From what I\'ve heard the lib sounds pretty good. In my opinion, the demos don\'t really show what the brass is really capable of, therefore his sales are not as great as they could be (total assumption). Also, I\'ve never seen Dan around Northernsounds to chip in whenever people ask about brass libraries. The only composer I\'ve heard who has really used them well is probably Simon.
Oh yea, whatever happened to those promised crossfades for the solo instruments? [img]images/icons/smile.gif[/img] I\'ve been waiting for those for... awhile now.
The reason why I ask is because I have the library and think it is fantastic - it\'s not that I\'ve heard anything bad about it; I just haven\'t heard anything about it! Does anyone own both DDBE and the SAM libraries - how do they compare?
Got both..both are great.
SAM sounds a bit more \'loose\' and ambient. DDBE is really tight; I use the staccati a lot and the legato stuff is good too, but sometimes the playing and tuning is almost too tight.
What I like about SAM is that (just like in real life) the performances aren\'t a 100% consistent which gives them a little bit more life.
Also, SAM\'s legato crossfading is smoother because of the filtering.
Bottomline; both have their strength\'s and weaknesses, they complement eachother nicely and you can\'t go wrong with either.
yes I find the DDBE attacks much punchier and brighter than SAM, particularly the horns and bones - they actually compliment each other really well. The trumpets are pretty cool for Matrix\'y swells and shock notes.
Also the DDBE muted horns patch is superb and has dynamic crossfades unlike SAM (correct me if I\'m wrong on that).
I\'d say Sam is more Goldsmith/Elfman, and DDBE is more Silvestri/Goldenthal.
Dan Dean Brass Ensembles is an excellent library. I agree with most of the comments, except I\'ve never accused it of being too tight. I like tight brass, and if I\'m running a real session, I\'ll wear \'em out getting spit-shined tracks. So, I really appreciate Dan\'s same approach. The quality of attacks gives it a lot of punch. You can get caught up in it, and realize your ears are ringing from all that sizzling power.
The lineup of players is top shelf (in at least one case, one of the most admired players in the history of his instrument). They\'re eight layers deep in both close and distant perspectives. You can acid-etch PCBs with the fortissimos. The touch is responsive and quick, and there are scads of different mapping approaches. The release samples make it very easy to knock out varied articulations without doing a bunch of patch-swapping, or you can make use of a whole big bunch of standard articulations and recorded dynamic changes.
There\'s not a clinker in Dan\'s entire catalog, but this is one of his best efforts.
I once mocked up Fanfare for the Common Man with it for a television project, but that\'s not a public domain piece, so I can\'t post it here. For that matter, I can\'t even find it for some reason. But it\'s that kind of soaring, glossy sound which works for that piece, and as I recall it came out very nicely. I would describe the Horn sound as the polar opposite of VSL...less present, a farther back, more backwall/spread/bounce concept in staging. A very VERY usable library.
Some libraries just flat-out work. Symphonic Implants Strings is one of those, as well as GOS. They have go-to instruments that you know you can depend on. Dan\'s libraries are of that caliber, and this one very definitely ranks in the all time great collections.
Thanks guys, I knew it wasn\'t just me who loved this library! I\'ve got all of Dan Dean\'s orchestral libraries and they are all great. Highlights for me include the Horns portato and the powerful sustained Trumpets. Dan once said that he was going make an update with glisses and other fx on, but I believe that is on the back-burner for the time being.
When I\'ve got time I hope to post a demo - as Bruce said, \"Fanfare for the Common Man\" is an obvious choice, but I particularly like a section in Samuel Barber\'s Essay for Orchestra No.2 towards the end...or perhaps I would be biting off more than I chew.