![]() It’s crucial to consider both the sound of the sample and the sound of the acoustic it was recorded within. Sometimes I need it to feel like it’s in a much larger environment. Sometimes I need something to sound dry and intimate. A great GUI is nothing if it doesn’t sound good pretty quickly - I’m trying to be a musician, not a computer scientist!įlexibility of sound. If I can’t understand the GUI or the way in which I’m supposed to use it, then I tend to drift away from something. Here are some considerations when choosing orchestral sample libraries to work with… What To Look For In Orchestral Sample Libraries Is it for sketching or for final output to a client or program? How will you blend libraries that are recorded more dryly compared with those recorded in a large hall? Do you stick with one product family (recorded in the same hall so they might blend) or do you mix and match? For example, all the Cine family of libraries were recorded in the MGM scoring stage at Sony Pictures. How much time do you want to spend learning it? Intimate, dry, epic, wet?ĭo you need premade ensembles, or are you prepared to make them?ĭo you want exact individual samples or smearing with movement, for example? How Do You Choose?īefore we get stuck into exploring sample libraries, some advice on how to choose the right orchestra sample libraries for you… We would like to thank Mark Fabian, David’s assistant for helping us put together the audio demos throughout this series. Here are two examples, first, here is a clip using the EXS24… To give you a sense of the difference between the “stock” orchestral sounds found in DAW ROMplers like Logic’s EXS24 and bespoke instruments, the best way is to hear it. To help, we asked composer David Tobin, who has many years of composing, arranging and orchestration credits in film, TV, and theatre and is a master at creating orchestral/crossover scores for advertising and commercials as well as film trailers, to use his experience and share his personal favourites, including the pros and cons of each library.īecause the market is so large, David split up the orchestra and looked at libraries that focus on a specific orchestral section, strings, brass, etc, as well as looking at some all-in-one solutions and other tools that he uses to get the sound and performance his clients depend on him for. The sheer number of companies producing top-quality software for orchestral sampling has increased substantially of late, and there are more options now for the digital composer than ever before in this ever-expanding ecosystem. It is a universal binary, so anyone with a recent Mac can run it.Compiling a list of the best orchestral sample libraries available becomes more and more difficult every year. Supported plugin formats are VST3, AU, and AAX. Kontakt and Kontakt Player both run on Windows and Mac computers. To run the Minimalist String Section, you’ll need Kontakt or Kontakt Player, with version 7.0.11 or higher being the only real requirement. It joins a small collection of Kontakt Player freebies, meaning you don’t need the full version to use it. Minimalist String Section is free for all users and requires no purchase to access. All that’s missing really is a horn section of this level of quality readily available for free. ![]() Given the great sound quality of the samples, I could definitely see this getting a fair bit of use. You could very easily use this as a haunting lead voice over a contemporary orchestral composition. Minimalist Strings lends itself well to genres like classical, film scoring, and more organic electronic styles. There is even divisi, which isn’t seen regularly with free libraries, definitely more of a premium feature for strings. Further control is available over the patch in specifying the voicing of the patch. Selections include basses, celli, violas, and violins. ![]() You also have access to a mixer, where you can blend in stringed instruments to your liking. Each of these mics has its own tonal characteristics that lend unique color depending on the selection. You have access to a close, decca, and hall mic, which can be further blended, muted, or soloed. The interface is clear to read, featuring a trio of mic selections.
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