- #Garritan orchestra opinion how to#
- #Garritan orchestra opinion upgrade#
- #Garritan orchestra opinion series#
This week I enlisted some help from some good friends and colleagues Daisy Coole and Tom Nettleship - a.k.a Two Twentytwo Music. Vintage Drums - Native Instruments (as part of Komplete) The Trumpet + The Trombone - Sample Modelling
#Garritan orchestra opinion how to#
If you haven’t read my article How To Choose Orchestral Sample Libraries - An Introduction, then you might want to bookmark this page, go and read my introduction and then come back to this page.īelow is a list of the libraries that I’m going to be focussing on However, this week (like so much of Jazz) one of the star libraries breaks many of these rules! I also focus on the sound of the acoustic in which the samples are recorded, as they give the sound it’s character. I look for usability, great sounding recordings, flexibility of sound and how easily my computer will cope with the strains of running the sound library in question.
#Garritan orchestra opinion series#
If you’ve followed the series you’ve probably seen the regular disclaimer I’ve made about the important points to look for in a sample library, but just in case you’re late to the party: It’s an area that is not often explored as there aren’t nearly as many options for the budding jazz arranger / writer, but I want to share with you the jazz libraries I love and why! I was lucky to get the two I have just before they were taken off the market.This week in my series on my favourite orchestral sample libraries we are going to take a swinging side-step into the world of Jazz and Big Band sample libraries. As long as I get my hands on a copy, before it gets yanked off the market like the Strad and Cello did, I'll be happy. Still, kinda makes you wonder what happened between those guys. Either he has secured permanent rights to the technology, or he has created his own that works slightly differently to achieve the same ends. Gary's enough a businessman to avoid getting tangled up in a lawsuit that obvious. After all, violins have been doing it for hundreds of years. I'm not sure that the final result can be patented only the means to attain it. He could reverse engineer his own player that does the same thing. My guess is that Gary did the sampling, and they provided the scripting that "fused" the layers together seamlessly. I'm not sure how Garritan could repackage either of these products since it doesn't look like he owns the technology and the Sample Modeling team doesn't seem to be very eager to partner up with him again.
#Garritan orchestra opinion upgrade#
I'm really looking forward to both the Orchestral Strings and to my upgrade of the GPO for the ARIA player. Still, as they are (were) in the Strad and Gofriller libraries, they're very effective. (yeah, I know it sounds strange, and I probably just haven't taken the time to figure out how I'm doing it) I hope the ARIA player allows us some CC# for creating portamentos, so that they always happen when we want, and never when we don't want them. On the wind player, I'm not sure quite how it's done, although I can do it and have some control over it, though I can't make it happen every time I want it, nor prevent it from happening randomly now and then. Portamentos in those original libraries were done by overlapping notes on the keyboard.
Of course, I'm talking about performing with the Yamaha WX-5 wind instrument. When you push the violin or cello, it FEELS as if you're actually digging in that bow. They've woven the waves together so that the transition matches perfectly, and there is no sudden change of loudness or timbre. The most impressive thing about these strings is their ability to morph from one velocity layer to another in perfect synchrony. Let's just say I'm extremely impressed with the two I own, and have wished that my GPO were created in the same manner. It appears that he's done it, though I won't proclaim "done" until I try it and hear with my own ears. The problem, in my opinion, was whether Gary would make available an entire quartet of instruments like the Gofriller and Strad, as well as ensemble strings that work as well as these do. My experiences with the Gofriller Cello and Solo Stradivari Violin have led me to believe that the future of strings libraries would be here.
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