Should I buy Garritan Orchestral Strings now?

[Ouch that hurts]

I'm in a quandry. I've heard this library and seen it in use at a friend's studio, and I REALLY like the sound of it. I also admire all the thought that has gone into the interface, although I can see that it would take some work to really master it and use it quickly.

I have EWQLSO Gold as a general orchestral basis, but I like using Giga, plan to upgrade to version 3 in due course, and want to use it to go a little bit further, more specialised, in the areas of strings and brass, than Gold does. I want to dedicate a machine to strings, having as many different samples as possible loaded at once into as much RAM as I can max out.

GOS seems like a good solution to me. It's big enough to give a really comprehensive variety of articulations etc, but not so ridiculously big like some libraries that it would be impossible to keep track of everything. It's got Maestro Tools for legato etc, and like I said I love the sound. At around £350 in our money I can JUST afford it.

But I see two problems. The first is probably silly really, but a little voice inside me just says there's something unwise about buying a three-year-old library, given the incredible rate at which things are developing these days. With Giga 3 out, who knows what's on the horizon in terms of sound and playing capabilities? I don't want to find that in six months or less my investment in GOS looks like a waste.

I realise that one can think like this forever and never actually buy anything, so maybe I just need talking out of that way of thinking. Also, in a sense quality never goes out of style: I've listened to a lot of demos, and heard some of this stuff in action, and I just prefer GOS to the competition. I certainly prefer it to what I can get out of Gold (or rather, it's more extensive and has more wide-ranging capabilities) and I prefer it to the new Kirk Hunter library. I THINK I even prefer it to the VSL strings, which sound a bit brittle at times to me (though maybe I just haven't heard them with the right use of reverb etc).

I'd be interested in the reactions of anyone who has GOS AND another high-end string library, just how these comparisons stand up after more prolonged use. For example, how does Maestro Tools legato compare to the famous VSL legato? Both in sound quality and ease of use.

I noticed that a lot of updates have been added to GOS since it came out, including impulse response samples (as I understand it, some kind of convolution reverb). So maybe the fact that it's a bit older doesn't matter, given that it's been so carefully kept up to date.

However, my other cause of relutance possibly has more justification. I recently enquired on the Garritan forums here whether there would be an update for Giga 3, and Gary gave a very non-commital reply, saying they were updating it for "another format" first, and taking a "wait and see" approach to Giga 3.

I do own a Kontakt licence as well - presuming that's the other format he meant - so I suppose I could always switch my dedicated strings machine to that in the future if necessary. But I prefer Giga, and using Giga and Gold on the same PC I can theoretically access more RAM (since Giga runs in kernel mode, which can access another 2GB separate from the 2GB of application mode). So with Gold's strings AND GOS loaded to the max in Giga, I'd have one hell of a kick-~~~ string section.

I'm particularly nervous since the interface of GOS is so heavily customised and individual - I envisage having to put quite a lot of time into learning Maestro Tools etc, and customising my setup around it. I don't want to then find that it gets discontinued for Giga, a better library comes out that makes full use of the advanced features in Giga 3, and I feel compelled to switch to it.

Oh the problems we have, being so spoilt for choice!

What would you do?

[Marcussen]

If I was you I would wait a tad and hear the new KH string demos which should be due soon. I dont use GOS that much since I, when I bought it, already had a few strings incooporated into my template.

I got GOS however becuase i'm sure that Mr. Garritan will produce GOS2 at some point, and im sure that some upgrade price will be offerered. My point is, that even if its an old library it still makes somewhat sense to get it now since you can always upgrade - And since you even like the sound better than other libraries it seems like a nobrainer :)

However I would stillwait for KH strings unless your in a real hurry. I think the intro price of these is about £300. So worth considering

[Ouch that hurts]

Well, maybe you have a point. But I have already heard the Kirk Hunter demos that are up on the site (or at least, were a few days ago) and I didn't like them at all. I'd certainly choose GOS over it on that basis.

[Marcussen]

Ok... I havent really paid attention to the debate. But was there not something about those demos not displaying teh actual quality of the library. And new ones will soon be added? Or are the new ones already up?

