Another East west gold question?

[josejherring]

You guys really know what you're talking about.

I have a question. I'm doing a film score and I just bought EWSOL gold yesterday. I'm running "Live" as the host program for the pluggin on a PC with Athlon 1.0ghz processor and 768megs of ram. Will this do it? Or am I on the wrong path?

Also, I wanted to add my 2 cents in on the quality of samples discussion. While going to a conservatory in New York I went to hear all the major symphony orchestras at either Carnegie or Avery fisher hall. I've also conducted Vancouver Symphony, Houston Symphony and other pro orchestras.

I did extensive research on all orchestral libraries just recently. I made a judgement on what library to buy based on how real the demos sounded.

Hear's my finding if its worth anything to anybody still looking for a library.

East/West platinum sounds quite possibly better than a real orchestra. Too clean. But who cares. This is the sample library to be beat. I can't imagine anything sounding better.
East/West gold. Sounds most authentic though limited in a mix due to the one mic position.
Vienna sounds great but not realistic. Also, doesn't sound America. The French Horns they use in Vienna are smaller and less powerful than the Conn 8D we bold krass Americans use. The trumpets they use are rotary trumpets and sound quite old fashion to Americans. And the woodwinds are also quite different in timbre. So if you do film scoring work I don't think that these are going to sell well even as demos. The sound is just too foreign. That being said the chamber strings sound totally realistic. But at 7,000 big ones for the full set of samples I'm not rushing out to get these just because of the chamber strings. Though I might buy them seperatly when I'm indepently wealthy.

East west silver edition absoluty won my heart over. These guys really went out of there way to make quality samples affordable for everybody!! Hands down better than anything on the market except for its two big brothers gold and platinum. Not as flexible as VSL, but for $300-- c'mon. And at least you get some stage ambience with silver and the choir and pno too. Whoa!

Lastly, I'm so happy that it's within everybody's reach to make beautiful orchestral music. Now we can get back to improving the overall music scene in America by producing great music at home. We've broken through the big bucks glass ceiling. Gone are the days when you needed a live orchestra at your disposal or 250,000 dollars to build the best studio. Now we can be judged on our tallent, skill and hard work not on the size of our rack (no pun intended of female composers). Composers--Let's soar with these libraries. Let's get productive and send our music to everybody and anybody. Let them hear are hearts and minds and not be limited by our lack of funds or limited engineering skills. Music has new vistas of intellect and beauty to be reached yet. Now all can reach.

Cheers,


Jose

[Hasen]

Vienna sounds great but not realistic. Also, doesn't sound America. The French Horns they use in Vienna are smaller and less powerful than the Conn 8D we bold krass Americans use. The trumpets they use are rotary trumpets and sound quite old fashion to Americans. And the woodwinds are also quite different in timbre. So if you do film scoring work I don't think that these are going to sell well even as demos. The sound is just too foreign.

Yeah we need that American brass sound like in the LSO. :rolleyes:

[EricRichmond]

Jose, I hate to say it, but it might be tough to run an efficient template with Gold on such a system.

If you dont' mind bouncing things down very often, or (with Live) playing the audio in live and recording that direct, you could be OK.

Personally I have a Athlon XP 2700+ with 1.5 gigs of RAM, and although I'm OK CPU wise, I'm still about 500 megs of RAM away from being in the sweet spot.

Just as another aside, I use Sonar and Ableton Live as my hosts, and Live is amazing for a ton of things, but writing longer orchestral works in live might not be the best solution in terms of workflow.. Again this is up to your preference. I have used Live successfully to make little orchestral loops for other pieces tho.

HTH

-Eric

[josejherring]

thanks for responding. The east west library is coming today--(hopefully). I'm using my mac as the main sequencer. I'll be using the PC described dedicated to the library. What I was planing on doing is using the pc as a sampler and not running anything else on it except live as a plug in host and not as a sequencer. Is there a better way to do this? Will this decrease the amount of ram use and CPU useage.

Help I got to play my score for the producer and director on Monday.

Cheers,

Jose

[dcoscina]

I'm not sure it's the best way. With a host you can load more than 1 set of 8 instruments at once(unless you have Kontakt which can load 16 instruments).

You could use keyswitch programs which would reduce the number of individual patch articulations but aside from that, the host sequencer benefits from allowing the user to load more than one instance of Gold.

As for your earlier remarks, I generally agree. Gold actually does mix very well together. I put a multi patch together (brass staccato) the other night and used it in a little demo piece. The individual sections blend so well partly because of the built in ambience. I loaded a comparable Sonic Implants brass patch (in GS3) this morning before work and found that the Gold brass came off sounding clearer, fuller and more dynamic. I plan to put other multi patches together in the upcoming days. It's great to play a full section of brass, winds or strings when one is improvising or sketching out ideas.

Gold is a "gold mine" of orchestral sounds, that's for sure. I absolutely love the fact that I can concentrate on the music rather than effects and ambience.

While I'm having a ball with Gold, I'm also waiting (sort of impatiently) for Gold Pro. There are articulations in that which I'm dying to put into play.

