowest C to G, only on the loudest dynamic layer. Using the "noisy" samples.
> 
> So either the update didn't work (but it fixed some missing samples pathes on the non-denoised samples), either it didn't fix this particular issue?


Yeah, I just updated mine, the phasing is still there.


----------



## jaketanner

bfreepro said:


> Yeah, I just updated mine, the phasing is still there.


that doesn't sound right at all...the phasing is gone in mine.


----------



## Emmanuel Rousseau

That is so weird. How can it be gone in your version and still there in mine and @bfreepro 's?


----------



## VivianaSings

bfreepro said:


> Yeah, I just updated mine, the phasing is still there.





jaketanner said:


> that doesn't sound right at all...the phasing is gone in mine.



Bfreepro - you should just make a midi file that makes the phasing happen exactly and send it over to jaketanner so he can plug it in and see if it does it. I get the feeling you guys might be talking about two different instances in NSS.


----------



## jaketanner

VivianaSings said:


> Bfreepro - you should just make a midi file that makes the phasing happen exactly and send it over to jaketanner so he can plug it in and see if it does it. I get the feeling you guys might be talking about two different instances in NSS.


The example was the cello, lower range. This is where I first noticed it and after the update it's been fine. But let me see if I can play a bit and post the audio.


----------



## bfreepro

whitewasteland said:


> That is so weird. How can it be gone in your version and still there in mine and @bfreepro 's?


It happens when you transition from c1 to g1, and again when you transition from d#1 down to to c1. Everything is up to date as you can see :( Denoised samples, Cello A legato
View attachment 2020-12-07 02-17-13.mp4


----------



## Emmanuel Rousseau

bfreepro said:


> It happens when you transition from c1 to g1, and again when you transition from d#1 down to to c1. Everything is up to date as you can see :(
> View attachment 2020-12-07 02-17-13.mp4


Yes, sounds familiar


----------



## jaketanner

bfreepro said:


> It happens when you transition from c1 to g1, and again when you transition from d#1 down to to c1. Everything is up to date as you can see :( Denoised samples, Cello A legato
> View attachment 2020-12-07 02-17-13.mp4


Here you go...my test. Just some random intervals. EDIT: all mics in, so there is no question if it's a certain mic...they are all fine.


----------



## Emmanuel Rousseau

jaketanner said:


> Here you go...my test. Just some random intervals


Yes, all good here. Guys can you please do that Midi test thing so we're all clear on what to do next? I won't have access to my computer before a few hours.


----------



## jaketanner

whitewasteland said:


> Yes, all good here. Guys can you please do that Midi test thing so we're all clear on what to do next? I won't have access to my computer before a few hours.


So you think it's a MIDI issue? It's not the library...


----------



## bfreepro

It's basically only noticeable with the dynamics I used here. I don't really hear it with the dynamics at their highest.


----------



## jaketanner

bfreepro said:


> It's basically only noticeable with the dynamics I used here. I don't really hear it with the dynamics at their highest.


here it is...perfect.


----------



## jaketanner

bfreepro said:


> It's basically only noticeable with the dynamics I used here. I don't really hear it with the dynamics at their highest.


has to be something on your end.


----------



## jaketanner

bfreepro said:


> It's basically only noticeable with the dynamics I used here. I don't really hear it with the dynamics at their highest.


I imported the midi file...that's the dynamic that it played at. In my earlier example, I varied the dynamics from FF to p throughout, and was still fine. Might be something wrong somewhere. I would suggest to download the whole things again..I think that's what I did. It's a pain, but I don't have any more phasing.


----------



## bfreepro

Well, this is annoying AF lol. I just started the download again. If this fixes it that means the "update" from pulse didn't work as intended. Fingers crossed


----------



## Emmanuel Rousseau

Thank you @jaketanner! Very annoying indeed.
Please keep us posted, @bfreepro


----------



## jaketanner

bfreepro said:


> Well, this is annoying AF lol. I just started the download again. If this fixes it that means the "update" from pulse didn't do a damn thing. Fingers crossed


You heard my example, and from your MIDI...there is no phasing. I think I ended up downloading the whole library by accident, but this seems to have solved it. Let us know...

Ah...now that I think about it, when I heard there was an update, I opened Pulse first, and the red update was across Nashville...but then quickly disappeared..I did not refresh, but by then I had already started the download...hence the entire content again. Anyway, I'm sure it will fix it.


----------



## pulsedownloader

Hi guys can you drop us an email at [email protected] and we can take a look too? Also of you haven't deleted the product files I'll send you the new version of Pulse which lets you download just the update files by themselves?


----------



## bfreepro

pulsedownloader said:


> Hi guys can you drop us an email at [email protected] and we can take a look too? Also of you haven't deleted the product files I'll send you the new version of Pulse which lets you download just the update files by themselves?


Sure, I just emailed. I did update pulse and it had an "Update" option for the library itself, which is what I used.


----------



## Zero&One

I quickly tested those notes @bfreepro and they seem fine here. I did download the whole thing again though.


----------



## bfreepro

Yep, seems to all be fixed after deleting the library and completely re-downloading everything! @whitewasteland make sure you try this  problem solved for me


----------



## pulsedownloader

Hi everyone, Pulse v40.0.5 is being rolled out to users now. The main change is that you can choose to install an update only (manual or automatic installation) rather than re-downloading everything to install just the update. More information here:





__





Pulse Update Released - v40.0.7 available -


Hi there We have released a new version of Pulse today (12th January). The change log is below: v40.0.7 Change log: Filtering & sorting options in the library: You can now sort your library by install date, name and size. Additionally you can show all products, installed products, or not...




vi-control.net





If you'd like to download v40.0.5 now, you can download it from here:

Windows: http://s3.us-east-2.stackpathstorage.com/pulsedownloader/Pulse Web Setup 40.0.5.exe
Mac: http://s3.us-east-2.stackpathstorage.com/pulsedownloader/Pulse-40.0.5.dmg

Thanks!


----------



## Manaberry

@ricoderks Hi there! I've news from the battlefield. Ollie figured the bug out and its: the Convolution Reverb in the FX. I confirmed to him that the issue doesn't occur once the FX is bypassed or removed. As the issue was spotted literally earlier today, let's hope for a quick bug fix in the coming days.

I'm so happy! I will be able to use it, finally!


----------



## ricoderks

Manaberry said:


> @ricoderks Hi there! I've news from the battlefield. Ollie figured the bug out and its: the Convolution Reverb in the FX. I confirmed to him that the issue doesn't occur once the FX is bypassed or removed. As the issue was spotted literally earlier today, let's hope for a quick bug fix in the coming days.
> 
> I'm so happy! I will be able to use it, finally!


Ah great news! Man i would never have figured that out... Cheers and thanks for the update!


----------



## bfreepro

The more I use these strings the more I like them... using Vista for the slurred legato as well since CSS has all the hung notes since the update to Kontakt 4.2. But... there is something I've noticed, sometimes it happens frequently and sometimes it doesn't happen at all. I was just trying to recreate it in my DAW and it didn't happen once, but I remembered it happened in this stream a couple of times... you can hear it right around this time (2:04:52 ish, and again at 2:05:12 ish), and it happens with the cello mostly, when I play a new note and it sounds like every single note attack just triggers at the same time. Anyone else had this happen?


----------



## Emmanuel Rousseau

@bfreepro Yes, happens to me as well! 
Just play 3 or 4 notes at once repeatedly and you'll probably hear the bug. 
It also happens sometimes when un-soloing another track during playback, or unmuting a NSS track during playback. 
I really like the library as well.

Curious if anyone else has the "Expand dynamic range" slider quite high? I like to set mine at 50%. I think it would be great to have some sort of "going to silence" for the sustains when the CC1 is set to zero. Would be very useful for ending phrases.


----------



## Manaberry

I have not experienced something like that yet with NSS, as I was unable to use it as I intended.
But, I do have a similar problem with Con Moto when the playback starts right where notes overlap.


----------



## bfreepro

whitewasteland said:


> @bfreepro Yes, happens to me as well!
> Just play 3 or 4 notes at once repeatedly and you'll probably hear the bug.
> It also happens sometimes when un-soloing another track during playback, or unmuting a NSS track during playback.
> I really like the library as well.
> 
> Curious if anyone else has the "Expand dynamic range" slider quite high? I like to set mine at 50%. I think it would be great to have some sort of "going to silence" for the sustains when the CC1 is set to zero. Would be very useful for ending phrases.


Yes, I wish they had a niente feature as well. Saves a lot of time so you don't have to mess with cc01 AND cc11 all the time to have it fade to silence I haven't really touched any of the controls except the offset for the shorts (I nudge it up JUST a tad).


----------



## RogiervG

bfreepro said:


> The more I use these strings the more I like them... using Vista for the slurred legato as well since CSS has all the hung notes since the update to Kontakt 4.2.



kontakt 4.2, uhm i guess you made a version numbering mistake. Since 4.2 came out early 2011, CSS came out in late 2016


----------



## bfreepro

RogiervG said:


> kontakt 4.2, uhm i guess you made a version numbering mistake. Since 4.2 came out early 2011, CSS came out in late 2016
> 
> As for the "bug" in the video:
> Don't use piano rolls.. simple..
> Use your keyboard in front of you, unless you cannot play keys..
> It's meant to be played, not drawn in on a piano roll.
> the BUG you mention, is not a bug, but you triggering the sounds way too fast (because of piano roll moving) I get that too with other libraries in pianoroll mode and fast moving notes on the grid.
> Piano roll with samples is for tweaking after the recording in most cases.


I meant Kontakt 6 version 4.2. And it is a bug, confirmed by Ryan from Audio Ollie as well, check my screenshot. Honestly, your response seems pretty strange (and a bit close minded) to me, as every single DAW is meant to use a piano roll to edit notes, or draw notes, or use however you choose, each person obviously composes differently. Not using the piano roll just isn't an option. Also, you can hear the bug later on when I play just one note too, it triggers seemingly at random and does not have to do with the piano roll at all.


----------



## Drundfunk

bfreepro said:


> I meant Kontakt 6 version 4.2. And it is a bug, confirmed by Ryan from Audio Ollie as well, check my screenshot. Honestly, your response seems pretty strange (and a bit close minded) to me, as every single DAW is meant to use a piano roll to edit notes, or draw notes, or use however you choose, each person obviously composes differently. Not using the piano roll just isn't an option. Also, you can hear the bug later on when I play just one note too, it triggers seemingly at random and does not have to do with the piano roll at all.


I thought Jasper isn't associated with this release anymore... From this reply it seems like the bug has been known even when he still was involved, which honestly doesn't give much hope that they will be able to fix it.


----------



## Emmanuel Rousseau

As much as I appreciate and recognize Jasper's talent, this may come as a surprise but I think there can be a world after him.


----------



## Audio Ollie

bfreepro said:


> The more I use these strings the more I like them... using Vista for the slurred legato as well since CSS has all the hung notes since the update to Kontakt 4.2. But... there is something I've noticed, sometimes it happens frequently and sometimes it doesn't happen at all. I was just trying to recreate it in my DAW and it didn't happen once, but I remembered it happened in this stream a couple of times... you can hear it right around this time (2:04:52 ish, and again at 2:05:12 ish), and it happens with the cello mostly, when I play a new note and it sounds like every single note attack just triggers at the same time. Anyone else had this happen?




Hey Guys,

We actually spotted and fixed this bug as well. Have a few more changes to make and the update will shipped out. 

Ollie


----------



## bfreepro

Drundfunk said:


> I thought Jasper isn't associated with this release anymore... From this reply it seems like the bug has been known even when he still was involved, which honestly doesn't give much hope that they will be able to fix it.





Audio Ollie said:


> Hey Guys,
> 
> We actually spotted and fixed this bug as well. Have a few more changes to make and the update will shipped out.
> 
> Ollie


amazing, thanks for the update!


----------



## Drundfunk

Audio Ollie said:


> Hey Guys,
> 
> We actually spotted and fixed this bug as well. Have a few more changes to make and the update will shipped out.
> 
> Ollie


Great to hear! Looking forward to it


----------



## Tinesaeriel

Made a few more pieces with this library. It's very, very, _very _close to supplanting CSS as my main strings library. The legato is only slightly less seamless than CSS, much more agile, in fact, and the tone blows CSS out of the water - it's just so easy for me to process and mix with. I know there's an expansion coming some time down the road, and there are a few things I'd need for it to supplant CSS completely:

1: *Runs *- This is the most important thing I need to fully supplant CSS. I find the Slurry Patches just don't do it for me, but if Audio Ollie includes a playable/programmable runs patch in the expansion, then NSS will be absolutely amazing for me and will become my Main Strings Library going forward.

Less Important Stuff, but would still be hella appreciate:

2: *More Short Note Variations - *I quite like the Spiccato articulations currently, and I'm able to get most of what I need from them, but I do miss the 4 different lengths of short notes found in CSS. I especially miss longer staccatos, sforzandos, and marcato lengths you can achieve in CSS. I also don't really like the Marcato articulations in NSS, but I still have some testing to do, and I might find them useful and usable later down the road. But if I would love it if Audio Ollie could make more short note variations.

3: *Marcato Performance Patch - *This one's minor, but I'd love it if AO could make a sustain and spiccato combined patch like with what CSS does for its Marcato patch, just so I didn't have to load them individually.

4: *Effects - *I'd love to hear some horror/aleatoric/drone effects in the expansion. 

That's it for now. Hope y'all like the pieces and hope they show of the slower side of NSS and what kinds of slower pieces it can achieve!

Best,
Adam


----------



## Manaberry

@Audio Ollie Hey Ollie! Any ETA about the update?


----------



## handshaker

Was checking out 'Ocean Textures' video just put out by AO. Just noticed a 30% discount code on Audio Ollie's latest YT video for NSS!


----------



## Obi-Wan Spaghetti

Link to the video:


----------



## Russell Anderson

whinecellar said:


> I don't have time at the moment to check everything, but I just did a quick pass of the same part with regular and con sordino ensemble patches, and then with regular and con sordino violins. Intonation is wonky with all of them - see what you think:
> 
> 
> 
> 
> 
> 
> 
> 
> 
> Dropbox - File Deleted
> 
> 
> Dropbox is a free service that lets you bring your photos, docs, and videos anywhere and share them easily. Never email yourself a file again!
> 
> 
> 
> 
> www.dropbox.com
> 
> 
> 
> 
> 
> As it is, I can't use any of these patches, which is a bummer.



This is something I'd also like to see addressed if it hasn't been already. I just recently found out about NSS, listened/watched some music and information about it and I'm impressed, a lot actually. I have a lot more listening to do to hear where each library's strengths are in the legatos with regard to NSS and CSS. I'm feeling similarly with some others - an expansion of more shorts lengths would be really welcomed... but the library sounds great, very detailed and dry (I'm not usually one for dry but I've really been taking an interest lately)


----------



## ricoderks

Russell Anderson said:


> This is something I'd also like to see addressed if it hasn't been already. I just recently found out about NSS, listened/watched some music and information about it and I'm impressed, a lot actually. I have a lot more listening to do to hear where each library's strengths are in the legatos with regard to NSS and CSS. I'm feeling similarly with some others - an expansion of more shorts lengths would be really welcomed... but the library sounds great, very detailed and dry (I'm not usually one for dry but I've really been taking an interest lately)


Sometimes i prefer the NSS Legato. Depending on the phrase of course. But both nss and css blend perfectly. Love it!


----------



## Russell Anderson

ricoderks said:


> Sometimes i prefer the NSS Legato. Depending on the phrase of course. But both nss and css blend perfectly. Love it!


Thanks for sharing your experience with it! I’m also going back and reading on from page 30something, and seeing there’s an update/expandion planned. That’s also great news. And apparently Jasper Blunk was involved for a bit, I wonder what for and what happened. Really looking forward to seeing what comes next for NSS (Voyage as well), I’ve got roughly 8 months before I’m buying anything so plenty of time to make a decision I’ll be happy with.

I almost feel like I could see myself getting both... and a Tesla and a 10,000sq ft. house. Haha, but a fantastic dry, clear and expressive library like this and a PS library would send me to the afterlife with an eternal smile.

If NSS saw slurred legato/portamento it’d be an easy decision over CSS for me more than likely. I guess the other thing is vibrato control; NSS is getting a lot of praise on that, is it not attached to the dynamics wheel I wonder? (Which is perfectly sensible and good; CSS I thought actually had a working crossfade slider which is also good)


----------



## ricoderks

Russell Anderson said:


> Thanks for sharing your experience with it! I’m also going back and reading on from page 30something, and seeing there’s an update/expandion planned. That’s also great news. And apparently Jasper Blunk was involved for a bit, I wonder what for and what happened. Really looking forward to seeing what comes next for NSS (Voyage as well), I’ve got roughly 8 months before I’m buying anything so plenty of time to make a decision I’ll be happy with.
> 
> I almost feel like I could see myself getting both... and a Tesla and a 10,000sq ft. house. Haha, but a reeaaaally good dry library like this and a PS library would send me to the afterlife with an eternal smile


Haha same!


----------



## versko19

I gotta say, NSS had fallen off my radar for a bit, but in the process of working on a doc, and feeling the pressures of a small budget, I went hunting for strings with a livelier presence. I love how much energy, bite, and life NSS brings to the table. It really feels like a colour palette that I hadn't addressed yet, and has me excited for what the expansion will bring to the table.


----------



## Resoded

I love love love the sound of Ocean Way so my trigger finger is itching. I was actually wishing for this to happen since I discovered how great Ocean Way is. Easily my favorite studio. 

But I worry about the many issues that you guys discovered. Seems like it's a bit rough around the edges? Also, isn't it frustrating to not have a Violins 2 section? Sad to see I missed the early sale so that sucks, might just wait to the next sale and see if everything is updated by then.


----------



## dhowarthmusic

Resoded said:


> I love love love the sound of Ocean Way so my trigger finger is itching. I was actually wishing for this to happen since I discovered how great Ocean Way is. Easily my favorite studio.
> 
> But I worry about the many issues that you guys discovered. Seems like it's a bit rough around the edges? Also, isn't it frustrating to not have a Violins 2 section? Sad to see I missed the early sale so that sucks, might just wait to the next sale and see if everything is updated by then.


They uploaded a video yesterday and there is a 30% off coupon in the description so it’s back to the intro pricing!


----------



## versko19

Resoded said:


> I love love love the sound of Ocean Way so my trigger finger is itching. I was actually wishing for this to happen since I discovered how great Ocean Way is. Easily my favorite studio.
> 
> But I worry about the many issues that you guys discovered. Seems like it's a bit rough around the edges? Also, isn't it frustrating to not have a Violins 2 section? Sad to see I missed the early sale so that sucks, might just wait to the next sale and see if everything is updated by then.


There's actually a sale going on right now with a promo code, which is what pushed me into the buying lane. It's on their youtube video "Ocean Textures". 

In terms of experience, I've had it for all but a collective 4 hours, but so far I'm really liking the sound. I bought it as a means of both layering and being its own meat and potatoes library, and I feel like it can do both. I was playing it layered with both SCS and BBCSO and I could see it filling a nice gap with the both of them. The studio itself sounds wonderful, and the rawness really balances out the silk of my Spitfire libraries. 

