It's a very interesting library. It seems to equally cross the boundary of Composer/Mixer. I'd think that people from both of those camps would be interested in getting the advantages of Moog filters and the incredible room depth(s) they've gotten with re-amping it in a great room.
More and more with the de-valuing of recorded music, engineers and composers have necessarily had to learn to do more in-house. There is a lot of Jack of all trades action going on. Scoring Synths unconsciously addresses this trend. It's a hybrid product.
The mics sound killer. It reminds me of Spitfire libraries in that respect. The difference between close mic strings, tree mics and wide/surround mics are key. You just can't do that with reverb - and I have a ton of reverbs - Bricastis, 480L, PCM 96 Surround, TC M6000, Eventide H8000, MIR Pro, SPAT, tons of software, etc., etc. You cannot replace good mic positions. I've bought all those reverbs to try to get those kind of sounds that different mic positions give us.
Scoring Synths has also saved me from popping for one of the last re-issue miniMoogs. (And don't tell me about the Behringer clones. While they're a really great value, they do not sound like the Moog filters. I've heard them back to back on great speakers. I want every last iota of punch and quality in everything I do.) I don't currently have a room big enough to do decent re-amping/Worldizing. So I never could have gotten these kind of sounds on my own.
So thanks Ollie. You came along just at the right time for me.
And hey, personally I prefer the fact that there aren't tons of fx on every patch. I feel like I have a tool that has more flexibility when it comes to customization. I think that the many basic Moog patches are curated sufficiently to let me use them in all sorts of situations.
I see this being a tool that I can use for years to come.
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