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NOW AVAILABLE — Symphonic Destruction

I've listened to the demo and sounds great. But I feel, as others, that this is a very good sounding rompler, or a very good sounding collection of loops. Maybe I have to go deeper, haven't looked at any other walkthrough, and surely it Is time saving, but I do fear it's gonna saturate very quickly.
If you're just going to use the presets, well then... yes, but the Heavyocity engine provides an immense array of filters, fx, dynamics macro, sequencer, punisher, twister, etc. that can let the creative juices flow freely. Add to that the fact you can always blend and layer the sounds with the likes of Novo/Forzo/Vento and others then I really can't see any reason for sounding the same as anyone else.
 
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Hello guys,

Bought the library today and wrote something quickly for my website, like others have said its a really great library to get a good sound right out of the box,

For me as I think I would only write in that genre for clients its perfect because I can see it being a big timesaver, (I also used Gravity and Damage 2 also but don't own any other libraries from Heavocity), I didn't dive under the hood to much but seems a bit of flexibility as others have said to alter the sounds somewhat,

Anyway feel free to check out the video,


 
I've got most of the Heavyocity titles and I can assure you the quality is universally good. I also own Pandora. They are both very high quality. From what I already own, you can speed up or slow down things from Heavyocity, but there is nothing exactly like adaptive sync. But Heavyocity can do things Pandora can't. To answer your question...yes, you can automate parameters, or control them manually, or control them by MIDI...amazingly adaptable. But if you can only buy one check them both out thoroughly first. They are both great...and as you noted they have some similarities...but they will each appeal to different people with different needs.
Thanks a lot, very helpful - will consider this!
 
If you're just going to use the presets, well then... yes, but the Heavyocity engine provides an immense array of filters, fx, dynamics macro, sequencer, punisher, twister, etc. that can let the creative juices flow freely. Add to that the fact you can always blend and layer the sounds with the likes of Novo/Forzo/Vento and others then I really can't see any reason for sounding the same as anyone else.
Surely it Is like that. I just wrote that to convince myself not to buy it.
 
I had a chance to go through some of this last night. As always, I’m very impressed with the selection even though I’m not a trailer composer (to which it seems, on the surface, aimed at). There is more diversity in sounds and plenty of material one can compose with that aren’t loops.

Note- Heavyocity provided me with a review copy for an upcoming FSM article
 
Next : choral destruction !!!
Would be cool ..a Heavyocity choir lib !!!
Ahhh yes! I hope my earlier comments did not seem too negative. As I said I LOVE Heavyocity. I have Vocalize 1 &2 and Mosaic voices, along with at least two dozen other vocal/choral libraries from other companies, but a full choir library from Heavyocity would truly be something. I'm sure it would be like their other titles, extremely versatile and badass. Unfortunately the cost would probably be huge. There are a lot of musicians to pay in a full choir and sooooo many articulations. The field is pretty crowded right now. I'm expecting (hoping) for something from Orchestral Tools. They have some snip its in their larger collections and they are all excellent...but no extensive full choir yet. I have several Strezov libraries, and they are great too....but waiting for a sale on Storm Choir II.
 
Hello guys,

Bought the library today and wrote something quickly for my website, like others have said its a really great library to get a good sound right out of the box,

For me as I think I would only write in that genre for clients its perfect because I can see it being a big timesaver, (I also used Gravity and Damage 2 also but don't own any other libraries from Heavocity), I didn't dive under the hood to much but seems a bit of flexibility as others have said to alter the sounds somewhat,

Anyway feel free to check out the video,



Thanks, that gives a great idea of what can be accomplished before you even have time to learn the engine and library contents well! Very nice music (and video)! (Okay, nice can't be the right word for intense music like that. Jaw-tightening, maybe?)
 
I asked this question in a review thread but didn't really get any input so I'll try again here, moderators please delete if this isn't the right place.

I'm listening to all the Symphonic Destruction demos but I have one big question. What are the differences (practically speaking, by which I mean in the type of sound that is created not so much the workflow used to get there) between Symphonic Destruction and say a popular hybrid scoring synth like Omnisphere or Zebra/ZebraHZ? To my untrained ears, it sounds like there is potentially quite a bit of overlap in the nature of the sounds. In the SD demos I've seen so far, it seems to excel at that epic Hans Zimmer hybrid score sound (big, dramatic, emotional, with constant movement), but you can get there with those synths too, in fact ZebraHZ is sort of intended to deliver on that HZ sound. I'm not sure how to think of SD in terms of pros/cons vs. synths and I would appreciate some advice.

