Discussion in 'SAMPLE Talk' started by Apostate, Apr 19, 2019.
Thanks...going to check out those samples.
After treating @re-peat examples of the Tree 2 mic above, I'm come to the conclusion that it doesn't work well to my ears for a Scoring Stage orchestral sound. Maybe the Outriggers would work better in that context?
How about Mix 1 and Mix 2? Are these any good?
Well, these are dry samples, so coupled with other dry, orchestral libraries and a good reverb on the bus would go a long way toward achieving that sound.
If you're not interested in putting a little engineering work (the reverb) then the SSWW might be more to your liking. More out of the box, and of course they also work well with the others in the Symphonic series (Albions, too).
Oh hey guys I should share this, too: I've been going happily crazy (in anticipation of the new WW library) by listening to the great wind quintets and choirs by heavies like Poulenc, Perle, Mozart, Nielsen, Hindemith, Ligeti, and Strauss. I highly recommend checking the works of these men out in the genre, as they can be monumentally inspiring.
My 2 cents : it’s worth.
The extra instruments are useful and the extra mics open new sonic territories as well.
For $120, it’s quite a steal.
I don’t wanna ruin the festivities here, but NOTHING I showed in any of my examples qualifies as excellent in my book ("not bad" is already a much too kind and forgiving view, if you ask me), and I certainly didn’t want to give rise to the idea that there is anything of excellence in these libraries.
I’ve kept my views on the Studio Series out of the last three pages of this thread, but if anything, I think even less of them now then I did before. While I was preparing those examples, the thought that most often crossed my mind, and I'm dead serious here, was that the *only* way these libraries would deserve some appreciation, was if they had been marketed as “My First Woodwinds Library” and “My First Brass Library” and aimed at 5-year olds. Any human intelligence more mature and educated than a 5-year old, and not completely devoid of the gift of music, is bound, I would think, to be hugely disappointed, frustrated and deeply annoyed by these libraries.
Anything you do with these things — trust me: anything — sounds as if played by a third-rate provincial school-orchestra equipped with cheap instruments. (Without the realism of course.) Articulations don’t connect, it is impossible to suggest even the faintest hint of commitment or suitable musicality in a performance with any of the instruments, the sounds don’t blend, the vibrato sounds (and is) artificial, some of the timbres are downright unpleasant, the dynamics are absent or wrong … the list is endless. Well, not endless, but painfully, painfully long.
And I fully understand Jamwerks: I have to admit defeat as well trying to create the illusion of a larger, more orchestral space around these samples. (Which is why I never posted any of my results.) With SPAT, I usually can do that, quite convincingly, within 5 seconds. But whatever I tried with these samples, it never sounded as it supposed to sound, no matter what mic perspective I started with. There’s a *very* obnoxious room-element in all of the microphones, I find, which stands in the way of a believable larger-size spatialization. There's bound to be a mix perspective that'll work, I said on the previous page, well: there isn't.
And finally, personally, I really wouldn’t urge people too much to start listening to some of the great classic woodwind music that’s been written and recorded. At least, it would be extremely unkind to the people who purchased the Studio Woodwinds, cause it’s only going to make their frustration and anger — upon realizing what baffling musical incompetence and ridiculousness their purchase amounts to — much bigger and more tormenting.
A much kinder and more compassionate thing to give to those who have purchased (or are about to purchase) the Studio Woodwinds and/or Brass, is to have their brains partially fried, so that it functions at about the same level as that of a 5-year old. That’s really the only way I see to keep the customer satisfied.
I really do appreciate the expertise and skill you bring to this discussion (and I'm in no way ever suggestion that your opinions here aren't genuinely held), on this and on many other threads.
But while personally, I have no problem being considered a 5-year old in relation to one of your skill and experience (in the same way that I don't really mind being considered "dumber that Einstein"), I wonder if you discount the fact that other people - perhaps more talented that myself and perhaps not going for quite the same sound as yourself - might take offence at being dismissed as 5 year olds?
I mean to suggest this respectfully, for let me reiterate, that I really do value your critiques on these pages, even if I could wish they were sometime a bit better contextualized.
Working my way through the Studio Brass Pro. A few small issues. I don't find the library terrible in the least. Indeed I'd say it is better than not bad in itself, though some patches are better than others. I haven't worked it into context yet, and I can't yet say if it will work as a complement to SSB as I hope. It's nice to have so many muted articulations, something SSB is somewhat lacking in. I've liked what I've heard noodling around with the euphonium legato patch, and some of the mics seem to draw out an agreeable roughness in the playing that could be useful for certain passages.
You appear to have the reading skills of a 3-year old, Ism. Nowhere in my post did I equate any or all of the current or future users of the Studio Series with 5-year olds. I merely suggested that we would see more happy faces among those users if they were (or had the brains of) 5-year olds.
Me and my popcorn are ready.
Only in the most absolutely ploddingly literal reading. Human language simply doesn’t work like that. It has context. It’s hairsplitting to pretend otherwise.
My point stands, i’ve gone to great effort to express it politely and respectfully. Feel free to disagree, but please everyone let’s put away the popcorn.
I get the pattern! Can I be 1-year-old next?
I get the feeling that some here can be swayed by just one or two persons comments. Imo this is still a high quality WW library. If I didn't own about 6 of them, I'd definitely be interested. There are tons of arts, more than complete instrument selection, and their great Gui.
For a first or second library this is a no-brainer imo. And if I did also some smaller ensemble work with WW solos, this also really fits the bill...
I love the library. To each his (or her) own.
Do you mean this literally? Are you saying that the vibrato is generated by a LFO and pitch-shifting, rather than being recorded? When you say that the dynamics are absent, are you saying that they only recorded one dynamic layer? I only own WW core, and I am not at the studio so I cannot check for myself, but I would be very surprised if these claims were true.
@re-peat should review every product! I'd even pay for a compilation book of past reviews
My ribs are sore with laughing!
The problem for someone like me who is just learning, when you hear various comments like that, you do think twice. If someone with experience can't make it sound good, I definitely can't. And? I have a lot of WW libraries. The oboes are usually the questionable one for me. Always sounds like a pipe organ. Though that might not be a bad thing.
Separate names with a comma.