Nice, I don't do Facebook. Guessing thats kinda redundant with OT Arks?They asked people on Facebook to vote for a library they'd like to have 50% off instead of 40% and Albion One won.
GAS really doesn't like comments like this.Nice, I don't do Facebook. Guessing thats kinda redundant with OT Arks?
TBH, I'm not especially fond of the strings in Albion One (and I didn't especially like the strings in legacy either), though I like them better than the strings in Ark 1 for most things. I agree the shorts in A1 are better than the longs. If I have to write something quickly and it's mostly in the medium to loud volume range, I can do it and get a credible if not great recording just using Albion One with little fuss. It takes quite a lot more work to do it with the Arks, though the results are more detailed, and I like many of the Ark instruments. Many of them are indeed part of my main template—that's not true of Albion One except the Easter Island hits. So, yes, I agree that the Arks on the whole sound better to me as well.Whiskers might have at least partly meant that, if you're wanting an ensemble library and don't mind it nice and wet, then Met Arks I and II might be preferable to Albion One. I completely agree with that statement.
You have some really good points re: A1 @jbuhler
But Albion One (besides EVO 1) remains the biggest SA disappointment for me. I ended up only really liking the Spicc/Stacc patch, otherwise I almost never use it.
The Arks, on the others hand...huge love for, and if you have even just the first 2 then imo you have it all over A1, whether you have the (in some ways better) Albion Legacy on top of the latter or not.
There are too many trouble patches for me in A1 as opposed to Met Arks, and to be completely forthright I've actually gotten the Arks to sit right with drier libs like EWH, BHCT and the Hein instruments. I can't say that about A1...in fact I regret the large chunks of time I spent trying to integrate dry instruments into projects with the latter. Once I got the Arks I was pretty much all set.
Finally, the Arks just plain sound better to me.
Just my opinion.
TBH, I'm not especially fond of the strings in Albion One (and I didn't especially like the strings in legacy either), though I like them better than the strings in Ark 1 for most things. I agree the shorts in A1 are better than the longs. If I have to write something quickly and it's mostly in the medium to loud volume range, I can do it and get a credible if not great recording just using Albion One with little fuss. It takes quite a lot more work to do it with the Arks, though the results are more detailed, and I like many of the Ark instruments. Many of them are indeed part of my main template—that's not true of Albion One except the Easter Island hits. So, yes, I agree that the Arks on the whole sound better to me as well.
For purposes of sketching, I'm know there are ensemble style libraries out there for brass at least that sound better to me, but those in Albion One and Masse are good enough if I'm just sketching, and SSB and the brass I use from Iceni and the Arks layer and replace them relatively easily, so that's a real workflow advantage—when I'm working from sketch. It's a similar issue with woodwinds, and the Arks don't cover the upper winds unless you have Ark 4, and those are a bit peculiar. The Albion One upper wind legato patch is pretty decent too if you want that winds in unison sound.
I'll add that in the rare times when I compose on my laptop these days, I almost always use Albion One as the main library just because I find it so efficient with the limited RAM I have in that situation.
I place Spitfire Harp in the middle of my long list of harp libraries (yes, I'm a harp freak as I play the celtic version of the instrument but not the concert pedal harp). And as long as that list is (or perhaps due to its length), I never got around to CineHarp or some others that are loved around here. Mostly because the two VSL Harps pretty much get used in everything, so I wonder why I bothered buying any others! They are so different from each other that a lot of ground is covered.
Here's my current ranking order for harp libraries that I own:
The rankings are based on timbre, multiple models available, articulations, and whether it cuts through a mix. Note that I don't care for glissando style playing very much, except as an occasional flourish. I'm more inclined to do arpeggios and/or simultaneous contrapuntal parts. So I did not consider glissando handling in my rankings.
