NI Session Horns Pro vs. Chris Hein Horns Compact
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- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
They seem like different approaches, not to mention that the CH contains things NI does not.
I'd much prefer NI's whole interface at this point, but YMMV. The CH has a lot of control options that NI does not.
Odd the size differential. CH is five gigs, the SH Pro is 42.4.
I could be wrong, but the NI product seems more focused on jazz/R&B/pop and the sampling could well reflect that. The inclusion of eg., 'cimbasso' for the CH and the overall feel seems more general on first glance. I'm looking at the SH Pro at that price, frankly. But I have the things such as CH offers NI doesn't, 'cimbasso' etc covered and I've hated their saxes just by their own demos in the past, I wouldn't be finding 200 bucks for that product personally. But the control options are impressive.
I expect the SH Pro to have a lot more bite and rocking personality from the approach to articulations; it looks like they have it in the samples more while CH has you trying to wring more out of the samples by its control. I think something explains that wild different in size.
I'd much prefer NI's whole interface at this point, but YMMV. The CH has a lot of control options that NI does not.
Odd the size differential. CH is five gigs, the SH Pro is 42.4.
I could be wrong, but the NI product seems more focused on jazz/R&B/pop and the sampling could well reflect that. The inclusion of eg., 'cimbasso' for the CH and the overall feel seems more general on first glance. I'm looking at the SH Pro at that price, frankly. But I have the things such as CH offers NI doesn't, 'cimbasso' etc covered and I've hated their saxes just by their own demos in the past, I wouldn't be finding 200 bucks for that product personally. But the control options are impressive.
I expect the SH Pro to have a lot more bite and rocking personality from the approach to articulations; it looks like they have it in the samples more while CH has you trying to wring more out of the samples by its control. I think something explains that wild different in size.
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- KVRAF
- 2448 posts since 12 Sep, 2004
CH Horns Compact is a "compact" version of CH Horns Pro, which is 50GB.jancivil wrote:Odd the size differential. CH is five gigs, the SH Pro is 42.4.
You need to limit that rez, bro.
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- KVRAF
- 1548 posts since 12 Jan, 2010 from Copenhagen
I've been looking for a relatively inexpensive way to get some brass and sax into my computer studio. I've looked long hard and wistfully at the sample modelling, and am presently demoing the Wallander Wivi things, Have been looking at the Chris Hein stuff.,,
I just get the sample modelling sounds good but a little dull in the high frequencies, same for modelled instruments in general.. Sample libraries have the issue that they may have been recorded with larger symphonic arrangements in mind so they might have some ambience that won't work if your working on trying to create a intimate feel. The Vienna brass seems too perfect to me, really meant for big Cinematic scores..
So maybe I'll just go for the Session Horns and upgrade to Pro later..
Wonder if anyone here has tried them and if the instruments function well a solo instruments... I know the pro version seems to definitely offer this..
I just get the sample modelling sounds good but a little dull in the high frequencies, same for modelled instruments in general.. Sample libraries have the issue that they may have been recorded with larger symphonic arrangements in mind so they might have some ambience that won't work if your working on trying to create a intimate feel. The Vienna brass seems too perfect to me, really meant for big Cinematic scores..
So maybe I'll just go for the Session Horns and upgrade to Pro later..
Wonder if anyone here has tried them and if the instruments function well a solo instruments... I know the pro version seems to definitely offer this..
waves break, but somehow it all makes sense.
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- KVRAF
- 1548 posts since 12 Jan, 2010 from Copenhagen
I've looked at a few reviews on youtube, and I can see now that Session Horns Pro is the one to beat these days.
That said some of the examples and the playing of the instrument by the "Pro-ZZ" doing tutorials or reviews are pretty horrible.. it's seems like they don't love there teaching job to really put in the effort of learning to use this powerful resource so it really shows what it can do.
I'm talking about needing basic composition and arranging skills, learning the style of the genre that makes a good starting for getting the most out of a great tool like Session Horns Proa A starting point for making the Virtual horn section shine really takes a fair amount of skill and knowledge. So I can a least conclude here that demo videos are not the final say on the usefulness of a product. Another point to make would be that much lesser tools can produce stellar results in skilled hands.. Then there is the issue of the value of all this realism, is it always so important that it's spot on if the final results have actual musical merit? Touches the average non hypercritical listener?
As access to high end technology becomes cheaper, the problem no longer lies with the technology but with lack of audience/user base that has enough skills to benefit from it or has a real need to spend enough time to get it right, to buckle down and work things out from the basic level through an on up to good enough for release quality. One could say that a lot of aspects of a production need to be worked on before there is justification to own all these high tools and where the user knows that they can come reasonably close to takin full advantage of the possibilities.
