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Spitfire Spring Wishlist 2020?

I completed my Studio Pro Bundle with the winds and brass yesterday.
They're sounding very good, but the more important thing is, they are melting perfectly together as one Orchestra. So the "small" sound (it's not) is an advantage for some layering. It's a blast. I'm super happy with my purchase.

For a more organic and bigger sound, I combined an algorythm Reverb with a smaller Hall and separate Predelay and an Convolution of the Bricasci with about 2.2 sec decay in the aux-channels.
There is a video from Cinesamples, how to fit dry samples with bigger ones. It's quiet helpfull.
The result is still a smaller and less epic space then Lyndhurst Hall.
But it's what I was looking at.
In my search of reviews for the Studio Orch., i often read the Brass are the weakest.
Now I know they are so good.
Maybe these people were looking for this Blockbuster Sound.
Even the Horns are just amazing. (Lot of the people are complaining about the horns).
This learns me: Make your own thing. Look at your sound. You like this, then this is for you.

The only contra I have, are some missing dynamic layers in the long articulations.
Seems that there are just low and high.
But it still works well.

Now I gonna get the Bernard Herrmann library. Oh my god, so much fun 🤣
Hi marsen—do you have a link to the cinesamples video?
 
Some general questions about the Spitfire shop:

1. The Spitfire Scoring Bundles including Albion ONE, SsS, OACE, Orchestral Swarm and HZ Percussion, are those limited time offerings? Or do the included libraries change from time to time? Are they most likely still around on BF?

2. If I buy several libraries from one series/collection, do they affect prices for every additional library I buy of the same series? Or do you only get the price benefits when completing a collection? So if I get 2 Albions and then decide on a 3rd Albion later, will this get an additional discount? Or do I only get a discount, if I buy all remaining 3 Albions at the same time?

3. Same question about unrelated libraries. If I have a lot of Spitfire stuff, does this give me greater discounts for every other Spitfire library? Or do I only get discounts inside of specific series/collections?
1. These bundles are fairly new, I think, but they were here long before the Spring sale began, so they're not time limited to this sale. I think they will still be there at BF.
2. You only get a discount when you buy a bundle, not per additional library belonging to that bundle.
3. Same as 2, though I hope they will do a loyalty sale sometime, because I am sure such a sale will pertain to me!


Sorry... just saw the questions have been answered already.... three times, I think...
 
so this month i picked up bbcso and the full symphonic orchestra. i made a test tune with the bbcso and am now doing the same with sso - i'm building my template for sso by duplicating the corresponding bbcso templates instruments.

is sso generally balanced out of the box? if i leave all the faders at 0 am i good with this approach?
 
so this month i picked up bbcso and the full symphonic orchestra. i made a test tune with the bbcso and am now doing the same with sso - i'm building my template for sso by duplicating the corresponding bbcso templates instruments.

is sso generally balanced out of the box? if i leave all the faders at 0 am i good with this approach?
Hey, at this point I wouldn’t touch it until you can hear the difference.
 
It would be interesting to know what people mean by "balanced" - balanced as in the real world or balanced in an unrealistic way where all instruments are equally loud?
 
for me i'd like to balance it realistically, i've never heard a real orchestra perform anything i've written so a balanced template seems like the best way to develop the internal ear for the medium
 
1. These bundles are fairly new, I think, but they were here long before the Spring sale began, so they're not time limited to this sale. I think they will still be there at BF.
2. You only get a discount when you buy a bundle, not per additional library belonging to that bundle.
3. Same as 2, though I hope they will do a loyalty sale sometime, because I am sure such a sale will pertain to me!


Sorry... just saw the questions have been answered already.... three times, I think...

But I liked your answer the best ;)
 
A question for users of Olafur Arnalds Chamber Evolutions -

I'm a little fuzzy on what the "waves" are. Are they pre-recorded arcs, which were performed specifically that length by the players?

Or are they essentially the sustains with cc1 swells baked in so you can use both hands on the keyboard without operating the modwheel?

The key difference being whether the arc was performed that way or added later with cc1 crossfading.

---

UPDATE: They are recorded as swell.
 
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A question for users of Olafur Arnalds Chamber Evolutions -

I'm a little fuzzy on what the "waves" are. Are they pre-recorded arcs, which were performed specifically that length by the players?

Or are they essentially the sustains with cc1 swells baked in so you can use both hands on the keyboard without operating the modwheel?

The key difference being whether the arc was performed that way or added later with cc1 crossfading.
They were performed as real dynamic arcs, yes.
 
The best sound and the most realistic sound don't have to be the same. It really depends on what your goals are. I bet that in a perfect scenario with the best orchestral sound, a lot of musicians would occupy exactly the same spot or overlapping spots, which usually they don't. Maybe some would sound best floating a few meters in the air. So the best sound would be highly unrealistic. With the close mics, your standing next to several orchestra musicians at the same time. Now are you standing at several places at the same time or are the musicians all sitting on the same chair?

Or in short, since both libraries haven't been recorded in the same space, you can't do anything better than starting out with the initial settings anyways. And then the first step would be balancing yourself towards your preferences.
 
You will have better results developing your ear by listening to real orchestra recordings in the style that you want to write.
solid advice yeah. i've been spending most days since the sale started playing scores into bbcso and sso (separately), and when the results don't match the original i'm still a bit lost on whether it's

1) the capabilities of the library
2) the levels of the template and/or
3) my MIDI performance

that is the source of the discrepancy
 
Can you tell me if Spitfire has officially stated that they were performed as real dynamic arcs? I'm having trouble finding it in the manual and in any of the material they've put out.

I think its pretty clear by the sound. I can’t imagine dynamics this good could be simulated.
 
I think its pretty clear by the sound. I can’t imagine dynamics this good could be simulated.
The main reason I'm uncertain is because recording arcs would be a considerable amount of extra work, and cost for them. If they were capturing each performance both as a sustain, then again as arcs of four different lengths, each length played in separately. You could imagine the costs multiplying. Which makes me think they would at least mention somewhere that they did it that way.
 
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The main reason I'm uncertain is because recording arcs would be a considerable amount of extra work, and cost for them. If they were capturing each performance both as a sustain, then again as arcs of three different lengths, each length played in separately. You could imagine the costs multiplying. Which makes me think they would at least mention somewhere that they did it that way.

Yep. But OACE is the real deal.

And there's no legato. A single legato is ~10x as much work as a sustain. So OACE is actually 21 sus patches, and 12 arc patches (4 lengths x 3 articulations). Which is a lot, but not at all unrealistic in a library with no legato.
 
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