Bowed legato is wonderful, and they have a really great dynamics expander fader so that you can play all the long arts to niente which I really love as well.


----------



## Resoded

Oh my, tempting tempting tempting. Thanks for informing me!


----------



## Kevperry777

dhowarthmusic said:


> They uploaded a video yesterday and there is a 30% off coupon in the description so it’s back to the info pricing!




That code works for everything on their site btw.


----------



## Ryan Fultz

I instantly bought it when it came out because of the tone.

No regrets, gets tons of use, can be lush, but also can be very aggressive and up front. Takes to reverb like a fish to water.

Would love to see a keyswitching version, that's about my only complaint currently, and that it would be preferred to have a 2nd violins patch of a slightly smaller section.


----------



## Russell Anderson

jaketanner said:


> I would not even count SCS in this debate since it's completely different and has it's own specific use.


As someone currently using SCS as their main library (and Abbey Road One tucked in the pocket as my only other orchestral instruments), and looking to add some more body and romanticism to their sound (so looking at CSS/NSS/Vista/Voyage), I’m curious if your opinion of what SCS is “about” lines up with mine, which is that it’s a delicate “classical” library with that excels at faster, classical lyrical stuff and slower, “whisper”-like stuff (flautandos etc)? If there’s a way to coax more guts out of it without the frequent tuning problems in slower legato passages it’s presently lost on me (aside from tricking the legato script into fast/runs transitions during the slow parts with weird midi). 

It’s definitely no CSS/Vista in that regard for me so far, but it’s doing the other styles well.

To the above, I second the 2nd violins and I’d like to see some portamento/fingered legato if possible. And additional shorts lengths. And then I’ll probably pass CSS for NSS when I am next able to buy and then wait for Voyage for everything else strings-related (if it’s not already out by then). Who knows, OPUS’ release along the way may change my mind; I’ve resisted buying HS up until now hoping for a better workflow, even though HS seems to sound great. I’m glad to be waiting awhile before buying anything.


----------



## jaketanner

Russell Anderson said:


> As someone currently using SCS as their main library (and Abbey Road One tucked in the pocket as my only other orchestral instruments), and looking to add some more body and romanticism to their sound (so looking at CSS/NSS/Vista/Voyage), I’m curious if your opinion of what SCS is “about” lines up with mine, which is that it’s a delicate “classical” library with that excels at faster, classical lyrical stuff and slower, “whisper”-like stuff (flautandos etc)? If there’s a way to coax more guts out of it without the frequent tuning problems in slower legato passages it’s presently lost on me (aside from tricking the legato script into fast/runs transitions during the slow parts with weird midi).


Unfortunately, the tuning issues are there to stay HOWEVER, you can edit the tuning in the GUI by borrowing a neighboring note...or edit retune the note, then you can save it that way in the patch. PIA though...So wrench tool, bottom left settings...then "Tweak Last Note"...this will allow you to tune the notes that are bad. 

As for your interpretation, I agree...it's more classical, but can also be a bit aggressive if you really push it and layer...layering is key with SCS...I mean layer within itself. Like sordino with longs and legatos...then add in the transpose trick...layer different patches...like performance legatos with regular or with longs patch...etc...even a flautando underneath but brought up in volume will add some texture.


----------



## Russell Anderson

jaketanner said:


> Unfortunately, the tuning issues are there to stay HOWEVER, you can edit the tuning in the GUI by borrowing a neighboring note...or edit retune the note, then you can save it that way in the patch. PIA though...So wrench tool, bottom left settings...then "Tweak Last Note"...this will allow you to tune the notes that are bad.
> 
> As for your interpretation, I agree...it's more classical, but can also be a bit aggressive if you really push it and layer...layering is key with SCS...I mean layer within itself. Like sordino with longs and legatos...then add in the transpose trick...layer different patches...like performance legatos with regular or with longs patch...etc...even a flautando underneath but brought up in volume will add some texture.


Regrettably, the tuning issues seem to be solved only by editing the sample itself, as the note begins flat or sharp (or both) and then corrects over a painful duration. Furthermore there are no round robins to just about anything in the legato patches, neither shorts nor longs nor the transitions themselves so it’s all up to modwheel and not.... writing repetitive passages like ostenatos. I have to manually change legato types which doesn’t appear to be a matter of keyswitching so much as making modifications to the written MIDI (as simple velocity changes often do not work to change from transition types which are all out of tune); this could be up to me not knowing how to use some of the advanced assignment and modulation/keyswitching however.

All of that said, I am liking the library for its strengths, and I layer quite a lot. It doesn’t sound small at all to me with that, very lush and full-bodied, part of the reason I opted for it over SSS - it can be both, it seems. But it can’t be CSS/et al and visa versa.


----------



## FireGS

Russell Anderson said:


> Regrettably, the tuning issues seem to be solved only by editing the sample itself, as the note begins flat or sharp (or both) and then corrects over a painful duration. Furthermore there are no round robins to just about anything in the legato patches, neither shorts nor longs nor the transitions themselves so it’s all up to modwheel and not.... writing repetitive passages like ostenatos. I have to manually change legato types which doesn’t appear to be a matter of keyswitching so much as making modifications to the written MIDI (as simple velocity changes often do not work to change from transition types which are all out of tune); this could be up to me not knowing how to use some of the advanced assignment and modulation/keyswitching however.
> 
> All of that said, I am liking the library for its strengths, and I layer quite a lot. It doesn’t sound small at all to me with that, very lush and full-bodied, part of the reason I opted for it over SSS - it can be both, it seems. But it can’t be CSS/et al and visa versa.


Sorry to derail, but is this referring to NSS? I havent read all this.


----------



## Russell Anderson

FireGS said:


> Sorry to derail, but is this referring to NSS? I havent read all this.


Uh... you're not derailing. There may be derailing happening, however.... That's all about SCS. Since jaketanner made the remark the SCS had a 'specific use" I wanted to know if he and I sort of had the same idea about what that specific use was. NSS and CSS are both pretty compelling-sounding libraries to me but atm I'm still leaning toward CSS for shorts/legatos despite liking the sound of NSS somewhat more (CSS with an exciter and some compression can sound remarkably good, and I already mostly enjoy the timbre by itself so it's not much of a concession to make). We'll see where updates take NSS within the next 8 months, as that's likely when I'm going to be making a new strings llibrary purchase. NSS sounds like it could be really, really good, but it's just the matter of a couple of features that I'm wanting that I'm not sure it's' going to be providing. Great sound though.


----------



## berto

so Nashville scoring strings is Nashville chamber strings? are the same thing? 
sorry very late in the bandwagon...


----------



## Russell Anderson

berto said:


> so Nashville scoring strings is Nashville chamber strings? are the same thing?
> sorry very late in the bandwagon...


Half-sized ensemble. Bigger than chamber.


----------



## berto

Russell Anderson said:


> Half-sized ensemble. Bigger than chamber.


thanks , but i meant, since the first post was regarding "Nashville chamber strings" (as a product name) and then the release is "Nashville scoring strings" , is it the same product or are we waiting for a Nashville chamber as well ? (i mean not for filmscoring, but strings for Nashville type music, country, pop rock, Christian music etc...)


----------



## Vladimir Bulaev

berto said:


> so Nashville scoring strings is Nashville chamber strings? are the same thing?
> sorry very late in the bandwagon...


Yes. When they were in development before they had a name Nashville Chamber Strings.


----------



## berto

Vladimir Bulaev said:


> Yes. When they were in development before they had a name Nashville Chamber Strings.


ok thanks  pity for me, i thought it would be less filmscor-y --- but i guess the majority is happy that it is filmscore-ish...


----------



## muziksculp

Will NSS get an update that adds more articulations, (especially more short variations), and offer key-switch patches ?


----------



## muziksculp

Oh.. I also noticed that there is only one violin section, no second violins, are there plans to add a second violins section to the library ?


----------



## chapbot

muziksculp said:


> Oh.. I also noticed that there is only one violin section, no second violins, are there plans to add a second violins section to the library ?


I don't think Ollie plans on recording second violins but he has created a patch that is basically that transpose trick - so it is a violin B patch that can be used as second violins.

BTW Nashville was one of the libraries I A/Bd against MSS and there's no comparison-Nashville sounds so clean and focused, MSS sounds muddled to me.


----------



## Manaberry

Guys, I've found a page from their website. Not sure if someone already shared it. Regarding the URL, pretty sure it's a temporary page. It's the same music as the sale trailer.

https://www.audioollie.com/new-page-26expansion



> Nashville Scoring Strings Expansions are coming early 2021. Both a playable ‘textures’ library and a fully controllable ‘espressivo vibrato legato’ instrument are in production and will be available for a special cross-grade offer for existing Nashville Scoring Strings owners.​The example below features only two patches. One controllable texture patch ‘*Wandering Flautandos*’ and violin + celli ‘*Espressivo Legato*’ which start at *0:38.*


----------



## ism

Wow, that is quite wonderful.


----------



## Toecutter

So with the current sale and coming expansions, any new user demos showing off the base library?


----------



## zimm83

Great... Will the expansions be standalone products also ?


----------



## Manaberry

Nobody knows. Consider this page as a "mistake" until Audio Ollie announces it officially.


----------



## Emmanuel Rousseau

Fingers crossed for some nice add ons. A new, slower and more expressive legato would be amazing! I like the regular one a lot but sometimes it's too agile.


----------



## Andrewind

Just got those yesterday and started playing around with them. They sit exactly where I wanted them to be : a nice and tighter, drier complement for my BBCSO. 

Only downside so far is the lack of some articulations (some flautando would be awesome) and the fact that it's Kontakt full version only (ended up buying it as well). Hope Audio Ollie expands the arsenal in the future as this library is, IMO, a serious contender to some other good stuff out there (CSS / MSS / SStS).


----------



## whinecellar

Are none of you guys having issues with the tuning/intonation in this library? I really wanted to love it - in fact I do in some ways - but frankly it’s unusable for me for sustained sketching. I really hope that gets addressed at some point because it’s a great library otherwise!


----------



## Andrewind

No I'm also experimenting some tuning issue when layering it with BBCSO. After reading your post and using a piano to compare the tone, NSS is definitely the guilty one (on the track I'm working on, the Violin D4 Spiccatto is the guilty one). Don't know if some adjustement are to be expected from Audio Ollie.


----------



## Emmanuel Rousseau

whinecellar said:


> Are none of you guys having issues with the tuning/intonation in this library? I really wanted to love it - in fact I do in some ways - but frankly it’s unusable for me for sustained sketching. I really hope that gets addressed at some point because it’s a great library otherwise!


Same here ! Sometimes when layering with another library I hear something off, really depends on the register. Last time it happened with the violin spiccato. I am guilty of NOT investigating further each time it happens !


----------



## Patrick de Caumette

whitewasteland said:


> Same here ! Sometimes when layering with another library I hear something off, really depends on the register. Last time it happened with the violin spiccato. I am guilty of NOT investigating further each time it happens !


To me, this library has tremendous potential, but feels un-finished.
Spend some time please, and do a major update, with key switching, pitch adjustment, some of the feature requests listed above, and you would have a long term return on your investment, because it has great qualities otherwise!


----------



## mr.vad0614

Does anyone think this is worth pulling the trigger for? As an owner of Afflatus, Cinestrings Core, Hollywood Strings, Novo, Spitfire BBCSO Core, Albion Tundra, Abbey Road One, Light and Sound Chamber Strings, 8Dio Anthology, Adagio, Agitato, Adigietto, would Nashville Scoring Strings add some more colours to the pallet or would Con Moto be better option to consider, since they are similar? I am looking for something more emotive and expressive with vibrato you can feel that I can layer with. What do you all think?


----------



## Andrewind

Well that's a pretty extensive list of string libraries you got there. Actually NSS are in the range of "super duper dry" string section, midsize-ensemble (slightly larger than a chamber string ensemble) with separate patches for each section. It's definitly way, way drier than BBCSO Core and some other you quoted here and requires quiet a bit of tweaking (def not an "out of the box" type of sound). So if you're missing that kind of dry, hyper focused sound into a section split instrument, yes they're a good addition, otherwise I think you're pretty much got your needs covered here


----------



## FireGS

Andrewind said:


> requires quiet a bit of tweaking (def not an "out of the box" type of sound)


The sound itself, or the instruments?


----------



## Andrewind

Well the sound itself. It has almost 0 reverb on it (which was the reason why I bought it). Don't get me wrong, despite the few issues discussed before (some out of tune samples), it sounds great, but it's not BBCSO, any Spitfire Albion or CSS, sounding great and almost ready out of the box. My feeling is it's just like some top end pasta, it has been crafted in a way in which you can add your extra sauce on top of it.

For exemple, as stated before, it gets wrapped really well by reverb, just made some tests today to add it in a template alongside BBC SO, and it did sound wonderful with both Pro-R & EA R2.


----------



## mr.vad0614

Andrewind said:


> Well that's a pretty extensive list of string libraries you got there. Actually NSS are in the range of "super duper dry" string section, midsize-ensemble (slightly larger than a chamber string ensemble) with separate patches for each section. It's definitly way, way drier than BBCSO Core and some other you quoted here and requires quiet a bit of tweaking (def not an "out of the box" type of sound). So if you're missing that kind of dry, hyper focused sound into a section split instrument, yes they're a good addition, otherwise I think you're pretty much got your needs covered here



Thank you so much for taking the time to give your input and feedback in response to my thread, it's very much appreciated. I do like the idea that it's a much drier library, and I think it's the details that you hear in the dryness that cause it to stand out compared to most string libraries out there that are wet and soaked with reverb as the details become washed out, if you know what I mean? Does NSS have vibrato and dynamic control and is it versatile going from epic to emotive and inbetween? Also how does this stack up to Con Moto and Vista by Peformance Samples in comparison? Cheers!


----------



## Andrewind

Glad if it could help. I can't tell how it compares to the libraries you did quote in your last post as I don't own any of them, so it would be some unfair comparison. It has no vibrato control and no keyswitches, so once again it requires a bit of engineering to bring this where you want to. It has dynamic and expression though. 

About too much reverb in some libraries, I think it depends how you look at it. Some people expect a great room ambiance from their libraries, and then it relates on how much mixing and sound engineering you're willing to make (for exemple, I usually fine tune Proximity EQ on BBCSO to tame the room a little bit, while some will enjoy the John Williams organic orchestra feeling). 

Just to go a little bit further, I (poorly) made a little sound example of the violins spiccatto & long patches to illustrat what I was saying before. 4 bars no processing - 4 bars bits of R2 - 4 bars Pro-R (Decca 100% - Close & Wide around 20%)


----------



## mr.vad0614

Andrewind said:


> Glad if it could help. I can't tell how it compares to the libraries you did quote in your last post as I don't own any of them, so it would be some unfair comparison. It has no vibrato control and no keyswitches, so once again it requires a bit of engineering to bring this where you want to. It has dynamic and expression though.
> 
> About too much reverb in some libraries, I think it depends how you look at it. Some people expect a great room ambiance from their libraries, and then it relates on how much mixing and sound engineering you're willing to make (for exemple, I usually fine tune Proximity EQ on BBCSO to tame the room a little bit, while some will enjoy the John Williams organic orchestra feeling).
> 
> Just to go a little bit further, I (poorly) made a little sound example of the violins spiccatto & long patches to illustrat what I was saying before. 4 bars no processing - 4 bars bits of R2 - 4 bars Pro-R (Decca 100% - Close & Wide around 20%)



Thank you again Andrewind for all of your input and feedback on this in response to my questions, in helping me to choose and decide. I guess I am really more looking at this for additional colour than anything else, and to know that even though it doesn't have vibrato control, I'm glad to hear it has dynamics and expression which is great! 

As for the reverb aspects, I do agree with you but I think to be able to add your own reverb allows you to make the sound your own, even though it may require some extra tweaking here and there, I think that is the art of a signature sound rather than sounding like everyone else. 

As for the mock up you put together, I look forward to listening to that just to get an idea of what it's like in action! I'm sure it's not as poor as it sounds, thank you for sharing this, it really is appreciated. So can NSS go from epic to emotive? As in, is it versatile? Thank you again my friend.


----------



## jaketanner

mr.vad0614 said:


> Does anyone think this is worth pulling the trigger for? As an owner of Afflatus, Cinestrings Core, Hollywood Strings, Novo, Spitfire BBCSO Core, Albion Tundra, Abbey Road One, Light and Sound Chamber Strings, 8Dio Anthology, Adagio, Agitato, Adigietto, would Nashville Scoring Strings add some more colours to the pallet or would Con Moto be better option to consider, since they are similar? I am looking for something more emotive and expressive with vibrato you can feel that I can layer with. What do you all think?


I have many strings as well, including a few on your list...So in that list I would take out anything from 8 dio (aside from Century strings) and Novo because it's not really the same. CM is not any more expressive than NSS...they both offer about the same amount of vibrato that is fixed, but CM does offer a sweeter tone however it is LEGATO only. Personally, if you are looking for more emotive strings, I would look at CSS. I am not bringing this up because it's the "go to" strings...I have them and rarely use them at all. BUT...they are very emotive and have a lot of vibrato...with most libraries, the vibrato becomes greater at higher dynamics, and more tame at lower. 

I personally think you should upgrade to BBC Pro...you get the leaders which can add a lot of emotion to the section, and also give you various different colors with the additional mics. NSS does have a sound that is different from all others though...but I would think that with Afflatus, you shouldn't need more strings...LOL


----------



## mr.vad0614

jaketanner said:


> I have many strings as well, including a few on your list...So in that list I would take out anything from 8 dio (aside from Century strings) and Novo because it's not really the same. CM is not any more expressive than NSS...they both offer about the same amount of vibrato that is fixed, but CM does offer a sweeter tone however it is LEGATO only. Personally, if you are looking for more emotive strings, I would look at CSS. I am not bringing this up because it's the "go to" strings...I have them and rarely use them at all. BUT...they are very emotive and have a lot of vibrato...with most libraries, the vibrato becomes greater at higher dynamics, and more tame at lower.
> 
> I personally think you should upgrade to BBC Pro...you get the leaders which can add a lot of emotion to the section, and also give you various different colors with the additional mics. NSS does have a sound that is different from all others though...but I would think that with Afflatus, you shouldn't need more strings...LOL



Thank you for your input and feedback on this Jake, I appreciate your take and perspective on this also, as it helps me an awful lot. I am fully aware of CSS, it's literally the most popular string library of the lot of them that almost everyone raves about and agree that it has the sweetest and most intimate tone I have heard that just pulls on your heart strings but then again I also feel 8Dio Century Strings is on par with CSS tonally speaking, and would probably buy that over CSS. 

The issue I have with CSS though that puts me off, is the hidden tax added on top when checking out on the website, sure it's not the most expensive library out there being affordably reasonable but the tax on top of it just makes it more expensive, and just puts me off from buying it to be honest. I may take your advice and consider upgrading to BBCSO Pro at some point, but at the moment I just don't have the hard drive space for it!? 😝 

As for Afflatus you're not wrong there!? 😅 I guess string libraries should be called spaghetti as there are so many out there and they never end!? 😜 LOL! 😂 If I did buy NSS it would only be for layering, but then again I have heard there is a potential crossgrade on the horizon for NSS owners for upcoming expansions from what I saw posted earlier on the thread.


