muk
Senior Member
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Edit 22.12.2021:
Let me add Sonokinetic Orchestral Strings to the examples. I find them to bring something new to the table that none of the other libraries have:
Sonokinetic OS 'focused' mix
View attachment Encore Sonokinetic OS focused mix.mp3
Sonokinetic OS wide mix
View attachment Encore Sonokinetic OS wide mix.mp3
To my ears, SOS are closest to a real permormance sound by some margin. The Berlin Strings First Chair version may sound more 'perfect'. But now that BST FC examples sounds artificially glossy to me. SOS sounds human in comparison. And I also really like the room sound of SOS. I find that pizzicati are always a good way to make the room audible in samples. Really lovely here.
Other things to mention: SOS have a lot of depth. They also sound a bit far away. If you need a close up strings sound, these would not be my first port of call. And you can also hear that there is a bit of room tone in the samples. They haven't been aggressively cleaned - a process that more often than not sucks the livelyness out of samples I find. So I like that. If you prefer very clean samples, you may not.
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Hi everyone,
Dry versus wet samples. It's a hotly debated topic, and I am not giving an answer which one is better. But my stance has changed a bit recently, and I wanted to share my thoughts.
Pro's and con's of each should be pretty well established by now. Dry libraries offer more control regarding panning, and room size. The transitions are easier to program. But does artificial reverb on top of dry samples really sound like they'd been recorded in whatever room/hall/studio you are trying to insinuate? Wet samples have that natural sound of the room, but transitions can get smeary, or the room drops out etc.
I started with mainly dry libraries because I liked the control. But recently, the sound quality of the source has become increasingly important for me. And I have discovered some limitations that I have not been able to overcome. While I think that dry woodwinds work very well, with strings it has become a mixed bag for me. I was a long time user of VSL Dimension Strings. Playability, control, and consistency are second to none for me.
However, while for long notes I can get by with artificial reverb, I was increasingly bugged with the the short short sounds with strong transients. No matter what I tried, it simply never sounded like a real recorded pizzicato in a nice hall. If you go to a symphony concert and hear the strings play pizzicato, there is that nice bloom that seems to be more than the actually played note. And I can not get that from artificial reverb, no matter what I tried.
Here is an example. My old setup with VSL Dimension Strings, all pizzicato:
It sounds ok to my ears. There is some nice panning, but not too much depth. But most importantly, I don't hear that bloom of the sound in a nice hall. There is no room present. Compare it to this:
The difference is not even funny. Compared to this second version, the first one sounds completely flat. Hearing that second version I would never want to go back to the first one. I made a second version with Dimension Strings with more reverb. It is a bit better, but still lacks that natural room sound:
With long articulations the contrast is less stark, and the downsides of the wet recordings start to come into play. Here is a short comparison. A bit of the Elgar Serenade with the wet recorded strings from the second example above:
And here another version with Light and Sound Chamber Strings. They are not completely dry, but have been recorded in a room with little tail. The ERs come from the real room, the tail is artificial reverb:
Both work about equally well to my ears. I slightly prefer the first one, but that is mainly due to the timbre of the strings, not the room information.
So where does that leave us? Unsurprisingly, I think that choosing dry or wet according to the task you set yourself is the best way to go at the moment. If you need short sounds with present transients, I don't think that dry libraries can hold up with wet ones. For woodwinds, dry libraries work great for me. For strings, I am going to choose depending on what I need to do. For brass and percussion, I think the wet libraries have an advantage.
Anyway, I am curious to hear where you guys and gals are at with this.
If you are interested, here are a few more pizzicato examples with various other libraries:
Out of the bunch I think Spitfire Chamber Strings are a close second to my example above. Then VSL Synchron Strings. The drier libraries have a harder time at pulling this off convincingly.
Edit 22.12.2021:
Let me add Sonokinetic Orchestral Strings to the examples. I find them to bring something new to the table that none of the other libraries have:
Sonokinetic OS 'focused' mix
View attachment Encore Sonokinetic OS focused mix.mp3
Sonokinetic OS wide mix
View attachment Encore Sonokinetic OS wide mix.mp3
To my ears, SOS are closest to a real permormance sound by some margin. The Berlin Strings First Chair version may sound more 'perfect'. But now that BST FC examples sounds artificially glossy to me. SOS sounds human in comparison. And I also really like the room sound of SOS. I find that pizzicati are always a good way to make the room audible in samples. Really lovely here.
Other things to mention: SOS have a lot of depth. They also sound a bit far away. If you need a close up strings sound, these would not be my first port of call. And you can also hear that there is a bit of room tone in the samples. They haven't been aggressively cleaned - a process that more often than not sucks the livelyness out of samples I find. So I like that. If you prefer very clean samples, you may not.
*****************************************************
Hi everyone,
Dry versus wet samples. It's a hotly debated topic, and I am not giving an answer which one is better. But my stance has changed a bit recently, and I wanted to share my thoughts.
Pro's and con's of each should be pretty well established by now. Dry libraries offer more control regarding panning, and room size. The transitions are easier to program. But does artificial reverb on top of dry samples really sound like they'd been recorded in whatever room/hall/studio you are trying to insinuate? Wet samples have that natural sound of the room, but transitions can get smeary, or the room drops out etc.
I started with mainly dry libraries because I liked the control. But recently, the sound quality of the source has become increasingly important for me. And I have discovered some limitations that I have not been able to overcome. While I think that dry woodwinds work very well, with strings it has become a mixed bag for me. I was a long time user of VSL Dimension Strings. Playability, control, and consistency are second to none for me.
However, while for long notes I can get by with artificial reverb, I was increasingly bugged with the the short short sounds with strong transients. No matter what I tried, it simply never sounded like a real recorded pizzicato in a nice hall. If you go to a symphony concert and hear the strings play pizzicato, there is that nice bloom that seems to be more than the actually played note. And I can not get that from artificial reverb, no matter what I tried.
Here is an example. My old setup with VSL Dimension Strings, all pizzicato:
It sounds ok to my ears. There is some nice panning, but not too much depth. But most importantly, I don't hear that bloom of the sound in a nice hall. There is no room present. Compare it to this:
Encore BFC Strings.mp3 | Powered by Box
app.box.com
The difference is not even funny. Compared to this second version, the first one sounds completely flat. Hearing that second version I would never want to go back to the first one. I made a second version with Dimension Strings with more reverb. It is a bit better, but still lacks that natural room sound:
With long articulations the contrast is less stark, and the downsides of the wet recordings start to come into play. Here is a short comparison. A bit of the Elgar Serenade with the wet recorded strings from the second example above:
Elgar BFC Strings.mp3 | Powered by Box
app.box.com
And here another version with Light and Sound Chamber Strings. They are not completely dry, but have been recorded in a room with little tail. The ERs come from the real room, the tail is artificial reverb:
Both work about equally well to my ears. I slightly prefer the first one, but that is mainly due to the timbre of the strings, not the room information.
So where does that leave us? Unsurprisingly, I think that choosing dry or wet according to the task you set yourself is the best way to go at the moment. If you need short sounds with present transients, I don't think that dry libraries can hold up with wet ones. For woodwinds, dry libraries work great for me. For strings, I am going to choose depending on what I need to do. For brass and percussion, I think the wet libraries have an advantage.
Anyway, I am curious to hear where you guys and gals are at with this.
If you are interested, here are a few more pizzicato examples with various other libraries:
Box
app.box.com
Out of the bunch I think Spitfire Chamber Strings are a close second to my example above. Then VSL Synchron Strings. The drier libraries have a harder time at pulling this off convincingly.
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