Sounds to me like certain people (not you, @Land of Missing Parts ) want instant gratification all the time when the fact is that some of the best libraries are all about studying up and applying the tips to that library, so a composer can get past initial impressions and really get something out of that library. You get what you put in. Dismissing something as terrible before you even put any real work into it proves that you really have no interest in making a library your own...let alone in making music. It becomes more of a consumer concern (buy up/throw poop on the wall until something sticks).
Trust me, you don't want to approach any new library in a myopic manner, you are only cheating yourself.
Ok, I guess I'm "certain people".
And I'll first apologize if the above came across as inflammatory - was my intention to be little glib, but not inflammatory or dismissive. Clearly I should have thought that through a little more.
But my question was sincere, designed to give you space to give more details on the brilliance you're finding in the solo viola. And I'm genuinely excited by the possibility that there might be useable expressive capabilities of these solo instruments that I completely missed.
It doesn't sound terrible. People read these threads, let's try to give them decent and helpful info and not scare them with non-specific criticisms.
Ok, so here's a specific criticism - my experience in buying this library and spending months trying to writing with the solo strings is I was never able to write anything that didn't sound terrible. Not just unrealistic, but properly terrible. In fact every time I tried to use the solo string I ended up despondently closing the logic project .
Was this down to my inexperience and lack of skill in midi programming in particular and composition in general? Absolutely, unquestionably, and without any doubt whatsoever.
Was it *only* about my own inadequacy, "mytopia" for "instant gratification", or unwillingness to "put any real work in"?
Well no, actually. Solo strings are complex. How marketing copy represents (or misrepresents) the capacities of a solo strings is complex. How were write about and debate critically about solo strings on vi-c is complex. But also very interesting.
And conversely - I'd really love something more substantive to back up all this "non specific" praise of the solo instruments.
Because note that, in addition to my own - very specific and subjective - experience :
a) in Corey's (very helpful) review he basically dismisses the legato of the solo strings completely.
b) Beyond a few tiny passages on this thread, I've never heard a convincing piece written with 8dio solo strings.
c) While there's individual lines in the 8dio marketing that sound very good, for me personally there's no form of marketing that I trust less that 8dio marketing of solo strings. All marketing should taken with a grain of salt. 8dio solo strings marketing should be taken with large sections of Utah.
d) The only user demo that I know on these pages that attempts an actual composition using 8dio solo strings - is legitimately terrible. I use the word advisedly. And when the composer asks for help the only constructive advice anyone was here able to offer was recommendations for other libraries.
Against this, I do trust and respect the opinions of people like yourself. So I'm only too happy to have my earlier impressions challenged.
So I'm not trying to be negative. I really do think there is something truly wonderful at the heart of the 8dio violas, and I'm really enjoying this thread, which has really encouraged me to revisit the library both with the insights shared here, and with the experience I've gained since I gave up on Adagio in despondency a couple of years ago.
I also think that the price drop fundamentally changes how we can now talk about it as a 'fine brush' library rather that a workhorse. (I maintain my position that this is a *terrible* first library for inexperienced composer though, even at $28).
So its wonderful to hear that people can get these great results with the solo instruments. And I'd really love to hear more, and if anyone can share advice and insight on how to get better results, that would be great.
Anyway, great thread - and again apologies if my earlier comment pushed it in a negative direction. Totally not my intention.
More than that, thanks to this thread I've gone back to the ensemble patches and discovered some really wonderfully - and eminently useable - expressiveness in the ensemble patches that just wasn't able to fully grasp a couple of years ago. And I'd love to be able to do something similar with the solo patches.
But I think the larger issue is the solo strings are just so hard to write about that the default mode of writing about them is inherently 'non-specific'.
So +1 for "decent and helpful" discussion going forward.