AngelCityOutlaw wrote: ↑
Sat Jan 11, 2020 10:49 pm
koolkeys wrote: ↑
Fri Jan 10, 2020 10:03 pm
Please don't make yourself look bad by suggesting that HZ Strings can't get better string results than those. It's a whole different beast entirely. I own two of the three (I don't have Inspire), and The Orchestra, while a very fun and cool instrument capable of great things, just simply doesn't pass as a realistic orchestra when compared to most larger libraries. It's made for easy writing, but lacks a boatload of details that prevent it from doing more dynamic orchestral writing.
And as stated, NotePerformer 3 is excellent, but it's not a library like the others being discussed. It's a playback tool with sounds designed to interpret musical notation INSIDE one of the three big notation editors. I really wish they WOULD release it as a "library" or plugin to use in a DAW (which they kind of did with WIVI years ago, which NP3 is based on, but it lacked half the orchestra). But at the moment, it's not a replacement for orchestral libraries unless you ONLY use your notation editor to create fully-finished scores. And most people don't do that.
You have made yourself look bad by suggesting that realistic "sound" trumps authentic-sounding compositions. Sure, a bunch of string pads and slow legato lines with even Orchestral Essentials might "sound" more "realistic" than something else playing it back, but it will put your musicians to sleep if it ever gets recorded; make me a mockup of "Flight To Neverland" with Orchestral Essentials or Albion and see how fast the tables turn.
I never said realistic sound trumps authentic-sounding compositions. There is a lot of variation in what you can do with particular libraries, and in the right hands, they can all "sound" good as well as authentic. They can also sound bad. But I never said that either aspect is more important.
What I did say is that the full libraries are far more capable than many of the "sound in a box" libraries. It doesn't mean they have a better "sound" or that they will automatically sound more authentic. That comes down to the user. You do need to know how to compose the type of music you're wanting to write, and understand voice leading, harmony, player groupings, the physical limitations of "real" instrument players, and much more.
Libraries like "The Orchestra" don't actually solve any of those things. They are there to give a believable composition to the average listener, but they can't accomplish the intricacies of the larger libraries. They don't offer the range of articulations, true legato, etc. of the larger libraries. The Orchestra sounds great until you need more than just basic articulations, or you need to create more intricate counterpoint, or create a rhythm in a time-signature it doesn't support, or you need to assign proper divisi harmonoy across a string section, or any other number of cases.
Yet, in some cases, those simple libraries are absolutely sufficient. But on topic for this thread, that doesn't make the more expensive ones overpriced. If you REALLY think you can get the same results with The Orchestra that you can get with the Spitfire orchestral libraries, or VSL, or whomever, you really and truly don't understand what you are talking about.
(Again though, I love The Orchestra, it's brilliant, but spare me the laugh of assuming it can match larger libraries)
In certain business situations, that may be true that "realistic sound" is most important. But for the craft, and music industry as a whole, it certainly does not.
That's a pretty broad assumption. Realistic sound is first of all at least a little objective, and assuming that the industry as a whole doesn't care about it is a bit presumptive. There is no "right" or "wrong" on this. Every project is different.
Yes, the strings in Albion or the legato in CineBrass sound better than something like NotePerformer. But if a mockup that sounds as good and as consistent as the Star Wars theme does in NotePerformer 3 has been made with Albion or whatever, I have yet to find one. At a certain point, you've to start asking why that is.
When they're equally-priced, there's just no sensible reason to suggest Cinesamples over The Cinematic Studio Series, or Albion One over The Orchestra.
The Cinematic Studio Series is great, but costs as much as the others (recognizing, of course, that it's not a full orchestra yet).
You keep mentioning Note Performer, but what you don't realize is how much work went into making it sound that way, and understanding that most people don't create final compositions in notation software. I own NP3, and I'm a fan. Zero complaints about it from me. But it does NOTHING unless you know how to properly write for orchestra, and it's not designed to be used like sample libraries in a DAW. It's just not the same kind of thing.
And Albion was never designed to handle film scores like Star Wars, which was written and orchestrated to even stretch the limits of the real instruments being used in it. Albion is designed as a quick-results library. It helps you to not have to come up with every voicing or instrument combination, and can absolutely create music for film. Can it do Star Wars properly? No, not really (though you can get closer than you think, as Albion is pretty deep).
At the end of the day, and this is where I leave you, you have to ask yourself what kind of composer you want to be. One who limits themselves to whatever some recording snippets played by a machine can do so that you won't be "found out" for using said samples. OR, you can elevate your craft by writing as if you were for real musicians, as the masters of the past, whom we owe everything to, did.
I don't have to choose anything. I write for the project, as most working composers do. They don't get bogged down in this silly semantics game, or in caring whether a random guy on KVR thinks they are creating music properly, or with the right libraries.
It's extremely clear that you don't actually understand the differences between the choices you've discussed concerning libraries. I'm not even sure why I've wasted so much time bothering, because it was obvious from the beginning that you didn't know what these libraries are really capable of, and haven't had needs that match up with what they can do. And that's ok. You're not wrong in how you compose, or which libraries you choose.
You obviously feel like you've got something up on the countless composers who disagree with you, and you obviously don't really have needs that require you to know the difference between an Albion or a BBC orchestra or Note Performer 3. Again, that's ok. But to continue to suggest the insanity of things being overpriced, and instead of looking deeper you choose the patronizing route, is just silly.