[peter269]

Ok... I havent really paid attention to the debate. But was there not something about those demos not displaying teh actual quality of the library. And new ones will soon be added? Or are the new ones already up?

New demos are in preparation.

[peter269]

For the record, GOS is TOTALLY viable today. Age has nothing to do with it. Unitl Kirk's library came along, I routinely suggested to customers buying VSL that they supplement it with GOS.

GOS and KH Concert Strings are totally different in their approach and must be evaluated separately.

While you certainly have the right to dislike the KH CS, I would point out that even now in pre-release, they're being used in two US television programs. Of course I'd like to see you buy Concert Strings, but GOS is a great library, and I'll always say so.

[PeterRoos]

I have just replaced the long note instruments from GOS with the VSL Opus 1 counterparts, and believe me, I am NOT going back. I will also do so with most short articulations. For the special articulations (Col Legno, FX, etc) I will keep a number of GOS instruments.

Opus 1 is around the same price as GOS and gives you sufficient strings articulations PLUS the rest of the orchestra. The sound is better and the dynamics programming is a lot better (better ranges). Best bang for the buck I ever got with a library.

[janila]

I have just replaced the long note instruments from GOS with the VSL Opus 1 counterparts, and believe me, I am NOT going back. I will also do so with most short articulations. For the special articulations (Col Legno, FX, etc) I will keep a number of GOS instruments.Is there a significant difference between the Opus1 and GOS col legnos and pizzicatos? I remember them being nice in GOS but I don't have the library at hand.


Opus 1 is around the same price as GOS and gives you sufficient strings articulations PLUS the rest of the orchestra. The sound is better and the dynamics programming is a lot better (better ranges). Best bang for the buck I ever got with a library.Best Service sells GOS for 500 € and Opus1 for 990 € so they aren't exactly in the same price range but still the Opus1 is a better product for the price. I was concidering GOS as a complementary library to be used with the Opus1 but I might reconcider this when the real Kirk Hunter Concert Strings demos are available.

[PeterRoos]

I'm at home now so I can't check any sounds now.
When I got GOS, the price was significantly higher, around $999.

[Jeannot Welter]

In GOS you have col legno battuto tight, col legno battuto loose, col legno ricochet and pizz tight and loose. These are not the result of programming, but actual samples.

Jeannot Welter.

[janila]

But how do they sound compared to the Opus1 col legnos and pizzicatos?

[Ouch that hurts]

For the record, GOS is TOTALLY viable today. Age has nothing to do with it. Unitl Kirk's library came along, I routinely suggested to customers buying VSL that they supplement it with GOS.

GOS and KH Concert Strings are totally different in their approach and must be evaluated separately.

While you certainly have the right to dislike the KH CS, I would point out that even now in pre-release, they're being used in two US television programs. Of course I'd like to see you buy Concert Strings, but GOS is a great library, and I'll always say so.

Thanks Peter for the balanced response, and I'm sorry I was a bit overly direct, and probably premature, in writing off your product. I will certainly wait for the next batch of demos.

What exactly do you mean by "totally different in their approach"? How would you characterise this difference?

[Ouch that hurts]

I have just replaced the long note instruments from GOS with the VSL Opus 1 counterparts, and believe me, I am NOT going back. I will also do so with most short articulations. For the special articulations (Col Legno, FX, etc) I will keep a number of GOS instruments.

Opus 1 is around the same price as GOS and gives you sufficient strings articulations PLUS the rest of the orchestra. The sound is better and the dynamics programming is a lot better (better ranges). Best bang for the buck I ever got with a library.

I suppose I hadn't really thought of Opus 1 because I spent so long dithering between it and EWQLSO Gold when choosing my orchestral "base", ended up going with Gold, and therefore forgot about it. It's true that I'd get the rest of the orchestra, but then I already have an orchestra. I want more specialized string possibilities, partly for expanding the orchestral palette and partly for use in non-orchestral contexts such as string parts in pop songs, where I don't always want Gold's pre-set ambience and sound quality.

It's also true what Janila says, that GOS has come down a long way in price. It would be hard to justify the cost of Opus 1 when so much would be duplication.

