erica-grace
Senior Member
Often, when you hear a 8-6-5-5-4 library, you are listening to sections that are 16-12-10-10-8.
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Often, when you hear a 8-6-5-5-4 library, you are listening to sections that are 16-12-10-10-8.
Expansion A - I wouldn't purchase it in it's current state tbh. They're also not been "revived" so they aren't balanced against the new BWW (and the mics are different)@SimonCharlesHanna -- Do you mean just BWW Expansion A specifically? Or the other expansions too?
They are very RAM hungry.
We really don't know anything about the new player.The new player may solve this,
gorgeous sounding and very useful. In many ways the recordings and performances are better than the main lib imoAcknowledging that BWW has its issues, does anybody find Berlin Strings EXP A and EXP B useful? They appear to have a solid set of articulations for sul tasto.
Why do you say that?We really don't know anything about the new player.
An example: When you listen to a library with 8 violins you often hear twice as many instruments due to all the crossfading between dynamic layers. So, when you're in the middle of a crossfade between a recording of 8 violins playing mezzoforte and 8 violins playing fortissimo, you hear 16 violins – even if only 8 were recorded: you hear two different recordings of the same players at the same time.
I'm not sure it's really perceived that way.An example: When you listen to a library with 8 violins you often hear twice as many instruments due to all the crossfading between dynamic layers. So, when you're in the middle of a crossfade between a recording of 8 violins playing mezzoforte and 8 violins playing fortissimo, you hear 16 violins – even if only 8 were recorded: you hear two different recordings of the same players at the same time.
The main strength of the EXP A and EXP B is in my opinion the sul tasto articulations, which has three dynamic layers (for the violin). CSS has no sul tasto, SCS has sul tasto with two dynamic violin layers, and four players.)I’m looking at EXP A and EXP B while they’re on sale. They sound great, but I don’t have Berlin Strings Main. I do have CSS, SCS, and SStS. SCS offers lots of articulations like this already and sounds amazing. Would getting these expansions be redundant?
Hi, with the Berlin Sul tastos, it immediately sounds like more players once you go from only hearing the mp layer to hearing a mix of mp and f, and the same happens between p and mp. But I have the feeling that some libraries don't always crossfade when they say they crossfade; instead, it sometimes sounds like they add another layer on top of what you already hear (with some smart volume control happening in the background).if I use a 2d xfade between two sustains - and my dynamics are right between dynamic layers - it certainly doesn't sound like 16 contrabass.
Could you post a link to the video? I don't see it on the last page.If you read the last page, theres a video of crossfading between sul tasto/normal sustains/sul pont. That's probably the best way to use them.
We'll see. I'll be very happy if they can tame the RAM needs of their instruments. But the history of developing effective alternatives to Kontakt makes me skeptical about the whole proposition and it's likely to take them several years to have full on functionality that rivals Kontakt. Again, I'll be happy to be proven wrong.Why do you say that?
They showed this as a feature, im not sure they would suddenly get cold feet on a feature that doesn't seem overly complicated in the first place
We'll see. I'll be very happy if they can tame the RAM needs of their instruments. But the history of developing effective alternatives to Kontakt makes me skeptical about the whole proposition and it's likely to take them several years to have full on functionality that rivals Kontakt. Again, I'll be happy to be proven wrong.
It took Play how long to not suck? Spitfire player isn't horrible, but it doesn't yet have the same functionality of Kontakt even in basic usage—not even talking about wavetable synth, etc. Just given that history we shouldn't be surprised if it takes several iterations for OT to get its sample player right. We already know what OT's priorities are when forced to choose between comprehensiveness and conservation of computing resources. Their new player may allow them to defer that choice longer but I really don't see that changing when confronting a situation that requires a real trade off between competing priorities.the biggest issue with ram usage is the zones for all the mics ect. 1.) because kontakt cant turn these off, and 2.) actually using multiple mics is a straight up multiplier for ram use from samples.
1.) the OT sample player isn't designed to host wavetable synths, ect. Kontakt is a very broad purpose platform - and OT doesn't have to have features that aren't useful to it bloating it.
2.) they literally showcased the process of mixing down a mic blend for ram consumption.
they might not deliver, as spitfire didn't seem to have a great time... however - the library SF released with it also didn't do well, which might be a large portion of it. Play isn't the worst engine in the world, despite the flak it gets. Even halion player isn't that bad. Just because SF kind of bombed(pun intended) doesn't mean OT's will - and to even hold the opinion like that seems oddly defeatist given human history