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Topic: difference: garritan vs. Vienna vs. East/West?

  1. #1

    difference: garritan vs. Vienna vs. East/West?

    the GOS look fantastic, gary gives very generous updates, they sound amazing. How could anything be better?

    and yet people swear by vienna and are excited about East/West coming up.

    What are the differences? Maestro tools, different articulations, lots of sample material, etc.

    (this is really exciting - all these cool options.) =)

    thanks for any help, i\'m not $$$ enough to buy all of them...

  2. #2

    Re: difference: garritan vs. Vienna vs. East/West?

    To be honest I dont find GOS especially real and it seems you have to be a Maarten or a Thomas J to really stop it sounding synthy. But then dont hold me to it because I havent got it myself. [img]images/icons/rolleyes.gif[/img] It seems to have some really cool stuff like effects, nice pizzicato (spell?), and those cool stacs that Bill Brown used in one if his SOAF tracks (Intro Cinematic) The more plus sides to this lib are the updates which are also a REALLY great insentive. The technical support looks cool, and King Idiot does a lot of programming for it!

    VSL - from what I hear, sounds amazing with all the realistic \'performace lib\' stuff... much more suited to John Williams music than Media Ventures stuff it seems though. However, I dont like the \"sound\" of the strings that much at all. To me it sounds like very realistic, yet not so great sounding strings.

    East West/ Quantum Leap Orch - The strings from this is probably the best bet (even though we have no demos yet) for being able to sound intimate and huge at the same time. I speculate they will \"sound\" much better than VSL. I just hope they will be able to master a \"legato\" tool that is as good or better than VSL.


  3. #3

    Re: difference: garritan vs. Vienna vs. East/West?

    ITs really in what the composition calls for IMO

    I have quite a few libraries now, and I know some of their problems as well as their good points.

    No library will \"do it all\" if you ask me. SI has a great overall sound and with some tricks you can make it sound \"bigger\", so thats actually my first choice with regards to strings in terms of sound.

    VSL is just inspiring to work with and I can coax realistic performances without much work, not to mention it layers quite well with other libs. As for sound uality, I really like its softer sound as well as the sound in the legato patches over its FF sound, not because I dont liek that sound, but moreso because I haven\'t been able to ever get this soft a sound out of a library. The cellos are freaking awesome, and the basses are pretty nice compared to most of the other libs. The one thing I like about VSL is the considerations they are taking for the future of the library. The sounds aren\'t set in stone, since they want to record different sized sections in the future. Obviously this is a problem if you\'re a \"right here right now\" kind of person.

    QLSO, hard to say. I\'d love to comment on the strings sound with what I heard at the NAMM demo but what I heard doesn\'t really deserve me critiquing their sound against other libraries. I can say that they seemed the weakest part of the show/demo IMO. But thats not saying much regarding the overall sound since the library sounding freaking amazing overall. When solo\'d and when I was able to hear the different mic variations of the same section, I knew that I\'d be able to use it to get a sound I\'ld liek personally. Give it some time till the demos show up, and then when users use it to create \"their own sound\". There\'s no doubt it will be very flexible.

    GOS, I like it for \"big sounding\" stuff. Which is one of its greatest problems. Being that the library has a bit of a \"wall of sound\" character to the samples, when you play them, you can hear that its section samples. There\'s no nuance from specific players. This is what causes that \"synthy\" sound people say it has. To me its the library that works best in bigger orchestration contexts, jsut from personal listening experience, and the little I\'ve done in mocking up parts of bigger cues. Layering a solo violin or two in can help with adding player nuance and get it to work in smaller arrangements. The library definitely has its problems, like lack of consistancy accross sections and basses taht are hard to work with, but makes up for those problems with a generous amount of articulations and options.

    There\'s also Kirk Hunters strings which from what I\'ve heard work really well in bigger/louder cues as well. More so than softer stuff. Atlest this is what I\'ve heard from the demos. He\'s also developing another string section library. I dont have KH so I cant really compare from a user stand point

    There\'s also Ultimate Strings, which is quite good with some reprogramming for \"basic\" string sounds.

    Anyhow, first choice for \"sound\" IMO is Sonic Implants. Its also very consistant in terms of articulations accross all sections.

    First choice for realism VSL, which is also very consistant accross all sections [img]images/icons/wink.gif[/img]

    In the end I believe having both QLSO and VSL will be the \"ultimate\" option for users. As both will be consistant with themselves, you\'ll only need ot learn how to make them work together....across the whole orchestra.

    ultimately I think VSL will be part of any mockup I do, whether or not I layer in other libraries to create a specific \"character\" to the cue is a different story. Yes I believe in this product that much.

    One thing to remember is one library most likely wont do it all. I hear comments about Media Ventures sound and after using samples for a bit and reading articles on those composers, you realize you wont get that sound from a library. Its a mix that will give you that \"huge\" sound. Most of the time its a mix of live orchestra AND samples in the actual scores.