But then maybe I should consider the FULL Vienna set of just the strings. I believe they sell the sections separately, but can't remember how much they cost. Will have a look.

[JohnCarter]

i really like the sound of GOS, especially the long notes that have a shining sound.

[peter269]

Thanks Peter for the balanced response, and I'm sorry I was a bit overly direct, and probably premature, in writing off your product. I will certainly wait for the next batch of demos.

What exactly do you mean by "totally different in their approach"? How would you characterise this difference?

I can only comment about Kirk's Concert Strings. His were recorded with all the players in their onstage seated position with three different mic positions: close, far and distant. This is the first GS library with all three positions available. There is some built-in ambience from the hall in which it was recorded, but to blend with other libraries, this was held to a minimum. Reverb is needed. However, depending on your other libraries, you probably won't have to EQ. The library is sized at 100GB+ with basic solo strings, close, far, and distant ensembles positions for full sectional ensembles and chamber ensembles, open and muted for $599.00.

Here's the gig file list and a list of articulations for specific gig files:

*********************************

SYMPHONIC STRINGS
Here the strings are spread across the entire keyboard.

Short Notes
Short Notes Far Mutes
Sus Far
Sus Far Mutes

CHAMBER STRINGS FULL ENSEMBLE
Here the strings are spread across the entire keyboard. Separate Chamber Sections are listed below:

Sustained
Sustained Muted
Short Notes
Short Notes Muted


24VIOLINS
Heavy Vibrato
Heavy Vibrato Mutes
Light Vibrato
Light Vibrato Mutes
No Vibrato
No Vibrato Mutes
Short Notes
Shote Notes Muted
Sustained Combinations and Effects (trem, trill, etc.)
Sustained Combinations and Effects Muted
Alternate Light Vibrato (BONUS!)

10 1st VIOLINS (CHAMBER)
Heavy Vibrato
Heavy Vibrato Mutes
Light Vibrato
Light Vibrato Mutes
No Vibrato
No Vibrato Mutes
Short Notes
Short Notes Muted
Sustained Combinations and Effects
Sustained Combinations and Effects Muted
Alternate Light Vibrato (BONUS!)

10 2nd VIOLINS (CHAMBER)
Heavy Vibrato
Heavy Vibrato Mutes
Light Vibrato
Light Vibrato Mutes
No Vibrato
No Vibrato Mutes
Short Notes
Short Notes Muted
Sustained Combinations and Effects
Sustained Combinations and Effects Muted
Alternate Light Vibrato (BONUS)

16 VIOLAS
Heavy Vibrato
Heavy Vibrato Mutes
Light Vibrato
Light Vibrato Mutes
No Vibrato
No Vibrato Mutes
Short Notes
Short Notes Muted
Sustained Combinations and Effects
Sustained Combinations and Effects Muted

8 VIOLAS (Chamber)
Heavy Vibrato
Heavy Vibrato Mutes
Light Vibrato
Light Vibrato Mutes
No Vibrato
No Vibrato Mutes
Short Notes
Short Notes Muted
Sustained Combinations and Effects
Sustained Combinations and Effects Muted

12 CELLOS
Heavy Vibrato
Heavy Vibrato Mutes
Light Vibrato
Light Vibrato Mutes
No Vibrato
No Vibrato Mutes
Short Notes
Short Notes Muted
Sustained Combinations and Effects
Sustained Combinations and Effects Muted

6 CELLOS (Chamber)
Heavy Vibrato
Heavy Vibrato Mutes
Light Vibrato
Light Vibrato Mutes
No Vibrato
No Vibrato Mutes
Short Notes
Short Notes Muted
Sustained Combinations and Effects
Sustained Combinations and Effects Muted

6 BASSES
Combinations and Effects
Combinations and Effects Muted
Short Notes
Short Notes Muted
Sustain
Sustain Muted

3 BASSES (Chamber)
Combinations and Effects
Combinations and Effects Muted
Short Notes
Sustain

**********************************
SELECTED EXPANDED GIG FILES

TYPICAL LIGHT VIBRATO ORGANIZATION – 24Vns
VELOCITY VOL/ AFTERTOUCH VIB
LEG Sus LV Aftvib
MED Sus LV Aftvib
HARD Sus LV Aftvib
VEL Accent Sus LV AftVib

