Spitfire Symphonic Brass (Spitfire Audio, Kontakt).As with all of Orchestral Tools libraries, this one has that fantastic Berlin Hall sound that is quite unique to their libraries. Berlin Brass (Orchestral Tools, Kontakt).Absolutely in love with the 6 horns patch, which is a staple in all my projects. Often at discounted prices, for example 99 bucks for Silver version. Cinebrass Core has most of what you need. However, to have all the articulations and sections, you’d need to buy both Cinebrass Pro and Cinebrass Core. Easy to use and great interface with a lot of mixing potential. One of my favorite brass libraries for that big sound. The albions also contain synths, extra percussion, loops, and more. Definitely would recommend buying something like Albion One as your first big orchestral sample library. My favorite ones of these are Albion 3: Iceni which is specifically for that low end and dark orchestral sound, and Albion One for big and bold full orchestra. Fantastic libraries for beginners, but also for professionals. These libraries have great articulations for strings, brass, woodwinds, percussion and sound design. The Albion Series (Spitfire Audio, Kontakt)ĭifferent pricings, but a lot for the money.Here are some of my favorite all-in-one libraries: Once you buy the section-specific libraries, you’ll get more bespoke articulations for those sections, because the sample developers have spent a lot more time on that specific section.Īpart from the orchestral sections, in several ones of these you also get extra content like organs, synths, ethnic percussion, and more. Some of the full orchestral libraries have more articulations, and some less. This is what you mostly use as an orchestral composer anyways, so these all-in-one libraries are highly useful. Con sordino (muted, both brass and strings).Col legno (hitting the strings with the wood of the bow, percussive sound).These contain all the standard sections of the orchestra, and have the most basic and fundamental articulations that you need: My only problem is that I now really want to give Vintage Horns a try.The absolute perfect starting point for any composer is to go with all-in-one libraries. Yes, with the right artificial reverb and a few suitable plug-ins to grunge things up a bit you probably could get your orchestral library close to the sound of Vintage Strings, but if you don’t want that hassle - and the ease of those harmonised patches sounds appealing - then Vintage Strings, while perhaps not in the casual purchase bracket, is well worth auditioning. I did experience the occasional (and minor) rough edge in the samples and, when I dialled in an octave-down harmony, managed to find myself triggering articulation keyswitches unintentionally but, on the whole, the library was a pleasure to use. The documentation suggests that BFA are very much going for a ‘non-polished’ sound here to get the vibe of the ’60s and ’70s and, on the whole, I think that has been achieved Vintage Strings certainly sounds different from an orchestral string library. A further nice touch are keyswitches to select different chord inversions. While these include fixed chords, there are also options where you can select the key and a scale type (from a number of different possibilities) and the engine then applies a little bit of musical intelligence to generate a suitable harmony based upon the one-fingered line you play. ![]() It was the various harmonised patches that you can play with a single finger that impressed me the most. The articulations are accessed via keyswitches in the usual fashion. The user interface includes a rather nice convolution reverb with a good selection of virtual spaces (based on plates, rooms and springs but, appropriately, no concert halls), a basic EQ for colouring the tone and a subtle, but effective, tape saturation effect. What you get, therefore, are a series of two, six and 12 violin-section patches, multiple articulations and both ‘do it yourself’ patches (for those with more experience of writing string parts) and some ‘assisted’ patches (essentially various pre-harmonised patches where you can generate harmony lines and/or chords with just a single finger). This Kontakt library is intended to sit alongside Vintage Vibe and Vintage Horns and, like those products, uses original samples recorded in a fashion intended to replicate how it might have been done in Motown: small recording studios, small string sections and a rather gritty sound. Which is, of course, exactly where Big Fish Audio’s Vintage Strings is supposed to come in. However, in the main, those choices are from a number of different orchestral string libraries that might not be quite the right sound for ’60s and ’70s soul and funk. ![]() When it comes to sample-based string sounds, the modern composer is spoilt for choice.
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