- Action strings kontakt tutorial how to#
- Action strings kontakt tutorial full#
- Action strings kontakt tutorial series#
One of the greatest barriers to creativity is an instrument that is too complicated to figure out - and this is instantly playable, which makes it a wonderfully creative tool.īut it also has the sound quality to back up the positive GUI experience.ĭespite having a big knob saying REVERB on the front, just using the Mix perspective from the mic-position choices gives a wonderfully rich full sound, which I rarely stray away from.Īnother positive is the quality of the individual families as opposed to the ensemble patches. None really for the style it’s intended for.Ĭinematic Studio Strings is a Kontakt library consisting of 10 1st violins, seven 2nd violins, seven violas, six cellos and five basses.Īt first glance, there’s a limited amount of choice with CSS. Try saying that quickly….īeautiful quiet, reflective sounds – fantastically played even at extremely quiet dynamics PROS:įantastic for that Scandi-Noir soundscape sound. I don’t use this library all the time, but sometimes it’s the only choice (for the right project). This is specifically useful for those specific genres mentioned, but also it layers beautifully with either of the above-mentioned Spitfire libraries when a blend of lush and delicate airy sounds is needed. There are lots of choices of quiet, hushed choices (including my favourite “Air And Ice” patch) which are immediately Cinematic out of the box. The whole point of this library is to offer some delicate hushed human-sounding performances with slight imprecision (as normal recordings would have). In a break from tradition, instead of splitting things into instrumental families, this library is split into Highs and Lows as well as Main patches and “soft and wild” patches.
Action strings kontakt tutorial series#
For more on the Albion Family, keep reading the series as we’ll look at Albion One later on. This is part of the Albion Series from Spitfire (which is intended to be able to be used right out of the box). See Chamber Strings (It has the same issues) Lush large ensemble recordings are made for the Air Lyndhurst Hall acoustic.Įven ensemble patches are quickly playable and completely usable. Once you know the methodology for one of the libraries, you know them all pretty much Seamlessly use them all together as needed. Part of an extremely well thought out family of products. The close mics are not perhaps as dry as some libraries, so it has less relevance for some pop styles (but they have this covered, both with the Chamber Strings and with some of the smaller ensemble libraries like Spitfire Solo Strings. It works seamlessly in conjunction with the chamber ensemble should you wish to layer things (which I often do) and as mentioned above, the performance legatos are stunning! There are 16 1st Violins, 14 2nd Violins, 12 Violas, 10 Cellos & 8 Basses and 175 articulations to choose from! And each section is recorded in its correct place for an orchestra – so without panning anything it all “sits” together. It’s perfect for lusher large ensemble sounds and the portamento (slide) transitions which you get when playing a gentle velocity are glorious. Without completely repeating what I’ve said above, it works almost identically to the Chamber Strings library – the only difference being the number of players in each part of the ensemble. Here’s an example of a small mockup to show some of the different sounds of my a selection of my chosen libraries and how they compare to the stock EXS sounds in Logic.
Action strings kontakt tutorial how to#
If you haven’t read my article How To Choose Orchestral Sample Libraries - An Introduction, then use might want to bookmark this page, go and read my introduction and then come back to this page. I should also say that I’ve not included solo string libraries like Embertone Joshua Bell Violin (amongst others) as I’ve concentrated on ensemble libraries of both big and small. The biggest trade-offs are between the achievable sound, the workflow to achieve it, how hard it pushes my computer and how much I enjoy working with it. This is somewhat harder for strings, and I can't promise to choose just one!
I will, however, reveal my desert island choice at the end. But this is mine!Īs each library has a signature sound, and particular strengths and weaknesses, I tend to blend libraries to create a unique sound, rather than relying on one. This selection will doubtless be controversial, and 10 composers will give you 10 different lists. Continuing my series on Orchestral Sample Libraries, let’s move onto the family that is most likely to divide opinion – The strings.
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