I know this previous all sound elitist so even rank amateurs can be justified in wanting to work with something if it sounds good so they can be inspired to work for the years needed to develop their skill.. Perhaps if there is a long term commitment then things can eventually be used to a greater part of their potential.
This last is more a message to myself about this field generally and my sense that when getting into these types of Sampling monster virtual bands and orchestras the price and the increase of complexity, the issue of user skills and motivation is something that needs to be taken into account.
I like that there are a lot of tools available in the Session Horns Pro package to make the learning process as fun and fruitful as possible, this is perhaps one of it's main advantages over the competition.
That said some of the examples and the playing of the instrument by the "Pro-ZZ" doing tutorials or reviews are pretty horrible.. it's seems like they don't love there teaching job to really put in the effort of learning to use this powerful resource so it really shows what it can do.
I'm talking about needing basic composition and arranging skills, learning the style of the genre that makes a good starting for getting the most out of a great tool like Session Horns Proa A starting point for making the Virtual horn section shine really takes a fair amount of skill and knowledge. So I can a least conclude here that demo videos are not the final say on the usefulness of a product. Another point to make would be that much lesser tools can produce stellar results in skilled hands.. Then there is the issue of the value of all this realism, is it always so important that it's spot on if the final results have actual musical merit? Touches the average non hypercritical listener?
As access to high end technology becomes cheaper, the problem no longer lies with the technology but with lack of audience/user base that has enough skills to benefit from it or has a real need to spend enough time to get it right, to buckle down and work things out from the basic level through an on up to good enough for release quality. One could say that a lot of aspects of a production need to be worked on before there is justification to own all these high tools and where the user knows that they can come reasonably close to takin full advantage of the possibilities.
I know this previous all sound elitist so even rank amateurs can be justified in wanting to work with something if it sounds good so they can be inspired to work for the years needed to develop their skill.. Perhaps if there is a long term commitment then things can eventually be used to a greater part of their potential.
This last is more a message to myself about this field generally and my sense that when getting into these types of Sampling monster virtual bands and orchestras the price and the increase of complexity, the issue of user skills and motivation is something that needs to be taken into account.
I like that there are a lot of tools available in the Session Horns Pro package to make the learning process as fun and fruitful as possible, this is perhaps one of it's main advantages over the competition.
waves break, but somehow it all makes sense.
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- KVRian
- 1207 posts since 16 Sep, 2006
Session Horns Pro has to be one of the lamest Brass libraries I've ever encountered, a horribly thin and utterly unconvincing sound.
Get Berlin Woodwinds or the Hein, I have both and to be honest were I to pick one it would be the Hein, it sounds just as good as the BW, costs less last I checked, and has some seriously capricious articulations.
To compare either of the above to Session Horns Pro is to do the original poster a gross injustice. For shame.
Get Berlin Woodwinds or the Hein, I have both and to be honest were I to pick one it would be the Hein, it sounds just as good as the BW, costs less last I checked, and has some seriously capricious articulations.
To compare either of the above to Session Horns Pro is to do the original poster a gross injustice. For shame.
Ha ha suck it!
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- KVRAF
- 4881 posts since 4 Aug, 2006 from Helsinki
I'm a big fan of Chris Hein horn and wood instruments, have several separate instruments. However, the statement above is surprising. I don't have the SH Pro, but according to the tutorials, its a valid product. I may be wrong.Apostate wrote:Session Horns Pro has to be one of the lamest Brass libraries I've ever encountered, a horribly thin and utterly unconvincing sound.
...
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- KVRAF
- 5691 posts since 24 May, 2004 from []1
SH Pro is good once you get to know it Period
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- KVRian
- 1207 posts since 16 Sep, 2006
Instead, get the Hein Compact or Berlin Woodwinds, know it/them, and be far more satisfied.Musical Gym wrote:SH Pro is good once you get to know it Period
I realize some folks don't have the cash for the above, and make up for it by championing their fourth tier junk. I don't entirely blame you.
Ha ha suck it!
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- KVRAF
- 25053 posts since 20 Oct, 2007 from gonesville
So that explains that. Except the OP listed the SH Pro as 50 bucks less.kbaccki wrote:CH Horns Compact is a "compact" version of CH Horns Pro, which is 50GB.jancivil wrote:Odd the size differential. CH is five gigs, the SH Pro is 42.4.
So, for the rest of readers for posterity etc, classical horns and pop out of R&B and jazz is apples v. oranges in the first place. Ultimately I did obtain a couple parts of the overall CH winds library, and I am impressed with it in a way I wasn't at all back in the day so-to-speak. But the approach is straight-oriented, while NI's efforts are definitely pop-music oriented, derivation is R&B praxis.
One of VSL's great proponents got really angry at me for asserting that their brass in particular wouldn't be the choice for Big Band arranging. It isn't, and you can't expect that you can necessarily import a player from the symphony orch into a Big Band (or R&B) session just due to his classical chops.
