And due to the physics of orchestral sections, the loudness of a divisi part is not much less than if the whole section were playing the part.ĭuring the Hollywood Strings recording sessions, microphones were placed close to the left and right of each section to capture mostly the left, or mostly the right, side of the section. In a live orchestra, it is usual to have the two string players sharing a music stand each take a different divisi part. It is common in orchestral string writing to sometimes split a string section into two halves so they can play different phrases or notes. Hey, hope this can be of help (found in the manual): However I was pretty happy with the results I got running the divisi mics into VSL MIR so consider that approach if you have it or are planning to get it. It doesn't sound quite right, and I greatly prefer the image I get using the full-section close mics instead of the divisi mics. I don't agree and it doesn't quite work for me. The idea is to use the divisi mics as the close mics and then blend in the room mics to each divisi section as well- EW stated that the sound didn't 'double up' too much when using this technique since the farther miced sounds of full- and half- sections are not as different as close-mic'd.
East west hollywood strings best sound full#
I think the officially recommended usage is to use them together (a+b) for main full section sound and then split when needed. But this was in a clinical listening test situation and may be fine expanded into full sections / full orchestra. Overall, Symphonic and Chamber string libraries present a new avenue of achieving tried and tested, detailed, and expressive sound from the British sampling powerhouse Spitfire Audio.I found switching between the regular close mics and the divisi mics does not work- the mono spot 'divisi' mics sound too different than the main mics and it doesn't really work to go back and forth.
Of course, there are sacrifices from the previous versions, but the avoidance of structural file complications and savings on space is enough compensation. Moving along, each section has a broad selection of articulations and techniques availed in a handy ensemble format to allow on the go sketching and composing. Given the inline help feature newbies and seasoned users alike will enjoy the magical playability without looking elsewhere.Īgain, both libraries are recorded with various round-robins, dynamic layers, and three versatile mic positions (Close, Tree, and Ambient).
Until now, they boast of simpler folder architecture with Native Control Standard functionality ensuring compatibility Native Instruments Keyboard controllers.Īnd when it gets to user experience, you’ll be thankful for both string libraries have an intuitive GUI. Unlike their predecessors, these are now Kontakt player libraries accessible from library pane. Following closely, the Spitfire Chamber Strings is simply a rationalized replacement of Sable range.Īt its core are 16-star players, three 2nd violins, four 1st violins, three violas, three cellos, and three super deep-sampled basses providing over 244 articulations, which include 38 shorts, 53 longs, 19 FX, and 45 extraordinary legato patches.
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