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- NEW SYMPHONIC ORCHESTRA GOLD PATCH
- NEW SYMPHONIC ORCHESTRA GOLD FULL
- NEW SYMPHONIC ORCHESTRA GOLD SOFTWARE
Unless you're working with a lot of gain (unlikely with sample libraries) it's also not going to matter much for mixing, so you can safely stick to 16-bit in 90% of cases. starting with some of the basics and gradually improving.Ĭlick to expand.There is no audible difference between 16-bit and 24-bit recordings if you're listening at a reasonable level (under 120 dB, which I sincerely hope you are since 120 dB causes instant permanent damage to your ears ). Out of the box walk throughs are the best.įinally, it is a process. It is also important to know if any additional processing or mastering was applied as that can affect the end result. Walkthroughs are a very useful tool to get a taste of how they will sound - with the proviso that there are very talented composers that could make virtually any library sound good. Some libraries can be used across genres, but you need to know what to do. you need to decide which sound you want to go after. Some can sound like a more traditional concert orchestra others have a more cinematic sound some are specialised to create a more specific sound, such as trailers, hyped or more gentle sounds. The "ideal" orchestral sound is a very personal thing. they can sound and play very differently.
NEW SYMPHONIC ORCHESTRA GOLD PATCH
You should also find out whether "ensemble" patches where all the various section instruments are laid out as a single patch (for instance a blend of the violins at top, with violas, celli and basses below) are your preference (e.g Albion One Strings), or the more "traditional" layout where you have to write each instrument part individually (i.e write for 1st Violins, then 2nd Violins, Violas, Celli and Basses).Īlthough we tend to speak of "orchestral" libraries in general, in reality depending on their section sizes, layout, location, depth of sampling, how dry or wet, microphone positions etc.
NEW SYMPHONIC ORCHESTRA GOLD FULL
Most major libraries use the Kontakt "Player" (check the online requirement to check those only work with the full Player) so there is no extra expense.
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The Composer Cloud subscription is a good way to try EW and PLAY first, and you can cancel it. I made the mistake of buying into it before I knew what I was doing. A library one can actually use to it's maximum potential without headaches.Īs others have said do not spend that amount on buying a full EW library yet. However if a new VI library has to be purchased, IMHO it is wiser to go for one that is designed for limited resources.
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So from a practical point of view I would recommend just putting the funds towards getting a more powerful computer, BF is coming up and there would be hardware deals to be had(including checking out refurbished hardware). What would be the point of getting a library that one can't utilise the plethora of mic options available? Or whose scripting mean constant headaches which an otherwise powerful computer would have mitigated. They in fact rely on and need more resources not less. Most modern VI libraries are dependent on one utilising the various mic options and positions they offer, they have not really pushed the boundaries in terms of actual programming and computer resource management.
NEW SYMPHONIC ORCHESTRA GOLD SOFTWARE
The key point here is that this person's computer resources is limited, it is indisputable no matter what one feels about VSL that their software player and samples programming is the best in the industry(by a long mile) and will actually run given the limited computer resources available. The Synchronised line sorts out the reverb problem.