----------



## jaketanner

mr.vad0614 said:


> Thank you for your input and feedback on this Jake, I appreciate your take and perspective on this also, as it helps me an awful lot. I am fully aware of CSS, it's literally the most popular string library of the lot of them that almost everyone raves about and agree that it has the sweetest and most intimate tone I have heard that just pulls on your heart strings but then again I also feel 8Dio Century Strings is on par with CSS tonally speaking, and would probably buy that over CSS.
> 
> The issue I have with CSS though that puts me off, is the hidden tax added on top when checking out on the website, sure it's not the most expensive library out there being affordably reasonable but the tax on top of it just makes it more expensive, and just puts me off from buying it to be honest. I may take your advice and consider upgrading to BBCSO Pro at some point, but at the moment I just don't have the hard drive space for it!? 😝
> 
> As for Afflatus you're not wrong there!? 😅 I guess string libraries should be called spaghetti as there are so many out there and they never end!? 😜 LOL! 😂 If I did buy NSS it would only be for layering, but then again I have heard there is a potential crossgrade on the horizon for NSS owners for upcoming expansions from what I saw posted earlier on the thread.


I think the beauty in using NSS is to be the star, not really for layering...but it is a good library to layer, even with BBC it sounds really good.


----------



## prodigalson

Just dropping by to say that, after deciding against it on release due to concerns here and the fact that i just have too many string libraries, I picked up NSS on sale and...oh boy...am I glad I did. 

While this library may not be for everyone and it may have its niggles and quirks, after just 10 mins with it I can already tell it is definitely for me. Raw but clean, dry but has depth, very moldable sound. I'm always dubious of multi-mic signals recorded in relatively dry spaces but the mics here really do add subtle nuance to the sound. In the walkthrough video, the developer talks about the legato being incredibly flexible and I was skeptical. To me, I figured that would just mean that it can be agile but wasn't expecting more. I'm genuinely shocked at how flexible and playable it actually is though. I also have hesitation generally towards the performance samples based approach as, in my experience thus far, it can just sound TOO performed, there's TOO much movement in the bow, there's just TOO much expression. I picked up VISTA on release and while it is wonderful, it does suffer from this in my opinion. However, NSS seems to just strike the right balance with that: Active, lively bowing and vibrato without feeling like they're just sawing away at every dynamic. Just the right amount of expression. VISTA's baked-in fingered legato often means that some transitions are basically just portamento and there's nothing you can do about it. While the bow-change legato Audioollie used for this library wouldn't initially be my 1st choice, I'm surprised at actually how tucked in the transitions sound. Short of wanting portamento, if ever I want a slower more subtle transition, the transition seems to be just fine and a perfectly acceptable trade-off to get the agility it's also capable of. 

Here's literally the first noodle I did on opening up the library. Just Altiverb Mechanics Hall and a little 7H Boston Hall to try and get some more size to the sound. I didn't adjust anything here, just set some mic signals and played with the other hand on the modwheel in real time. No massaging of a single transition or dynamic.


----------



## Batrawi

arghh.... I would have grabbed NSS during this sale had they considered fingered legato in their upcoming update. But I'm a bowed legato phobic now after my experience with century strings.. never can do this mistake again


----------



## versko19

Hey all, I noticed there was a bit of concern over the lack of keyswitches. I learned of Orange Tree Samples kontakt multiscript for K4 and K5 and have integrated along with articulation sets for LPX. 

Here is the link to the Orange Tree Samples script https://www.orangetreesamples.com/blog/free-keyswitch-router-multiscript

I'm not sure if we're allowed to attach folders for download, but if we are, then I'm happy to attach a folder of the .plist files I setup for easy LPX integration.


----------



## Andrewind

versko19 said:


> Hey all, I noticed there was a bit of concern over the lack of keyswitches. I learned of Orange Tree Samples kontakt multiscript for K4 and K5 and have integrated along with articulation sets for LPX.
> 
> Here is the link to the Orange Tree Samples script https://www.orangetreesamples.com/blog/free-keyswitch-router-multiscript
> 
> I'm not sure if we're allowed to attach folders for download, but if we are, then I'm happy to attach a folder of the .plist files I setup for easy LPX integration.


Yes this ! Went with this workaround too and it works like a charm. Super fast to set up.
Also I might add this other trick regarding the loading time of those kontakt instances as they might end up with a lot of articulations :

- If you're on Windows, deactivate Windows Defender for the folders containing the library
- Batch resave the library (after deactivating Windows Defender, otherwise it might be painful)

Went from 1mn/Kontakt instance on load in my template to 14 seconds.


----------



## AEF

Tinesaeriel said:


> Made a few more pieces with this library. It's very, very, _very _close to supplanting CSS as my main strings library. The legato is only slightly less seamless than CSS, much more agile, in fact, and the tone blows CSS out of the water - it's just so easy for me to process and mix with. I know there's an expansion coming some time down the road, and there are a few things I'd need for it to supplant CSS completely:
> 
> 1: *Runs *- This is the most important thing I need to fully supplant CSS. I find the Slurry Patches just don't do it for me, but if Audio Ollie includes a playable/programmable runs patch in the expansion, then NSS will be absolutely amazing for me and will become my Main Strings Library going forward.
> 
> Less Important Stuff, but would still be hella appreciate:
> 
> 2: *More Short Note Variations - *I quite like the Spiccato articulations currently, and I'm able to get most of what I need from them, but I do miss the 4 different lengths of short notes found in CSS. I especially miss longer staccatos, sforzandos, and marcato lengths you can achieve in CSS. I also don't really like the Marcato articulations in NSS, but I still have some testing to do, and I might find them useful and usable later down the road. But if I would love it if Audio Ollie could make more short note variations.
> 
> 3: *Marcato Performance Patch - *This one's minor, but I'd love it if AO could make a sustain and spiccato combined patch like with what CSS does for its Marcato patch, just so I didn't have to load them individually.
> 
> 4: *Effects - *I'd love to hear some horror/aleatoric/drone effects in the expansion.
> 
> That's it for now. Hope y'all like the pieces and hope they show of the slower side of NSS and what kinds of slower pieces it can achieve!
> 
> Best,
> Adam


Great stuff. Are you using just the A sections? Any favorite mic setups?


----------



## Go To 11

versko19 said:


> Hey all, I noticed there was a bit of concern over the lack of keyswitches. I learned of Orange Tree Samples kontakt multiscript for K4 and K5 and have integrated along with articulation sets for LPX.
> 
> Here is the link to the Orange Tree Samples script https://www.orangetreesamples.com/blog/free-keyswitch-router-multiscript
> 
> I'm not sure if we're allowed to attach folders for download, but if we are, then I'm happy to attach a folder of the .plist files I setup for easy LPX integration.


Heya - I’d love your Logic .plist files for Nashville multiscript if you’re willing to share. I think that’s fine to do! Cheers.


----------



## jaketanner

Audio Ollie said:


> Section sizes are 8-6-5-4


Why is this NOT up front and center on your site? Don't make your customers go through hoops for simple info that should be on your site. Unless I missed it...in which case I apologize, but I didn't see it. I have the library and forgot the sizes because it is also NOT marked in the patches like most other libraries. Frustrated.


----------



## versko19

Go To 11 said:


> Heya - I’d love your Logic .plist files for Nashville multiscript if you’re willing to share. I think that’s fine to do! Cheers.


Hey sorry this took so long, but here you go!


----------



## doctoremmet

jaketanner said:


> Why is this NOT up front and center on your site? Don't make your customers go through hoops for simple info that should be on your site. Unless I missed it...in which case I apologize, but I didn't see it. I have the library and forgot the sizes because it is also NOT marked in the patches like most other libraries. Frustrated.


----------



## doctoremmet

(just kidding Jake) ❤️


----------



## jaketanner

doctoremmet said:


>


Just kills me that the simplest info isn’t easily available. Thank god for this group. Found my answer but frustrating


----------



## jaketanner

doctoremmet said:


> (just kidding Jake) ❤️


I know . I get a bit upset at little things...but man, why make it hard. LOL. The sound is freakin AMAZING though...using it now actually for the first time.


----------



## Casiquire

I think this library is slightly underrated. The sound is really incredible as scoring strings. I think people were expecting a Performance Samples sound from it and maybe they're disappointed, but on its own merits, the sound here is so good


----------



## Go To 11

versko19 said:


> Hey sorry this took so long, but here you go!


Thanks very very much!


----------



## Go To 11

versko19 said:


> Hey sorry this took so long, but here you go!


Heya,

I have installed the .plist Articulation Sets, but as for the multi that they refer to, I would need the exact one you're using to make it work. Could you export yours as a snapshot or something? That would be awesome, thanks!


----------



## jadedsean

Anyone know if the issue with the mics are fixed? When i try load all my mics with Kontakt outs i get drop outs when playing, has this been sorted?


----------



## Toecutter

jadedsean said:


> Anyone know if the issue with the mics are fixed? When i try load all my mics with Kontakt outs i get drop outs when playing, has this been sorted?


No, I'm still getting disk dropouts.


----------



## jadedsean

Toecutter said:


> No, I'm still getting disk dropouts.


Okay thanks for the heads up, i have to admit that is quite dissapointing, i haven't really utilized this library because of this reason and so i guess i won't be using until this issue gets solved.


----------



## Toecutter

jadedsean said:


> Okay thanks for the heads up, i have to admit that is quite dissapointing, i haven't really utilized this library because of this reason and so i guess i won't be using until this issue gets solved.


Yea the dropouts are pretty bad, I never had this issue with other libraries. I'm still using NSS with a single output tho


----------



## jadedsean

Toecutter said:


> Yea the dropouts are pretty bad, I never had this issue with other libraries. I'm still using NSS with a single output tho


Just got word back from Audio Ollie support,

"Try clicking the wrench icon and scroll down to insert fx and bypass the convolution reverb and see if it resolves the issue. Some people have had a strange rare bug that's been causing similar issues"

this fixed it for me, see if it works for you.


----------



## Futchibon

Casiquire said:


> I think this library is slightly underrated. The sound is really incredible as scoring strings. I think people were expecting a Performance Samples sound from it and maybe they're disappointed, but on its own merits, the sound here is so good


Agree completely, I love this library! I think the initial pricing was a misfire, why pay more than CSS for an untested product? Yet now it's $100 less than CSS it's a real contender. $209 in the recent sale was a steal!


----------



## Symfoniq

Futchibon said:


> Agree completely, I love this library! I think the initial pricing was a misfire, why pay more than CSS for an untested product? Yet now it's $100 less than CSS it's a real contender. $209 in the recent sale was a steal!


Wow, I would have been all over that had I known about the sale. Surprised I didn’t get a notification, as I already own LA Modern Percussion and Uke.


----------



## Toecutter

jadedsean said:


> this fixed it for me, see if it works for you.


Fixed it for me too, thanks!


----------



## Futchibon

Symfoniq said:


> Wow, I would have been all over that had I known about the sale. Surprised I didn’t get a notification, as I already own LA Modern Percussion and Uke.


Did you turn notifications off? I've done that with a few developers, only to miss out on some great deals. Learnt my lesson the hard way!


----------



## Symfoniq

Futchibon said:


> Did you turn notifications off? I've done that with a few developers, only to miss out on some great deals. Learnt my lesson the hard way!


Nope. Oh, well. Wish me better luck next time!


----------



## Casiquire

Symfoniq said:


> Wow, I would have been all over that had I known about the sale. Surprised I didn’t get a notification, as I already own LA Modern Percussion and Uke.


The obvious lesson is to obsess over the forms and never look away for a moment


----------



## VSriHarsha

I don’t have the entire library but I have the Sordinos patch you get for free with Taste & it works like swells not regular sustains but that’s how their Sordino sustains work or it’s actually a kind of some glitch?


----------



## Audio Ollie

Symfoniq said:


> Nope. Oh, well. Wish me better luck next time!


Shoot me an email [email protected]


----------



## Symfoniq

Audio Ollie said:


> Shoot me an email [email protected]


Thanks for reaching out, Ollie!

Downloading NSS now...


----------



## Futchibon

Casiquire said:


> The obvious lesson is to obsess over the forms and never look away for a moment


Lol, funny 'cause it's true!


Audio Ollie said:


> Shoot me an email [email protected]


Awesome customer service! Thanks for making such an inspiring library ☺


Symfoniq said:


> Thanks for reaching out, Ollie!
> 
> Downloading NSS now...


Enjoy!


----------



## Getsumen

Can anyone comment on NSS ability to do epic? (I assume it's been probably discussed in this 58 page thread) but a brief quick summary would be nice 

Dark Omen is more or less the closest demo I suppose to epic and it sounds nice, but I'm not sure if it's playing at max volume. Can it do any louder well?


----------



## Toecutter

Getsumen said:


> Can anyone comment on NSS ability to do epic? (I assume it's been probably discussed in this 58 page thread) but a brief quick summary would be nice


I'm still a newb at NSS and not an epic composer but I don't see any reason for not using it for epic stuff. The marcato and spiccato patches are very aggressive and all instruments are duplicated with alternative processing, so you can stack up sections to get that big modern sound. @Emmanuel Rousseau sent me awesome examples of NSS when I was considering the library and I remember one of the tracks being epic and bombastic, maybe he can help you too?


----------



## Futchibon

Getsumen said:


> Can anyone comment on NSS ability to do epic? (I assume it's been probably discussed in this 58 page thread) but a brief quick summary would be nice
> 
> Dark Omen is more or less the closest demo I suppose to epic and it sounds nice, but I'm not sure if it's playing at max volume. Can it do any louder well?


I use MA1 mainly for epic, which of course it was created for, but NSS is much more epic than the other strings libraries I own - Century and VMS (both beautiful in their own way).

One of the things I love about NSS is the dynamic range and ability to go from very quiet to very loud; this contrast really makes epic music come alive IMO, rather than just playing loud all the time.

Another is the 2 sets of patches; I was initially worried about how this would work but it's a masterstroke; you're almost getting a (slightly larger than) chamber size and also a quasi symphonic sound by combining them.

Check out the walkthrough below, there are several examples of it being pretty 'epic':


----------



## versko19

Go To 11 said:


> Heya,
> 
> I have installed the .plist Articulation Sets, but as for the multi that they refer to, I would need the exact one you're using to make it work. Could you export yours as a snapshot or something? That would be awesome, thanks!


Hey, can do when I'm back at my rig. Won't be for another week or so.


----------



## Go To 11

versko19 said:


> Hey, can do when I'm back at my rig. Won't be for another week or so.


Thanks very much!


----------



## Emmanuel Rousseau

Toecutter said:


> I'm still a newb at NSS and not an epic composer but I don't see any reason for not using it for epic stuff. The marcato and spiccato patches are very aggressive and all instruments are duplicated with alternative processing, so you can stack up sections to get that big modern sound. @Emmanuel Rousseau sent me awesome examples of NSS when I was considering the library and I remember one of the tracks being epic and bombastic, maybe he can help you too?


Sorry for the late reply... Thank you Sir ! Those two tracks you were talking about are now official demo tracks for NSS for those interested in checking them out.


Both are available here on the new website : https://www.audioollie.com/nashville-scoring-strings


----------



## Toecutter

Emmanuel Rousseau said:


> Sorry for the late reply... Thank you Sir ! Those two tracks you were talking about are now official demo tracks for NSS for those interested in checking them out.
> 
> 
> Both are available here on the new website : https://www.audioollie.com/nashville-scoring-strings


Awesome news Emmanuel! Glad the NDA was lifted and I can now point ppl to your tracks and better yet in the product's page XD (late reply too, busy bee)


----------



## icecoolpool

Emmanuel Rousseau said:


> Sorry for the late reply... Thank you Sir ! Those two tracks you were talking about are now official demo tracks for NSS for those interested in checking them out.
> 
> 
> Both are available here on the new website : https://www.audioollie.com/nashville-scoring-strings


Just listened to "United as One". It´s an absolutely astonishing production. I feel very humbled, just fantastic work all round.


----------



## Emmanuel Rousseau

icecoolpool said:


> Just listened to "United as One". It´s an absolutely astonishing production. I feel very humbled, just fantastic work all round.


Thank you so much!


----------



## Futchibon

icecoolpool said:


> Just listened to "United as One". It´s an absolutely astonishing production. I feel very humbled, just fantastic work all round.


Agreed!


----------



## Chris Harper

Bumping this thread because I’m having weird issues with either phasing or resonance in the 2k-5k range. It sounds like a loud buzzing that is very irregular as I hold a note out (almost “glitching” in and out). It’s louder than a swarm of bees. LOL It’s especially bad with the violin legato patch, but it’s noticable in a number of patches. I’m not sure exactly what is causing it, but I have tried a couple of things. I bypassed the IR as suggested earlier in the thread. I tried removing it entirely. I’ve tried various mic blends, and it definitely sounds worse when more than one mic is turned on, but it’s still present even in just the Decca. The only I’ve been able to deal with it is with a wide EQ scoop over the entire range from about 1k to 6k or so. That obviously kills the presence which is so nice in other examples people have posted.

Is it possible that the samples themselves may be corrupted somehow? Would deleting and reinstalling the entire library be the best option, or is there something else to try first that I have overlooked?


----------



## Audio Ollie

Chris Harper said:


> Bumping this thread because I’m having weird issues with either phasing or resonance in the 2k-5k range. It sounds like a loud buzzing that is very irregular as I hold a note out (almost “glitching” in and out). It’s louder than a swarm of bees. LOL It’s especially bad with the violin legato patch, but it’s noticable in a number of patches. I’m not sure exactly what is causing it, but I have tried a couple of things. I bypassed the IR as suggested earlier in the thread. I tried removing it entirely. I’ve tried various mic blends, and it definitely sounds worse when more than one mic is turned on, but it’s still present even in just the Decca. The only I’ve been able to deal with it is with a wide EQ scoop over the entire range from about 1k to 6k or so. That obviously kills the presence which is so nice in other examples people have posted.
> 
> Is it possible that the samples themselves may be corrupted somehow? Would deleting and reinstalling the entire library be the best option, or is there something else to try first that I have overlooked?


Yeah that doesn't sound right. I don't think it's the samples but have you tried a fresh install. If you could send me an example to [email protected] I can assist you further. 

Ollie


----------



## FireGS

Chris Harper said:


> Bumping this thread because I’m having weird issues with either phasing or resonance in the 2k-5k range. It sounds like a loud buzzing that is very irregular as I hold a note out (almost “glitching” in and out). It’s louder than a swarm of bees. LOL It’s especially bad with the violin legato patch, but it’s noticable in a number of patches. I’m not sure exactly what is causing it, but I have tried a couple of things. I bypassed the IR as suggested earlier in the thread. I tried removing it entirely. I’ve tried various mic blends, and it definitely sounds worse when more than one mic is turned on, but it’s still present even in just the Decca. The only I’ve been able to deal with it is with a wide EQ scoop over the entire range from about 1k to 6k or so. That obviously kills the presence which is so nice in other examples people have posted.
> 
> Is it possible that the samples themselves may be corrupted somehow? Would deleting and reinstalling the entire library be the best option, or is there something else to try first that I have overlooked?


