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Spitfire Studio Woodwinds - Coming Soon

@gussunkri

Thanks, really appreciated! I was wondering, would it be too much trouble to put the same midi through the T2 mic setting also? My thing is that I don't personally like that much the T1 sound, and will not buy the core version because of that. I was disappointed, because I liked the library otherwise.

But from the walkthrough of Pro I could pick up the sound of T2 which I liked way more, making me think to buy the Pro version. So I was thinking if it would be possible to show how the T2 mic sounds in the same file. If it's too much of stress, don't bother- I just needed to ask about it. :)
 
@gussunkri

Thanks, really appreciated! I was wondering, would it be too much trouble to put the same midi through the T2 mic setting also? My thing is that I don't personally like that much the T1 sound, and will not buy the core version because of that. I was disappointed, because I liked the library otherwise.

But from the walkthrough of Pro I could pick up the sound of T2 which I liked way more, making me think to buy the Pro version. So I was thinking if it would be possible to show how the T2 mic sounds in the same file. If it's too much of stress, don't bother- I just needed to ask about it. :)
I would, but I only have the core version.
 
Hi,

I just began discovering SA-Studio Woodwinds Pro, and so far I'm liking what it offers. I started with the Flute, and I'm still checking the various mics, and other ways of using it.

One thing I like to do is to layer the stacc. Flute articulation, with the Legato flute articulation, via shift clicking on both the legato & Stacc. articulations in the GUI.

This gives me a more agile legato instrument, since I can introduce the flute's initial more audible attack sound playing with more wind-force at the start of a note. If I don't want the Stacc. attack sound, I play med-soft dynamics, since the Stacc. sample is only triggered at higher velocities.

I will be having fun discovering the instruments of this library, how they sound, playability, blending, dynamics, timbre, ...etc.

Cheers,
Muziksculp
 
I purchased SStWW yesterday. Nice. I am still thinking of getting a supplement for exposed solos. Embertone Herring Clarinet works well for me. Perhaps Chris Hein vol 3 Oboes? An English Horn is included in that collection. CH works well with a breath controller...important to me for expressive, real time playing.
 
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I purchased SStWW yesterday. Nice. I am still thinking of getting a supplement for exposed solos. Embertone Herring Clarinet works well for me. Perhaps Chris Hein vol 3 Oboes? An English Horn is included in that collection. CH works well with a breath controller...important to me for expressive, real time playing.
Fluffy Audio woods are good for this also. I only have the clarinet, but if the others are like it, they'd all be great for solos.
And there is Berlin woods expansions.
 
Purchased SStWW Pro based on the great demos at Spitfire, the walk through video, and all the positive comments in this tread. It will be a week before I can install and integrate into my template, but as soon as it is, there will be some work leaning towards the woods! I also have SStStrings Pro and though I like the sound, was disappointed that they didn't really go as fully divisi as my LASS is by not including important playing techniques in the smaller groups to go with the fullness of the large group of each section. LASS, what a work horse, stands up today VERY well. I held off on the Brass to hear first what AudioBro has to offer with their new Brass when it is released. I'd like to here from anyone on how the Brass is working with the Strings and Woods... if it seems worth it for the common recording space and anything else.
 
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Hi,

I just began discovering SA-Studio Woodwinds Pro, and so far I'm liking what it offers. I started with the Flute, and I'm still checking the various mics, and other ways of using it.

One thing I like to do is to layer the stacc. Flute articulation, with the Legato flute articulation, via shift clicking on both the legato & Stacc. articulations in the GUI.

This gives me a more agile legato instrument, since I can introduce the flute's initial more audible attack sound playing with more wind-force at the start of a note. If I don't want the Stacc. attack sound, I play med-soft dynamics, since the Stacc. sample is only triggered at higher velocities.

I will be having fun discovering the instruments of this library, how they sound, playability, blending, dynamics, timbre, ...etc.

Cheers,
Muziksculp
Great tip! Will have to try this. I've been comparing these to Berlin Woodwinds this week and the one thing I've found is the need for a more pronounce attack with the wind on Studio Woodwinds. These definitely compliment the Berlin series being that they are drier.
 
I have all three — the so-called professional versions — and I'm sorry to have to say: both the musician and the Spitfire-fan in me are abyssopelagically disappointed in this set. (Sorry, Luke.) It was the fact that, on paper, the Studio Series contains exactly the sort of libraries that I have been waiting for, combined with the many very satisfying experiences I've had with Spitfire in the past, plus, to a lesser extent, Paul's shrewdly luring walkthroughs, that made me want to see for myself what the Studio Series is all about.

