• Register
  • Help
Page 1 of 6 1234 ... LastLast
Results 1 to 10 of 51

Topic: Full/Chamber Orchestra Libraries...

Share/Bookmark
  1. #1

    Question Full/Chamber Orchestra Libraries...

    ...what, in your opinion, is still needed? What could be done better, or more in depth, or just in a different approach?

    I'm curious as to what many are still looking for in new orchestral libraries?

    **For the sake of this thread not getting off-topic, or flame-broiled, I would appretiate if no libraries were referred to by name. This may be too difficult a request - I don't know - but reffering to articulations or recording styles will be more helpful to everyone instead of a reference to the lib's name.**

    Anyway, let me know what you think has been done well - what hasn't been given as much attention as you'd like - and what hasn't been done at all (if anything).

    I'll reserve my own opinions for a future post - Thanks in advance.
    Alan Lastufka | www.BelaDMedia.com
    Producer/Artistic Design | Content Producer

    20 Things

  2. #2

    Re: Full/Chamber Orchestra Libraries...

    Well, lets see...

    We have VSL - thousands of articulations (mostly run of the mill or should I say natural articulations and playing styles), dry recording, full sections, solo instruments, hefty price, great sound. They have their chamber offerings and also some seperate modules to add to the base library.

    We have EWQLSO - With the pro edition coming the articulation list, what, doubles? Ambient sound. Full and solo sections. Great sound. From some user reviews, I think here there could be some beefing up of some of the solo instrument offerings but I may be way off on that one. More moderate in price for the standard set, with the option to go to a 'pro' offering.

    We have SI - Not enough information about the full orchestra at present, but what we know is that it follows closely the above. It is another ambient library. Not sure where this one will land in the price scheme. Looks like it will fall around the level of EW offerings. Haven't really listened to a lot of demos of this one, but the strings sound good.

    We have Kirk Hunter's libraries - Again, all kinds of articulations. Is this one dry or does it have some ambience? Seems to be modestly priced. Some of the demos so far have been sketchy, but hopefully there will be more on the way as more users get their hands on it. Kirk seemed to have a panache in the past of getting a special sound out of his, especially with a little work by the end user.

    We have GPO - Not so many articulations, dry recording, moderately priced. Will be getting an Advanced version in the future. Not sure what that will do to the articulation list or the footprint of the library (the selling point when I bought it.) The sound of this one especially depends on the competency of the user. There's more work involved in getting a great performance, but this is counteracted by the investment. GPO, while not (theoretically) being in the same league as the above, still holds its on and can achieve great things.

    Uhm... What else? The new Miraslov (sp?) rompler. Not heard much about it, but I'm sure we will soon.

    Then you've got the tried and true. Advanced Orchestra, the old Miraslov disks. I think these still offer something, but are outdated to some degree.

    Looking at the list, I'd say as I have in the past, that the market looks like of full as far as traditional orchestral offerings go. Not to discourage anyone, but it looks like most of the levels are targeted. I'd say that for another library to enter, it must offer something these do not. What is that? I don't know.

    My personal feeling is that more non-traditional libraries would fare slightly better as long as they take into account the smaller market. Maybe a library that specifically targets the chamber sound? That's still a hole. You have VSL's chamber strings and GPO's ensemble concept, but those are the only two in the market at present. Not to say there isn't more coming. Does EW Pro offer chamber sections? I can't remember so maybe someone else could chime in.

    Of course, others could come back and say, hey I don't like any of the current orchestral offerings, we need someone to do it better/differently. But to me personally, I would come at it from a different, unique angle if I were going to try to break into the orchestra side of things.

  3. #3

    Re: Full/Chamber Orchestra Libraries...

    Quote Originally Posted by Joseph Burrell
    Looking at the list, I'd say as I have in the past, that the market looks like of full as far as traditional orchestral offerings go. Not to discourage anyone, but it looks like most of the levels are targeted. I'd say that for another library to enter, it must offer something these do not. What is that? I don't know.
    What must a new library offer? Why, the quality and breadth of VSL at the price of GPO of course.

    Quote Originally Posted by Joseph Burrell
    My personal feeling is that more non-traditional libraries would fare slightly better as long as they take into account the smaller market. Maybe a library that specifically targets the chamber sound? That's still a hole. You have VSL's chamber strings and GPO's ensemble concept, but those are the only two in the market at present. Not to say there isn't more coming. Does EW Pro offer chamber sections? I can't remember so maybe someone else could chime in.