Are you using Kontakt 6.6? Just curious.


----------



## Chris Harper

FireGS said:


> Are you using Kontakt 6.6? Just curious.



@FireGS

I am not up to date on Kontakt actually. I am still using 6.5.3. I will try updating Kontakt before I do anything else. Great suggestion. I needed to do that anyway. If that doesn't fix it, I will send an example over to you @Audio Ollie. Thanks!


----------



## FireGS

Chris Harper said:


> @FireGS
> 
> I am not up to date on Kontakt actually. I am still using 6.5.3. I will try updating Kontakt before I do anything else. Great suggestion. I needed to do that anyway. If that doesn't fix it, I will send an example over to you @Audio Ollie. Thanks!


Ohhhh nonono. I wouldn't. Not right now. It's been a source of issues for some, which is why I asked.


----------



## Chris Harper

FireGS said:


> Ohhhh nonono. I wouldn't. Not right now. It's been a source of issues for some, which is why I asked.



So the bad news is I upgraded it before I read your follow up post. But I always have multiple recent backups of all my drives, so I wasn’t too worried. The good news is that (so far) everything seems to be working fine with 6.6 and the beehive is gone.

I haven’t checked every single one of my libraries yet, but several that I checked were working fine in VST3. I will watch closely for a while and I can revert back to Kontakt 6.5 if necessary. I am fully expecting to have a few broken projects, but fortunately I just finished the biggest one I was working and the ones in the queue shouldn’t be a problem.

I really hope NI is able to get 6.6 sorted out. Having Kontakt go down is crippling. I hated to read that people were waiting for a week just to roll back to a working version. What a mess. 

My NSS sounds really nice now! Not sure what the issue was. Gremlins, I suppose.


----------



## Symfoniq

Bought NSS a few months ago, and only tonight got a chance to try them out.

Unfortunately, I'm getting missing samples with the "Cellos - Legato" patch. It appears to be assuming an absolute path to "/AudioOllie" which of course doesn't exist:






Best way to permanently fix?


----------



## jaketanner

Symfoniq said:


> Bought NSS a few months ago, and only tonight got a chance to try them out.
> 
> Unfortunately, I'm getting missing samples with the "Cellos - Legato" patch. It appears to be assuming an absolute path to "/AudioOllie" which of course doesn't exist:
> 
> 
> 
> 
> 
> 
> Best way to permanently fix?


Make sure all of the samples downloaded correctly. Check to see if the cellos are actually where the other instruments are. If that's the case, then batch resave, but first point the directory to load the samples..then batch resave. That should fix it. I recall a similar issue...forgot exactly how it got resolved, but I haven't had issues since. Should look like the screenshot.


----------



## Patrick de Caumette

The latest post reminded me that i own this library...
Any news of an update? I went to the site but there is no place to check on the latest updates.
I thought that you guys were working on making this lib better?
Thanks


----------



## Russell Anderson

Probably RCD projects and the upcoming orchestral percussion library are taking their time, which is excellent, however I‘m also hoping for that update/expansion to release soon.

At this point I’m feeling pretty locked into buying NSS and using it with SCS, as since my last posts here I’ve purchased and am loving the RCD libraries and LAMP, so my upgrade price + how much I love NSS’ sound is creating a very strong inclination. If more legato and shorts types were released, though, especially as keyswitch/modwheel patches for easier use, that would probably be amazing to the degree I might just call it a day on string library shopping for a long time.


----------



## Futchibon

Russell Anderson said:


> Probably RCD projects and the upcoming orchestral percussion library are taking their time, which is excellent, however I‘m also hoping for that update/expansion to release soon.
> 
> At this point I’m feeling pretty locked into buying NSS and using it with SCS, as since my last posts here I’ve purchased and am loving the RCD libraries and LAMP, so my upgrade price + how much I love NSS’ sound is creating a very strong inclination. If more legato and shorts types were released, though, especially as keyswitch/modwheel patches for easier use, that would probably be amazing to the degree I might just call it a day on string library shopping for a long time.


I really love NSS and think it's one of the most underrated string libraries. An update would be great, but there's still heaps of good stuff in there


----------



## jaketanner

Russell Anderson said:


> At this point I’m feeling pretty locked into buying NSS and using it with SCS


Why do you want to layer SCS with NSS? What is your end goal here?...I have both.


----------



## Russell Anderson

jaketanner said:


> Why do you want to layer SCS with NSS? What is your end goal here?...I have both.


NSS is definitely better/easier for forward-sounding parts and blockbuster filmscore-sound. Use case for me is... sort of a mixed bag which includes some blockbusteriness. SCS+AROOF can sort of do it most of the time but sometimes it takes a lot of work, sometimes it sounds amazing and sometimes just not there. Layering-wise I could see shorts and some mics/articulations sounding awesome together after some positional-massaging.

CSS is the other consideration, which comes with its differences. With buying CSB during black friday, CSS crossgrade will also open up and I could potentially even get both... but, I’m not going to be so brazen yet, Voyage isn’t released yet and I want to give some more listens to all of the mics, articultions.


----------



## jaketanner

Russell Anderson said:


> It’s not so much of wanting to layer them, though there are lots of possibilities for it, the playing style of the legato is I think too different to do anything besides try to match the feel and patch them together in some places. NSS is definitely better/easier for forward-sounding parts and blockbuster filmscore-sound. Use case for me is... sort of a mixed bag which includes some blockbusteriness. SCS can sort of do it most of the time but sometimes it takes a lot of work, sometimes it sounds amazing and sometimes just not there.
> 
> CSS is the other consideration, which comes with its differences. With buying CSB during black friday, CSS crossgrade will also open up and I could potentially even get both... but, I’m not going to be so brazen yet, Voyage isn’t released yet and I want to give some more listens to all of the mics, articultions. Same witth SCS pro actually.


So you only have SCS an no other string library right? You are looking for cinematic strings? Truthfully, I've yet to use SCS since i got it about 4-5 years ago...however, I am working on some library music that SCS fits nicely...so finally, I've found a use..LOL. 

NSS is excellent in sound, and I love the half sizes, yet it sound bigger than it is. Nashville's Ocean Way studio sounds amazing, and that's one reason to get NSS...it also comes with "dirty" unprocessed samples which is great, and you can install both to use if you want...the dirty samples do add more tone, and of course more low-end noise...but in many cases, not an issue.

I'm a big fan of Performance Samples, and I also have Con Moto full library...but being legato only, it drives me nuts...so here comes NSS, that has similar scripting, since Jasper had a hand in it, and a set of bread and butter articulations.

I also have CSS...while CSS is closer to NSS/Con Moto...I would not say it's similar in tone to SCS at all...if you want to complement SCS, I would just go for SSS...which is the big brother. But I get it's a price thing also.

As far as extra mics..I am a huge fan of more mics, since many can alter the tone even further...I am not sure that it's totally worth it for SCS unless it's your bread and butter string library.

For your blockbuster strings, I would certainly reach for NSS far more than SCS...I actually wouldn't even consider SCS for that type of writing. But for nice RomCom, or library type music...emotional writing, SCS might fit the bill better.

Having a variety is a good thing, and pretty much a must in this filed. After you get NSS...you will shortly be looking for another tone to fit your other needs...it's part of it...same with other instruments. A single brass or wind library will not cover all your needs, all the time. 

Hope this helps...and with the sale price of NSS...it's a good buy. I also hope they update it, but it's pretty good for what it is.


----------



## Russell Anderson

jaketanner said:


> So you only have SCS an no other string library right? You are looking for cinematic strings? Truthfully, I've yet to use SCS since i got it about 4-5 years ago...however, I am working on some library music that SCS fits nicely...so finally, I've found a use..LOL.
> 
> NSS is excellent in sound, and I love the half sizes, yet it sound bigger than it is. Nashville's Ocean Way studio sounds amazing, and that's one reason to get NSS...it also comes with "dirty" unprocessed samples which is great, and you can install both to use if you want...the dirty samples do add more tone, and of course more low-end noise...but in many cases, not an issue.
> 
> I'm a big fan of Performance Samples, and I also have Con Moto full library...but being legato only, it drives me nuts...so here comes NSS, that has similar scripting, since Jasper had a hand in it, and a set of bread and butter articulations.
> 
> I also have CSS...while CSS is closer to NSS/Con Moto...I would not say it's similar in tone to SCS at all...if you want to complement SCS, I would just go for SSS...which is the big brother. But I get it's a price thing also.
> 
> As far as extra mics..I am a huge fan of more mics, since many can alter the tone even further...I am not sure that it's totally worth it for SCS unless it's your bread and butter string library.
> 
> For your blockbuster strings, I would certainly reach for NSS far more than SCS...I actually wouldn't even consider SCS for that type of writing. But for nice RomCom, or library type music...emotional writing, SCS might fit the bill better.
> 
> Having a variety is a good thing, and pretty much a must in this filed. After you get NSS...you will shortly be looking for another tone to fit your other needs...it's part of it...same with other instruments. A single brass or wind library will not cover all your needs, all the time.
> 
> Hope this helps...and with the sale price of NSS...it's a good buy. I also hope they update it, but it's pretty good for what it is.


I’m much more excited about NSS/CSS/Voyage than about any other Spitfire strings, honestly. SCS I think captures everything I like about their orchestral sound, I’m lucky to have it though CSS would have made a smarter first purchase (and I was warned!). I feel a little less goonish about considering buying both CSS and NSS, though, after your comment. Thanks for the enablement. 

I’m feeling pretty much like Voyage is the prize though, much as I love CSS.


----------



## jaketanner

Russell Anderson said:


> I’m much more excited about NSS/CSS/Voyage than about any other Spitfire strings, honestly. SCS I think captures everything I like about their orchestral sound, I’m lucky to have it though CSS would have made a smarter first purchase (and I was warned!). I feel a little less goonish about considering buying both CSS and NSS, though, after your comment. Thanks for the enablement.
> 
> I’m feeling pretty much like Voyage is the prize though, much as I love CSS.


No doubt voyage will be great. But consider the cost. I’m fairly certain you’re looking at double to triple the cost. If I remember correctly swing some posts.


----------



## Russell Anderson

Yeah, at least triple the upgrade cost to CSS if Voyage is on sale. I’m going to give it some time, I’m getting a new computer soon and that is going to do a lot more for my music than Voyage will, for now. When I can afford it though it is imo the closest thing to a live orchestra in your computer... after a few months of writing on the new computer I‘ll probably have a better idea of what my needs are and what’s reasonable. It’s hard to see the future clearly on 8GB of RAM


----------



## Bman70

Been messing with NSS legato violins B... seems pretty agile and I find I can get close to what I'd play on the violin, including the bowing for the kind of expressiveness I'd be after if performing. For instance this bit of melody I literally mimed playing so I could get the bowing clear. There are some small gripes but in a mix they disappear.

Can't remember if I adjusted the samples start here.

Tone, IDK I like it better than Nucleus, probably better than BSS violins. Playing with all the NSS extra included patches and Multis, like the Gladiator mix, is really fun, very cinematic.


----------



## Russell Anderson

I am learning a lot from Ollie's use of layering in the multis for the RCD libraries and Taste, and the recent demo breakdown video accompanying the RCD Acoustic release. Seriously incredible patches, sound design work, amazing. I assume the same is probably true in NSS and the coming update.


----------



## Casiquire

Sorry i missed it, what's coming in the update?


----------



## Emmanuel Rousseau

Bman70 said:


> Been messing with NSS legato violins B... seems pretty agile and I find I can get close to what I'd play on the violin, including the bowing for the kind of expressiveness I'd be after if performing. For instance this bit of melody I literally mimed playing so I could get the bowing clear. There are some small gripes but in a mix they disappear.
> 
> Can't remember if I adjusted the samples start here.
> 
> Tone, IDK I like it better than Nucleus, probably better than BSS violins. Playing with all the NSS extra included patches and Multis, like the Gladiator mix, is really fun, very cinematic.


Where is that Gladiator Mix please ? I'm using NSS daily and never noticed it


----------



## novaburst

This Library has a very good sound, and from the videos I have seen has some very unique features, I would agree with one or two statements that it is very underrated, as with a few of these smaller developer's seem to be over shadowed by the big guns,


----------



## Russell Anderson

Emmanuel Rousseau said:


> Where is that Gladiator Mix please ? I'm using NSS daily and never noticed it


I only realized those demo tracks for NSS were yours a few days ago, superb work. Excellent production quality and the composition and orchestration were wonderful, I really enjoyed them. I hope you're getting plenty of work. Which brass library(ies) did you use in your demos, if you're willing to share? If you're layering multiple libraries together I'll probably just buy and learn to use CSB or something until I know better what I'm doing, but that brass sound was smashing.


Casiquire said:


> Sorry i missed it, what's coming in the update?


It appears the leaked link no longer works, but there was a leaked update page, I believe it's featuring... either molto vibrato or some different kind of expressive playing, more emotional, and then also textural patches. The demo track using the expansion patches (it's an expansion I believe, not an update) was actually in their Ocean Textures video during spring.


----------



## Henrik B. Jensen

I wish he’d recorded Staccato.


----------



## Emmanuel Rousseau

Russell Anderson said:


> I only realized those demo tracks for NSS were yours a few days ago, superb work. Excellent production quality and the composition and orchestration were wonderful, I really enjoyed them. I hope you're getting plenty of work. Which brass library(ies) did you use in your demos, if you're willing to share? If you're layering multiple libraries together I'll probably just buy and learn to use CSB or something until I know better what I'm doing, but that brass sound was smashing.
> 
> It appears the leaked link no longer works, but there was a leaked update page, I believe it's featuring... either molto vibrato or some different kind of expressive playing, more emotional, and then also textural patches. The demo track using the expansion patches (it's an expansion I believe, not an update) was actually in their Ocean Textures video during spring.



Thank you very much @Russell Anderson ! Really appreciate your comment.

I just opened my project file for "United As One" to be sure, but as expected the brass is almost 100% Berlin Brass. There is some layering with Metropolis Ark 1 and the Low Brass patch from Modus on the final part of the track, but these are pretty low in volume.

With Berlin Brass, I used a trick I like very much with the French Horns and Trombones : using the solo instruments and the ensembles at the same time, but playing a bit with the panning and mic positions to emulate larger sections. The ability to do this is imho one of the great strenghts of Berlin Brass.

CSB looks like an amazing library as well ! Berlin is the only dedicated brass lib I have, but I suppose you can get great results with any of those "big" libraries once you've spend enough time with them


----------



## Bman70

Emmanuel Rousseau said:


> Where is that Gladiator Mix please ? I'm using NSS daily and never noticed it


Gladiator Mixes are multis in the Instruments (Symphonic) > Full Ensemble (Symphonic) folder. I added them to Quick Load in Kontakt:


----------



## Russell Anderson

Emmanuel Rousseau said:


> Berlin is the only dedicated brass lib I have, but I suppose you can get great results with any of those "big" libraries once you've spend enough time with them


Thanks for the reply and going in to check, I appreciate it. I forgot about Berlin Brass, honestly, I'll give it some listening before going in on CSB this fall. I'm just using AROOF for brass right now. But I think I'm in agreement with you that most of these would do with enough time, we'll see what my gut says when I listen to these two and explore the workflows. Thanks for the advice and the tip on the soloists, that's great!


----------



## homie

I'm looking for a workhorse medium sized string lib with a nice, full sound spectrum and not too wet studio sound. 

What do you guys think about these:

Either a combo of
NSS + Vista (for more legato variety, but rather expensive even on sale)
NSS + CSS
NSS + TSS (medium + smaller sized)

or just a single lib
NSS or CSS

Is Fluid Shorts 2 good for filling the shorts gap in NSS? The TSS shorts are probably too small sounding for that purpose, right?

I find it rather hard to evaluate string libraries by just listening to demos.


----------



## jaketanner

homie said:


> I'm looking for a workhorse medium sized string lib with a nice, full sound spectrum and not too wet studio sound.
> 
> What do you guys think about these:
> 
> Either a combo of
> NSS + Vista (for more legato variety, but rather expensive even on sale)
> NSS + CSS
> NSS + TSS (medium + smaller sized)
> 
> or just a single lib
> NSS or CSS
> 
> Is Fluid Shorts 2 good for filling the shorts gap in NSS? The TSS shorts are probably too small sounding for that purpose, right?
> 
> I find it rather hard to evaluate string libraries by just listening to demos.


NSS is great, and you may not need anything else. Unless you want specific specialized dynamics, NSS will cover most all writing. Only reason to get CSS with NSS is if you want a most "lush" sound..BUT, I would get NSS first, then decide if you actually need another one.


----------



## filipjonathan

homie said:


> I'm looking for a workhorse medium sized string lib with a nice, full sound spectrum and not too wet studio sound.
> 
> What do you guys think about these:
> 
> Either a combo of
> NSS + Vista (for more legato variety, but rather expensive even on sale)
> NSS + CSS
> NSS + TSS (medium + smaller sized)
> 
> or just a single lib
> NSS or CSS
> 
> Is Fluid Shorts 2 good for filling the shorts gap in NSS? The TSS shorts are probably too small sounding for that purpose, right?
> 
> I find it rather hard to evaluate string libraries by just listening to demos.


If you want a dry library wait till TSS is out, you might actually go for that one. It's got a bunch of different shorts.


----------



## homie

jaketanner said:


> NSS is great, and you may not need anything else. Unless you want specific specialized dynamics, NSS will cover most all writing. Only reason to get CSS with NSS is if you want a most "lush" sound..BUT, I would get NSS first, then decide if you actually need another one.


Thanks for your input. I really like the idea of getting just one library and may go with NSS. I really don't want to spend more than necessary. But don't you think CSS would fill most gaps and expand NSS nicely? I have no idea how good the would work together as one though.


----------



## Emmanuel Rousseau

As promising as TSS looks, I'd leave it out of the equation until it is released. 
The thing with string libraries is... One combination can work on a track and fail miserably with another. I'm not sure you could have some kind of magic sauce like "my string sound is NSS + CSS". Those libs are all good but have very different tones!

That was me being helpful :]


----------



## homie

filipjonathan said:


> If you want a dry library wait till TSS is out, you might actually go for that one. It's got a bunch of different shorts.


TSS is also on my radar. It seems to sound smaller, which is nice too, but i like the medium sized sound as well. I'm not sure about how different they sound or if it's going to be too redundant (NSS + TSS).


----------



## jaketanner

homie said:


> Thanks for your input. I really like the idea of getting just one library and may go with NSS. I really don't want to spend more than necessary. But don't you think CSS would fill most gaps and expand NSS nicely? I have no idea how good the would work together as one though.


CSS doesn't have many more articulations than NSS. I have used CSS ONLY to supplement, not layer with Con Moto library, because they have a similar tone. So I used the cello and first violin of CSS to add some lushness to Con Moto strings. NSS sounds similar to Con Moto, but also very unique. I prefer the tone of NSS over many other libraries and certainly over CSS...while a lot of people love that library, I find the tone and extra vibrato to be for very specific writing. Depends on what other libraries you are using as well.


