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Eating my words - Spitfire.

mikefrommontreal

Active Member
Many here have mention chamber strings. I've heard only good things about it, and it is on my list for libraries to buy this year, as I need something that will between my orchestral strings solo strings.

My only concern is that from the demos I've heard, is that they don't sound very chamber-y, as in they still sound quite large. Is that in fact true, or could it be just from they way they were used in demo?
 

Akarin

pragsound.com
I see the question of their pricing mentioned from time to time. I have many Spitfire libs and let's just say that if I didn't try to find better deals over time, I'd have saved money by going full Spitfire in the first place, even if I had not taken their sales deals.
 

angeruroth

Active Member
rates Albion One (which I regret buying as it tends to be just too thonkingly epic for me, and has no sul tasto) as being quite far on the 'gentle' side of his spectrum.
Yup, I just got A1 a few days ago and, for all the gods, I'm trying to adapt myself and find the sweet spots of the lib, but damn, only the strings longs give me something subtle (kind of). The brass looks at me like a hungry beast in the middle of a bloody war, he wants to roar and advance, and the Woods... What can I say. I don't understand the way those work. They should support the counterpoint... With subtlety, and I don't know (yet) how to convince them that that's for the best.
Is like the whole lib is pushing me to write about war and death and decapitations... But I just want to write a sad history, and the moment when they find a metaphorical Grail! Everything subtle and texturized until the big discovery. There, at the end, I can allow a bit of soft epicness, but building the rest... I'm starting to think that A1 is just for epic stuff ('cause the shorts and the perc can be awesome immediately), and softer things from that point of view, but not for conveying any sort of intimacy, like silk fainting around the skin, that sort of thing.
I guess I'm still beginning to understand how the orchestral patches work, so maybe I just need more time, but right now I don't really know what to think about it.
 

ism

Senior Member
Yup, I just got A1 a few days ago and, for all the gods, I'm trying to adapt myself and find the sweet spots of the lib, but damn, only the strings longs give me something subtle (kind of). The brass looks at me like a hungry beast in the middle of a bloody war, he wants to roar and advance, and the Woods... What can I say. I don't understand the way those work. They should support the counterpoint... With subtlety, and I don't know (yet) how to convince them that that's for the best.
Is like the whole lib is pushing me to write about war and death and decapitations... But I just want to write a sad history, and the moment when they find a metaphorical Grail! Everything subtle and texturized until the big discovery. There, at the end, I can allow a bit of soft epicness, but building the rest... I'm starting to think that A1 is just for epic stuff ('cause the shorts and the perc can be awesome immediately), and softer things from that point of view, but not for conveying any sort of intimacy, like silk fainting around the skin, that sort of thing.
I guess I'm still beginning to understand how the orchestral patches work, so maybe I just need more time, but right now I don't really know what to think about it.
Legacy woodind shorts have a lovely bit of subtlety. Maybe also the dynamics of the mid horns. Some of the strings have nice low dynamics. Also worth digging about in the legacy folder if you're looking for subtlety - but it's probably easier to just pick up Albion II or V, which have subtlety to spare.
 

miket

Senior Member
Interesting thoughts about Albion One here. It's something I've pretty much always ignored, since I almost exclusively prefer to work with individual instruments rather than ensembles (apart from Albion V), and in a vernacular that's not particularly "epic."

Recently, I've been wondering if I should grab it, though, for those moments when I *do* want to do something in that hybrid vein (moments which seem to be growing more common). There probably isn't a more obvious all-in-one toolbox for that kind of thing....
 

jneebz

Senior Member
Many here have mention chamber strings. I've heard only good things about it, and it is on my list for libraries to buy this year, as I need something that will between my orchestral strings solo strings.

My only concern is that from the demos I've heard, is that they don't sound very chamber-y, as in they still sound quite large. Is that in fact true, or could it be just from they way they were used in demo?
They are very epic.
 

X-Bassist

Senior Member
Many here have mention chamber strings. I've heard only good things about it, and it is on my list for libraries to buy this year, as I need something that will between my orchestral strings solo strings.

My only concern is that from the demos I've heard, is that they don't sound very chamber-y, as in they still sound quite large. Is that in fact true, or could it be just from they way they were used in demo?
Actually they are not epic, but epically good. You can definitely get a good close sound by upping the close mic and backing off a bit on the room. The great thing is it’s one of the few libraries in existence where every mic position sounds good, and this is across many articulations.

In fact you tend to go from a close sound, to wanting to add more room, to wanting the pro version just for the outriggers and stereo mixes. Until you mix an match all the positions to find a great mix you don’t realize the extent to which mics can give you different, yet all useful string tones (the stereo mixes seem to have more definition and clarity to me).

Then the kicker is that all the patches play very evenly and are programmed well. It takes a lot of time and patience to get this right on every sample. It really makes a difference each time you play it. It mixes so well with other libraries too.
 

re-peat

Senior Member
You can definitely get a good close sound by upping the close mic and backing off a bit on the room.
I don’t know if this is possible in SCS, but in Sable (SCS’s ancestor), I make things a little less Lyndhursty by shortening the decays and the releases. Has to be done carefully though, but makes quite a difference.

Sable doesn’t have SCS’s Ensembles, but you can easily make your own with the added bonus of being able to place the celli and basses a bit further back than the violins and violas, for added dimension in the ensemble.

This was done with just two of those ensembles — spicc’s and pizz’s — in a single Kontakt instance. Does sound quite chamber-y, doesn’t it?

_
 

angeruroth

Active Member
Legacy woodind shorts have a lovely bit of subtlety. Maybe also the dynamics of the mid horns. Some of the strings have nice low dynamics. Also worth digging about in the legacy folder if you're looking for subtlety - but it's probably easier to just pick up Albion II or V, which have subtlety to spare.
Well, Loegria is not in the menu, so I'm layering it with Tundra and BDT, and I think the result will be quite good for the strings.
There is something really appealing about layering those 3 libs and playing with different mic positions to balance the more emotional/warm feeling from A1 with the Tundra calm/openness and the BDT quirkiness.

Brass and woodwinds are not that easy, but I'll check the legacy patches to see if I can find the right combinations. Thanks for the tip! :)
Anyway, I guess I'm trying to use A1 for non-predicted uses, so I'm not complaining. Or maybe I've played so much with Tundra that now everything else sounds too strong :whistling:
 
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ism

Senior Member
Well, Loegria is not in the menu, so I'm layering it with Tundra and BDT, and I think the result will be quite good for the strings.
There is something really appealing about layering those 3 libs and playing with different mic positions to balance the more emotional/warm feeling from A1 with the Tundra calm/openness and the BDT quirkiness.

Brass and woodwinds are not that easy, but I'll check the legacy patches to see if I can find the right combinations. Thanks for the tip! :)
Anyway, I guess I'm trying to use A1 for non-predicted uses, so I'm not complaining. Or maybe I've played so much with Tundra that now everything else sounds too strong :whistling:
I'd expect a new Loegria to drop any day now. In the mean time OACE is another obvious option for layering.
 

jimmy3189

New Member
This thread is funny and heartwarming to me, three of the most interesting people to follow on youtube for learning about all this stuff are DJ, Paul & Christian. I basically got into this from being in a band because of watching DJ's videos from his megaman stuff through to now, which led me to discover spitfire and then the rest from there.

I love reading CC's posts on GS and here too, but those three have probably inspired more people my age or younger to get into this than any others. You'll notice that youtube is fullll of copycats or people going for more theory angles or mixing angles etc. Rick Beato is cool too but i always feel like he's just shouting at me for ignoring my high school music teacher.

Anyway.

Chamber Strings is great.
 
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