VELOCITY VOLUME ONLY
LEG Sus LV
MED Sus LV
HARD Sus LV
VEL Accent Sus LV
DETACHE LV
LEG SHORT LV

VEL VOL/AFT VIB/AFTERTOUCH VIB
MOD Accent Sus LV Aftvib

MODWHEEL VOL/AFTERTOUCH VIB
LEG Sus Lv Aftvib
MED Sus LV
HARD Sus LV
DETACHE LV
LEG SHORT LV

MODWHEEL VOL/VEL ATTK/AFTERTOUCH VIB
LEG Sus, DET, MARC, LV Aftvib

KEYSWITCHED
Sus Attks Co – D#0, Up/Downbow E0 – G0

SEPARATE LAYERS
LEG Sus LV p
LEG Sus LV mp
LEG Sus LV mf
LEG Sus LV f

MED Sus LV p
MED Sus LV mp
MED Sus LV mf
MED Sus LV f

HARD Sus LV p
HARD SUS LV f

DETACHE LV p
DETACHE LV mp
DETACHE LV mf
DETACHE LV f

LEG SHORT LV p
LEG SHORT LV mp
LEG SHORT LV mf
LEG SHORT LV f

**********************************
SHORT NOTES ORGANIZATION
VELOCITY VOLUME ONLY
Marc Detache
Stacc DB
Stacc UB
Pizzicato
Detache HV
Detache LV
Legato Short HV
Legato Short LV

MODWHEEL VOLUME ONLY
Marc Detache
Stacc DB
Stacc UB
Pizz
Detache HV
Detache LV
Leg Short HV
Leg Short LV

MODWHEEL DOWNBOW/UPBOW
Stacc Mod Down/Up

KEYSWITCHED C0
HV DET, LEG, MARC, STACC
LV DET, LEG, MARC, STACC
ALL DET , LEG, MARC, STACC, PIZZ

SEPARATE LAYERS
Marc Detache p
Marc Detache mp
Marc Detache mf
Marc Detache f

Stacc Downbow p
Stacc Downbow mp
Stacc Downbow mf
Stacc Downbow f

Stacc Upbow p
Stacc Upbow mp
Stacc Upbow mf
Stacc Upbow f

Pizz p
Pizz mp
Pizz mf
Pizz f

Detache HV p
Detache HV mp
Detache HV mf
Detache HV f

Detache LV p
Detache LV mp
Detache LV mf
Detache LV f

Leg Short HV p
Leg Short HV mp
Leg Short HV mf
Leg Short HV mf

Leg Short LV p
Leg Short LV mp
Leg Short LV mf
Leg Short LV f

**********************************
COMBINATIONS AND EFFECTS
SUSTAINED COMBINATIONS AND EFFECTS - 24 Vns

VEL XF VIB, Aft VIB HV
LEG Sus, VEL XF VIB, Aft=More Vib
MED Sus, VEL XF VIB, Aft=More Vib
HARD Sus, VEL XF VIB, Aft=More Vib
VEL Accent Sus, VEL XF VIB, Aft = More Vibrato

MODWHEEL XF VIB, Aft VIB HV
LEG Sus, MOD XF VIB, Aft=More Vib
MED Sus,MOD XF VIB, Aft=More Vib
HARD Sus, MOD XF VIB, Aft=More Vib
VEL Accent Sus, MOD XF VIB, Aft = More Vibrato

WITH TREMOLOS
Leg Trem
Med Trem
Hard Trem

LEG Sus, VEL XF VIB MOD Adds TRM
LEG Sus, VEL XF VIB MOD Adds TRM Swell

MED Sus, VEL XF VIB MOD Adds TRM
MED Sus, VEL XF VIB MOD Adds TRM Swell

HARD Sus, VEL XF VIB MOD Adds TRM
HARD Sus, VEL XF VIB MOD Adds TRM Swell

LEG Sus, VEL XF VIB, Mod =SL, Aft = TRM
MED Sus, VEL XF VIB, Mod =SL, Aft = TRM
HARD Sus, VEL XF VIB, Mod =SL, Aft = TRM

