How will you blend libraries that are recorded more dryly compared with those recorded in a large hall? Do you stick with one product family (recorded in the same hall so they might blend) or do you mix and match? For example, all the Cine family of libraries were recorded in the MGM scoring stage at Sony Pictures. How much time do you want to spend learning it? Intimate, dry, epic, wet?ĭo you need premade ensembles, or are you prepared to make them?ĭo you want exact individual samples or smearing with movement, for example? How Do You Choose?īefore we get stuck into exploring sample libraries, some advice on how to choose the right orchestra sample libraries for you… We would like to thank Mark Fabian, David’s assistant for helping us put together the audio demos throughout this series. Here are two examples, first, here is a clip using the EXS24… To give you a sense of the difference between the “stock” orchestral sounds found in DAW ROMplers like Logic’s EXS24 and bespoke instruments, the best way is to hear it.

To help, we asked composer David Tobin, who has many years of composing, arranging and orchestration credits in film, TV, and theatre and is a master at creating orchestral/crossover scores for advertising and commercials as well as film trailers, to use his experience and share his personal favourites, including the pros and cons of each library.īecause the market is so large, David split up the orchestra and looked at libraries that focus on a specific orchestral section, strings, brass, etc, as well as looking at some all-in-one solutions and other tools that he uses to get the sound and performance his clients depend on him for. The sheer number of companies producing top-quality software for orchestral sampling has increased substantially of late, and there are more options now for the digital composer than ever before in this ever-expanding ecosystem. Compiling a list of the best orchestral sample libraries available becomes more and more difficult every year.

Trilian bass thepiratebay