Spitfire Audio - London Contemporary Orchestra Strings

colony nofi

Senior Member
Is your current project just like mine? Imaginary.
haha - but strangely, no. I'm not sure its the aesthetic the directors are after though... but it sure is one that I'm into....
(I'm right now trying to convince them of a achingly delicate line using tundra harmonics / col leg tratto - i'm not even certain I'm going to get that over the line...)
 

SoNowWhat?

realised I can type here
haha - but strangely, no. I'm not sure its the aesthetic the directors are after though... but it sure is one that I'm into....
(I'm right now trying to convince them of a achingly delicate line using tundra harmonics / col leg tratto - i'm not even certain I'm going to get that over the line...)
you've convinced me, it sounds lovely (well, conceptually at least). fingers crossed.
 

devonuk

New Member
I got LCO when it first was released. It's a library that I keep going back to, so really useable textures :) I think it works best as an addition to something like Albion etc.
 

muziksculp

Senior Member
I'm revisiting this topic, since I'm trying to re-evaluate this library, although I'm also evaluating the new SA LCOT, So... which one would be more useful for me is a tough one, since both can be useful, and both libraries are very different in what they offer.

I missed the Intro Pricing for LCOS, but that was my choosing to not buy it during the Intro discount period, since I wasn't sure about it. Now I can get LCOT Intro discount price ($199) but still undecided about it.

SO.. LCOS users, are you finding this library very useful mostly for layering, or are you using it more on its own ?
 

windyweekend

Active Member
I'm revisiting this topic, since I'm trying to re-evaluate this library, although I'm also evaluating the new SA LCOT, So... which one would be more useful for me is a tough one, since both can be useful, and both libraries are very different in what they offer.

I missed the Intro Pricing for LCOS, but that was my choosing to not buy it during the Intro discount period, since I wasn't sure about it. Now I can get LCOT Intro discount price ($199) but still undecided about it.

SO.. LCOS users, are you finding this library very useful mostly for layering, or are you using it more on its own ?
In all honesty, having paid what I did for this I've been desperate to use this more than I have. It's the one library in my arsenal that I take off the shelf each and every day and then put it back where I found it shortly afterwards. I think I've used it maybe once as a motif instrument for a project where it was actually useful, but that was it. In retrospect this is the only SA library I wished I'd never bothered with (and maybe Masse, but at least that was free).

The textures on the other hand do look pretty cool, and definitely more practical than the LCOS.
 

jbuhler

Senior Member
Does anyone know if EDU discounts can be used on Intro Pricing for LCOT ?
I didn’t inquire specifically about LCOT, but in the past the discounts didn’t stack. Unusual for SF, LCOT’s into price is better than the academic discount.
 

jbuhler

Senior Member
I'm revisiting this topic, since I'm trying to re-evaluate this library, although I'm also evaluating the new SA LCOT, So... which one would be more useful for me is a tough one, since both can be useful, and both libraries are very different in what they offer.

I missed the Intro Pricing for LCOS, but that was my choosing to not buy it during the Intro discount period, since I wasn't sure about it. Now I can get LCOT Intro discount price ($199) but still undecided about it.

SO.. LCOS users, are you finding this library very useful mostly for layering, or are you using it more on its own ?
The only patches I use regularly from LCOS are the spectral scrubs. They are excellent for sprinkling a sparkly patina onto the sound. I find almost all the sounds in the library fascinating but really hard to incorporate into a composition. LCOT has also been hard to incorporate but more because I’m uncertain what to do with its wash, which on the surface seems similar to other washes that I start wondering if it’s adding anything distinctive. But with LCOT I never say, “well that’s an interesting sound but I have no idea how I’d ever use it in a composition.” It’s more, “is this sufficiently distinctive?"

Still, I think @ism captures the situation well:
It's kind of an opposite of the uncanny effect with an orchestral starts to sound synthy ... except here we have something orchestral emerging ... slowly sometimes, out of something ambient.

Very subtly, to be sure, but no less striking for its subtly.
I do feel like LCOT will eventually find a regular place in my composition. Beyond the scrubs, I'm still not sure about LCOS.
 

rlw

Rod Wilson
The only patches I use regularly from LCOS are the spectral scrubs. They are excellent for sprinkling a sparkly patina onto the sound. I find almost all the sounds in the library fascinating but really hard to incorporate into a composition. LCOT has also been hard to incorporate but more because I’m uncertain what to do with its wash, which on the surface seems similar to other washes that I start wondering if it’s adding anything distinctive. But with LCOT I never say, “well that’s an interesting sound but I have no idea how I’d ever use it in a composition.” It’s more, “is this sufficiently distinctive?"

Still, I think @ism captures the situation well:

I do feel like LCOT will eventually find a regular place in my composition. Beyond the scrubs, I'm still not sure about LCOS.
I have really used LCOS extensively. The Vivid Staccato for ostinatos is fantastic and the irregular Trems, open to Normal , Bridge Scraps are fantastic, Wooze Vib, Twitchy are great used very sparsely to add spice to the beginning of end of a passage or in a transition. This library greatly increased my desire to set a cue apart.

I got very high complements on my orchestra skill from the Oticon Faculty completion a year ago and I used this library extensively in the Tesla script cue. I also pulled a few articulations from OA Chamber. In case you are interested here is an example.
 

D Halgren

Senior Member
I have really used LCOS extensively. The Vivid Staccato for ostinatos is fantastic and the irregular Trems, open to Normal , Bridge Scraps are fantastic, Wooze Vib, Twitchy are great used very sparsely to add spice to the beginning of end of a passage or in a transition. This library greatly increased my desire to set a cue apart.

I got very high complements on my orchestra skill from the Oticon Faculty completion a year ago and I used this library extensively in the Tesla script cue. I also pulled a few articulations from OA Chamber. In case you are interested here is an example.
Always so impressed by your work!
 
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rlw

Rod Wilson
I have really used LCOS extensively. The Vivid Staccato for ostinatos is fantastic and the irregular Trems, open to Normal , Bridge Scraps are fantastic, Wooze Vib, Twitchy are great used very sparsely to add spice to the beginning of end of a passage or in a transition. This library greatly increased my desire to set a cue apart.

I got very high complements on my orchestra skill from the Oticon Faculty completion a year ago and I used this library extensively in the Tesla script cue. I also pulled a few articulations from OA Chamber. In case you are interested here is an example.
Here is the same cue without much of the Brass and woodwinds which lets you hear the strings http://www.rodwilsonmusic.com/files/Tesla_-_Gods_Man_on_Earth_m7.wav
 

jbuhler

Senior Member
I have really used LCOS extensively. The Vivid Staccato for ostinatos is fantastic and the irregular Trems, open to Normal , Bridge Scraps are fantastic, Wooze Vib, Twitchy are great used very sparsely to add spice to the beginning of end of a passage or in a transition. This library greatly increased my desire to set a cue apart.

I got very high complements on my orchestra skill from the Oticon Faculty completion a year ago and I used this library extensively in the Tesla script cue. I also pulled a few articulations from OA Chamber. In case you are interested here is an example.
That's great! You really managed to integrate those sounds into the cue in a most effective manner.
 
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