Very interesting, thanks for the info.
I’d need some clarification regarding divisi, in particular, using Spitfire Audio Chamber (SCS – the new Sable) and Symphonic Strings (SSS – the new Mural).
I’d like to know also
@driscollmusick ’s opinion, since I’ve read in other threads that he uses SSS and switches to SCS for divisi.
1) First of all:
“
MURAL's Symphonic String lineup has been designed to exactly match our SABLE chamber strings library, so you can easily use Sable as the divisi sections for Mural”, as written by Spitfire and quoted by
@tack .
I’m working on a track where, in the same instance of SSS 1st violins staccato in Kontakt, these 1st violins often play two different melodies at the same time (never the same notes of course, at least not in the same octave). This would obviously be impossible in a real orchestra without splitting these 1st violins into two groups of divisi (in this track the same happens with 2nd violins, violas and cellos: each of them often play two different stacc. lines simultaneously).
So, also according to Spitfire’s post here above, should I use SSS only when the 1st violins stacc. play “alone” (i. e. without a second line of 1st violins stacc. overlapping them) and I want the richer sound of SSS 16 1st violins, and, when there’s a second line of 1st violins stacc. overlapping them, switch them from SSS to SCS and use SCS also for the second line? Or use SCS for the second line only?
Sometimes in this track there’s a melody played by the 1st violins legato together with a different melody played by 1st violins stacc.: like above, should I use two instances of SCS 1st violins (one leg. and one stacc.) or SSS for the leg. line and SCS only for the stacc.?
2) As regards the “transposing trick”:
For Mural divisi use Sable (4,3,3,3,3) but layer or double the samples up by pitch shifting (8,6,6,6,6)
In my case, when I have two lines of 1st violins stacc. playing simultaneously, would this mean I should use two instances of SCS 1st violins stacc. and apply this trick to both of them? So that, if I got it right: 8 (SCS, first line) + 8 (SCS, second line) = 16 (as the total number of 1st violins in SSS)?
By the way, is this practice really necessary (even if the two lines of 1st violins stacc. don’t play the same notes)? I’m not sure I can hear any phasing issues when they play together.
3) I guess it’d help to adjust the three mic positions (close, tree and ambient mics, offered by both SSS and SCS) in a different way for each instance (besides their volume)?
For example, in my case, using C, T and A in one instance of 1st violins stacc. and only C and T in the other?
Thanks in advance for any advice!