Having now spent some time with these libraries however, I not only understand why all the demos done with them sound so unconvincing — the reason is simple: these are seriously flawed sample libraries — but I'm also filled with a sort of dread when contemplating if this is going to be the new standard of quality for Spitfire products from now on. Because, if it is, the increasingly misfiring outfit will instantly drop in my list of most respected and favoured orchestral library developers, from the top spot (which it shares with one or two other developers) to somewhere far, far below the average, if not the very bottom.

I could go into detail about what it is that puts me off so much in these libraries — musically and technically —, but it would become a very long-winded post during the writing of which I'm not sure I'll be able to contain my disillusionment and not start writing some rather unpleasant and unfriendly sentences, as is my wont when upset.

Let me just say that, in my opinion (and all of this is just my opinion of course), this material is neither worthy of the name Spitfire and most certainly not of the tag 'professional'. Not even close. Not even when the meaning of the word 'professional' is stretched to also include 'semi-'. All three libraries are severely under-sampled — as a consequence of which the programmers had to resort to some very questionable solutions trying, but failing, to mask the void —, many of the instruments don't sound convincing at all to my ears (there are couple of reasonably good ones, sure, but most of them seem to beg to be described as 'disturbingly average' or worse), the instruments are capable of only a very limited range of performances and expressions, and there's an all-pervading and very un-Spitfire-ish superficiality and sloppyness affecting this set which makes working with it a constant struggle and source of frustration and irritation. And whatever you do with these libraries, it'll always scream 'sampled', 'unnatural' and 'fake', as all the demos do, as all my own experiments with them do, and as Rhye's in-every-other-respect-very-impressive-and-applause-deserving piece does.

Not the worst, but certainly the saddest purchase I've ever made in nearly 2 decades of buying sample libraries. I can't for the life of me understand how whoever is in charge these days at Spitfire ever gave their fiat for this inferior product to be released. A veto would have been a decision far more in line and in character with the uncompromising and high-quality past achievements of the company.

_
 
I have all three — the so-called professional versions — and I'm sorry to have to say: both the musician and the Spitfire-fan in me are abyssopelagically disappointed in this set. (Sorry, Luke.) It was the fact that, on paper, the Studio Series contains exactly the sort of libraries that I have been waiting for, combined with the many very satisfying experiences I've had with Spitfire in the past, plus, to a lesser extent, Paul's shrewdly luring walkthroughs, that made me want to see for myself what the Studio Series is all about.

Having now spent some time with these libraries however, I not only understand why all the demos done with them sound so unconvincing — the reason is simple: these are seriously flawed sample libraries — but I'm also filled with a sort of dread when contemplating if this is going to be the new standard of quality for Spitfire products from now on. Because, if it is, the increasingly misfiring outfit will instantly drop in my list of most respected and favoured orchestral library developers, from the top spot (which it shares with one or two other developers) to somewhere far, far below the average, if not the very bottom.

I could go into detail about what it is that puts me off so much in these libraries — musically and technically —, but it would become a very long-winded post during the writing of which I'm not sure I'll be able to contain my disillusionment and not start writing some rather unpleasant and unfriendly sentences, as is my wont when upset.

Let me just say that, in my opinion (and all of this is just my opinion of course), this material is neither worthy of the name Spitfire and most certainly not of the tag 'professional'. Not even close. Not even when the meaning of the word 'professional' is stretched to also include 'semi-'. All three libraries are severely under-sampled — as a consequence of which the programmers had to resort to some very questionable solutions trying, but failing, to mask the void —, many of the instruments don't sound convincing at all to my ears (there are couple of reasonably good ones, sure, but most of them seem to beg to be described as 'disturbingly average' or worse), the instruments are capable of only a very limited range of performances and expressions, and there's an all-pervading and very un-Spitfire-ish superficiality and sloppyness affecting this set which makes working with it a constant struggle and source of frustration and irritation. And whatever you do with these libraries, it'll always scream 'sampled', 'unnatural' and 'fake', as all the demos do, as all my own experiments with them do, and as Rhye's in-every-other-respect-very-impressive-and-applause-deserving piece does.

Not the worst, but certainly the saddest purchase I've ever made in nearly 2 decades of buying sample libraries. I can't for the life of me understand how whoever is in charge these days at Spitfire ever gave their fiat for this inferior product to be released. A veto would have been a decision far more in line and in character with the uncompromising and high-quality past achievements of the company.

_

I actually liked their woodwind range here a lot better than their strings and brass, though reading that tells me to stay away from the whole studio series. Very unfortunate because I felt the room and resonance with the samples had some nice oldschool vintage vibe to it. But when so many things you described are flawed it makes no sense to me to try them out and I 100 percent trust your remark here.
 
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