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Spitfire Audio London Contemporary Orchestra Textures – Available now

ccarreira

Member
Thanks for the suggestion. I was expecting something out of the box from Omni ;) The Colossus are nice and usable from what I can tell from the demos but have a different vibe IMO then LCOT.
LCOT sounds very organic and Spitfire sound is very warm. This library is very tempting. This places an amazing layer on the audio experience. However it's missing some solo instruments and the Ostinato. IMO. Textures need rhythm . The Korg Wavestation designers knew that, and made the most singular synth ever. Ahead of its time about 20 years.
 
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Fry777

Fry777

pragsound.com
LCOT sounds very organic and Spitfire sound is very warm. This library is very tempting. This places an amazing layer on the audio experience. However it's missing some solo instruments and the Ostinato. IMO. Textures need rhythm . The Korg Wavestation designers knew that, and made the most singular synth ever. Ahead of its time about 20 years.
Off topic but maybe it's worth you have a look at Time Macro ? I'm writing a review for it with audio examples, that should be ready very soon.

Watching the walkthrough, LCOT sounds beautiful, however I think I'll be basing any buying decision on the "In Action" video from Oliver, as I want to see if the library is versatile enough...
 

blougui

Senior Member
I might have missed something (have not read every and single page) but how come this is not in commercial announcement thread ?
There's not anyone from SA coming here ?apart from the odd support tech?
Are we not worth it anymore that "we" have to promote their launches ourselves?
 
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Fry777

Fry777

pragsound.com
I might have missed something (have not read every and single page) but how come this is not in commercial announcement thread ?
There's not anyone from SA coming here ?apart from the odd support tech?
Are we not worth it anymore that "we" have to promote their launches ourselves?
I created this Sample talk topic as it's my understanding that Spitfire won't create these kind of topics in the "Commercial announcements" anymore.

I guess the brightside is that we get to freely discuss and compare LCOT with other libs... But it's sad that Paul and Christian won't interact with us on here anymore
 

blougui

Senior Member
Fair enough Fry777.
I pretty much like their products - and Chris Henson is a quite the block, at least his public personna. I deeply regret they have such a thin skin.
 

Parsifal666

I don't even own a DAW, I'm just a troll.
The EVOS are meant to make pads and rhythms easy to come up with/complement, especially in the context of rushed film scores. They make life a little easier for the composer.

However, though I've used all of the EVOS in final mockups on several occasions, I almost always just take the ideas I get from them and convert them to a dedicated string ensemble library. It can take work sometimes, but it usually sounds better. That said, EVO 4 has been the library I've most consistently used in final mockups, mostly because to me it's the best sounding of them, plus it can be hella hard replicating some of those patches with other libraries, at least for me.
 

PaulBrimstone

Far, Far Away
I second the endorsement of The Unfinished's Omnisphere patches. I bought the whole darn bundle on Black Friday sale and although it took me a week to go through them all and pick all my favorites, there is some gold in there.
And I am STILL going through them...not to mention his Zebra/HZ bundle. A bottomless well of nectar.
 

Henning

Member
Actually to me the Evos are just magic. I have them all and it seems I will get this one as well. They give movement and excitement to a piece in a way that are pretty hard to fake with multisamples. I usually use them as backdrops for live instruments. Put a live violin or cello line on top of the evos and it always hits me how gorgeous it sounds.
 

jbuhler

Senior Member
It is interesting that the intro price beats the educational discount, for the first time I think?
I noticed this as well. Maybe they felt they had to be more aggressive in pricing because of all the noise around NAMM. But it would be nice, I guess, if 33% off became the new norm for intro pricing.
 

jbuhler

Senior Member
The EVOS are meant to make pads and rhythms easy to come up with/complement, especially in the context of rushed film scores. They make life a little easier for the composer.

However, though I've used all of the EVOS in final mockups on several occasions, I almost always just take the ideas I get from them and convert them to a dedicated string ensemble library. It can take work sometimes, but it usually sounds better. That said, EVO 4 has been the library I've most consistently used in final mockups, mostly because to me it's the best sounding of them, plus it can be hella hard replicating some of those patches with other libraries, at least for me.
I don't have EVO 4, but I find the Symphonic Strings EVO very useful, not so much as an EVO, but for the variety of longs it allows me to introduce, most of which are not really available in regular string libraries. (Indeed, I was long stumped by the Symphonic Strings EVO, since the sound always seems too big for an EVO, but my impressions of the library changed completely when I gave up the grid.) The EVO part of OACE also gives a lot of distinctive longs hard to get from dedicated string libraries.
 

Oliver

Active Member
I just downloaded and have to say, if you just use the Close Mics, turning down delay and reverb, and use the "raw" sound, the library becomes extremly useful and detailled.
What i heard in the demos and videos from spitfire is more on the ambient and "synthy" side, thats not what i want. But as i said, you can use it differently with just Close Mics :)

Very beautiful library!

The only thing they must change is the terrible quality GUI Image.
@SpitfireSupport please change that fast!
 
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