----------



## homie

Emmanuel Rousseau said:


> As promising as TSS looks, I'd leave it out of the equation until it is released.
> The thing with string libraries is... One combination can work on a track and fail miserably with another. I'm not sure you could have some kind of magic sauce like "my string sound is NSS + CSS". Those libs are all good but have very different tones!
> 
> That was me being helpful :]




You're probably right about it being too early to consider something not released yet. In any case thanks for your input regarding the difference in tone of NSS and CSS. I was hoping they would blend with each other more or less seamlessly.


----------



## Emmanuel Rousseau

homie said:


> You're probably right about it being too early to consider something not released yet. In any case thanks for your input regarding the difference in tone of NSS and CSS. I was hoping they would blend with each other more or less seamlessly.


I mean, they could blend seamlessly! But they will never work together in each and every scenario. That's why you always need several options. Hard choices, good luck! (but yes, NSS is awesome )


----------



## homie

jaketanner said:


> CSS doesn't have many more articulations than NSS. I have used CSS ONLY to supplement, not layer with Con Moto library, because they have a similar tone. So I used the cello and first violin of CSS to add some lushness to Con Moto strings. NSS sounds similar to Con Moto, but also very unique. I prefer the tone of NSS over many other libraries and certainly over CSS...while a lot of people love that library, I find the tone and extra vibrato to be for very specific writing. Depends on what other libraries you are using as well.


I don't have a larger collection of string libraries, just Light & Sound Chamber Strings and Anthology (not installed yet since i got it as freebie in the current 8DIO sale). LS has many mics but it's not easy (to me) to mold the sound i want. I asked them to consider an update including mic mixes as alternative to the single mics. Regarding Anthology i don't anticipate it to be a workhorse solution.


----------



## Bman70

homie said:


> I don't have a larger collection of string libraries, just Light & Sound Chamber Strings and Anthology (not installed yet since i got it as freebie in the current 8DIO sale). LS has many mics but it's not easy (to me) to mold the sound i want. I asked them to consider an update including mic mixes as alternative to the single mics. Regarding Anthology i don't anticipate it to be a workhorse solution.


I don't know if you were already aware, but NSS is technically a chamber sized ensemble (originally called Nashville Chamber Strings). It doesn't sound chamber sized to me, though. 

But you might want two libraries, a larger symphonic ensemble, then the more agile smaller NSS.


----------



## homie

Bman70 said:


> I don't know if you were already aware, but NSS is technically a chamber sized ensemble (originally called Nashville Chamber Strings). It doesn't sound chamber sized to me, though.
> 
> But you might want two libraries, a larger symphonic ensemble, then the more agile smaller NSS.


Yes i'm aware of that. NSS sounds medium sized to me. I'd consider adding a larger ensemble later if needed. I thought it could be a good idea to add something smaller (or solo strings) than NSS first and ideally being able to layer it (or using it on it's own) with the medium sized ensemble.

edit
TSS is going to sound smaller than NSS right?


----------



## Futchibon

homie said:


> Yes i'm aware of that. NSS sounds medium sized to me. I'd consider adding a larger ensemble later if needed. I thought it could be a good idea to add something smaller (or solo strings) than NSS first and ideally being able to layer it (or using it on it's own) with the medium sized ensemble.
> 
> edit
> TSS is going to sound smaller than NSS right?





Bman70 said:


> I don't know if you were already aware, but NSS is technically a chamber sized ensemble (originally called Nashville Chamber Strings). It doesn't sound chamber sized to me, though.
> 
> But you might want two libraries, a larger symphonic ensemble, then the more agile smaller NSS.


NSS has 2 sets of samples and can sound symphonic sized as well. I'd go NSS + Vista


----------



## artomatic

An update with portamento would be dandy.


----------



## muziksculp

Henrik B. Jensen said:


> I wish he’d recorded Staccato.


One of the reasons I didn't buy this library. Bad decision to leave out such a standard articulation as Staccato.


----------



## homie

muziksculp said:


> One of the reasons I didn't buy this library. Bad decision to leave out such a standard articulation as Staccato.


It's unfortunate and bothers me too. Do you think Fluid Shorts 2 could come to rescue? It has 4 lengths of spiccato, but no staccatos either. I wonder which library would be the best to deliver the missing articulations.


----------



## muziksculp

It would make most sense if they add Staccato, and Staccatisimo to the Nashville Scoring Strings via an update.


----------



## Nando Florestan

muziksculp said:


> One of the reasons I didn't buy this library. Bad decision to leave out such a standard articulation as Staccato.


OK hear me out: I bought Nashville today and I am testing it right now. The Marcato patch sounds like staccato if you release the key real quick. In fact, it is capable of releasing as quickly as the spiccato patch, and I have difficulty hearing a difference between the two. And I love being able to sculpt the length of my staccati.

The reason there is no staccato patch is, it is not necessary as a separate patch. EDIT: In fact, I am having a hard time using the marcato patch just because of the sucking pre-attack (actually the end of another note in the performance sampling), which is really loud and annoying.

Recently CSS has been my main library. Here are my comparison thoughts:

In CSS you can dial vibrato, in Nashville you cannot. In CSS you can dial legato to better shape the phrase, in Nashville there's only a very fast legato, capable of runs. But Nashville sounds very clean, where CSS sounds a bit messy. By this I mean the sound is very dry so you can play and hear very detailed things. CSS is much more wet and CSS legatos have a long release (for the final note of a phrase) that you cannot get rid of. The release is annoying to me; Nashville has no such issue, all tremolos and trills and legatos feel like they cease immediately, respecting what I played.

Nashville scripts are simpler, so CPU usage is better. If you layer 2 divisi sections (which are ready made using the transposition trick), you get a symphonic sound, and the CPU usage is just a tad higher than one CSS microphone. If you use 2 microphones on one Nashville legato patch, again the performance is comparable to one CSS.

I wanted to use Nashville as my go-to, switching to CSS for slower, more expressive things. I believe in casting different libraries to suit certain phrases. From what I am hearing, Nashville will blend well with anything: SCS, Soaring, Con Moto, Vista, LASS etc. And it will offer a goal of a clean sound that none of the others really have.

Nashville legato is very stiff -- good for one kind of phrase; are you doing another kind? Sorry, no way to change it. CSS is more flexible in this regard, since legato responds to note-on velocity.

Nashville only has sordino for legatos (EQ) and sustains (recorded). CSS has sordino for every articulation (EQ). This is a major way in which CSS wins, the sordino also sounds better somehow.

CSS has Violins 2. Nashville uses the transposition trick to create Violins B, but this patch is used in the (divisi a 2) symphonic multi. If you only have Nashville you can't have 30 violins on a single note.

CSS is better in that it offers all articulations in a single patch. Much easier to use. If you decide to change the microphone, in CSS you do it once, in Nashville you do it in a dozen patches. For Nashville I will be using FlexRouter:








GitHub - jtackaberry/flexrouter: Flexible keyswitch router for Kontakt (multiscript)


Flexible keyswitch router for Kontakt (multiscript) - GitHub - jtackaberry/flexrouter: Flexible keyswitch router for Kontakt (multiscript)




github.com





In Nashville I can hear the note before its attack in the Marcato patch, which they say is a side effect of sourcing the note from a performance, exactly like in Performance Samples stuff. I think this is present in other articulations too. This is very annoying and if the part is exposed I wouldn't use this library for it.

CSS has an old bug that has never been fixed in which the modwheel on the UI, the one that chooses between shorts, or between pizzicato, bartók and col legno, jumps up on random notes for no reason at all. I have found it impossible to rely on CSS pizz because every now and then an aggressive legno will sound instead. Such a glaring problem, there's more than 1 thread on VI-Control about it, and no solution for years and years. By the way, you have to right-click the modwheel to dissociate CC1 from it, but even so, this issue persists, it's not related to automation.

To my taste, some of the best mockups out there are by Andy Blaine using Spitfire libraries. Paying attention to those mockups, I realize he also seems to mix close mics higher. Listen to how little room those mockups really have in them. The instruments are the stars, not the room -- even if he uses Spitfire stuff. I think he would like Nashville.

In short, both CSS and Nashville are OK choices for a first library that is inexpensive and you're gonna use for a long time. Just pick your annoyances. Nashville is less flexible but offers divisi a 2 and is cheaper at $210 with the coupon.


----------



## Russell Anderson

homie said:


> I'm looking for a workhorse medium sized string lib with a nice, full sound spectrum and not too wet studio sound.
> 
> What do you guys think about these:
> 
> Either a combo of
> NSS + Vista (for more legato variety, but rather expensive even on sale)
> NSS + CSS
> NSS + TSS (medium + smaller sized)
> 
> or just a single lib
> NSS or CSS
> 
> Is Fluid Shorts 2 good for filling the shorts gap in NSS? The TSS shorts are probably too small sounding for that purpose, right?
> 
> I find it rather hard to evaluate string libraries by just listening to demos.


I laughed at your comment because that's almost ad verbatim my position as well. I have LAMP and the 2 RCD libraries, so my upgrade price to NSS should be very cheap, and NSS+Vista has been what I've had in my head to flex around SCS, which is my other string library. But CSS is the bugger that doesn't go away because I love the sound and the style, and I'm still considering all of them to be perfectly honest. I love NSS' sound, and I love CSS/Vista sound and messiness. And the legato types from each.


----------



## homie

I've just listened to the Fluid Shorts 2 demos and think they wouldn't really bring something to the table in this case, but could be wrong.


----------



## Futchibon

Nando Florestan said:


> The Marcato patch sounds like staccato if you release the key real quick. In fact, it is capable of releasing as quickly as the spiccato patch, and I have difficulty hearing a difference between the two. And I love being able to sculpt the length of my staccati.
> 
> The reason there is no staccato patch is, it is not necessary as a separate patch.


+1


Russell Anderson said:


> I laughed at your comment because that's almost ad verbatim my position as well. I have LAMP and the 2 RCD libraries, so my upgrade price to NSS should be very cheap, and NSS+Vista has been what I've had in my head to flex around SCS, which is my other string library. But CSS is the bugger that doesn't go away because I love the sound and the style, and I'm still considering all of them to be perfectly honest. I love NSS' sound, and I love CSS/Vista sound and messiness. And the legato types from each.


How much can you get NSS for? I got it for $209 a while back and it's a great library. Paired with Vista (currently $179) it's a fantastic combo.

CSS will likely drop 25% on BF to 299, but if you can get NSS+Vista for around the same price I think it's a better option. Jasper worked on both which is interesting. If you get CSS you'll still yearn for Vista.

CSS is a workhorse. NSS is a darkhorse. Vista is a thoroughbred


----------



## Russell Anderson

I think Pacific's shorts are sooner what you'd be looking for, which is a dynamics-based transition between spiccato and staccato. But $700 for shorts (and the entirety of pacific+vista) is no drop in the bucket


----------



## Russell Anderson

Futchibon said:


> +1
> 
> How much can you get NSS for? I got it for $209 a while back and it's a great library. Paired with Vista (currently $179) it's a fantastic combo.
> 
> CSS will likely drop 25% on BF to 299, but if you can get NSS+Vista for around the same price I think it's a better option. Jasper worked on both which is interesting. If you get CSS you'll still yearn for Vista.
> 
> CSS is a workhorse. NSS is a darkhorse. Vista is a thoroughbred


EDIT: at these prices... What am I even doing? I'm going to go email their support now and ask what my price looks like.


----------



## homie

Henrik B. Jensen said:


> I thought about Sunset Strings, I seem to remember from it’s launch that it has Staccato and that the tone was somewhat similar.


Looks like an interesting option. Do you think the ensemble + basses approach is flexible enough? Maybe someone owning both can comment on how well they blend.


----------



## homie

Russell Anderson said:


> I laughed at your comment because that's almost ad verbatim my position as well. I have LAMP and the 2 RCD libraries, so my upgrade price to NSS should be very cheap, and NSS+Vista has been what I've had in my head to flex around SCS, which is my other string library. But CSS is the bugger that doesn't go away because I love the sound and the style, and I'm still considering all of them to be perfectly honest. I love NSS' sound, and I love CSS/Vista sound and messiness. And the legato types from each.


Sounds familiar  It's really hard to decide what to get. I don't want to end as library collector. I'm working hard to get CSS out of consideration. That would help. Otherwise one could just get CSS and be done with it. Although i'm not against it's darker tone i feel it may be a little too muffled. Anyhow i'm leaning towards NSS at the moment.


----------



## homie

Nando Florestan said:


> I believe I will use Nashville as my go-to, switching to CSS for slower, more expressive things.


That's the next point. I'd really like to have slower transitions for slower stuff. Buying an expensive second library just for that doesn't seem appealing. Maybe the expansion for NSS will remedy that?


----------



## Bman70

muziksculp said:


> One of the reasons I didn't buy this library. Bad decision to leave out such a standard articulation as Staccato.


It's not always that clear of a distinction audibly, depending on performers, and I'd rather have spiccato anyway. I find the shorts more than sufficient. I made this short sample when I was testing the cello patch only... I penciled in the MIDI with my mouse, to see if it had any "shotgun" effect. To me it has a nice natural crunchy bow sound. Could sound a lot better than this if performed vs drawn in.


----------



## muziksculp

Bman70 said:


> It's not always that clear of a distinction audibly, depending on performers, and I'd rather have spiccato anyway. I find the shorts more than sufficient. I made this short sample when I was testing the cello patch only... I penciled in the MIDI with my mouse, to see if it had any "shotgun" effect. To me it has a nice natural crunchy bow sound. Could sound a lot better than this if performed vs drawn in.


THANKS 

Sounds good, but not exactly Staccato, or Staccatisimo, Still sounds like Spicc.

Anyways, I have already Pre-Purchased ISW's TSS, I think they will be my go to dry, chamber String library. Lots of options for shorts, legatos, and other articulations.


----------



## JohnBMears

Nando Florestan said:


> OK hear me out: I bought Nashville today and I am testing it right now. The Marcato patch sounds like staccato if you release the key real quick. In fact, it is capable of releasing as quickly as the spiccato patch, and I have difficulty hearing a difference between the two. And I love being able to sculpt the length of my staccati.
> 
> The reason there is no staccato patch is, it is not necessary as a separate patch.
> 
> Recently CSS has been my main library. Here are my comparison thoughts:
> 
> In CSS you can dial vibrato, in Nashville you cannot. In CSS you can dial legato to better shape the phrase, in Nashville there's only a very fast legato, capable of runs. But Nashville sounds very clean, where CSS sounds a bit messy. By this I mean the sound is very dry so you can play and hear very detailed things. CSS is much more wet and CSS legatos have a long release (for the final note of a phrase) that you cannot get rid of. The release is annoying to me; Nashville has no such issue, all tremolos and trills and legatos feel like they cease immediately, respecting what I played.
> 
> Nashville scripts are simpler, so CPU usage is better. If you layer 2 divisi sections (which are ready made using the transposition trick), you get a symphonic sound, and the CPU usage is just a tad higher than one CSS microphone. If you use 2 microphones on one Nashville legato patch, again the performance is comparable to one CSS.
> 
> I believe I will use Nashville as my go-to, switching to CSS for slower, more expressive things. I believe in casting different libraries to suit certain phrases. From what I am hearing, Nashville will blend well with anything: SCS, Soaring, Con Moto, Vista, LASS etc. And it will offer a goal of a clean sound that none of the others really have.
> 
> Nashville only has sordino for legatos (EQ) and sustains (recorded). CSS has sordino for every articulation (EQ).
> 
> CSS has Violins 2. Nashville uses the transposition trick to create Violins B, but this patch is used in the (divisi a 2) symphonic multi. If you only have Nashville you can't have 30 violins on a single note.
> 
> CSS is better in that it offers all articulations in a single patch. Much easier to use. For Nashville I will be using FlexRouter:
> 
> 
> 
> 
> 
> 
> 
> 
> GitHub - jtackaberry/flexrouter: Flexible keyswitch router for Kontakt (multiscript)
> 
> 
> Flexible keyswitch router for Kontakt (multiscript) - GitHub - jtackaberry/flexrouter: Flexible keyswitch router for Kontakt (multiscript)
> 
> 
> 
> 
> github.com
> 
> 
> 
> 
> If anyone has multis already using FlexRouter, it would save me a lot of time setting it up...
> 
> To my taste, some of the best mockups out there are by Andy Blaine using Spitfire libraries. Paying attention to those mockups, I realize he also seems to mix close mics higher. Listen to how little room those mockups really have in them. The instruments are the stars, not the room -- even if he uses Spitfire stuff. I think he would like Nashville.
> 
> In short, both CSS and Nashville are great choices for a first library that is inexpensive and you're gonna use for a long time. Just pick your annoyances. Nashville is less flexible but cleaner-sounding and offers divisi a 2, all for $210 with the coupon.


How do you get the coupon?
Thanks!


----------



## olvra

Futchibon said:


> NSS has 2 sets of samples and can sound symphonic sized as well.


are you suggesting layering them?


----------



## Futchibon

olvra said:


> are you suggesting layering them?


There are 2 instruments folders, one symphonic, so they do it for you


----------



## Batrawi

NSS has an amazing neutral sound. It would have been my main library if it had slurred legatos.


----------



## Nando Florestan

JohnBMears said:


> How do you get the coupon?


Come with me down these stairs, there's a room full of toys!

...or just take a good look at The Website.


----------



## Oxytoxine

Very interesting infos in this thread 👍 short question for you NSS users: is the expansion thing official or just rumour? And is there a ressource with more details what it will contain? 

If slurred legato and keyswitches are indeed coming, I think I'll pass on the Pacific / Vista / Voyage hype and get NSS - your enthusiasm indicates that it's a great, very versatile lib and seems well suited to pair with almost everything. (Didn't consider it due to lack of staccato etc., but the above examples seem to show that it is no problem to use different note lengths of the marcato patch to achieve various shorts - which would be even better than a "regular" staccato patch)


----------



## Hendrixon

Nando Florestan said:


> Come with me down these stairs, there's a room full of toys!


----------



## Emmanuel Rousseau

Oxytoxine said:


> short question for you NSS users: is the expansion thing official or just rumour? And is there a ressource with more details what it will contain?


It is official, but not for tomorrow morning


----------



## Oxytoxine

Emmanuel Rousseau said:


> It is official, but not for tomorrow morning


Fantastique - merci beaucoup Emmanuel 👍


----------



## bfreepro

Did this ever get updated to fix that super annoying bug with the legato that will randomly (and very constantly) trigger a ton of notes at once?


----------



## Russell Anderson

bfreepro said:


> Did this ever get updated to fix that super annoying bug with the legato that will randomly (and very constantly) trigger a ton of notes at once?


Nope, but that seems to be when multiple notes are triggered at once, exclusively. In my experience thus far.

My question is about notes not playing at all, now. Legato transition from x to y, nothing. Try again, nothing. Y by itself? 75% of the time it’ll play, 25% of the time it’ll trigger a lone X-Y legato transition and then drop out. Can’t remember if I was holding the sustain pedal down for these, but it’s happened like 25 times in a few days, and the lone-legato-then-dropout has happened like 5 times.

I am about to set up a new computer, as my current one is horrible, so I could chalk this up to my computer. But am I alone?