WITH TRILLS
Half Step Trills
Whole Step Trills

LEG Sus, VEL XF VIB, Mod Adds Htr
LEG Sus, VEL XF VIB, Mod Adds Htr Swell

HARD Sus, VEL XF VIB, Mod Adds Htr
HARD Sus, VEL XF VIB, Mod Adds Htr Swell

LEG Sus, VEL XF VIB, Mod Adds WStr
LEG Sus, VEL XF VIB, Mod Adds WStr Swell

HARD Sus, VEL XF VIB, Mod Adds WStr
HARD Sus, VEL XF VIB, Mod Adds WStr Swell

KEYSWITCHED LEG, HARD+RUNS, SL, HARM
HV, LV, NV, TRM, HTR, WTR, Sl, RUNS, HARM

Slides
Run Up
Run Down
Harmonics

[Scott Cairns]

I think that now Giga 3 is out, GOS possibly has more potential than ever before. You can make use of Gigapulse and instrument reasonance files to give GOS a type of ambience that has been not possible in the past. (I have GOS but not Giga3 so havent tried it myself.)

Also, I believe that GOS2 is not too far away from release, Gary typically has generous upgrades and supports his customers 100%

So even if you buy GOS now, you would be eligible for the GOS2 upgrade.

[Bruce A. Richardson]

GOS is very good in Giga 3.

I would say that all the major string libraries, GOS included, bring a lot to the table. Pre-GOS, you take your chances with depth of coverage.

Sonic Implants Symphonic Strings is also a very fine and usable collection. Nice small section sizes are very facile, and blend well with other things without getting the cast of thousands sound.

VSL anything sounds ridiculously good in Giga 3.

There will always be bigger, better, faster, sexier. But GOS is well within the technical threshold of being "modern" in the sense of what's on the market right now, and putting it in a Giga 3 box really expands the palette immensely. Even if Mr. Garritan did not do a Giga 3.0 update, one could easily read the GigaEditor manual and create all kinds of amazing things just by combining what's there and putting it in the GigaPulse environment.

I still heartily recommend GOS, and use it. There are so many musical situations where its particular tonal qualities are perfect. Someone mentioned the character of shimmer in the sound, and I concur with this.

[Bruce A. Richardson]

Mr. Hunter's upcoming efforts look quite heroic as well.

[Alexcremers]

Be warned, many find GOS to be a bit on the synthetic side. I'm one of them. Of all the existing string libraries (is Sonic Implants already mentioned here?), you should try to learn as much of them as you can. Listen to every demo available. Read all the reviews. Don't let size alone impress you. Find a way to play the samples yourself.

------------
Alex Cremers

[FredProgGH]

Be warned, many find GOS to be a bit on the synthetic side. I'm one of them. Of all the existing string libraries (is Sonic Implants already mentioned here?), you should try to learn as much of them as you can. Listen to every demo available. Read all the reviews. Don't let size alone impress you. Find a way to play the samples yourself.

------------
Alex Cremers

Well, I think every library probably has strengths and weaknesses. The real trick is, how easy is it to exploit the strengths of a given library?? I bought GOS because I thought the demos were great, I found the added features of Maestro Tools very appealing (GS3 wasn't released yet), Gary had a huge reputation for excellent support (which is totally justified!) and the price point was perfect.

I'm brand new to Gigastudio and these types of complex libraries. My technique is not particularly honed at this point. Here is the second practice mockup I've done with GOS so far: (it also involves sounds from SAM Solo Sessions and Westgate Woodwinds)

http://www.mydocsonline.com/pub/DPDAN/Figaro_Excerpt.mp3

You tell me- synthy sounding?? :)

Now when I have a couple grand to blow I'll get the VSL library I'm sure. But I'm loving my GOS!!

[Ouch that hurts]

I think that now Giga 3 is out, GOS possibly has more potential than ever before. You can make use of Gigapulse and instrument reasonance files to give GOS a type of ambience that has been not possible in the past. (I have GOS but not Giga3 so havent tried it myself.)