    I\'ve got a custom brass patch I\'ve made that sounds HUGE and can get MVish, but its made from about every brass library I have mixed together so I dont waste Poly. I call it \"Super Staccs\". I\'ll do the same with strings soon when I get the time. They\'ll be HUUUUGE [img]images/icons/smile.gif[/img]

    Lastly, after being on this board for a while, I\'ve been learing one major thing. Orchestration is one of the biggest keys in \"sound\", as big as how the samples are recorded/sound on their own.

    Dont judge any library against what you think it can and cant do without hearing it used in that context.... and I mean REALLY used in that context by someone who knows what they are doing musically as well as technically.

  4. #4

    Re: difference: garritan vs. Vienna vs. East/West?

    Amen to that. It\'s really a shame that SI Strings doesn\'t get the attention it deserves. Of course I don\'t know anything about how well it has sold or anything, but it just feels like the focus is mostly on GOS and VSL when you read through forum posts both here, at Sonic Control and at the Nemesys Yahoo Group for instace.

  5. #5

    Re: difference: garritan vs. Vienna vs. East/West?

    GOS\'s weakness is the same as most string libraries I would say... fast passages.

    The auto-alternator in maestro tools in my opinion is not enough and doesn\'t solve the problematic machine gun affect, to be honest i never use the maestro tool.

    As king mentioned the basses are tricky to work with (they get lost in the mix very easily)

    Some of the sounds also are inherently fake. That said, I\'ve managed to get some quite pleasing results with the library - It\'s a great library... but one big problem for me is that its a real polyphony eater. I\'m saving up for VSL for several reasons -

    1. It sounds more realistic than other libraries from what I have heard.

    2. I have a very limited selection of instruments in the first place -

    GOS strings,
    Sam horns, (super)

    x-sample percussion (good stuff, but hardly any standard orchestral percussion)

    x-sample oboe, english horn and bassoon - (...not bad I guess)

    x-sample harp (great stuff!)

    x-sample clarinet, bass clarinet (not bad, a bit flat sounding).

    - the prospect of having a full orchestra to work with is extremely exciting for me, that is a big factor for me shelling out for VSL!

    Plz bear in mind however, that I am extremely critical and you may find that these points I\'ve brought up don\'t affect you in anyway.
    GOS is a great library, but it is not the answer to MY problems with regards to strings - many others are probably extremely happy with it.

    if any of you want to hear some of my experiments with GOS then give me an e-mail and i\'ll send them to u. I reckon i\'ve managed to get some realistic sounding strings with it (fast passages and powerful stuff too). I\'d also be interested to hear how anyone else is getting on with it with regards to realism.

  6. #6

    Re: difference: garritan vs. Vienna vs. East/West?

    Sometimes , GOS is exactly what I nead, other times it starts to sound really synthetic...
    So I think GOS is good, but if it had true p and pp samples, plus expressive vibrato patches it would be great.


  7. #7

    Re: difference: garritan vs. Vienna vs. East/West?

    I hate to say it, but most string libraries sound better when layered with other libraries. I\'ve heard realistic and powerful compositions with a mix of GOS and KH Virtuoso strings (as well as many other combinations). I do think VSL is a huge leap forward in terms of realism, but I think it will sound even better when used in conjunction with other libraries. It\'s kind of a drag spending the big bucks on these libraries and still needing to supplement them with others, but I think that\'s the reality we\'re stuck with. Having said all that, I\'m still hoping to be proven wrong with QLSO!!! [img]images/icons/grin.gif[/img]

  8. #8

    Re: difference: garritan vs. Vienna vs. East/West?

    I don\'t know if GOS vs VSL is a fair comparison due to the different nature of the libraries and the larger scope of VSL.

    Unfortunately, you\'ll only find a couple of people that actually have all 3 libraries and everyone will be biased one way or another.

    On the subject of QL, I heard that it only has a couple of velocity layers per instrument (similiar to KH) and that would cause some problems for composers who need a wide dynamic range from pp to ff.

    On a related subject, the best dynamic range library in my collection is the Dan Dean Ensemble Brass, the pp are incredible sweet and tender while the FF are powerful and cut well through the mix. I wish all libraries had such a well balanced programming!

  9. #9

    Re: difference: garritan vs. Vienna vs. East/West?

    King Idiot is dead on.

    VSL: Too Clean-no loops yet.
    VSL Basses,Cellos: The Best Yet
    VSL Violas: unuseable-to my ears
    GOS:Big not fast
    SI: The Best Yet Overall- All Looped
    KH: Big & Grunchy
    Vitous: Goofy.
    Mellotron: Dinosaur

    Now if the King will do a Brass Library comparison that would be interesting! Dean vs VSL vs SAM?

  10. #10

    Re: difference: garritan vs. Vienna vs. East/West?

    The dynamic range of EWQLSO is very wide and not limited to a couple of dynamic layers.

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