I'll be using both in combination! The bassoon in BWW is still a favourite of mine, while the rest of the winds in CSW I find very playable, sound great, and can stand on their own exposed. For ensemble-based writing, I'll use BWW with CSW, as the tone of CSW doesn't stand out too much either.
Thanks Asher! Yes, I meant to say that those crossfades are only more of an issue in sparse mixes, rather than denser ones.Well done, Chris. Here though is one area where we disagree or maybe I misunderstood you? It is indeed a problem with transitioning between dynamic layers with true legatos that sometimes it sounds like two with a lot of woodwind libraries. That is one of my beefs with Hollywood Orchestral Woodwinds as well. But it's only in exposed parts you really notice it. In a dense arrangement, you don't.
It’s lovely isn’t it?I recently bit the bullet and purchased this... and it's an absolute game-changer, just in the same way that their Strings library is.
There's a 'sound' I was after, for years, that I simply could not achieve with other woodwind offerings. So this has been quite a revelation.
I just need to save up for the Brass library now. And, by God, I'll try.