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My wife loves me for reasons that are also obscure. I'm embarrassed to say I ended up buying both Symphonic and Chamber strings. And I've owned Kontakt for many years, but it's under utilized here because it just remains opaque to me.
Ewqlso review manual#
So far, it seems to be a good choice.I hear you on reading more of the Kontakt manual than actually making music! ARGH. I made my decision based on what people were saying about it being better suited to song oriented material as opposed to orchestral film scoring. It's a lot for the uninitiated like me, but I'm really looking forward to using this more as I get better at it. I haven't even gotten to much of the Spitfire manual.
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I spent far more time reading the Kontakt manual than using the sounds. I'm using it for strings on what I'd essentially call pop music. I only used it a little so far, but it sounds great. you recall my thread from a week or so back. I would have bought this one first if I knew about it in the first place. This is more or less the "beloved" of Spitfire's String libraries. It's "smaller", so it does better for a more intimate sound, but it's still very versatile. It has the sound of the Symphonic Strings, but more articulations. That said, if you are looking for a more versatile string library that you can use in a wider variety of genres (including Jazz or contemporary pop, etc.) Take a look at the Studio Strings.Īnd finally, the Chamber Strings. It will take a bit more effort to get the sound you want from them, but that is the nature of dry libraries in general so I can't knock them for that. In other words, you will have an easier time blending them whatever soundstage you are creating. The benefits of this dryer library is that you have more control of the "room" they are in. They are recorded dry and I think have more to offer in terms of sections. That being said, if you want to go for big epic sound, you should definitely look at it. It's not a bad thing because it sounds great, but depending on the what you are going for, you may not want that much reverb on your strings for a project so you are more or less stuck with it. It is wet out the box cause of the room it's recorded in.
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But now I wish I could buy Symphonic AND Chamber strings! LOL. I've been waiting for Symphonic Strings to go on sale for the last couple years. "Come on, man, if you don't have that, that's the first thing you have to get." So I got Omnisphere instead of Spitfire and have used it every day since then, including for lots of string work! But it's a totally different beast, and not the purely convincing organic string sound of Spitfire. Of course, partway through that hang, my friend was incredulous that I didn't already have Omnisphere. Everything in it just sounds and feels right, and it seems to sit in a mix really well too. I played through many thousands of dollars' worth of string libraries and Spitfire Symphonic Strings was the king of all of them, to my ears (and to his).
Ewqlso review tv#
he's done tons of composing and production for major TV shows and films and household-name artists, and he has just about every well-regarded library there is. Hey Henry! So, a few years ago I was on the hunt for a better string library and I went over to a good friend's place in NYC who has EVERYTHING.