Let me just take a moment too, while I’m here, and say: I love this library. Sounds amazing, I like the legato a lot for what it likes to do (which can actually be pretty diverse), and the low voices and shorts... hhuuaaaayyesss


----------



## bfreepro

Russell Anderson said:


> Nope, but that seems to be when multiple notes are triggered at once, exclusively. In my experience thus far.
> 
> My question is about notes not playing at all, now. Legato transition from x to y, nothing. Try again, nothing. Y by itself? 75% of the time it’ll play, 25% of the time it’ll trigger a lone X-Y legato transition and then drop out. Can’t remember if I was holding the sustain pedal down for these, but it’s happened like 25 times in a few days, and the lone-legato-then-dropout has happened like 5 times.
> 
> I am about to set up a new computer, as my current one is horrible, so I could chalk this up to my computer. But am I alone?
> 
> Let me just take a moment too, while I’m here, and say: I love this library. Sounds amazing, I like the legato a lot for what it likes to do (which can actually be pretty diverse), and the low voices and shorts... hhuuaaaayyesss


I always noticed the weird mass-note triggering before every now and then, but I just recently installed the library on a new system, and it's an absolute nightmare now. I get that issue every single time I try to play back my MIDI, over and over and over, it's guaranteed to happen if I start playback in the middle of a phrase and it's starting to drive me insane. The library does sound so damn good, which is why it's so frustrating... I wanna actually be able to use it without pulling my hair out lol. I also noticed the same issue you just mentioned, with the notes just not playing. That happened on one phrase only, but it definitely happened multiple times as I tried to figure out what was causing it... and never happened before on my other system.


----------



## Russell Anderson

bfreepro said:


> it definitely happened multiple times as I tried to figure out what was causing it... and never happened before on my other system.




You got this Ollie


----------



## Bman70

Interesting, I haven't had any of these issues with NSS on my 2019 MBP / Catalina 16MB. I don't use anything fancy like a sustain pedal though (although I've never used that for strings TBH).


----------



## Russell Anderson

On the subject of sustain pedals, the rebow in NSS seems very… Separated, I wonder if there is a relatively easy way to amend this besides just bypassing it in MIDI


----------



## NeonMediaKJT

was there any suggestion that they'll be adding slurred legato at some point?


----------



## NeonMediaKJT

ka00 said:


> Not to spread rumours, so if I'm wrong please correct me, but I seem to recall Jasper and Audio Ollie sort of parted ways after this library, which would lead me to believe nothing as major as adding slurred legato would be possible without hiring someone other than Jasper to do it. Again, please someone set the record straight if I don't have the correct info.


hmmm. Surely it wouldn't take Jasper Blunk's involvement to figure out a way of implementing slurs, right?


----------



## gst98

ka00 said:


> Frankly, I don't know. He is a leader in the field of legato sampling/programming technique though.
> 
> And again, to quash any rumours in case I misinterpreted the situation, here's the "official statement" that I read into at the time:
> 
> 
> 
> 
> 
> 
> 
> It may be a misunderstanding on my part. It might simply have been a case of Jasper getting a lot of questions about Nashville Scoring Strings that he didn't want to spend his time answering.
> 
> Not sure if this was ever clarified later.


At first, I thought it may have been for this reason, but the fact that all mention of PS being taken off of the AO website makes me think it was something more.


----------



## Emmanuel Rousseau

It has never been clarified later, and to be honest this is not our business. I think it's not fair at all to say the expansion project is doomed without a collaboration with Performance Samples. Ollie is a great sample library developer. 

I love Jasper Blunk's work and he is a maestro at what he does, but guys he is not Jesus Christ either. Plenty of other people make super convincing legatos, just look at Embertone, or Organic Samples Majestic Horn, or that Norrland Solo Trumpet, or the Cinematic Studio Series. I'm sure I'm missing plenty.


----------



## Casiquire

AudioOllie has released plenty of libraries without Jasper. I think it'll be fine 😊


----------



## Futchibon

Emmanuel Rousseau said:


> I love Jasper Blunk's work and he is a maestro at what he does, but guys he is not Jesus Christ either.


----------



## Russell Anderson

Layer with Vista or Pacific for Jasper slurs, or Soaring Strings. Bring out the line with the transitions you want


----------



## ism

Emmanuel Rousseau said:


> but guys he is not Jesus Christ either.


Well, there is a material sense in you could legitimately cast Performance Samples as lord and saviour of the kingdom of extra-flowy legatos. Or at least a corner of it. 

But there's a whole universe of musicalities out there.


----------



## Futchibon

ism said:


> Well, there is a material sense in you could legitimately cast Performance Samples as lord and saviour of the kingdom of extra-flowy legatos. Or at least a corner of it.
> 
> But there's a whole universe of musicalities out there.


Perhaps he's not Jesus. But definitely Midas  Should I buy Pacific? Midas well...


----------



## Futchibon

Casiquire said:


> AudioOllie has released plenty of libraries without Jasper. I think it'll be fine 😊


True, but who is that mystery man at 0:38 on the LAMP Teaser? LAMP is tempting me quite a bit at $199...


----------



## ScrltPumpernickel

Anybody know, how many RR's legato patches have and other patches in NSS for that matter? 
Before I comb through 63 pages.
Thank you.


----------



## Casiquire

ScrltPumpernickel said:


> Anybody know, how many RR's legato patches have and other patches in NSS for that matter?
> Before I comb through 63 pages.
> Thank you.


Do they have any? RR legato is uncommon. I do wish the site had some clearer specs and details


----------



## ScrltPumpernickel

Casiquire said:


> Do they have any? RR legato is uncommon. I do wish the site had some clearer specs and details


Yeah, it's those little things, I usually find out only after I purchased something.


----------



## NeonMediaKJT

I can't really hear any rr for legato. Didn't think many libraries did that except Berlin symphonic


----------



## ScrltPumpernickel

After going through half of the thread, I feel I have to clarify myself. Here's what I mean by legato round robins: having same consecutive notes played with different samples (or with rebow).


----------



## Snarf

ScrltPumpernickel said:


> After going through half of the thread, I feel I have to clarify myself. Here's what I mean by legato round robins: having same consecutive notes played with different samples (or with rebow).


That is generally referred to as 'repetition legato'. RR legato is indeed rare, because it requires developers to sample every legato interval more than once.


----------



## ScrltPumpernickel

Snarf said:


> That is generally referred to as 'repetition legato'. RR legato is indeed rare, because it requires developers to sample every legato interval more than once.


I stand corrected. Do you know if NSS has a repetition legato?


----------



## NeonMediaKJT

ScrltPumpernickel said:


> I stand corrected. Do you know if NSS has a repetition legato?


If you play a quick legato line over and over it sounds kinda robotic. Can’t hear rr


----------



## gst98

If you're talking about same-note repetitions, then yes, JB calls it 'active rebowing' and they are activated by the sustain pedal.


----------



## Russell Anderson

Am I the only one experiencing the rebow as significantly delayed? There is an abrupt and prolonged pause when rebowing. I am about to start building my new and _way_ better computer, so with that and a batch resave, I may find it was just me and my non-batch-resaved copy on my crappy machine.


----------



## Jackal_King

Has there been any word on the update/expansion that's been mentioned on this thread?


----------



## Emmanuel Rousseau

Russell Anderson said:


> Am I the only one experiencing the rebow as significantly delayed? There is an abrupt and prolonged pause when rebowing. I am about to start building my new and _way_ better computer, so with that and a batch resave, I may find it was just me and my non-batch-resaved copy on my crappy machine.


Hey! Just to be sure, is your CC64 (Sustain) active during the rebow? There is a big delay, abrupt attack and, well, no rebow sample without that.


----------



## ScrltPumpernickel

How about marcato round robins. Are there any in NSS?


----------



## NeonMediaKJT

i've noticed NSS crash Cubase when using the expand dynamic range feature. Anyone else had this?


----------



## Emmanuel Rousseau

NeonMediaKJT said:


> i've noticed NSS crash Cubase when using the expand dynamic range feature. Anyone else had this?


I can see this feature is heavy on the CPU when moving the slider but never had a single crash. Something to investigate


----------



## IdealSequenceG

Nashville Scoring Strings - Violins Test


----------



## OleJoergensen

A bit late to the show about routing stereo outputs.
Ive setup Kontakt to route out Close, Decca and wide mics to their own stereo channel in Logic but the contact disk meter gets red and sound is cut. Did they never fix this problem?
Im using a Mac pro 2013 with external sample drives-ssd


Solved.
Solution from Audio Ollie:
_Click on the wrench and scroll down to the Insert Effects section and if there's a reverb active, remove it. There's been a strange bug for some people caused by that reverb._

Im using a Mac pro 2013 with external sample drives-ssd.


----------



## Andrewind

Are you using a Mac M1 by any chance ? I’ve had pretty bad performances with this library on this CPU.


----------



## tc9000

IdealSequenceG said:


> Nashville Scoring Strings - Violins Test



Wait - you're the Altiverb + Gullfoss person? I love your soundcloud!


----------



## OleJoergensen

Andrewind said:


> Are you using a Mac M1 by any chance ? I’ve had pretty bad performances with this library on this CPU.


Im using a Mac pro 2013 with external sample drives-ssd.
But in this case it seems to be the disk meter turning red. I will try a new batch resave, otherwise I contact the company…


----------



## constaneum

i love the sound of NSS but the recording of the samples with additional artifacts here and there somehow prevent me from getting it. How good are the legatos by the way?


----------



## Casiquire

constaneum said:


> i love the sound of NSS but the recording of the samples with additional artifacts here and there somehow prevent me from getting it. How good are the legatos by the way?


Don't they offer noise-removed patches? Does that just refer to hiss, or do they also address some of your issues? And i know... it's hard to even say without owning it


----------



## Andrewind

OleJoergensen said:


> Im using a Mac pro 2013 with external sample drives-ssd.
> But in this case it seems to be the disk meter turning red. I will try a new batch resave, otherwise I contact the company…


Well, you should run a speed test on your disk considering it's a pretty old machine.
You can check the Black Magic Disk Speed Test utiliy right here : 








‎Blackmagic Disk Speed Test


‎Disk Speed Test is an easy to use tool to quickly measure and certify your disk performance for working with high quality video! Simply click the start button and Disk Speed Test will write test your disk using large blocks of data, and then display the result. Disk Speed Test will continue to...



apps.apple.com





It's potentially a disk speed issue. First I had the library installed on a 5600 HDD and it was impossible to use it (maxxed at 30Mo/s), then on a Samsung T7 but with the wrong cable (50mo/s). Finally, I'm using the right cable, which brought my T7 to a 700mb/s speed, and it's now working like a charm. 
All in all, it's pretty disk intensive, when I load a single ensemble patch with a few mics (2 - 3), it's easily sitting at around 110 samples at a time.


----------



## prodigalson

constaneum said:


> i love the sound of NSS but the recording of the samples with additional artifacts here and there somehow prevent me from getting it. How good are the legatos by the way?


I love the legatos personally. full of life without being overly romantic and very playable. It is a bit of a bow change legato on most transitions but I find it well executed and so generally doesn't bother me. It's an acceptable trade-off for the general flexibility at many tempos.


----------



## OleJoergensen

Andrewind said:


> Well, you should run a speed test on your disk considering it's a pretty old machine.
> You can check the Black Magic Disk Speed Test utiliy right here :
> 
> 
> 
> 
> 
> 
> 
> 
> ‎Blackmagic Disk Speed Test
> 
> 
> ‎Disk Speed Test is an easy to use tool to quickly measure and certify your disk performance for working with high quality video! Simply click the start button and Disk Speed Test will write test your disk using large blocks of data, and then display the result. Disk Speed Test will continue to...
> 
> 
> 
> apps.apple.com
> 
> 
> 
> 
> 
> It's potentially a disk speed issue. First I had the library installed on a 5600 HDD and it was impossible to use it (maxxed at 30Mo/s), then on a Samsung T7 but with the wrong cable (50mo/s). Finally, I'm using the right cable, which brought my T7 to a 700mb/s speed, and it's now working like a charm.
> All in all, it's pretty disk intensive, when I load a single ensemble patch with a few mics (2 - 3), it's easily sitting at around 110 samples at a time.


Thank you for trying to help out, I appreciate it.
Its not a disk problem. I use a large orchestra templete with 3 mics for each instruments and it works fine with OT Kontakt version (also Sine version).
I can easyly stream al 4 mics Nashville scoring strings and the default setting in Kontakt. If I route just 2 mics to stereo 1 og to stereo 1 and 2, Kontakts disk meter turns red and voices are cut.
I just emailed Audio Ollie and waits for reply.


----------



## OleJoergensen

Solved.
Solution from Audio Ollie:
_Click on the wrench and scroll down to the Insert Effects section and if there's a reverb active, remove it. There's been a strange bug for some people caused by that reverb.
_


----------



## Dylanguitar

Sorry if this is a dumb question, and admittedly I have not read through this entire 64-page thread that spans 3 yrs, but was "Nashville Chamber Strings" ever released?


----------



## polynaeus

Dylanguitar said:


> Sorry if this is a dumb question, and admittedly I have not read through this entire 64-page thread that spans 3 yrs, but was "Nashville Chamber Strings" ever released?


No “Nashville Chamber Strings” was not released. But “Nashville Scoring Strings” was.

Did you know this was a library by Audio Ollie?


----------



## Dylanguitar

polynaeus said:


> No “Nashville Chamber Strings” was not released. But “Nashville Scoring Strings” was.
> 
> Did you know this was a library by Audio Ollie?


Yes. I just didn't know they were the same thing. I should have looked at the section size. Thanks!
It's currently on sale.








Buy Nashville Scoring Strings By Audio Ollie - 5% Back


Nashville Scoring Strings by Audio Ollie is one of the most realistic string sample libraries. Get that Hollywood sound with 80GB of content.




pulse.audio


----------



## Dylanguitar

The price seems very appealing. I'm wondering how it compares to SCS. I've heard some comparisons and SCS sounds more open and brighter, while NSS sounds warmer and more dense (?). 
I know SCS is way more flexible in terms of articulations. Anybody who owns both care to chime in? The sale price is very tempting, but I'm also trying to be smart heading into Black Friday.


----------



## bfreepro

Dylanguitar said:


> The price seems very appealing. I'm wondering how it compares to SCS. I've heard some comparisons and SCS sounds more open and brighter, while NSS sounds warmer and more dense (?).
> I know SCS is way more flexible in terms of articulations. Anybody who owns both care to chime in? The sale price is very tempting, but I'm also trying to be smart heading into Black Friday.


They're incredibly different, I wouldn't even put them in the same category. SCS sounds more like a lush, romantic chamber string section, the hall is simply part of the tone, but the actual string sections themselves sound much smaller, less thick, where NSS sounds much thicker but less lush because they are dry. NSS sounds modern, dry, fuller. I wouldn't describe it as warm, it's rich but not dark, especially compared to CSS. It's definitely more dense than a lot of string libraries out there. Very detailed. Kind of limited and there is basically no release to the samples, they are BONE dry, and you are stuck with just one style/type of legato, and it's a mix between bow change/fingered. I say NSS is more limited because SCS has a much more extensive articulation list and can do amazing things with performance legato that NSS can't even begin to do, but it's not a bad library, it's actually really nice. The tone is the selling point here, it's very nice, the playability and ease of use is pretty low but you get amazing results once you learn the ins and outs and how to program it.


----------



## Dylanguitar

bfreepro said:


> They're incredibly different, I wouldn't even put them in the same category. SCS sounds more like a lush, romantic chamber string section, the hall is simply part of the tone, but the actual string sections themselves sound much smaller, less thick, where NSS sounds much thicker bus less lush because they are dry. NSS sounds modern, dry, fuller. I wouldn't describe it as warm, it's rich but not dark, especially compared to CSS. It's definitely more dense than a lot of string libraries out there. Very detailed. Kind of limited and there is basically no release to the samples, they are BONE dry, and you are stuck with just one style/type of legato, and it's a mix between bow change/fingered. I say NSS is more limited because SCS has a much more extensive articulation list and can do amazing things with performance legato that NSS can't even begin to do, but it's not a bad library, it's actually really nice. The tone is the selling point here, it's very nice, the playability and ease of use is pretty low but you get amazing results once you learn the ins and outs and how to program it.


Thank you!


----------



## muziksculp

No 2nd Violins !

Does this remind you of another library ?


----------



## Getsumen

muziksculp said:


> No 2nd Violins !
> 
> Does this remind you of another library ?


Jasper almost never has second violins in most of his products so it makes sense that NSS doesn't


----------



## Bman70

Dang $179 is sweet, I remember feeling smug I got it for $209. There are those, legends tell, who even paid the original price of $399. Or was it $299.


----------



## constaneum

muziksculp said:


> No 2nd Violins !
> 
> Does this remind you of another library ?


Why no love for 2nd violin ? Haha


----------



## Emmanuel Rousseau

Bman70 said:


> Dang $179 is sweet, I remember feeling smug I got it for $209. There are those, legends tell, who even paid the original price of $399. Or was it $299.


I paid $314 when they came out, but don't regret a thing! I love these strings, use them all the time.


----------



## Obi-Wan Spaghetti

NSS has that PS vibe but in a better/luxurious acoustic environment imo. The acoustic also lends inself better for performance based sampling as the reverb seems shorter. All speculative and my own opinion of course but that's what i hear. I can't get it now but might jump on this on BF if it goes 50% off.


----------



## Dylanguitar

How does NSS compare to Spitfire Studio Strings. I believe they have similar section sizes, and both are somewhat dry.


----------



## bfreepro

Dylanguitar said:


> How does NSS compare to Spitfire Studio Strings. I believe they have similar section sizes, and both are somewhat dry.


Hmm. They’re both high quality, professionally recorded collections and I don’t regret buying either one at full price, but I also love to compare and critique so here goes-

They're both super duper bone dry. NSS has an overall smoother, more silky tone, a bit more high-end air and sparkle. There’s something about that space they recorded in which is really special. Spitfire Studio sounds a bit more dull overall. The non-pro version will only get you one mic position, where NSS has four. NSS has this performance sampled approach- it can add life and realism, especially with shorts! The legato approach is more hit or miss though… don’t like a legato transition between those two notes, or think the violins have too much (or not enough) vibrato? Too bad, it’s all you’re gonna get, because that’s how the players performed it during the sampling sessions. It can sound really good, and generally works well, but it can also occasionally sound disconnected and lacks smoothness in the legato or the vibrato is too much, and there’s no option for adjusting it or triggering a portamento if you desire an extra buttery-smooth transition. You also get denoised and non-denoised samples for NSS. No second violins, but there is a “second pass” sample set (violins B) but I think it is the same group of players, I donno it’s kind of vague but a quick search will tell you more, I remember reading others discussing it. 