- Vienna Instruments — two models available
- Soundiron Elysium Harp (Kontakt) — Lyon & Healy Brass Concert Harp (47 strings)
- Chocolate Audio Glissando Harps (Kontakt) — Camac (47 strings), Salvi (47 strings)
- Garritan Harps (ARIA) — Lyon & Healy, Salvi, and Venus
- Sonokinetic Arpeggio Concert Harp (Kontakt)
- OTS Angelic Harp (Kontakt)
- Spitfire Harp (Kontakt)
- Xsample Library (Kontakt)
- Miroslav Philharmonik (SampleTank)
- Audio Wonder Wonder Harp (Kontakt) — Elysium
- Modartt Pianoteq **PM** — Salvi Concert Grand Harp (47 strings)
- UVI IRCAM Solo Instruments (Falcon)
- Rapture Pro
- EW Symphonic Orchestra (Play)
- EW Goliath (Play)
Everything on my list (except maybe the bottom three) is quite good. I would say the most significant break on my list is VSL (Vienna Instruments) above everything else, just as with their Concert Guitar. Very crisp and articulate, but can also be cold and harsh if you want/need it that way. Incredibly versatile!
I haven't updated this list using my more recent annotation style, and there might be a couple of errors, such as Audio Wonder being an Elysium Harp as that is also the name of Soundiron's library but not the brand they sampled.
I place Spitfire Harp in the middle of my long list of harp libraries (yes, I'm a harp freak as I play the celtic version of the instrument but not the concert pedal harp). And as long as that list is (or perhaps due to its length), I never got around to CineHarp or some others that are loved around here. Mostly because the two VSL Harps pretty much get used in everything, so I wonder why I bothered buying any others! They are so different from each other that a lot of ground is covered.
Here's my current ranking order for harp libraries that I own:
The rankings are based on timbre, multiple models available, articulations, and whether it cuts through a mix. Note that I don't care for glissando style playing very much, except as an occasional flourish. I'm more inclined to do arpeggios and/or simultaneous contrapuntal parts. So I did not consider glissando handling in my rankings.
- Vienna Instruments — two models available
- Soundiron Elysium Harp (Kontakt) — Lyon & Healy Brass Concert Harp (47 strings)
- Chocolate Audio Glissando Harps (Kontakt) — Camac (47 strings), Salvi (47 strings)
- Garritan Harps (ARIA) — Lyon & Healy, Salvi, and Venus
- Sonokinetic Arpeggio Concert Harp (Kontakt)
- OTS Angelic Harp (Kontakt)
- Spitfire Harp (Kontakt)
- Xsample Library (Kontakt)
- Miroslav Philharmonik (SampleTank)
- Audio Wonder Wonder Harp (Kontakt) — Elysium
- Modartt Pianoteq **PM** — Salvi Concert Grand Harp (47 strings)
- UVI IRCAM Solo Instruments (Falcon)
- Rapture Pro
- EW Symphonic Orchestra (Play)
- EW Goliath (Play)
Everything on my list (except maybe the bottom three) is quite good. I would say the most significant break on my list is VSL (Vienna Instruments) above everything else, just as with their Concert Guitar. Very crisp and articulate, but can also be cold and harsh if you want/need it that way. Incredibly versatile!
I haven't updated this list using my more recent annotation style, and there might be a couple of errors, such as Audio Wonder being an Elysium Harp as that is also the name of Soundiron's library but not the brand they sampled.
i might be picking that and the Grand Cimbalom up. I have 2 organs with Komplete, but neither sound half as good as this.the union organ. That's probably the one library that meets my expecations 100%
The Union Chapel Organ -- I forgot about that one! I bought it when it came out, which from the file system time date stamps looks to be fairly recent -- October 2018? That's probably why I haven't had a chance to put it to a full test yet, other than playing around with it on its own.
Looks like I placed it ever so slightly below Soundiron's Lakeside Pipe Organ (recorded nearby at lake Merritt in Oakland CA) and Garritan's large collection (which I rank high mostly for its academic depth and its breadth of coverage of different eras). VSL of course towers above the rest, due to its incredible recording quality and gigantic number of stops as well as ease of programming and mixing registers (the organ version of that terminology; not music staff version).
As a friend of mine who is a professional pipe organ player said many years ago: the organ is a family of instruments. VSL is NOT the only one I use in my collection, but I'm often pushed towards it when I need certain stops or combinations (registers). I even use Precisionsound's Knutby Church Organ sometimes, as it has a particularly warm timbre without being bright or too "big" sounding. Sonokinetic's Toccata is a bit different too (Bartholomeus Basilica, Netherlands). Too many others too list.
I should get back to the new one from Spitfire this weekend though, as I probably forgot to give it a final pass on some of my more challenging projects where I use 32 or more different stops.