Also, I believe that GOS2 is not too far away from release, Gary typically has generous upgrades and supports his customers 100%

So even if you buy GOS now, you would be eligible for the GOS2 upgrade.

Just to re-iterate as some seem to have missed it - one of my main reservations is the fact that Gary has declined to confirm that there will be an update for the Giga format library, although he has confirmed that there will be a forthcoming update in "anothe format".

[Ouch that hurts]

Be warned, many find GOS to be a bit on the synthetic side. I'm one of them. Of all the existing string libraries (is Sonic Implants already mentioned here?), you should try to learn as much of them as you can. Listen to every demo available. Read all the reviews. Don't let size alone impress you. Find a way to play the samples yourself.

------------
Alex Cremers

I have read comment like that about the library, but personally I don't find that a problem. "Synthy" is I suppose a more pejorative way of describing what Bruce etc call "sheen". Personally I like it, and find that it works when combining the strings with pop ensembles, where that brightness is needed to match the electic guitars, brass etc.

[handz]

Be warned, many find GOS to be a bit on the synthetic side. I'm one of them. Of all the existing string libraries (is Sonic Implants already mentioned here?), you should try to learn as much of them as you can. Listen to every demo available. Read all the reviews. Don't let size alone impress you. Find a way to play the samples yourself.

------------
Alex Cremers

I´m also one of them!
If I have to buy some string library - I buy SISS - Beautiful Sound,many articulations + great FX!!

[Ouch that hurts]

OK I'm going to have a listen to SISS, and the next bunch of Kirk Hunter demos, and make my decision based on what sounds best. If I still like GOS best I'll buy it.

Thanks guys.

[Frederick]

SISS is a really excellent choice - I like the way the strings sound and how they're recorded. I want it! GOS is also a phenomenal effort, and many users rely on many of these sounds in daily work. VSL - just about everything sounds good in VSL!

Anyway you go I think you won't be disappointed. I have VSL and want to implement it with SISS - I'm very impressed with the library.

[peter269]

Since I have registered copies of all these libraries, a few thoughts.

1. ALL sampled strings at some point sound synthy. It's the nature of sampling. However, if you listen to certain orchestral recordings of "live" strings, at times, they sound synthy too!

2. While I don't know if it's been publicly announced, there are little blurbs around NS from GOS II's programmer referring to the Kontakt version. In the last blurb, he stated that with the Kontatk version, you would not need Maestro tools. This is good (at least for me) because when using FX Teleport, getting extra "performance tools" to work correctly is difficult.

3. Carefully examine the kind of music you most often want to write today. Each of the four libraries mentioned have very specific sounds, very specific strengths and weaknesses, and work better in some musical situations than others do. Defining what you want to write will help you make that decision.

[SHAOLIN95]

If I have to read once more that Concert Strings is a 100GB collection as a "selling point" I will cry! Since when size means quality? I am not bashing Kirk Hunter' work as I like his Solo Strings but the aproach he is using to sell the Concert Strings is rather odd and really bothers me. The demos are simply NOT good at least what is being demoed now. Still, lets give the collection a chance just please dont mention the 100GB size again :confused:
My fav right now is SISS, the sound is just simply beautifull...theres no better way to say...beautifull sound.

[peter269]

If I have to read once more that Concert Strings is a 100GB collection as a "selling point" I will cry! Since when size means quality? I am not bashing Kirk Hunter' work as I like his Solo Strings but the aproach he is using to sell the Concert Strings is rather odd and really bothers me. The demos are simply NOT good at least what is being demoed now. Still, lets give the collection a chance just please dont mention the 100GB size again :confused:
My fav right now is SISS, the sound is just simply beautifull...theres no better way to say...beautifull sound.

I WILL mention again because it's a valid selling point for the library since that reflects Full Ensembles for each section in three mic positions, each open and muted; chamber strings for each section in three mic positions, each open and muted' and a bonus set of basic solo strings. For $599US vs. just under $3000US. Since Kirk is selling direct, a 500% difference in price for that size merits mentioning and consideration.

This library is already in use in two TV shows in LA, and one composer has promised demos of the cues using Kirk's strings to be available shortly.

The demos ARE good which is why we've nearly sold out the first DVD pressing.