The demos aren't selling the product that well. Maybe the Spitfire/Albion folks need to hire some hotshot people to do theirĭemos. That highest note as long and steadily as possible so you can get a section of audio you can loop - that is always asking a lot. Middle C on the piano or higher, but to ask a trumpet player to hit and HOLD In theory the trumpet's range when overblown can get up to two octaves above In different articulations which puts a lot of stress on the musicians. Takes ages to do because you're asking the musicians to play single notes The cost of recording an orchestra (and a choir) is extremely high. Having worked as a sound designer for major manufacturers and software developers over the years, I can tell you that I own both S1 & S2 but could see getting this to fill in the spots where a smaller sound is required. This product, Albion, looks to be geared towards the Symphobia crowd but at a fraction of the price with more legatos and mic set-ups. A little moreso than Symphobia which is more a wall of sound. They are invaluable compositional tools.ĭcoscina wrote:They have posted links to some unofficial demos, more just noodling with some patches. Thing is, I don't know many professionals who don't own them. I do recall a similar reaction to Project SAM's "high"pricing for Symphobia 1 & 2. I don't know the scale for hiring players or paying them residuals or programmer fees or any of that. It's so hard to judge unless we ourselves are in the position of these sample developers. Then again, CineSamples' CineBrass was also recorded in Hollywood (Sony Stage) with Union players and their library comes in around $400. I don't think this is too far off from what VSL charged for THE CUBE (I believe over $20,000). As far as I know, they are very small and have the idea of compensating their orchestra which explains the absorbadent cost for some of the libraries. I'm sensing a bit of animosity or maybe disappointment with this company by some here. but for some reason, the Spitfire marketing credo or philosophy has seem to tweak a raw nerve. To be honest, I highly respect you guys on this forum and always find your observations balanced and fair. They have posted links to some unofficial demos, more just noodling with some patches. Strikes me as pedantic and just plain-ass dumb. Recording orchestral instruments to tape in this day and age Instruments? That's where digital recording is, to me, a necessity, notĪn option. I can see the value of recording rock and roll to tape but orchestral The fact that they recorded this all to tape doesn't even make sense to Library won't make me an instant orchestral programming genius. I've heard amazing orchestrated music done on a Yamaha TG-500 tone module,Īnd cheesy crap done with Vienna and East-West libraries. Programming idiomatically (accountingįor the behavior and range of the instruments) makes all the difference. I agree with Shooshie's observation that the crux of good virtual instrument
With Symphobia, the Vienna stuff in Kontakt4, Garritan Personal Orchestra 4,Īll the Sample Modeling instruments, and the Gofriller Cello and Garritan
Orchestration in my work, it's all pop, rock, and dance stuff I'm doing. Eccchhh - these guys aren't getting any of my money.