Philip Vasta
Member
Yeah, positive. I checked several times. I did email support, so we'll see what they say - thanks though!
Spitfire Studio Woodwinds - Coming Soon
- Thread starter Zoot_Rollo
- Start date
redlester
Senior Member
Decided to hold fire on this even though I have the pro strings and brass. I decided it would be little more than an extavagance for me, I don't really need it even though it would be nice to complete the collection.
But Friday lunchtimes at work are dangerous times. Bought it.
But Friday lunchtimes at work are dangerous times. Bought it.
Alex Fraser
Requires ☕️
Seriously Lol'd there!But Friday lunchtimes at work are dangerous times. Bought it.
jbuhler
Senior Member
Maybe your heart knew better. Enjoy!Decided to hold fire on this even though I have the pro strings and brass. I decided it would be little more than an extavagance for me, I don't really need it even though it would be nice to complete the collection.
But Friday lunchtimes at work are dangerous times. Bought it.
MaschineMind
Pro Crastinator
So the regular price for the core bundle is £449, currently discounted to £409... I want this but I can wait until the 30% off sale.
Hey Noam, how do you feel about the balances between the three sections of the Studio line? Pretty natural?
Alex Fraser
Requires ☕️
Good question. Off the top of my head, the Symphony collection has the "air" sound, performance legatos. Also, there's Masse included. I'm sure someone else can think of more reasons.
Unless there's a hidden cost (like royalties) that push Symphonic price up, I think there's a chance that Spitfire is testing the market with a new price point. My half thought out theory anyway.
Silentspace2000
Member
I posed the same question to Spitfire directly yesterday and they echoed the same thing stating that they were recorded in a much "drier" studio but not all the way dry, namely Air Studio One where as all of the Albion and Symphonic libraries (which I already have) were recorded in the hall at Air Lyndhurst which has considerably more room reverb. They said that each one provides an ambience for a different type of production.Good question. Off the top of my head, the Symphony collection has the "air" sound, performance legatos. Also, there's Masse included. I'm sure someone else can think of more reasons.
Unless there's a hidden cost (like royalties) that push Symphonic price up, I think there's a chance that Spitfire is testing the market with a new price point. My half thought out theory anyway.
I think it's probably a little bit of both. They want to offer something for the more entry-level market, and I'd imagine the difference in cost between large sessions at Studio 1 vs. The Hall is pretty significant, and is part of them being able to set things at a lower price.
Obviously, the biggest difference is the sound. Other than the divisi functionality in the strings, I think that's probably the main thing to weigh between them. Raw and precise on the one hand, lush and silky on the other.
Robert_G
The End is Near
So with that said.....the studio series strings and bass have been out for awhile...would love to hear some comparisons to the symphony series on the sound and playability.
NoamL
Winter <3
Yep I believe you get both.
Only had the briefest look at it last night but it looks really solid. Needs some reverb to sit with CSS/CSB I think. And maybe a little EQ to lower the proximity effect. The sampling seems a lot better and cleaner than Eastwest HWW which was what I compared it to (and the tree mic in SStW is also further back than the mic in HWW Gold). Not a big fan of the onboard reverb - note that the patches load up with Spitfire's easy-mix thingamajig (the close-far slider) but all it does in the core edition is add onboard reverb. I'm gonna resave all the nki's with maxed close settings.
Only own Winds
I have a part of symphonic woodwinds (flute consort and reeds). I have been looking to upgrade to the full symphonic winds library for a while (I have symphonic brass and most of the mural libraries) but even at a discount it’s rather expensive. I’m concidering getting studio winds core instead.
Is this a bad idea, given that I only use the symphonic libraries for the rest of the orchestra?
Is this a bad idea, given that I only use the symphonic libraries for the rest of the orchestra?
enyawg
Active Member
On the work account?Decided to hold fire on this even though I have the pro strings and brass. I decided it would be little more than an extavagance for me, I don't really need it even though it would be nice to complete the collection.
But Friday lunchtimes at work are dangerous times. Bought it.
It will be more detailed, but you can add reverb to match and lower the dry vs wet ratio so the appear more distant, the ambient mic is your friend here. Christian has a demo on matching dry and wet libraries that is worth to watch, I personally don’t have much trouble blending things together, I only have one example that isn’t great but can give you some hints (strings only though):
This used Albion V and Studio Strings Pro, Chris Hein solo cello for the cello and the Arturia V piano.
Ops, I didn’t read with attention, Core only has the tree mic, however it does have a dry/wet slider so you are still able to fake a sense of space, which you can also simulate yourself with a reverb anyway. The way I see it is that those dry libraries are tools that need work to sound good and blend, but they can do in a variety of different situations, while the rest of the symphonic offer is more ready to sound good, but targeted at that sound specifically. This difference is very valid when you find in need of a dry sound (for a pop song for example), however it’s also the main drawback of those library, when left totally dry they expose being samples more than their counterpart. It is a bit like running a guitar through a load box as opposed to record the moving air from an amp with a microphone, in the first case you have to add some reverb, even just a fraction, to make it realistic.
Sovereign
Senior Member
I bought the core edition. What they offer for the price is certainly not bad at all, but I'm not too fond of the room sound these were recorded in and I'll have to see if I can get them to blend in well with other libraries. Also noticed some phasing in some of the legato patches with the modwheel/expression maxed, don't think that should be happening with only the top layer playing? Anyway, I'm guessing these woodwinds will do fine if buried in a mix, for solo work these don't come close to e.g. OT EXP B and C.