    Of course, others could come back and say, hey I don't like any of the current orchestral offerings, we need someone to do it better/differently. But to me personally, I would come at it from a different, unique angle if I were going to try to break into the orchestra side of things.
    I would say there is still room for more... while there are some excellent sounds available now, they are not as numerous as one would think.. I was going to name names, but in defference to Alan's request will now restrain myself. Only a few (maybe two?) of the major collections (or partial orchestral collections) really give me a high level of satisfaction. I find the others all wanting in one way or another, in some cases in far too many ways... hmm.... definetly still room for more.

    As for things beyond standard orchestra, I would be keen on a chamber size Baroque strings library - period instruments with gut strings. Solo strings to go with them too. Not to mention a viol consort, with solo viols as well.. could be sold together along the lines of a "Historic Strings" collecion or something or other.. No end of uses for such a collection, extending far beyond the obvious use of writing period style music.

  4. #4

    Re: Full/Chamber Orchestra Libraries...

    I think for me and a few other composers ease of use is great. Some libraries sound great out of the box and I think that's good.

    Tunning on the library I have is a little bit of a concern sometimes but not too bad.

    I'd love to see that library in Vienna done in a concert hall with 3 mic positions. That'd be the best of both worlds imo.

    The idea of building sections by sampling individual instruments is one that should be fully explored and that along with more section builiding is pretty cool. And the Garritan sonic morphing technology is really promising.

    Jose

  5. #5

    Re: Full/Chamber Orchestra Libraries...

    Yes, well put. I for one will openly accept any more advances in the realm of physical modelled sounds.

  6. #6

    Re: Full/Chamber Orchestra Libraries...

    Alan-

    Very important topic IMHO. Thanks.

    You said not to mention names, but I have some very expensive String libraries but still am not satisfied with any of them to the level of the 'strings being the most important section' of the orchestra. I find myself often writing for other sections when I really want strings - but the strings sound is either too thin (up high) or just not expressive enough (even with hours of CC controller work).

    For me a morphing / modelling string section would be something I would pay big bucks for. I'll purchase Gary's solo VLn, but I really need this 'playability' and control writing for chamber and larger works. My $.02.

    Rob
    Rob Elliott Music
    www.robelliottmusic.com

  7. #7

    Re: Full/Chamber Orchestra Libraries...

    > "We have Kirk Hunter's libraries - Again, all kinds of articulations. Is this one dry or does it have some ambience?"

    The Concert Series was recorded in a hall with three mic sets. It's a bit different than EWQLSO in that the hall is used more for the tone, than for the ambience. It doesn't use release samples, so you want to use your own reverb for the tails. Also, the mics are not phase aligned, so they are not intended to be mixed. Choose one set and go for it. The overall effect is that you get a full, blended tone, but you don't take the polyphony hit that you would with simultaneous mics and release samples.

    Regarding Alan's question as to what is still needed...

    New libs can give different sounds and personalities, and maybe they can be done at a lower cost to keep the price down and quality up. But the risk is that we get a "me too" result.

    I think the next key developments are in playability and humanization. Finding ways to automatically select articulations (even as a faster-than-real-time post process) is a tangible time saver. I want the automatic stuff stored in the sequencer, so I can then tweak the things that the machine or I did poorly.

    Then there's the age old problem of getting ideal legato. Maybe there's a more efficient process than VSL's where the legato connections are synthed to bridge real samples. That might be more efficient than VSL's solution and might allow more dynamic layers. Same for portamento.

    There's also the possibility of more/better ensemble building. Having each player, or set of players, do things in different, human ways could make things more interesting. For instance, in a real ensemble, the players don't change notes at the exact same time. Being able to tighten/loosen the transitions would be cool.

    The bottom line is that any new lib needs something new: a breakthrough price, a unique sound or a new technology that speeds up and improves the process. If your lib doesn't have one of these characteristics, it's just another "me too" lib in a crowded market space.

    -JF

  8. #8

    Re: Full/Chamber Orchestra Libraries...

    But I think the new samplers are paving the way for a better work/performance ratio. I can't wait to see what's possible with the scripting engine in Kontakt 2. I'm sure the iMidi in GS3 is powerful as well, just underutilized at the moment. I'm sure we'll see some advancements in this part of the equation soon.

  9. #9

    Re: Full/Chamber Orchestra Libraries...

    I personally think we have enough orchestral samples to last a lifetime. How about something COMPLETELY different?
    --
    Robert Gregory Browne
    KISS HER GOODBYE (now available)
    KILLER YEAR: Stories to Die For (Jan. 2008)
    WHISPER IN THE DARK (2008)
    St. Martin's Press
    http://www.robertgregorybrowne.com

  10. #10

    Re: Full/Chamber Orchestra Libraries...

    Any ideas as to what you would be interested in Rob?

Go Back to forum
Page 1 of 6 1234 ... LastLast

Bookmarks

Posting Permissions

  • You may not post new threads
  • You may not post replies
  • You may not post attachments
  • You may not edit your posts
  •