Spitfire Studio has multi-articulation patches with keyswitches, which I find to be infinitely more convenient to work with than NSS’s approach of having separate .nki files for each articulation. Honestly the tone of NSS is amazing but the lack of keyswitches is a baffling choice and feels a bit lazy and unfinished to me. Spitfire also has many more articulations in general, as per usual with Spitfire, their collections are quite extensive and at the price point of their Studio Series, it’s downright impressive that you get so much content. Add to that the fact you could even go with the Pro version of studio strings which would get you WAY more content than NSS- more mics, more section sizes, more articulations, more everything. There’s a lot more bow sound in the spiccatos for Spitfire too, they’re more crisp and pointed as opposed to the somewhat loose and chunky NSS shorts. The legato is also hit or miss, it can sound pretty disconnected and unconvincing sometimes, but to be fair it also works well a lot of the time. I think “spitfire legato sucks” is just a weird snowball effect that is of course sometimes true, but also often just dramatic over exaggeration. 

I’d say the biggest thing between the two is that NSS sounds more raw, unpolished, and alive, for better or for worse. Spitfire is polite and refined and a bit… bland and boring, but that may be just what you’re after, it’s predictable and does what you tell it to with clinical precision. With NSS there’s almost no editing or tweaking options for adjusting the samples besides mic positions and sample start offsets… no vibrato control, no key switching, no ADSR, no legato speed/volume, nothing like that. And NSS has literally ZERO release. You let go of that key and the note stops INSTANTLY. Zero tail or reflections. It can be a bit jarring. You’ll really need a third party reverb for these. 

As a stand alone dry strings library (without layering or using any other strings), I think NSS works a bit better than Spitfire Studio Strings (non pro) because of the tone and lifelike rawness, but I also really dig that stuff in samples. At this price it’s really a steal, especially considering the fact you might pay at least 100 dollars more for JUST strings legato from another company.


----------



## Emmanuel Rousseau

bfreepro said:


> And NSS has literally ZERO release. You let go of that key and the note stops INSTANTLY. Zero tail or reflections. It can be a bit jarring. You’ll really need a third party reverb for thes


Yes, you clearly need some reverb with these! I'm using Seventh Heaven and it works just fine, but it was indeed a bit of a surprise at first, being used to very wet libraries. Playing with Expression also helps a LOT for sculpting the end of phrases and making the library sing.


----------



## bfreepro

Emmanuel Rousseau said:


> Yes, you clearly need some reverb with these! I'm using Seventh Heaven and it works just fine, but it was indeed a bit of a surprise at first, being used to very wet libraries. Playing with Expression also helps a LOT to sculpt the end of phrases and make the library sing.


Definitely agree, this is one where you’ll realllly learn how crucial it is so set up a cc11 automation lane instead of just cc01 haha


----------



## Dylanguitar

bfreepro said:


> Hmm. They’re both high quality, professionally recorded collections and I don’t regret buying either one at full price, but I also love to compare and critique so here goes-
> 
> They're both super duper bone dry. NSS has an overall smoother, more silky tone, a bit more high-end air and sparkle. There’s something about that space they recorded in which is really special. Spitfire Studio sounds a bit more dull overall. The non-pro version will only get you one mic position, where NSS has four. NSS has this performance sampled approach- it can add life and realism, especially with shorts! The legato approach is more hit or miss though… don’t like a legato transition between those two notes, or think the violins have too much (or not enough) vibrato? Too bad, it’s all you’re gonna get, because that’s how the players performed it during the sampling sessions. It can sound really good, and generally works well, but it can also occasionally sound disconnected and lacks smoothness in the legato or the vibrato is too much, and there’s no option for adjusting it or triggering a portamento if you desire an extra buttery-smooth transition. You also get denoised and non-denoised samples for NSS. No second violins, but there is a “second pass” sample set (violins B) but I think it is the same group of players, I donno it’s kind of vague but a quick search will tell you more, I remember reading others discussing it.
> 
> Spitfire Studio has multi-articulation patches with keyswitches, which I find to be infinitely more convenient to work with than NSS’s approach of having separate .nki files for each articulation. Honestly the tone of NSS is amazing but the lack of keyswitches is a baffling choice and feels a bit lazy and unfinished to me. Spitfire also has many more articulations in general, as per usual with Spitfire, their collections are quite extensive and at the price point of their Studio Series, it’s downright impressive that you get so much content. Add to that the fact you could even go with the Pro version of studio strings which would get you WAY more content than NSS- more mics, more section sizes, more articulations, more everything. There’s a lot more bow sound in the spiccatos for Spitfire too, they’re more crisp and pointed as opposed to the somewhat loose and chunky NSS shorts. The legato is also hit or miss, it can sound pretty disconnected and unconvincing sometimes, but to be fair it also works well a lot of the time. I think “spitfire legato sucks” is just a weird snowball effect that is of course sometimes true, but also often just dramatic over exaggeration.
> 
> I’d say the biggest thing between the two is that NSS sounds more raw, unpolished, and alive, for better or for worse. Spitfire is polite and refined and a bit… bland and boring, but that may be just what you’re after, it’s predictable and does what you tell it to with clinical precision. With NSS there’s almost no editing or tweaking options for adjusting the samples besides mic positions and sample start offsets… no vibrato control, no key switching, no ADSR, no legato speed/volume, nothing like that. And NSS has literally ZERO release. You let go of that key and the note stops INSTANTLY. Zero tail or reflections. It can be a bit jarring. You’ll really need a third party reverb for these.
> 
> As a stand alone dry strings library (without layering or using any other strings), I think NSS works a bit better than Spitfire Studio Strings (non pro) because of the tone and lifelike rawness, but I also really dig that stuff in samples. At this price it’s really a steal, especially considering the fact you might pay at least 100 dollars more for JUST strings legato from another company.


Amazing. Thanks for such a detailed explanation. I have SStS Pro, but honestly I haven't gotten into it yet. 
I'm really tempted by the price of NSS and don't want to miss the sale oppurtinty, but even given the differences you describe, they seem to functionally cover a lot of the same territory. Going into black Friday i'm planning on rounding off my Berlin Orchestra with the Berlin Strings ($$) so......decisions, decisions.....


----------



## Dylanguitar

NSS now $149.00. Hmmm.... 




__





Nashville Scoring Strings — Audio Ollie


Dramatic, emotional, strings collection.




www.audioollie.com


----------



## Dylanguitar

Such a good deal. And yet I already have Spitfire Studio Strings (pro).....and saving up for Berlin Strings for their BF sale (hopefully). But $150?? I am conflicted.


----------



## NeonMediaKJT

Dylanguitar said:


> Such a good deal. And yet I already have Spitfire Studio Strings (pro).....and saving up for Berlin Strings for their BF sale (hopefully). But $150?? I am conflicted.


worth it


----------



## bfreepro

Dylanguitar said:


> Such a good deal. And yet I already have Spitfire Studio Strings (pro).....and saving up for Berlin Strings for their BF sale (hopefully). But $150?? I am conflicted.


They're easily different enough from both Spitfire Studio Strings and Berlin Strings to warrant a purchase, ESPECIALLY at 150 bucks!


----------



## muziksculp

No second Violins, no Staccato/ Staccatisimo. Kills it for me. I also don't see much in terms of Updates and some TLC for this library form the developer since it was released.

Pass.


----------



## Obi-Wan Spaghetti

It's basically a PS string library with bread and butter articulations recorded at Ocean Way Studio for $150. It's probably horrible. hehehe!


----------



## Emmanuel Rousseau

muziksculp said:


> No second Violins, no Staccato/ Staccatisimo. Kills it for me. I also don't see much in terms of Updates and some TLC for this library form the developer since it was released.
> 
> Pass.



I just made a research on your posts in this very thread and you've been mentioning the lack of 2nd violins and Staccato numerous times, so I think it is safe to say you've made your point by now. Can you please stop and move to another string library please? Thanks!


----------



## muziksculp

Emmanuel Rousseau said:


> I just made a research on your posts in this very thread and you've been mentioning the lack of 2nd violins and Staccato numerous times, so I think it is safe to say you've made your point by now. Can you please stop and move to another string library please? Thanks!


Ooooh. Someone is not happy.

I didn't check how many times I mentioned this, but I did check this library several times to see if these details were added, or something has been updated, and that's not the case. Plus I only bothered visiting this thread because they are on sale, so I made an effort to post again. I should have not done so knowing you are going to be pissed about it.

Cheers,


----------



## NeonMediaKJT

no second violins but at least the devs made a pre-transposed second violins patch so that we don't have to manually.


----------



## Dylanguitar

Can anybody here who owns both Tokyo Scoring Strings and NSS make some sort of comparison? I know Tokyo is more comprehensive and both are drier libraries. Also I know Tokyo has slightly smaller section sizes, and we already know NSS has no second violin (🤣🤣) But looking for some feedback by anybody who's actually worked with both, not just specs. 
Also, does anybody know if TSS is going to do a Black Friday sale?


----------



## Living Fossil

muziksculp said:


> No second Violins, no Staccato/ Staccatisimo. Kills it for me. I also don't see much in terms of Updates and some TLC for this library form the developer since it was released.


I don't want to change your mind (since I think you seriously have too many string libraries), however, the lack of 2nd violins is absolutely no issue, since there is a Violins B section.
Staccatissimo is no problem, the spiccati absolutely do it.


I've bought it at the last Pulse sale (due to @Emmanuel Rousseau 's recommendation in this thread) and I think it's a fantastic libary. Allthough I have lots of string libraries too, I think this one is a great one. 
This library + Samplicity Berlin = instant inspiration!


----------



## bfreepro

Dylanguitar said:


> Can anybody here who owns both Tokyo Scoring Strings and NSS make some sort of comparison? I know Tokyo is more comprehensive and both are drier libraries. Also I know Tokyo has slightly smaller section sizes, and we already know NSS has no second violin (🤣🤣) But looking for some feedback by anybody who's actually worked with both, not just specs.
> Also, does anybody know if TSS is going to do a Black Friday sale?


What do you want to hear? I actually just posted a spiccato shootout of sorts and both of these libraries were included. I might be able to do something else for a comparison later today


----------



## curtisschweitzer

NeonMediaKJT said:


> no second violins but at least the devs made a pre-transposed second violins patch so that we don't have to manually.


This is a nice QoL “feature” and something I’d like to see on other “no 2nd Violin” libraries. It isn’t hard to set up yourself, but then again it isn’t that hard for the developer either and it feels nice to have it taken care of in the base library.

IMHO NSS isn’t a bread and butter library for me but $150 is a ludicrously low price for what you get.


----------



## NeonMediaKJT

curtisschweitzer said:


> This is a nice QoL “feature” and something I’d like to see on other “no 2nd Violin” libraries. It isn’t hard to set up yourself, but then again it isn’t that hard for the developer either and it feels nice to have it taken care of in the base library.
> 
> IMHO NSS isn’t a bread and butter library for me but $150 is a ludicrously low price for what you get.


The legatos are extremely agile. You can write things with this lib that you can’t with most others. That makes is wayyy worth it to me


----------



## prodigalson

Excellent library, full of character. It's a big part of my string sound in my scoring template along with CSS and a few others

PROS
-nimble, playable legatos full of life and VERY versatile
-some of my favorite pizzicatos. underrated in this library
-Comes with Ensemble patches, v. useful
-marcatos are performance based and releases seem to adapt to key release so can do a variety of short lengths. 
-really nice harmonics. 
-tight, dry-ish room sound without being boxy like Spitfire Studio Strings and TSS. Takes very nicely to longer reverbs.

CONS
-No 2nd Violins (not really a CON as to me the Violins B work fine)
-Only 2 lengths short notes (though the marcato can do variety of lengths reasonably well)
-Old-School workflow with only split patches and no keyswitches. Though that can be worked around with articulation maps/expression maps. 
-bonkers decision to have some patches require different delay offsets making it difficult to create custom expression maps one track (unless you use DP which can offset per articulation.)
-The tight, dryer room sound means that the different mics have more subtle effects on the signal than in other libraries. 

Overall, this library is a STEAL at $149. I paid $249 on a sale back when it was first released and i still thank THAT was a steal for what this library is capable of.


----------



## Dylanguitar

bfreepro said:


> What do you want to hear? I actually just posted a spiccato shootout of sorts and both of these libraries were included. I might be able to do something else for a comparison later today


I don't want to put you through the trouble. I'm just toying with the idea of holding off on NSS and saving towards a possible BF deal with Tokyo. From everything I've heard, Tokyo sounds great and is very flexible, but then people seem to love the character of NSS despite it's workflow limitations. They seem very different at least from what I can hear....even though they are both small and dry.


----------



## Dylanguitar

bfreepro said:


> What do you want to hear? I actually just posted a spiccato shootout of sorts and both of these libraries were included. I might be able to do something else for a comparison later today


I'd settle for: If you want_________, get TSS. If you want ________ go for NSS. 🙂


----------



## muziksculp

bfreepro said:


> I actually just posted a spiccato shootout of sorts and both of these libraries were included.


Where is that post ?


----------



## Dylanguitar

muziksculp said:


> Where is that post ?








POLL - the search for the best Hans Zimmer "Dark Knight" sounds


Listening for the micro details here. I see a lot of string legato shootouts or shorts with more aggression. Which does the best detailed, feathery, realistic sound for the lower dynamics? This started as a personal experiment and my favorite is a combination of three which is demonstrated in...




vi-control.net


----------



## Dylanguitar

FYI, to answer my own question, TSS won't be going on sale for BF, but will be discounted sometime around mid-December as part of a holiday sale.


----------



## AudioXpression

Excellent work!!
Simply fantastic result.


----------



## muziksculp

Living Fossil said:


> I don't want to change your mind (since I think you seriously have too many string libraries), however, the lack of 2nd violins is absolutely no issue, since there is a Violins B section.
> Staccatissimo is no problem, the spiccati absolutely do it.
> 
> 
> I've bought it at the last Pulse sale (due to @Emmanuel Rousseau 's recommendation in this thread) and I think it's a fantastic libary. Allthough I have lots of string libraries too, I think this one is a great one.
> This library + Samplicity Berlin = instant inspiration!


Hi @Living Fossil ,

I really appreciate your response, and helpful feedback about NSS. (without doing research on how many times I posted on this thread about something that was missing in the library), I think you know who I'm referring to, 

As you very well know, Yes, I have a big collection of String Libraries. Many are OK, or bad, a few are exceptionally good. So, I'm being picky about what is added at this stage of my collection, I would like to keep the new ones I add in the (exceptionally good) category.

What do you feel makes this a worth buying Strings library, given I have, and as you mentioned you also have lots of strings libraries. I might buy it depending on your answer. The discounted price is tempting. 

Thanks,
Muziksculp


----------



## Francis Bourre

It sounds gorgeous but... There's been only one update since the release, and it's still has bugs (eg: wrong samples triggered for some legato transitions). Anything planned? There was some talking about an expansion some time ago, I guess it's been cancelled like the many other promises (eg: scoring synths)...


----------



## Trash Panda

muziksculp said:


> As you very well know, Yes, I have a big collection of String Libraries. Many are OK, or bad, a few are exceptionally good. So, I'm being picky about what is added at this stage of my collection, I would like to keep the new ones I add in the (exceptionally good) category.


Sounds like someone has enough string libraries.


----------



## davidson

Francis Bourre said:


> It sounds gorgeous but... There's been only one update since the release, and it's still has bugs (eg: wrong samples triggered for some legato transitions). Anything planned? There was some talking about an expansion some time ago, I guess it's been cancelled like the many other promises (eg: scoring synths)...


Are there any online examples of the bugs?

Calling @Audio Ollie, you have prospective buyers on the forum so might be worth adding some input!


----------



## muziksculp

Trash Panda said:


> Sounds like someone has enough string libraries.


No, that's impossible. *You can never have enough Strings Librarie*s. !!!


----------



## RMH

muziksculp said:


> No, that's impossible. *You can never have enough Strings Librarie*s. !!!


You got another strings libraries! YEHA!


----------



## bfreepro

RMH said:


> You got another strings libraries! YEHA!


I’m stunned


----------



## Petrucci

muziksculp said:


> No, that's impossible. *You can never have enough Strings Librarie*s. !!!



Congratulations! Tell us what you think of it please


----------



## jazzman7

muziksculp said:


> No, that's impossible. *You can never have enough Strings Librarie*s. !!!


Culp of the .44 Magnum Wallet! Don't get between him and a String VI Unless you're feeling Lucky, Punk!


----------



## Emmanuel Rousseau

muziksculp said:


> without doing research on how many times I posted on this thread about something that was missing in the library), I think you know who I'm referring to,








Aaaaanyway. Enjoy the library


----------



## Marcus Millfield

muziksculp said:


> No, that's impossible. *You can never have enough Strings Librarie*s. !!!


@muziksculp a.k.a. Keeper of the Faith 🙏🏻


----------



## doctoremmet

Trash Panda said:


> Sounds like someone has enough string libraries.










muziksculp said:


> No, that's impossible. *You can never have enough Strings Librarie*s. !!!



Order confirmed.


----------



## muziksculp




----------



## Sunny Schramm

would love hear some news about the update with the gui improvements, etc.


----------



## muziksculp

Sunny Schramm said:


> would love hear some news about the update with the gui improvements, etc.


What update are you referring to ?


----------



## Sunny Schramm

muziksculp said:


> What update are you referring to ?


Announced for 2022  






Nashville Scoring Strings


I expect the expansion of this library to be released in tandem with Cinematic Studio Woodwinds.




vi-control.net


----------



## Simon Passmore

Dylanguitar said:


> NSS now $149.00. Hmmm....
> 
> 
> 
> 
> __
> 
> 
> 
> 
> 
> Nashville Scoring Strings — Audio Ollie
> 
> 
> Dramatic, emotional, strings collection.
> 
> 
> 
> 
> www.audioollie.com


The music in the trailer for that sounds a lot like some of the string passages from Goldeneye


----------



## muziksculp

Simon Passmore said:


> The music in the trailer for that sounds a lot like some of the string passages from Goldeneye


Yes, the music in the trailer is all NSS, and I was very impressed by the timbre, and detail it offers, plus the fluid legatos I was hearing. Downloading, and hope to test it soon, plus there is a new update expected this year for NSS. That's awesome !


----------



## Dylanguitar

muziksculp said:


> Yes, the music in the trailer is all NSS, and I was very impressed by the timbre, and detail it offers, plus the fluid legatos I was hearing. Downloading, and hope to test it soon, plus there is a new update expected this year for NSS. That's awesome !


I'm going to grab it. It's been decided. I tire-kicked that Cinesamples "glitch" and look where that got me.


----------



## muziksculp

Hi,

A Question about NSS : Which Samples do you use mostly with NSS, the de-Noised samples, or the ones with all the Noises kept intact ? 

Thanks,
Muziksculp


----------



## bfreepro

muziksculp said:


> Hi,
> 
> A Question about NSS : Which Samples do you use mostly with NSS, the de-Noised samples, or the ones with all the Noises kept intact ?
> 
> Thanks,
> Muziksculp


I use the non-denoised


----------



## muziksculp

bfreepro said:


> I use the non-denoised


Thanks.

Did you try both versions, and found the noisy version offers more realism and character ?


----------



## bfreepro

muziksculp said:


> Thanks.
> 
> Did you try both versions, and found the noisy version offers more realism and character ?


Yes, you summed it up perfectly.


----------



## muziksculp

bfreepro said:


> Yes, you summed it up perfectly.


OK. Wonderful. 

I'm very thankful for your feedback. and looking forward to enjoy NSS with all the good noise in that venue.