VinRice
... i am a robot ... viruses have no effect ...
There's no mystery why the Studio Series are cheaper than Symphonic or Chamber - they were significantly cheaper to record. The main hall at Air is bloody expensive plus SSS and SCS went through a tape stage that the SStS didn't. The Studio series is now my default template - cleaner, newer recording, rawer more versatile sound. Stacking 16's, 8's and 4's can get lush if required. Divisi's are super-useful. People will complain that the Woods in particular don't sound 'nice' out of the box but that is kind of the point. The full raw sound of the instrument is there but you will need your production chops with EQ, compression and reverb to get what you need. The room sound is not 'nice' but it's very important as an initial ambience for your reverb of choice. The strings are like the anti-Zimmer Strings which is bloody perfect as far as I am concerned.
I’m actually really happy with the Studino strings core tree mic only. I tend to throw lots of reverb on the strings , and in any event I seldom use close mics even for strings in spitfire libraries recorded in AIR Lyndhurst. I’d rather have the full SCS - it’s obviously much more advanced - but SStS does perfectly well as a SCS-lite for the moment.
But the Symphonic winds are completely different. I almost always use a mix of close and tree with SSW, and it’s not something I see as a nuance of mixing - it’s become fundamental to what I love about the whole spitfire sound when it comes to winds. So I wonder if the absence of close mics would limit the usefulness of The core studio winds in this regard?
And in general, I’m curious, and a bit puzzled by the studio woodwinds (and whether I need them). They seem to have much the same articulations as SSW (the extras shorts and the swells would be nice to have, but not enough to merit buying the library just for them), I really don’t care about the ambient mics, and I wonder if the tree in SstW is close enough to the close mics in SSW (or the blend of close and tree that I like) that the absence of the other mics in core won’t matter too much.
And while the demos really do sound great, and Christian’s contextual demo in particular shows how to make use of the dryness in crafting a sound, I’m not really sure how the Studio winds compare with the symphonic winds. especially since I probably wouldn’t be too interested into getting stuck into complexities of mixing - I’d just through on lots of reverb to get it to mix with AIR Lyndhurst libs.
I also don’t have have much sense from the demos of how the instruments work as solo instruments? The clarinet for instance - we get a couple of nice passages in the demos, and it sounds great. But I have no real sense of the dynamic layers, or how seamlessly you can craft phrases from multiple articulations or the speed of legato compared to SSW and so on. The solo clarinet is probably the weakest point in SSW, though it’s a merit that it’s recorded as an orchestral instrument and not as a virtuosic soloist - which is why comparisons with 8dio Claire don’t really make a lot of sense, and why I’d really love a spitfire equivalent to the soloists of Berlin Winds exp B).
So looking forward to more demos. Especially ones that show the depth of playability of the solo instruments, or that bring out any ways that they might complement SSW, beyond simply being dry.
Regardless, a wind library of this sound and quality for $150 is completely unbeatable in my estimation.
But the Symphonic winds are completely different. I almost always use a mix of close and tree with SSW, and it’s not something I see as a nuance of mixing - it’s become fundamental to what I love about the whole spitfire sound when it comes to winds. So I wonder if the absence of close mics would limit the usefulness of The core studio winds in this regard?
And in general, I’m curious, and a bit puzzled by the studio woodwinds (and whether I need them). They seem to have much the same articulations as SSW (the extras shorts and the swells would be nice to have, but not enough to merit buying the library just for them), I really don’t care about the ambient mics, and I wonder if the tree in SstW is close enough to the close mics in SSW (or the blend of close and tree that I like) that the absence of the other mics in core won’t matter too much.
And while the demos really do sound great, and Christian’s contextual demo in particular shows how to make use of the dryness in crafting a sound, I’m not really sure how the Studio winds compare with the symphonic winds. especially since I probably wouldn’t be too interested into getting stuck into complexities of mixing - I’d just through on lots of reverb to get it to mix with AIR Lyndhurst libs.
I also don’t have have much sense from the demos of how the instruments work as solo instruments? The clarinet for instance - we get a couple of nice passages in the demos, and it sounds great. But I have no real sense of the dynamic layers, or how seamlessly you can craft phrases from multiple articulations or the speed of legato compared to SSW and so on. The solo clarinet is probably the weakest point in SSW, though it’s a merit that it’s recorded as an orchestral instrument and not as a virtuosic soloist - which is why comparisons with 8dio Claire don’t really make a lot of sense, and why I’d really love a spitfire equivalent to the soloists of Berlin Winds exp B).
So looking forward to more demos. Especially ones that show the depth of playability of the solo instruments, or that bring out any ways that they might complement SSW, beyond simply being dry.
Regardless, a wind library of this sound and quality for $150 is completely unbeatable in my estimation.
jbuhler
Senior Member
The Studio Brass Pro is a more obvious complement to SSB than Studio WW Pro is a complement to SSW. Whereas I'm almost certain to buy Studio Brass Pro at some indefinite point in the near future. I'm not sure about Studio WW Pro. So I'll likely get the core version of the winds to try with SSW. Do they offer good alternatives to the SSW soloists? Do they blend well with SSW and can they serve as second players if you want one on a part? Are they reasonably easy to mix with the other SF libraries. Unless someone does a thorough walkthrough exploring the issues, it seems like getting the core version myself will be the only way to really answer those questions at a reasonable cost.
