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There are reasons - as was mentioned earlier in the thread - why HS does not include mock-ups of Vivaldi, Mozart, and similar styles.
Actually HS does have a vivaldi demo up. I just don't agree that VSL sounds more like a real orchestra than the other libraries available, at least not the strings I've heard. But that's always going to be a matter of opinion.
to be honest, the best string library I've ever heard is the fairly unknown Spiritoso Live Cellos by Zero G:
http://www.timespace.com/product/SPIR-326/Zero-G%20Spiritoso:%20Live%20Cello%20Phrases.html
If you hear the demos you'll see what I mean. Just because I produced this library myself and therefore will directly earn money from any of you that buy it, I am in no way biased.
;)
I should add: it only sounds truly great when blended with VSL strings.
@synergy543 said:
http://www.youtube.com/watch?v=lPW6fKiilIc&feature=related
Apparently brought to you by none other than Hans himself.
- "I've been a composer all my life" [:P][W][li][+o(][+o(][+o(]This year's nominees for best o r i g i n a l (sic!!) score are: UJAM (with "melody" by Hans), UJAM (with "melody" by Trevor), UJAM (on its own), and Ennio Morricone.
And the Oscar goes to...... UJAM!!
P.S.: It would be great to see a thread where people would discuss actual adequate 'string-writing' and its subtleties, with as much attention to detail as they do when they discuss timbre/realism etc. Who cares whether you have the real Vienna Philharmonic in front of you if you have only composed pads and semiquaver-drones...
(Certainly not the MORON directors/producers and their pathetic music supervisors who can't tell the difference between genuine invention and a computer algorithm, and keep paying the bluffers of this world untold millions for their mouse-riding skills)
Ok, you believe cine brass sounds better, it's your view. So what's your point besides that?.
Besides that, my point is that I think people are assuming that other libraries are only good for one style based on product names.
Ok, you believe cine brass sounds better, it's your view. So what's your point besides that?.
Besides that, my point is that I think people are assuming that other libraries are only good for one style based on product names.
Fine, hope you will enjoy it.
ah just having a bit of fun, I'm sure this thread is ripe for deletion pretty soon anyway...Do you think it's very respectful advertising Spiritoso on the VSL forum? Personally I would have no use for such library, using bits of phrases. It wouldn't take too long before you are repeating the same phrases over and over, even though they sound good.
how happy can VSL be with this discussion? Not much I think.
Then again, it's all healthy debate. I suspect there's a few psychological factors at work here in people's replies. For example, people choose VSL over others firstly because they prefer the sound, so they are probably going to defend it vigourously on this forum, and why not. Also however, whatever people buy costs so much money that they will desperately want to believe that it's the best, so that they won't feel stupid, and I suspect this is also a factor at play. And another layer here is that clearly there's quite a few great products all which have a different sound, each valid in different ways for different uses or a different end impact.
So, everyone's right in their own way.
Although I would say, the more emotional someone's response is, the more likely it is that they are expressing opinions and feelings and not being entirely rational.
@dagmarpiano said:
Then again, it's all healthy debate. I suspect there's a few psychological factors at work here in people's replies.....
.....whatever people buy costs so much money that they will desperately want to believe that it's the best, so that they won't feel stupid, and I suspect this is also a factor at play.
I don't think you should underestimate people's choices.
@dagmarpiano said:
Then again, it's all healthy debate. I suspect there's a few psychological factors at work here in people's replies.....
.....whatever people buy costs so much money that they will desperately want to believe that it's the best, so that they won't feel stupid, and I suspect this is also a factor at play.
I don't think you should underestimate people's choices.
I agree, and in my own case as I'm an expert when it comes to strings, I don't think my opinion can just be written off as the Emperor's Old Clothes....!
DG
@dagmarpiano said:
Then again, it's all healthy debate. I suspect there's a few psychological factors at work here in people's replies.....
.....whatever people buy costs so much money that they will desperately want to believe that it's the best, so that they won't feel stupid, and I suspect this is also a factor at play.