[midphase]

Yeah we need that American brass sound like in the LSO.


ROTFLMAO!!!



Maybe what he's really after is that John Philip Sousa sound!

[josejherring]

Thanks for all your input.

I actually intend to use the live sequencer as the host on my PC. I just won't actually sequence anything on it. Ah! I see. Will this limit the amount of instances I have running to the number of available midi channels (32)? Will running it along with my main sequencer on the same machine give me as many instances as memory and CPU will allow?

Please excuse my lack of expertese in this area. I've been lucky enough until just resently to work almost exclusive with real players. But times are a'changin' and I need to step up to the program here.

Also, If you guys at East West are reading this. LONDON SYMPHONY ORCHESTRA RECORDED AT ABBY ROAD STUDIOS SAMPLE LIBRARY in 5.1 and 7.1 for high end film composing would be something to look forward to in the future. If done right. They do use the same instruments as we do in America except for the Boosey and Hawks 10-10 clarinet and crystal mouthpiece.

Jose

P.S. What does ROTFLAO!!! mean???

[Jaimo]

That being said the chamber strings sound totally realistic. But at 7,000 big ones for the full set of samples I'm not rushing out to get these just because of the chamber strings. Though I might buy them seperatly when I'm indepently wealthy.


You don't have to buy the whole VSL library to get the Chamber Strings, just buy
Chamber Strings (http://www.vsl.co.at/english/pages/products_%26_shop/horizon_series/chamber_strings.htm) by itself. It's one of the best libraries I ever bought.

Sorry to go off track....

[josejherring]

so I got QLSO gold up and running. My first demo for the film makers on my new film is on Monday.

You guys were so right about this library being the most power hungry. On my 1ghz athlon with 760 megs I can only run in stand alone mode 1 instance at a time. I'm then multi tracking it back to my MAC one intrumental section at a time into Digital Performer. But even so, WOW!!!!!! what a sound.

Has anybody ever thought of or tried to spread Gold out over 3 or 4 computers and then using lightpipes to go direct into the DAW. I'm thinking of doing this to eliminate the need of a mixer.

Or, would it just be better to get a Dual processor G5 loaded with ram? Even with a screaming computer loaded up, would I still run into limitations with everything on one computer especially when I upgrade to gold pro or platinum pro?

thanks,

Jose

[EricRichmond]

With Gold you are allowed two licenses, so you can it on two computers at any given time.

I think lots of people might have them spaced out across computers, especially Platinum users which can have it installed on 8 computers

[midphase]

P.S. What does ROTFLAO!!! mean???


rolling on the floor laughing my ~~~ off (~~~ will be automatically censored by this forum....~~~, hahaha!)

The LSO already got sampled by Hans Zimmer. Only way they would do it is if he promised to never ever release it commercially. I really don't think that those guys would ever do it for a commercial library for any amount of money and to that I say....good for them!

[dougrogers]

On my 1ghz athlon with 760 megs I can only run in stand alone mode 1 instance at a time.

That's correct, you can only run one instance in standalone mode - you need to run it as a plug-in to run multiple instances.

Also, your computer is below our recommended specifications. We recommend 1.5 gigs of FREE ram for the library. Currently what you have would barely run your OS and other software. It's also a good idea to put "streaming" libraries such as GOLD on a dedicated second (fast) hard drive.

Thanks for the nice comments!

- Doug

[T Parks]

I really don't think that those guys would ever do it for a commercial library for any amount of money and to that I say....good for them!

You'll find that is very much the performers' general attitude towards sample libraries here in England. I was actually talking about doing one with a mate who's a very well known session performer over here and he was petrified of being caught by fellow brassers so backed out (it wasn't even for commercial release!). This is the umpteenth time I've had trouble getting good musicians I work with regularly involved. A bit hypocritical of many of them as they're happy enough to use the libraries in their commercial projects.

[josejherring]

Originally Posted by midphase
I really don't think that those guys would ever do it for a commercial library for any amount of money and to that I say....good for them!
I started out life as professional clarinet player in New York. I studied with the principal clarinetist of the New York phil. So I'm a decent player myself and understand the players concerns. But I saw this day coming when I interned at a jingle house back in 1990. The day when samples would rule the world. Then I decided to start composing and haven't looked back.

People who play instruments well general make pretty decent composers and/or orchestrators. Perhaps we should let players know that samples will never replace a concert experience, but we as players should broaden our horizons and start creating music rather than just recreating the music of others.

Cheers,

Jose

[josejherring]

Okay, so I'm now scoring the film I got the qlso gold for. I'm using these samples exclusively and the producer and director are extremely happy with the results I'm obtaining.

Now the director has made only one complaint and that is that the 18v sus string patch in the high register sounded a little synthy to him. I fixed the problem by lowering the velocity and bumping up the volume to compensate for the lack of sound.

In doing this I lost a little of the full in your face sound that I really like because its hard to get that sound even with real strings. So my question is this. How can I keep those velocities high and still maintain the natural timber of the violin sample? Is there some EQ that can be done to get rid of that synth like sound?