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Spitfire Audio “This is London Calling” - BBC Symphony Orchestra

To my knowledge it depends on the instrument and articulation style which is why the question is difficult to answer!
I think it's rather important to know if the strings or brass stop at f or go ff, for example. Don't think it's difficult to answer, since the answer is right there, in the recordings and what you asked the players to play.
 
I think it's rather important to know if the strings or brass stop at f or go ff, for example. Don't think it's difficult to answer, since the answer is right there, in the recordings and what you asked the players to play.

I think you can hear the answer to that in Andy Blaney’s demo!

There’s no great secret about it, it just varies from instrument to instrument and articulation to articulation - we’ve used our experience of recording orchestral samples to get the maximum flexibility without making your machine fall to its knees because it’s playing back more layers than necessary.

There will be quite a few videos coming over the next few weeks so you can see and judge whether you like the sound using the most valuable critic - your ears..!
 
Paul, will you at some stage publish a breakdown of the dynamics available for each artic? I for one as a trained composer and scorer am extremely interested in what can be done and as you know, realism is inextricably bound to balance and therefore dynamics.
 
Why not just list all the info that will be included? As in, a very detailed list of what each instrument offers from dynamics to how many round robins etc. etc...
 
Why not just list all the info that will be included? As in, a very detailed list of what each instrument offers from dynamics to how many round robins etc. etc...

I believe they've answered this previously - they are still finishing up the instrument and programming, and thus don't want to promise something that won't make the release.
 
Yes, please divert folks away from working on the core library to spend significant time documenting every single nuance of the library before it's released (or even finalized and out of beta), no matter how subtle or esoteric...

Every articulation, every dynamic layer, every round-robin, every mic used on every mic position on every articulation, all of the midi data on every channel / bus on every DAW with all settings for every plug-in used on every demo, you know... just the basics, etc... :sneaky: ;) :cool:
 
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In understanding the expressive-ability of the library, it's probably just as much about how and what they've recorded, and how all that has been pieced together script-wise, as how many raw layers were used to achieve that sound. Imo we should judge the library on it's sound more so than on it's specs. If I were a developer, not sure I'd want to talk about specs and give away all my secrets.
 
Has anybody streamed large sample libraries off of USB 3? Wondering if it'll work well.

USB 3.1. (Gen 2) works fine here on a Mac mini 2018

Christian Henson uses a 2 TB 860 Evo via USB C for his entire sample library on his MacBook Pro.
 
I would have thought that a complete list would have been created before they started recording?

Well, at least a what-they-want-to-record wish list.
 
New info on legato from the FAQ:
Each of the main instruments (leader and group) includes a legato patch. The strings legato patches include both portamento and slurred transitions, as well as short notes, for a more agile, varied performance. The flute and piccolo ‘Extended’ legato patches include normal slurred transitions, fast run transitions and short staccato notes, all in one patch.
 
Here is the segment on vibrato:

I must say that I'm far less enthused about the sound signature of the library after watching that video. My wallet is relieved! :laugh: (Although that bass trombone is pure sex!)
That being said, this seems to be a phenomenally comprehensive set of orchestral samples.
I wish you all the best with the release! @christianhenson @paulthomson
 
I would think that a complete list would have been created before they started recording?

Well, at least a what-they-want-to-record wish list.
I quite sure they did but, what if some of them didn't make the cut and ended up on the the "to record" list but are not in the final product at release... that would not go well over here on VI-C if that happened.

I agree with @jamwerks we should go by the sound for now and then once they have a more finalized product we see what they provide regarding the details of that product and then each of those who're interested decide if it's for them or not...
 
In understanding the expressive-ability of the library, it's probably just as much about how and what they've recorded, and how all that has been pieced together script-wise, as how many raw layers were used to achieve that sound. Imo we should judge the library on it's sound more so than on it's specs. If I were a developer, not sure I'd want to talk about specs and give away all my secrets.
Paul Thomson wrote on the previous page how "there’s no great secret about it", so arguing the number of dynamic layers recorded is or should be a "secret" is undoubtedly more than silly.
 
Why would you need to? It is not RAM hungry.

How much RAM does it take to have every single patch loaded and using multiple Mic Positions? I don't know because I haven't tried it yet... because it's not released yet. Perhaps you know something I don't regarding RAM usage?
 
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