I don't think you should underestimate people's choices.
I agree, and in my own case as I'm an expert when it comes to strings, I don't think my opinion can just be written off as the Emperor's Old Clothes....!
DG
I only said it might be a factor. Maybe a tiny factor, amongst a tiny minority of insecure composers. Not you of course DG and Guy 😊 Or me.
@William said:
Well instead of arguing here are some excerpts that show why I like the Appassionata strings so much - it is great to be able to work with these sounds! This has them in a big orchestral setting and also features the Dimension Brass:
It sounds great, but the strings are the weakest part of this arrangement in terms of pure realism. The brass, harp, percussion and woods sound pretty real to me. The strings are a lot better than, say, 80s Korg M1 strings for example, but they're still quite a way from sounding convincingly real. My feeling is that they sound about 70% real - pretty good but with giveaways every time there's anything fast or with an attack, or even the performance legato which sounds a bit not right. I think Hollywood Strings, in the right hands, can get a bit more realistic - like 72%. Still nothing like adding real players (the way I always work is to add real players from the Roal Liverpool Philharmonic to samples to try get the best of both, and it really makes a difference).
Another thing I'd say is that for professional use, this is better than using a real but amateur orchestra - it's very in tune etc..
There's also more to a library than realism anyway. There's the kind of sound you want. HS gives you this distant, lush sound which can be big, sweeping and epic, but it's not much use if you want a kind of raw, driving power. You might even say that HS has a slightly tacky, overly sweet quality, if you wanted to be unkind. But that's the Hollywood sound.
On this arrangement, VSL does sound more pure and honest than HS would be, but slightly less realistic.
That's MY BIG FAT OPINION. For what it's worth.
Hope you enjoyed the analysis.
😊
The strings sound fantastic, what lets them down is that you have this large ensemble and the attack times are always the same. If you had a first chair plus three or even four divisi for sample purposes, it would be an absolute game changer. For me VSL is still the best of the best, and at the top of their game. I bet you they will release a dimension strings soon, it's just the naturally obvious choice and I think there are a lot of people out there who will buy it and they know it. I'm one. Then the existing libraries will essentially become like "lazy" libraries, where you just go to those patches when you want the full ensemble in a single string line, or repetitions or whatever, but in my opinion, I personally unless I were very pressed for time and quality didn't matter as much, would always go to the extra trouble of using divisi libraries. I would buy the La strings right now except I am sure VSL will do something like this sooner or later (hoping sooner!) and I would then find that the LA library would be never used compared with the sound of Vienna which I much prefer. I'm sure with the VI pro software they could make amazing presets and matrices that would enable one to play various combinations of the sections of each instrument. I just hope they do the appassionata strings a la divisi *FIRST*, before the orchestral strings, not second, and complete the articulations to match or exceed orchestral strings while they are doing it. I couldn't think of a better move artistically and strategically than this for VSL right now... It would be a game changer, although like I say they are hardly behind anyone else overall. but it's time to match this very important step in sampling: divisi sections for strings. It's the natural progression, and VSL will do it best and biggest no doubt.
@dagmarpiano said:
(the way I always work is to add real players from the Roal Liverpool Philharmonic to samples to try get the best of both, and it really makes a difference
Let's hear an example of that on this thread.
Well since you ask... I produced this album with that method:
http://gothic-storm.co.uk/Site/Epic_Choral.html
The tracks have been remixed and remastered by someone better than me since these versions but I can't find a link that will work outside the UK.
How was this financed? Is this for an actual film or something? This could all have been done with pure samples since it sounds absolutely the same as every other current "epic" film score sampled or )pointlessly) live by Zimmer. Same treatment of choir, same chugga-chugga stuff in the strings, same parallel minor chords, same treatment of taiko-like drum accents, etc. etc. etc. I have all heard this about a MILLION TIMES NOW.
Like my analysis too?
Here is another one I did recently I would love to hear an A/B of your HS or LASS.