Note that I do not own Omnisphere or Zebra either, so I'm basing this question just on demos I've seen of those products, not direct experience with them. The main point of my question is to gauge whether I should just save up for one of those at some point, or jump on the SD intro price, which is quite tempting.
 
I asked this question in a review thread but didn't really get any input so I'll try again here, moderators please delete if this isn't the right place.

I'm listening to all the Symphonic Destruction demos but I have one big question. What are the differences (practically speaking, by which I mean in the type of sound that is created not so much the workflow used to get there) between Symphonic Destruction and say a popular hybrid scoring synth like Omnisphere or Zebra/ZebraHZ? To my untrained ears, it sounds like there is potentially quite a bit of overlap in the nature of the sounds. In the SD demos I've seen so far, it seems to excel at that epic Hans Zimmer hybrid score sound (big, dramatic, emotional, with constant movement), but you can get there with those synths too, in fact ZebraHZ is sort of intended to deliver on that HZ sound. I'm not sure how to think of SD in terms of pros/cons vs. synths and I would appreciate some advice.

Note that I do not own Omnisphere or Zebra either, so I'm basing this question just on demos I've seen of those products, not direct experience with them. The main point of my question is to gauge whether I should just save up for one of those at some point, or jump on the SD intro price, which is quite tempting.
This is always a good sort of question to ask, and I'd love to know what people who have all of these things have to say about it. First off, I'd say that you can't easily hive off workflow, as that also includes inspiration triggers and paths. A different workflow is likely to lead the same person to different sounds. Then I'd guess at the following:

1. Same kind of sounds, not the same sounds, and I want more of that kind of sounds!
2. Not the same kind of sounds. They are different in the following ways that I shall now break down for you clearly and analytically...
3. (A specific example of 2.?) It's about the scope for integrating samples in the sounds. Omnisphere has one sample per patch; I don't know about Zebra2. So, Heavyocity can be an all in one hybrid instrument, whereas Omnisphere and Zebra2 require a further orchestral library and you have to integrate them yourself. Of course, you'd add other libraries anyway; but that is a pretty big difference in what you are getting with Heavyocity.
 
..neverthless, I am worried, that due to the ease of use with this, that a million other composers will use this to create scores that sound very similar. I feel weird stating that fear. Do I actually want things to be more complicated just so I can work harder and stand out? No. But, still that concern bothers me.
To play devil's advocate, that's already been happening...for years. I think what will always make some composers, artists, producers, and musicians unique is their own ability to be creative with the tools that are available instead of just playing presets. I can think of a ton of ways this library can be useful to me because I'll always put my own spin on it. And besides, the more time you spending being concerned about other composers, the less time you're spending being creative. We live in amazing times with the type of tools we have at our disposal these days. I'm taking full advantage of it. Just my very worthless 2 cents.
 
I honestly don't get what all the fuss is over everyone using the same sounds. Aren't we all using the same or similar orchestral instruments, pianos, keyboards, acoustic guitars, basses, drums, etc... The same orchestras are used over and over again to record dozens of film scores, and nobody says, "Oh my God, how lazy of the composer to use the same orchestra that I heard in Star Wars!" Did Elton John use a different piano for every song he wrote?

Yes, it can be desirable, and sometimes necessary, to inject unique sounds into one's compositions, but we don't need to reinvent the entire sound palette everytime we sit down to compose a piece. We're so spoiled and mesmerized by all the sound design and sound generating options available to us nowadays, that the highly skilled and creative act of composing music feels like it isn't enough any more.

Ultimately, the only people who care enough to notice... maybe, if they're even listening... are other composers and musicians. The audience, the people we work so hard to appeal to, just want to listen to music and enjoy it. If it makes them feel good, or fits a scene in a movie, or makes them want to dance, they really don't care if they're hearing the same sounds again.

Trading on familiarity is an extremely valuable mindset to have in your composer toolkit, especially in media composition. The people who buy and license music are often looking for a particular sound that they've probably heard a hundred times before, and now they want it in their project. Why? Because that sound is incredibly effective at conveying a certain mood or feeling. They're not interested in something different.

Let's take braams for instance. Braams exist because they convey power and awesomeness. If I'm writing trailer music and want a reasonable chance of selling it, then it would be totally foolish of me to eschew braams just because every other trailer piece uses them. There's a reason people making trailers want braams.

If there was no demand, there would be no supply.

Good sounds are good sounds. Most people on this forum agree that SD sounds amazing. That alone, should be all you need to know to buy it and use it. Why deny yourself the opportunity to use amazing sounds just because someone else is already using them?
 
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