How's everyone getting on with OT's Time Macro?

Discussion in 'SAMPLE Talk' started by erica-grace, Mar 13, 2019 at 8:19 PM.

  1. erica-grace

    erica-grace Senior Member

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    Who has it? Who likes it? Who doesn't?

    Those who do, how are you using it and incorporating it into your projects? Easy to work with? Hard?

    Was it what you had hoped for? Less? More?
     
  2. ChrisSiuMusic

    ChrisSiuMusic Senior Member

    It’s very similar to the Spitfire EVO’s, but it’s a little different in terms of the approach.

    To me, TIME lends a beautiful warm, tinkly, cinematic feel that just sounds magical. The choirs are very gentle and contain some unique syllables, the brass is warm and full, and the sound design patches inspire very quickly.
     
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  3. Jonas Hallstrom

    Jonas Hallstrom Member

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    I use the choirs, the more traditional string patches and the harp/vibes combo patches. They are all great!
     
  4. DivingInSpace

    DivingInSpace Active Member

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    I love it, rarely use a lot of patches from it, but usually have one or two string/choir/woodwind patch here and there. The only real downside is that it (in my opinion) mostly/only fit in low dynamic places where there isn't too much going on. I absolutely adore the sounds though, and the only section i haven't used much yet is the brass section.

    I bounced a short unfinished piece i've been using it on, if you would like to hear it blended with other libraries. The Harps/vibes start at the beginning, around 0:53 comes some tremolo burst strings from there, at 1:15 comes the female choir section and at 1:19 is some stuttering wood winds (i think they call it sustained staccato ad libitum).

    I am still very much a beginner, but i mainly use it for small details adding a bit of flavor, movement and stuff like that.

     
  5. SoNowWhat?

    SoNowWhat? realised I can type here

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    I love it but I haven’t used it much lately. I should however say that I’ve not been using much of any of my libraries lately as other things have been getting in the way. The choir patches are gorgeous and the other instruments are very handy for adding some movement. Usually quite subtle. I’m not 100% sure I’ve been through every patch yet but I’ve not come across any that aren’t impeccably sampled and very playable. It was a complete surprise to me when it came out and my initial thoughts were “I don’t need this”, which strictly speaking was true but I’m very glad that I have it.
     
  6. Guy Rowland

    Guy Rowland Senior Member

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    Like it very much. Often gets use in longer, softer textures here. Like everyone else, am in love with the Harps / Vibes and the choir.
     
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  7. jbuhler

    jbuhler Senior Member

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    One of my favorite texture libraries, and I think a good value. As with nearly all my texture libraries, still trying to figure out the best way to organize it in the DAW.
     
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  8. ism

    ism Senior Member

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    Quite a wonderful library, and the first texture library that even approaches being in the same league with the Spitfire libraries, complementing libraries like Orchestral Swarm and the Olafur chamber Evo very nicely, with much less overlap that you might think.

    Some of the orchestrated patches particular sound instantly cinematic - which it probably why I don’t use them. And why I didn’t buy it based on the demos - which are lovely, but for the most part very ‘cinematic’ in that they sound like they’re from the soundtrack to movie about time travel - the ‘ticking’ patches are nice ostinatos a bit of marketing gimmick, and they don’t really point to where I find the ereal strengths of the library.

    Which another dimension of this library that I think is more ‘neoclassical’ that cinematic (not that there a clear distinction, or even a clear definition of neoclassical, but hopefully you know what I mean).

    The subtle textures of the choirs, or the col leg trattor patches are emblematic of this - *very* subtle texture , and easily lost in the mix. So the trick is to really make space for the textures to be heard, otherwise they textural details blur into fairly standard OT ensemble patches. (The added bonus of this is that absence subtlty in your orchestration/mixing, you basically have a bonus library of OT ensemble patches.)

    There parts that I haven’t got my head around yet - like the brass .. which seems to have a louder character. And some of the woodwinds seem to have potential that I’ve yet to successfully realize.


    Then there the way it interacts with the spitfire libraries - Tundra, OACE, BDT, Orchestral swarm etc. There’s ocassionally a little overlap (a couple of the woodwind patches, for instance, are very similar to some of the Orhestral Swarm patch). But on the whole not only do they blend well, but there are places when TM picks up in particular expressive dimension where Spitfire leaves off, or vice versa. And it fun looking to for these contiguities, since when you find one the whole can be more that the sum of its parts.


    So still loving it, and far from exhausting its potential.
     
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