----------



## X-Bassist

muziksculp said:


> Yes, I have a big collection of String Libraries. Many are OK, or bad, a few are exceptionally good. So, I'm being picky about what is added at this stage of my collection, I would like to keep the new ones I add in the (exceptionally good) category.


But, But... you can never have enough... right??? Lol

Perhaps you should add... never have enough 'exceptionally good' string libraries.


----------



## muziksculp

Hi,

I just began discovering NSS. I replaced the de-noised samples, with the noisy ones, like my strings on the raw side, not too prepped as they say.

I decided to try something different this time when discovering a new strings library, so I loaded the Basses Con Sord. Patch from their chamber sections, (not the symphonic one), and played a legato patch. The sound !!! wow. That's what I instantly heard, the character/timbre is wonderful. Very lively, and not static or dull sounding, so they captured some great performances in the sampling process. I have a lot more to discover in this library, so I just wanted to report back, after I began my discovery session with this library.

So. far patches, and mics load super fast. Which is great !

I really wish it offered Stacc. and Staccatisimo shorts. But there is always hope this will be added in the future, since the development team is even mentioning a new 2.0 update this year !

Cheers,
Muziksculp


----------



## AndreBoulard

these strings everytime feels like close to some batman movie character and its super dramatic. I am always feeling this would add a great addon to all of the strings i have but some are overlapping. I stack basic articulation with SSS, CSS and afflatus and it gets this similar dramatic character. I found NSS sounds more like what hans zimmer string should be in character. I am interested to hear more about these from recent buyers.

some of the youtube videos i hear strange ting sounds from the strings on certain note while they play it which might be something that could be annoying or maybe i am just too overthinking it.also mention the latency while playing is huge but stacked with afflatus might just do good. overall NSS character feels authentically correct to my hears.

looking forward to hear what people come with.

I am not too impressed by stuff these days and what i have is mostly what i need but this NSS keeps coming to me for its unique character.






Nashville Scoring Strings: A worthy library to get?


Any more info about the planned update? This one is on sale pretty cheap now!




vi-control.net





demo from here noise stands out at 3 sec to 6 sec


----------



## bfreepro

AndreBoulard said:


> these strings everytime feels like close to some batman movie character and its super dramatic. I am always feeling this would add a great addon to all of the strings i have but some are overlapping. I stack basic articulation with SSS, CSS and afflatus and it gets this similar dramatic character. I found NSS sounds more like what hans zimmer string should be in character. I am interested to hear more about these from recent buyers.
> 
> some of the youtube videos i hear strange ting sounds from the strings on certain note while they play it which might be something that could be annoying or maybe i am just too overthinking it.also mention the latency while playing is huge but stacked with afflatus might just do good. overall NSS character feels authentically correct to my hears.
> 
> looking forward to hear what people come with.
> 
> I am not too impressed by stuff these days and what i have is mostly what i need but this NSS keeps coming to me for its unique character.


I agree it’s great for a sort of Zimmer sound… I recently did a little shootout/comparison of string sounds that would sound the closest to The Dark Knight and on their own, NSS was actually in my top 3. 

They have a sample start/offset control which eliminates any latency. I use this for the shorts especially. 

Regarding noise, they definitely are some of the noisier libraries I have, but I like that. You’ll get sounds like the bow clicking during a strong spiccato, slight rustling of the players as they perform, a nice noise floor ambience, etc. but they do include denoised samples which eliminate this to a degree.

They’re a lot more open sounding than CSS, I actually replaced css with these when I bought them about two years ago. They have a sense of space and the mic positions make a huge difference, they’re just very rich and present sounding. Silky and detailed with zero reverb tail- so it can sound bone dry but still have a sense of space which is really nice when you use third party reverbs. Super easy to blend together and add just the amount of reverb tail that you need, instead of being stuck with it like AIR hall. 

SSS (and chamber) are my main strings library as well, these complement it very nicely. In fact I even much prefer them over Spitfire Studio Strings. Use just the close mic and they can pass for a “first chair” and just add detail to the spacious SSS. Also use afflatus regularly and they all go well together, especially the “lush” afflatus patches.


----------



## bfreepro

AndreBoulard said:


> looking forward to hear what people come with.


I think I have a few songs I used NSS as the only strings if you are interested in hearing them.


----------



## AndreBoulard

bfreepro said:


> I think I have a few songs I used NSS as the only strings if you are interested in hearing them.


that would be awesome! can you share them here?


----------



## AndreBoulard

bfreepro said:


> I agree it’s great for a sort of Zimmer sound… I recently did a little shootout/comparison of string sounds that would sound the closest to The Dark Knight and on their own, NSS was actually in my top 3.
> 
> They have a sample start/offset control which eliminates any latency. I use this for the shorts especially.
> 
> Regarding noise, they definitely are some of the noisier libraries I have, but I like that. You’ll get sounds like the bow clicking during a strong spiccato, slight rustling of the players as they perform, a nice noise floor ambience, etc. but they do include denoised samples which eliminate this to a degree.
> 
> They’re a lot more open sounding than CSS, I actually replaced css with these when I bought them about two years ago. They have a sense of space and the mic positions make a huge difference, they’re just very rich and present sounding. Silky and detailed with zero reverb tail- so it can sound bone dry but still have a sense of space which is really nice when you use third party reverbs. Super easy to blend together and add just the amount of reverb tail that you need, instead of being stuck with it like AIR hall.
> 
> SSS (and chamber) are my main strings library as well, these complement it very nicely. In fact I even much prefer them over Spitfire Studio Strings. Use just the close mic and they can pass for a “first chair” and just add detail to the spacious SSS. Also use afflatus regularly and they all go well together, especially the “lush” afflatus patches.


thats cool. almost have the same mindset for these combination strings. I have cinesample strings which do have noise and found them really good for its ambient and i a assuming its the same thing has NSS. ether way this just confirms me more since you are in the same type of sound that i have in mind. 

thanks for sharing your thoughts on that bfreepro


----------



## muziksculp

NSS is Ooozoing with Character. It surely has a great personality. 

Loving these strings, and regarding an update expected this year, if the update includes new material/new samples, I would be super surprised if they didn't add Stacc. and Staccatisimo to the current list of articulations. I'm loving this library's timbre a lot so far, and feel I made a very wise decision buying it at this price, and being lucky to get a free update for NSS this year !


----------



## bfreepro

AndreBoulard said:


> that would be awesome! can you share them here?


of course. In a couple there are string chord swells from century strings (you can kind of tell where I used those as they are more detailed and perform in an arc or swell) but everything else is NSS- legato, shorts, trems, all that stuff. I used them as my primary strings lib for a year bc of their flexibility with reverb (could be both dry/studio and symphonic with a very small HD footprint)

"miniboss theme" you can hear how agile they can get which is really cool.


----------



## bfreepro

AndreBoulard said:


> thats cool. almost have the same mindset for these combination strings. I have cinesample strings which do have noise and found them really good for its ambient and i a assuming its the same thing has NSS. ether way this just confirms me more since you are in the same type of sound that i have in mind.
> 
> thanks for sharing your thoughts on that bfreepro


They're not as bright or as noisy as Cinestrings core, I'd say they're actually more rich and natural sounding. Cinestrings core has a super loud noise floor, NSS has some noise but it never distracts from the tone of the strings, which I find is the case with Cinestrings


----------



## bfreepro

muziksculp said:


> I really wish it offered Stacc. and Staccatisimo shorts.


I think you might get banned if you mention this again (just kidding 😂 )


----------



## AndreBoulard

well i guess i am a noisy string library lol.

thanks for your input and awesome demos @muziksculp and @bfreepro super helpful .


----------



## bfreepro

AndreBoulard said:


> well i guess i am a noisy string library lol.
> 
> thanks for your input and awesome demos @muziksculp and @bfreepro super helpful .


I like noise too. I actually make use of the Cinestrings core “noise floor” or “room tone” and layer it in with all my orchestral tracks sometimes. Adds realism and depth


----------



## Petrucci

I wonder how do NSS compare to Hollywood Strings since they are also quite dry??


----------



## chrisav

bfreepro said:


> of course. In a couple there are string chord swells from century strings (you can kind of tell where I used those as they are more detailed and perform in an arc or swell) but everything else is NSS- legato, shorts, trems, all that stuff. I used them as my primary strings lib for a year bc of their flexibility with reverb (could be both dry/studio and symphonic with a very small HD footprint)
> 
> "miniboss theme" you can hear how agile they can get which is really cool.


What brass libraries did you use on these tracks?


----------



## bfreepro

chrisav said:


> What brass libraries did you use on these tracks?


8dio century brass (arcs/swells only), JXL brass with the Alan Meyerson tree mics (AMXL Tree) except for trumpets which use surround mics, and a bit of Abbey Road One orchestral foundations at 1 min in Osiris.

The first thing I remembered upon listening to Ramses is how much the trumpets stick out bc of that squawky tone… yep that’s JXL 😂


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## Ricgus3

Seriously thinking about Nashville scoring strings for 150$. It is that or spitfire studio string upgrade to Pro. Any takers on this? Listenening to corys review on NSS I really love the sound. Read a lot of older threads and saw that @Dylanguitar were in the same situation, did you get NSS or SStS pro? @muziksculp I know you own it and bought, do you also own SStS pro and have any thought on them against each other?

What really attracted me was it sounded so clean and raw. Looking for something that blends good with infinite series. So far Areia has a pretty good clean sound. My spitfire studio core does not do the trick for me with only the tree mic. Working on a track now and have been using Areia Bass pizz and appassionata legatos.

Or do I really need another string library? Save up for SCS instead? All the questions! So little time!


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## Mike Fox

Just spent some time with the library, and am figuring how to adjust the attack and release of the ensemble long patches. The release are so short, I’d really like to extend them (feels really awkward to play).

Also, is there a way to adjust the delay time of the shorts so that they can line up to the grid?


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## bfreepro

Mike Fox said:


> Just spent some time with the library, and am figuring how to adjust the attack and release of the ensemble long patches. The release are so short, I’d really like to extend them (feels really awkward to play).
> 
> Also, is there a way to adjust the delay time of the shorts so that they can line up to the grid?


There’s a control to adjust the delay/offset, I believe it’s in the advanced tab? It’s a circular knob as opposed to a slider. 

And there are no ADSR controls for the samples themselves. The releases are not natural at all and one of my biggest complaints about the library besides lack of key switching. 

If they made a couple interface adjustments and added keyswitching it would significantly improve the usability of this library


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## Markrs

bfreepro said:


> There’s a control to adjust the delay/offset, I believe it’s in the advanced tab? It’s a circular knob as opposed to a slider.
> 
> And there are no ADSR controls for the samples themselves. The releases are not natural at all and one of my biggest complaints about the library besides lack of key switching.
> 
> If they made a couple interface adjustments and added keyswitching it would significantly improve the usability of this library


Have you mentioned some of these ideas to @Audio Ollie ?


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## bfreepro

Markrs said:


> Have you mentioned some of these ideas to @Audio Ollie ?


Yes, I have, and I’ve seen other users who have as well on this forum. Keyswitching isn’t an option or planned to be made an option, based on what I’ve gathered.


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## bfreepro

Markrs said:


> Have you mentioned some of these ideas to @Audio Ollie ?


Found it, this is why I say there don’t seem to be plans to ever have keyswitches for the library. Not trying to have an overly pessimistic tone, I enjoy the library and love the sound, but there’s no denying it could be a 9/10 with just a few tweaks. I still use it and work around it, but I’d use it more if they implemented these things  

When it was released I was in contact with Ryan from the company, and had a discussion with him pointing out bugs and things like that. They had sent me NFRs for LA Modern Percussion and Scoring Synths for reviews in 2020 so I reached out to him first. 

There was a bug we talked about back then that still hasn’t been fixed, so those are just my observations and assumptions: the library is quite good and they are satisfied with it, as are most users, and they’re a small company so I’m assuming rushing out to rework things like this won’t happen overnight. 

I definitely do have confidence in them delivering an update for this library, whenever that may be.

Post in thread 'Nashville Scoring Strings'
https://vi-control.net/community/threads/nashville-scoring-strings.85784/post-4673533


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## Mike Fox

bfreepro said:


> There’s a control to adjust the delay/offset, I believe it’s in the advanced tab? It’s a circular knob as opposed to a slider.
> 
> And there are no ADSR controls for the samples themselves. The releases are not natural at all and one of my biggest complaints about the library besides lack of key switching.
> 
> If they made a couple interface adjustments and added keyswitching it would significantly improve the usability of this library


Thanks!

Yeah, I agree with you. And while the library sounds good overall, it certainly feels unfinished to me, almost like a beta product. No ADSR, the playability can be hit and miss (due to some of the odd attack and release times), and there are other oddities as well, like the lack of level readouts for the mics (unless I’m overlooking it somewhere). But this becomes a problem when using the multis/symphonic patches, because what if you want to match the mic levels for both patches? You’re basically left in the dark (again, unless i am missing something somewhere).

Kind of frustrating since the tone of the library is so nice.


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## Emmanuel Rousseau

Mike Fox said:


> Thanks!
> 
> Yeah, I agree with you. And while the library sounds good overall, it certainly feels unfinished to me, almost like a beta product. No ADSR, the playability can be hit and miss (due to some of the odd attack and release times), and there are other oddities as well, like the lack of level readouts for the mics (unless I’m overlooking it somewhere). But this becomes a problem when using the multis/symphonic patches, because what if you want to match the mic levels for both patches? You’re basically left in the dark (again, unless i am missing something somewhere).
> 
> Kind of frustrating since the tone of the library is so nice.


A good workaround for the mic level matching is to link the faders to MIDI or automation within Kontakt, then you can move them all together using midi CC, or Quick Controls. I also do this for the sample start knob. There is a bit of homework needed with NSS between this and the Expression Maps, but once everything is set up it really helps with the ease of use!


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## Mike Fox

Emmanuel Rousseau said:


> A good workaround for the mic level matching is too link the faders to MIDI or automation within Kontakt, then you can move them all together using midi CC, or Quick Controls. I also do this for the sample start knob. There is a bit of homework needed with NSS between this and the Expression Maps, but once everything is set up it really helps with the ease of use!


Thanks for the tip! I was thinking about doing this as well. It's just that having to do a work around for something so simple is a bit of a turn off. 

I'll spend some more time with it and see if i can develop some sort of efficient workflow.


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## Mike Fox

Anyone else getting pops and clicks when the offset is increased on the spiccato ensemble (symphony)?

Seems like the pops begin to occur if i go about half way on the offset dial.


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## Mike Fox

Another complaint regarding the offset dial: when I adjust it, the levels readout number repeatedly flashes/pops up, but it happens so fast that I’m unable to actually read it. Kinda pointless/frustrating.


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## bfreepro

Mike Fox said:


> Anyone else getting pops and clicks when the offset is increased on the spiccato ensemble (symphony)?
> 
> Seems like the pops begin to occur if i go about half way on the offset dial.


I’ll check later, I don’t often use the multis or ensemble patches. I found the ensemble patches didn’t have enough stereo spread so for shorts, I’ll load up each individual section and pan them all just a little bit so the sound is a bit more spread out and wider. The tone is so rich and dense so I think doing that is a nice balance of body to openness.

But then of course you gotta go in and adjust each sample start knob to the same position four times. I actually found I put the sample start up just a little, maybe halfway? And then do a -60ms delay in the DAW track as well. Then the samples don’t sound too cut off or abrupt and still stay in sync.


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## Petrucci

Yes, these strings sound really good, I got em in a Bundle) I even think that those legato release tails are not as bad as described by almost everyone - quite playable and don't feel abrupt. The lack of keyswitches though is real pain.. Manageable but could be more convinient...) As well as no dB readouts on mics as mentioned.. I hope there will be some updates in the future cause the sound is really nice!


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## bfreepro

Mike Fox said:


> Anyone else getting pops and clicks when the offset is increased on the spiccato ensemble (symphony)?
> 
> Seems like the pops begin to occur if i go about half way on the offset dial.


Also I really love the close mics as a “first chair” for larger symphonic sections, layering over other libraries like SSS or HZS. That’s actually my main use for this library, bc the bow texture is so nice and detailed. Really adds a lot of realism and detail to a larger section! They work alot better than the close mics of some libraries IMO, they sound more natural and less mono than the SSS close mics, for instance.


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## Mike Fox

bfreepro said:


> I’ll check later, I don’t often use the multis or ensemble patches. I found the ensemble patches didn’t have enough stereo spread so for shorts, I’ll load up each individual section and pan them all just a little bit so the sound is a bit more spread out and wider. The tone is so rich and dense so I think doing that is a nice balance of body to openness.
> 
> But then of course you gotta go in and adjust each sample start knob to the same position four times. I actually found I put the sample start up just a little, maybe halfway? And then do a -60ms delay in the DAW track as well. Then the samples don’t sound too cut off or abrupt and still stay in sync.


Thanks man!

I also had the exact same thought, the stereo spread is really narrow with the ensemble patches. I’ll have to try them individually then.

But man, I feel like this library has SO much potential, but some of the design choices (or lack thereof), and odd programming really make this feel like an unfinished product.

And what makes it so frustrating is that the tone is solid, I absolutely love it. But the library just feels clunky and sluggish under the hands.

Reminds me of an amazing, gourmet cake, but the chef forgot to put on the icing.

Sigh…


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## Petrucci

Mike Fox said:


> Thanks man!
> 
> I also had the exact same thought, the stereo spread is really narrow with the ensemble patches. I’ll have to try them individually then.
> 
> But man, I feel like this library has SO much potential, but some of the design choices (or lack thereof), and odd programming really make this feel like an unfinished product.
> 
> And what makes it so frustrating is that the tone is solid, I absolutely love it. But the library just feels clunky and sluggish under the hands.
> 
> Reminds me of an amazing, gourmet cake, but the chef forgot to put on the icing.
> 
> Sigh…


Yeah, actually LAMP is kind of like that too.. - Great Sound, but could use some more conviniently laid patches etc. I really hope there would be some updates cause it could make those libs shine with more brightness!)


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## Mike Fox

Petrucci said:


> Yeah, actually LAMP is kind of like that too.. - Great Sound, but could use some more conviniently laid patches etc. I really hope there would be some updates cause it could make those libs shine with more brightness!)


Interesting! I don’t have LAMP, but I’m glad I’m not the only one who feels this way. 

I think I’ve just accepted that NSS isn’t really a “player” library, but still has the potential to sound fantastic with proper programming.


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## Petrucci

Mike Fox said:


> Interesting! I don’t have LAMP, but I’m glad I’m not the only one who feels this way.
> 
> I think I’ve just accepted that NSS isn’t really a “player” library, but still has the potential to sound fantastic with proper programming.


Yeah, honestly those are great libs (LAMP is really cool too, so punchy, amazing Sound IMHO) - but could be even Better with a few tweaks..!


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## Mike Fox

Petrucci said:


> Yeah, honestly those are great libs (LAMP is really cool too, so punchy, amazing Sound IMHO) - but could be even Better with a few tweaks..!


The sound is definitely there with NSS! I absolutely LOVE the spiccatos. Super beefy, yet still really tight. I can honestly see myself using them a lot. Just gonna have to figure out ways to get over the hurdles.


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