Good to see you back in vid action Mr H, hoping that your break from your own channel is just a short opportunity to take a mental breather & to reset. The giving by you & your colleagues & the establishment of a real community trumps [forgive that word please] any vitriolic outpourings that have been posted by disappointed individuals. Thanks for the LABS & Piano Book, in addition to the items for purchase. [this sounds a bit crawly but is intended as a message of support from a fan saying thanks]
I'll tell you the truth, I didn't 'get' this library at first. It took this video to 'get it'. To understand it's function in a larger collection of libraries. Good stuff!
Ah! So helpful! I somehow missed the little cog! Being able to change the pitch stretch algorithms to ease the cpu burden would make this sample library so much more usable! That addresses 90% of what I didn’t like about using this library. Now if I could just magnify the tiny text around the grid, it would be absolutely perfect!
Drive an electric car? Join TikTok? Do you think Vivaldi would have written more or 'better/different' music? Better workflow or awareness of string articulations? His musical imagination and workflow was superb... He claimed to be able to compose a full three part concerto faster than you could copy one of his. Imagine we would have lived in his time ;-)...
I didn't think I needed this, but after watching the video I realised that a) I DO need it, and b) I'm hungry. PS we miss you on your CHM channel, Christian
Hey Christian, I'm really thinking of getting it after this video. It would be really nice to have the original Symphonic libraries in the new UI too instead of Kontakt.
But I do like the ability to purge unused samples in Kontakt for those of us not running mega beast systems. That makes the use of multiple Spitfire libraries possible on a laptop.
I hope you guys keep on adding stuff like this to the symphonic range. I'd like to see something like this for Spitfire Symphonic Brass. Especially crescendos with various lengths. I'm imaging something like S4:Pandora by Project SAM, but with the same players as the Spitfire Symphonic range and at AIR, so I don't have to worry about blending, etc.
I completely agree. I'd love to see something like this added for symphonic brass to deal with the more nimble melodic passages and repeated staccato phrases. Sometimes it's a job to get them to sound tight.
Very tidy. This kind of stuff certainly has its place in the tool kit but there's just so much out there right now. I'm still picking up/upgrading my key solo instruments at present, having decided not to go down the 'orchestra in a box' route but to pick each tool individually. Will be back for this though once Apple gets its backside in gear and gets the final intel Mac released as i have the money aside waiting and my 10 year old Mac is creaking under the strain of many of the modern libraries. Very nice stuff though. 👍
There should probably be a feature to allow offline bouncing with highest quality, without having to manually change the setting (similar to what u-he does).
Christian, congrats to that educative AND entertaining video! I really liked that (may I say humble?) approach. Sound is gorgeous as always, great concept, too - and I definitely can see the use case (even if it is too much niche for my wallet at this time ;-)...).
I think this is a superb development and evolution for humanization and actualization for virtual instruments. I hope that you will be able to extend that throughout the strings and beyond. It sounds incredible from these videos, and I can only imagine how it would be to work with it. Still want that little 2 fader box he has in front of him...lol.
It’s great on the presets if I don’t change anything but if I tweak the mix or mic settings it pops and glitches out like crazy and I have a very powerful MacBook. What gives?
No, Christian, I object! It's not like an additional screwdriver. It's more like a disc grinder. You don't need it every day. But when you need it, you NEED it.
Very interesting the use of Iceni. What are fundamentally the differences from the standard strings in the Chamber/Symphonic and the Iceni? Saving $ to make my next purchase...
I really love the passionate way you explain the intensions when compiling a library and the honesty you employ with explaining about the CPU binge it can require if running on a gas powered mac like mine. Ha Ha.
I get quite excited about firmware updates, particularly those that extend functionality. Glad to see Christian back on here. Was hoping we'd seen the end of haggard "x-bxx" jokes in the comments but I spy at least two ghastlies. We must make a library of deep sighs.
Yes I was doing acres of tension beds on a TV series and couldn’t believe how difficult it was to make it sound real! The idea was hatched 4 years ago when we recorded this, it took that long for us to make the software and for CPUs to make it possible!
