It took years. Allot was originally on my E-mu samplers in that format. Allot of string stuff. Then we put it on synclav (Ron Jones) was doing star trek and used synclav. Allot of my library was used on star trek NG . So we made banks. Then last 5 years i moved strings and some brass to kontakt. And some woodwinds. Synths like juno, moog, matrix 12. We used to stack pads with strings and evolving filtered stuff on korg synths stuff. Its stiff fresh. As those analog synths are not around.
I just got tired of loading new string patch's from great library's and cpu maxes out. So mine sound great, and only a few mb. So you can load up 16 instances and still not even touch cpu. I give it out to some film composer students at USC that cant afford Cine, VSL etc. Its not the same as new multi layer library, but playability is perfect. You dont need any controllers but 11 foot pedal. Works perfect with a few live players.
Used it for years. I own all the librarys, but just a few instruments max out cpu and causes clips. Thus thats it. Funny thing best string ensemble patches are on Roland Integra-7! I made two patches. In my template permanently. And on tons of tv stuff, feature film. Great out of the box with no efx.
Playability is my req. spitfire i love but no patches are VEL sensitive.
On a real gig, there is NO TIME! So you dont have luxury to overdub cc1, cc11 etc to get dynamics. My library uses a pedal, aftertouch for control. A one pass patch! No overdubs for dynamics. Plus if uou have orchestrator, having multiple controllers for dynamics is impossible to take down off midi seq. Its like there is a disconnect from library makers today and film/tv composers.
Heck i do best on a grand piano with a pencil and score paper! Thats fast!
But directors etc today want mockups.
So i just made my own that is fast, sounds great, 100% one pass playability, and does not snuff out cpu.
I was going to start a company that sells simple, fast orchestral libraries for kontakt when i retire. USC film students call me years later and thank me for my patches. They say they sound great, and so fast and playable.
Then again some super rich composers can afford two new $25k macs and redu all there studio with new audio interfaces. I just cant justify it. Spend it on great food, nice couch, big screen in your house for when directors come over and have a enjoyable experience. They know when a real orchestra plays my music it will be awesome! I slave my mac to house synch smpte and send stems. Then they can mix with real players as needed. On cues with special samples and sound design, it just does that realtime with orchestra and mixed live.
I should share a vanilla string patch in kontakt with some of you. No copy protection, just dont sell it. Use it. If they get out and shared then i loose my sound, that made me successful.
Thats why i have only given them to close friends, and USC film composer students. They guard them and dont share. Then they have something always fresh.