Produced by Doug Rogers and Nick Phoenix, the collection features a selection of unique world instrument ensembles blended with modern octave-doubled orchestral sections. If their new material has the great recording quality, and the sample programming is up to date, and they’ve made their interface more intuitive, that will really be something.EastWest have announced the launch of Hollywood Fantasy Orchestra, a brand new orchestral sample library series geared towards creators of fantasy music, film, TV and game soundtracks. But when I listen to some of the Hollywood Strings & Brass stuff, the quality is really good but the sampling techniques of the time are noticeable, so it it lacks that magic. When I listen to most modern libraries that have really smooth legatos it’s almost like there’s a kind of magic where I don’t really understand the scripting and engineering that went into making that legato work. Whereas you have to be an electrical engineer to understand how a Tesla is built. There’s a lot under the hood, but you can examine it and have a good understanding of how it was put together and how it runs. Or the legatos that don’t quite match up right and there’s a seam. Like some of the samples that loop and you can hear the end/beginning of the sample. But there are definitely things about them that feel old. The old ones are old, but they were such top notch recordings that have held up very well. It will be nice to hear what the new samples sound like. Having spent the last few days downloading a lot of things, that would be a relief. That effectively turns their entire collection into one big sample library. I’m definitely excited they said you’d be able to drill into the folders of libraries you haven’t even downloaded and grab individual instruments. I just did the Composer Cloud subscription a few days ago, so I’m in the process of checking out a lot of their libraries. If a library does something well then that alone will speak for itself. This is what I mean by not getting sucked into the hype. Things like this push sampling forward, not big words or fancy GUIs. That is something you don’t have in any hits library as of yet, and because the emphasis is on the playability of the one sound and the coding/digital mapping, the CPU isn’t hit as hard either, so it’s not much different than using wav files in your project… but you get even more control. Or, I have just created a hits library that I’ve created velocity sensitive attack so that even though it’s just 1 sample, it sounds like 127 samples because I’ve programmed it in such a way that it recreates actual velocity curves in real time. In sampling terms I created a Kalimba that balanced the noise to pitch ratio perfectly… you either get all note or all buzz with kalimba samples, and some even just fake it with synth samples. I can give examples of what I’ve done too but it’s on a smaller scale. That’s a developer to keep your eye on… and they’re more affordable for what they offer too! The list goes on… but genuinely… the only way you can make sample libraries new and unique is with innivitive ideas… such as infinite brass… they’re stacking so much stuff in that library that the coding for it must be immense… it almost sounds real all of the time. Such as being able to download just the instruments you want (orchestral tools are doing this in their sampler), or how you can switch from delicate to epicc(they just made a new patch with a red overlay, which keep forest have done for years). In this video they’re saying this new platform is the best one yet, then they name a whole load of things that other sample developers are already doing. They still call this new, but it’s sooo old! They just put a nice gui on it and sent it out. Then they threw them into kontakt, done all of the stuff you do to make it playable (which is the hard bit) and packaged it for release. They just made sure they got great detailed and evolving samples… that’s it. They’ve created pre baked sounds and placed them in velocity centred order, this is the oldest trick in the book… they just haven’t included any automation coding. Like the new composerctoolkit that spitfire just released (they haven’t over hyped it this time which is nice to see). It’s actually exactly the same process done every time in a different room, with different mics… so you’ll just get subtle changes in space and top end response. Why do I do them? Because sampling an instrument hasn’t changed since the release of the terminator 2 film. I even Do the things that they were talking about in my sample instruments. But everything they spoke about they were actually already doing… and so is every other sample developer. Yes I’m sure it is great and I’ll probably try it on the subscription.
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