Automatically switches the different recordings we made at different tempi to your host bpm and time stretches (using the different algorithms mentioned) smaller changes in tempo.
The thing about libraries that are recorded in the same room is that you don’t need to do anything to them to make your listener believe they’re all in the same place. HOWEVER if you add a warm hall verb about 2secs in length to BBC you’ll get it to sit just fine with anything we’ve recorded in the hall. Not too much mind just about 20% wet!
Christian Henson Music any other advice for “epic”ing up BBC? As a not-quite-starving music student who only had so many money-eggs to put in an orchestral-basket, I went with BBC for its realism and chamber-like clarity which I dig... but now I’m trying to master making it versatile and going big when I need to. Any other tips appreciated, thanks!
Spitfire Audio You guy and girl need to make a midi keyboard Native interments has one and they sell a tone of them and plus you could make a better one
@@GenuineHeather You obviously never took the time to read the thousands of respectful, but justifiably outraged comments from people who could care less about not having won - many in fact who never even entered the competition. Including Hans Zimmer himself. I've given Spitfire thousands of dollars over the years, and I feel I've gotten my money's worth. That is a separate issue to then being called a whiner and an irrelevant amateur by that same company, which is effectively what its CEO did - trump-style - and to this day has still not addressed the legitimate complaints made, instead passing it off as a family squabble. I will probably buy this product too. It seems very good. But that is not the issue at hand.
@@fiveshorts - Oh please do point me to these "thousands" of "justifiably outraged" comments you've read. I've read plenty, but hardly "thousands." Some people have made a few valid points. But I wouldn't call their outrage "justifiable." It still boils down to sour grapes. Remember that Spitfire Audio did not pick the winning entry. Even if they had, they did nothing wrong. By the way, the only comments I've seen from Hans Zimmer were highly critical of the "outraged" critics, NOT the contest OR Spitfire Audio. And he's right. The degree of unprofessional "entitlement and hubris" that has poured forth has been eye-opening. It's sad there are so many small-minded individuals quick to turn ugly over a silly thing like a composing contest. Maybe this is why we don't see more great opportunities like this. Sad indeed.
@@Mark_N They did something wrong? You're right but the problem lays in them insisting nothing was wrong and that 11000 customers and potential customers were schmucks or to put it as they would "salty".
Mark N If you don’t understand that it is a joke than you need to chill. If you can’t joke about it than you are part of the problem regarding the Westworld competition that I have been talking about
@@spitfyre617squadronthedogm3 - The majority of those 11,000 entrants aren't petty enough to get "salty" over losing a contest they had very little chance of winning anyway. What was "wrong" was that we found out a lot of composers are, apparently, incredibly childish.
Heather Haze While 100% accurate, that ignores a variety of valid criticisms and feedback that Spitfire, to use one of the founder’s own terms, responded to like “dickheads.” Most of the criticism like “omg that score was trash” is wrong. Spitfire shouldn’t give these people the time of day. It was a well-done score. I didn’t think it fit the scene in any way (and in fact literally everyone I show it too finds the music distracting. Literally 100% of the people I have shown it to) but that is a judgement call. A difference in opinion is respectable. But there are valid criticisms. How could they have judged every submission when many people have reported that not a single person watched substantially all of their submission? How could they compare a violation of American law (in a global competition with American competitors, partnered with an American company, where America is one of their major markets) to putting a fish in a piano or banging on a piano really obnoxiously? How could they, when asked how this meets the stated objectives of the competition, not provide a substantive response? I mean they responded, via Christian’s youtube video, by basically saying they did everything correct and all the criticism and feedback is wrong. What is humorous about this situation isn’t that the guy won, it is how Spitfire responded to the situation. But then again, that is a very different perspective than what many people speaking out against Spitfire have so I probably should have been more explicit
Love this. These kind of libraries are extremely helpful in creating rich organic, fluid textures. Nothing turns off a director or producer faster than the sound of ‘fake strings’. Perhaps in a future release, would love to have a variety of more short ‘playable’ patterns like 8Dios ostinato builder but this is a great start.
