I've been testing QL Symphonic Orchestra Gold (and Pro XP) for few days now and I'm so surprised that how useful these sounds are. I've used Opus1 and Project SAM stuff before, but I think QLSO is going to be big part of my orchestrations for now one. Of course I've heard good comments and some great demos, but until now when I was able to test it myself, I'm totally convinced.
Here's the demo I made: http://www.mikseri.net/artists/?id=37335 . It's the song called "Journey to the New World". All instruments are QL/EW-stuff except the percussions that are True Strike. I did this on one computer.
And the most crazy thing about this is that these are sold for ridiculous prizes -50-60% off!
Your piece sounds nice; I use EWQLSO on all my demos for films. Sometimes we don't even bother to re-record all the sections, it sounds so good. If you can afford it, try the XP -- a lot of good sounds on it (see the Sound on Sound review if you are curious for specifics).
I listened to some of your musical works, they are truly Wonderful !
Your musical score exmaples show how great sounding (EWQLSO Plat Pro Exp.) and (EWQLSO Gold Pro XP) really are, your skillful orchestration, arranging, mixing/production, and perfomances are just top notch.
I will be installing EWQLSO Plat. Pro Exp. for the first time in the very near future, so listening to what these libraries are offering talented composers like you, is a joy, what can I say, it just puts a big smile on my face. Thanks. You are motivating me ...
Congratulations on discoving (EWQLSO Gold Pro XP), yes it does sound great, but I'm sure that you will be taking another big step-up on the ladder of quality, and realism if you upgrade to EWQLSO Plat. Pro Exp.
I'm interested in knowing if you are using any VSL libraries in your demos, mixed in with EWQLSO Plat. Pro Exp., or are they all pure EWQLSO Plat. Pro Exp in action ? If you are blending VSL with EWQLSO Plat. Pro Exp, can you comment on how you like VSL (especially their strings) ?
IMHO, EWQLSO Plat. Pro Exp. is the best sounding orchestral library for Film/TV productions, and I'm sure, it can be used in many other applications.
I don't use Vienna at all any more -- I really prefer the sound of the EWQLSO library, including the XP PRO material.
But my website has many cues that are all-orchestral and none that are pure samples, so don't read too much into that sound!
Thanks for the info. This is very interesting !
Can you comment a little further on what the main role of EWQLSO Plat. Pro Exp. was when it was mixed with a real orchestral performance ? (i.e. to achieve a larger sound, thickening textures, or .... etc. )
By the way, I also prefer the sound of EWQLSO Plat. Pro Exp. productions to VSL.
If I have, say, a string quintet, the samples remain the "main" part of the mix with the live strings sweetening what's there. If I have 16 brass players, I replace the samples completely, ditto if I have 50 or 60 strings -- there will be no samples left.
I am very comfortable with the sampled percussion, for any application, even very large budget trailer music that I've occasionally been lucky enough to write.
Sometimes I have a little tiny band, sometimes a lot, but either way the EWQLSO stuff really blows my clients out of the water.
As to the string quintet example, I'm not sure if I understand exactly what you were trying to explain, did you mean that, if you have written some music for a string quintet using EWQLSO Plat. Pro Exp, you would keep the sampled tracks, but add additional real string players to sweeten up the sampled version ? Well, that's interesting, I was expecting that you would replace the 'sampled' quintet version completely, with real string players, since I usualy find it very difficult to emulate real solo strings, when using sampled solo strings due to the complex articulations, and performance details a real solo string player has at his/her disposal, unless the EWQLSO Plat. Pro solo strings are fantastic sounding, and can be easily incorporated with the real solo strings.
Regarding the 16 Brass players example, EWQLSO Plat. Pro Exp. has some fantastic sounding brass sections, and in this case, I would think that you can easily layer real and sampled brass sections, (i.e if a bigger sound is needs), rather than eliminate the sampled brass tracks. So, I'm not sure I understand the reasoning here.
As to the 50-60 real string players scenario, you wrote : "If I have 50 or 60 strings -- there will be no samples left." I'm guessing you mean that you would eliminate all EWQLSO Plat. Pro Exp. section string samples from the production, to obtain a (100% real string section perfomance), again, I'm a bit confused here, since EWQLSO Plat. Pro Exp. has some wonderful String section sounds, that could complement, or even enhance a real string section, so, I think that there might be some scenarios where I would choose to blend both real, and sampled strings together, but that is not what you seem to indicate, well, at the end of the day, regardless of how EWQLSO Plat. Pro Exp. ends up being used in a production, it must be a great feeling to see your clients impressed with the sounds of this orch. sample library.
I look forward to begin working with this library, and gain some working experience, and eventually, I will be able to share some examples of my orchestral works, hopefully it won't take too long.
1. As to the string quintet example, I'm not sure if I understand exactly what you were trying to explain, did you mean that, if you have written some music for a string quintet using EWQLSO Plat. Pro Exp, you would keep the sampled tracks, but add additional real string players to sweeten up the sampled version ?
2. Regarding the 16 Brass players example, EWQLSO Plat. Pro Exp. has some fantastic sounding brass sections, and in this case, I would think that you can easily layer real and sampled brass sections, (i.e if a bigger sound is needs), rather than eliminate the sampled brass tracks.
3. As to the 50-60 real string players scenario, you wrote : "If I have 50 or 60 strings -- there will be no samples left." I'm guessing you mean that you would eliminate all EWQLSO Plat. Pro Exp. section string samples from the production, to obtain a (100% real string section perfomance),
1. The string quintet example was when I want a very big section sound, but only have the budget for a tiny string section -- if I wrote a string quintet I would never use samples, as you said.
2. and 3. No matter how great the samples are, if you have sufficient live sounds, you'd normally drop the samples, unless you are talking about a very homogenous sound (like a brass choir). If your piece mixes fast phrases with short and legato passages (think of Bernard Hermann's overture to 'Psycho' or John Williams' action stuff), real instruments always make transitions and contrasts more successfully than samples.
The big 'however' here is that, because the library sounds so good, nothing but world-class players actually DO sound good enough to out-do this library. So the caveat is that, unless you can hire absolutely top-notch players AND get a good performance, the samples can definitely sound better.
If I have passages that are played out of tune, then I do blend the samples and the real thing, so that I can cross them back and forth. This is not as easy as it sounds, however, since it is very difficult to "slide" all the samples so that their attacks are exactly where the live guys are. Live players, even with a click track, sometimes play a little ahead, sometimes a little behind the beat, and it can be extremely difficult to blend samples and live performance without ending up with a blurry sound.