Spitfire has the new "performance" cello and violin, I think they are 99 bucks each. The whole solo strings package is excellent, albeit very wet. But the quality of the players and their vibrato really comes through.The Embertone cello tends to be best suited to more ominous uses in my experience, and a more tender-sounding one would be nice to have.
milar question: I own all of the Embertone solo strings, JB included, and I've been wondering if the Spitfire ones would complement them
Brightness might be something you can EQ out of it. But I wonder if it's the 'classical purity' or the tone you're referring to here?I don't own the Joshua Bell (yet) but it seems like the tonal quality is very bright. Wondering if it might be too much for some more quiet romantic pieces?
I'm completely in awe of your JB demo. Absolutely breathtaking. And there's no other sampled violin that could pull this is so convincingly.Josh Bell is the most convincing violin out there IMO. There isn´t much that I would be missing. Maybe violin fx or stuff like that. Avantgard playing styles. For all the other situations it is really great. I am stil waiting for embertone to finally release / develop a solo Cello of that quality
I'm not sure there is a best of both worlds with solo strings with current technology. Just compromises and trade offs.The ability to program custom dynamic arcs in the other Embertone solo strings is a great feature that I miss a lot when I'm working with the JB Violin, even though the JB has its own significant advantages. I know part of the JB Violin's realism comes from the lack of phase-alignment edits on its samples, but I think an interesting and useful compromise would be if it allowed you to switch back and forth between raw and phase-aligned samples as needed. That'd really be the best of both worlds, I think (though I have no concept of how much work it would be to implement such a thing).
Thank you very much - glad you enjoyed the track and its editing. Personally I am fine with the crescendos and decrescendos. All the other situations should be solvable via volume and expression cc (?)I'm completely in awe of your JB demo. Absolutely breathtaking. And there's no other sampled violin that could pull this is so convincingly.
(At least I think this is yourself)
But I'm curious - do you not feel that that it would be nice to have some manor of dyanmic crossfade (beyond the recorded de/cresendos)?
You did an excellent job, very impressive. Congrats!Thank you very much - glad you enjoyed the track and its editing.
I think that violinist has a bit of Gypsy in him. Would sound awesome on Brahms Hungarian Dances.Although I do fine the SF instruments better for rawer, messier style
How's do you find the agility of CSSS vs. SF SS? Can CSSS be used outside of the context of section leaders / first chairs? Like for a standalone quartet or even an exposed solo cello?I think my favorite violin "sound" is the first violin from CSSS. I'm a bit surprised by that myself. I bought CSSS then Spitfire Solo Strings, and find myself going back to CSSS.
I think I would prefer CSSS for a string quartet along the lines of The BEatles Yesterday. CSSS takes a bit of practice to play due to the lag and the velocity speed that basically controls it. There is no vibrato control (except turning it off). Aside from that I think it's easier to use. I don't know why Spitfire makes legato a different patch, CSSS doesn't and I find it far easier that way.How's do you find the agility of CSSS vs. SF SS? Can CSSS be used outside of the context of section leaders / first chairs? Like for a standalone quartet or even an exposed solo cello?