Reckon we'll get some demos today? I saw from Christians Instagram/Twitter that he was recording his walkthrough.
Me too, but I've always used them in another styles than orchestral, so I've been meaning to try to give them a shot too many times in an orchestral environment. :D But you have some seriously valid points!!!I've got all the SampleModeling and AudioModeling instruments, and I definitely like them.
What defines "pro" exactly? I'm perpetually confused by this separation often made on forums. Ultimately, everyone is dipping into the same collection of sonic options, right? Whatever it takes to get the job done. Maybe a discussion for another day.I think that Spitfire has changed their focus quite a lot with the studio series. I don't really see these as a comprehensive libraries made for pro's, but more of a great libraries for people starting out or for someone with a limited budget. The value for pro's is the different sound, but I really doubt that this would replace all the other libraries in their arsenal. It has some great sounding patches, but I can also hear a lot of things that my older libraries do better. I guess it is a wise choice to go for the bigger market, instead of staying niche. How many years does the sampling industry have left with the same sampling methods? It's time to invent something new...
Studio Brass Pro will be about 115GB and Studio Brass will be about 8GB.Back to thread, maybe ? I'm surprised there's no mention on spitfire's website of the size of the library, and no "this promo price ends on...". Maybe it was in a mail they sent (i'm not on the mailing list) ?
Composing has particular needs from a library, production others, midi-mockups still others, etc. A lot of folks want a tool that can be used reasonably efficiently in all contexts, at least in part because it cuts down complexity, the number of tools you need to master. And that's an important concern. Then, too, people gain attention by being able to credibly mock up well-known music. Credibly mocking up well-known music is also fun (and good training as well), so it's not a surprise that there would be a certain demand for libraries that ease this task. Whether libraries that do this well are the right tools for contemporary scoring is another question; whether they are the right tools for your own personal sound is yet another question.What defines "pro" exactly? I'm perpetually confused by this separation often made on forums. Ultimately, everyone is dipping into the same collection of sonic options, right? Whatever it takes to get the job done. Maybe a discussion for another day.
I have not talked anything about mocking up Star Wars, so can't really comment on that. What I see in this product, with the limited information I've got, is that this is not something that is supposed to use as library that you can use in every type of music. If you write for the samples it will work and will give you a specific sound. If you already have 5+ brass libraries, can't really see what totally unique and special this brings to the table. And the price reflects that in my opinion. Composer who don't have all of those libraries will be thrilled to have this library with such a low price and composer who have(mostly professionals) will judge this if it is different enough that they can't do the same with their current libraries. I have many libraries and I like most of them. If I am gonna buy a new library it has to do things better, faster or the sound has to be something I desire. I know many people here just collect libraries but for me they are tools to get something done. How many screw drivers do you need? If you got all the sizes and shapes, why buy another one with a different handle? But put a motor in there and it makes sense once again.What defines "pro" exactly? I'm perpetually confused by this separation often made on forums. Ultimately, everyone is dipping into the same collection of sonic options, right? Whatever it takes to get the job done. Maybe a discussion for another day.
Re the Spitfire Brass: There's sometimes a belief around these parts (and no doubt influenced by marketing) that new libraries have to be better than the ones that came before. Better sounding, better legato etc. Another shuffle towards the Ultimate Library that "does what you're thinking without any extra work."
Reality is - I think - that new libraries are designed around a certain idea. The SF studio series seems to be designed around giving the composer a wide range of sonic options. That's the angle, not an all encompassing Star Wars* mockup brass section.
Recorded nice and dry, this library will be ideal for fulfilling my Mike Post/A-Team mockup fantasies.
*PS - I love Star Wars. Just using as an example.
I am a guitarist and have a lot of guitars. But do I need them, not really. Guitar is not a really big part of the guitar sound, of course the mic's and wood changes the tone, but it's nothing that audience will notice. Only if you change from ESP with active EMG's in to a Stratocaster with single coils and don't change any of the settings. It's the amp, EQ and effects that make the sound.
Yeah and that is part of the thing I am talking about. You always want new things and with all the great demos made by really talented people makes you think you need this to write better music. But most of the time, when you got the new thing, you realize that it's not the libraries holding you back...I think we're all broadly on the same page then.
I just wish I could justify purchasing libraries like this. Spitfire always do this to me: I want the new toys, but can't ever see myself requiring them for the work that brings in the $$.
I'm like Gollum every time the promo emails drop. "You don't need it/I wants it, my precious..."