mikeh-375
old school
Finally ! That can close the debate of pros and cons.
Paul Thomson is right when he speaks of those who simply copy a midi file and are unhappy with the result ... An orchestral library does not work like a vulgar CD player! must be tamed, understand his philosophy and for what use it was created.In any case I am more and more enthusiastic for this library, yet I had doubts by reading all the reviews, but listening to some demos, I realize its potential if we have a minimum of knowledge in harmony, orchestration and so on.
Many criticize the brass for example, and the horns in particular (I thought if i understand) ... not enough FF etc .. but how many have really heard horns live in the symphony orchestra?
They are often soft and fluffy, with an attack more often soft than brutal.It is impossible for a musician to hold FF for 50 measures without catching his breath, or playing constantly in the extreme registers of his instrument.Imagine the bass trombonne player !, or the violonist always playing in 8 th or 9th position.
I also think that many are too used to thunderous orchestrations, "blockbuster" sounds, often among young people (it's not a criticism), who do not have the knowledge of what a symphonic orchestra is, limits instruments, all this dynamic, this balance between the different instruments, this "Alchemy" so difficult, impossible to reproduce with samples.
The fundamental mistake is to believe that a symphony orchestra sounds like the over-the-top trailers of some Hollywood movies, always with the same sound and effects that many copy. The music does not stop only in Hollywood and Hanz Zimmer (which I like a lot). When I listen live a symphony orchestra, or a string quartet, I slap each time a slap in the face, I realize the ditch, the distance that there between reality and our virtual orchestras ... It's frustrating, but it opens our ears and also our brain, it's part of learning, it makes us progress enormously.
Nothing is perfect in this world, even the best musicians make mistakes and false notes, they bug, too, but who hears it ?, if the emotion and the intention are there.
We live in a wonderful world with our expensive toys.
We are fortunate to have at our disposal day and night the samples of a world-famous symphony orchestra, played by top musicians, and we are the conductor !.
It's up to us to make it sound, it does not come by itself, we have to work a lot. We are spoiled children, stifled by technology. Let's stop dissecting this library or others
in technical and esoteric terms like numbers of layers, milliseconds latency, shorts not enough shorts , in modweel CC1 to 65 instead of 54, too many microphones, or artifacts on the E4.
At the end we get up and we still applauded SA for taking this risk.
in layers, milliseconds late, in shorts not enough shorts , in modweel CC1 to 65 instead of 54, too many microphones, or artifacts on the E4.
When I think of the Orchestra Strings srx cards of my Roland U 22O expandeur of the 80's, how lucky we are now !.
At the end we get up and we still applauded SA and Paul Thomson for taking this risk.
Think about music and be creative, and that's the hardest thing.
And even with an old wooden tennis racket, a good tennis player will always be better than me and my racket is carbon !.
PS : Sorry for my bad english !.
well Patrick, I'm no slouch when it comes to scoring and imv, a lack of dynamic breadth is a bar to effective and less restrictive composing and scoring. I don't expect ff for 50 bars anywhere in an orchestra, but I should be able to achieve ff when I need it. Likewise, high d's and e's on violins are not completely unreasonable when approached adequately and with care.
Not all of us are trailer composers, some here are classically trained (some trailer guys too no doubt) and yet there is still dissent about this product because it has seemingly cut a corner that impinges directly on expression.
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