The main failure I have had with Vienna is getting a string quartet to sound right using the Solo Strings; but that may be my fault as an arranger. Hollywood Strings Hollywood Strings Full Crack is one of the most ambitious and detailed string orchestra libraries to date. I go back and forth on that issue. I especially appreciate the consistency. Hollywood does a keyswitch patch, but it has a limited number of articulations basically up bow, down bow, round robin, trill, and tremelo. This could be some fantastic and timely advice.
I know people will say that errors are realistic. I'm not quite sure what to do here. For example, I would score a film with Hollywood but if I were producing the Beatles, I would use Vienna for Eleanor Rigby. Pretty good for some generic things, but it is a really memory hog if all you want for legato is round robins. With Hollywood, I have to load each articulation e.
I basically use them for big, lush orchestral sections. What is it about the trill performances that's lacking? How do you deal with the 600gb of space being taken up? Keeping in mind that while I am classically trained and love symphonic music, my use of orchestra is chiefly as sweetening in rock, folk, and country pop that I write. I don't find Hollywood's second violins to sound different enough from 1st violins to matter; however, that does avoid the issue of phasing if the parts cross the same note or play a unison line. But I've been reading a bit online and apparently this thing is a system killer. Lat year I bought EastWest Hollywood Strings Diamond Edition. I think it somehow manages various instances of Vienna, but I am not really clear about that. I have to load them one at a time and try them.
Hollywood is also too big a sound for some things. I having a conversation about the implementation or lack thereof of trills in Dimension Strings. You just need to experiment with them. Vienna Ensemble is a great way to set up a slave machine. A director asked me once if I had recorded a real orchestra.
That being said, if you bought them now you would be disappointed. . I will continue to use both, and if you have any tips you ever want to share, please pass them on. The question is whether that is enough of an issue to warrant all the extra memory for loading second violins. The strings start with low chords and no vibrato to create a lonely sound, and then they gradually build.
Do you own Vienna Ensemble Pro 5, and do you use it with Sonar? Experiences with Hollywood Strings For background, I have all the Vienna Special Editions which cover Orchestral, Chamber, and Solo Strings with winds and percussion and a limited set of articulations for Appassionata strings. One rock group I produce does pretty epic rock opera stuff that I orchestrate for them. Hollywood does sound great, and I agree that the extra mic positions in retrospect were probably not worth the cost. I am a songwriter and am usually anxious to get the parts down, not spend hours trying to go through patches. Great guys on that forum but I think they got the wrong idea I was complaining about their product, when, in fact, I love Vienna. My answer is that errors are the reason God put erase and undo buttons on recorders.
I can't wait until they finish the entire library. I have also used chamber strings as 2nd violins. A writer I produce just sent me a text to say he had tears in his eyes after listening to the orchestration I added to his track using Hollywood. EastWest set out to capture the sound we have grown accustomed to in movies and on commercial recordings, and they succeeded. If I switch from orchestral to chamber to solo, etc. In a recent record, I used Orchestral Violins for both 1st and 2nd, but then pasted in a single line using Chamber as 2nds when the parts were in unison. Basically, when Hollywood is good, it's great.
This is definitely what I most identify with. Maybe I am lazy, but Hollywood is a lot of work. Well, I didn't install it on my harddrive, I got the complete composer thing picking the ones I want, so I got an external in the mail with everything on it. Vienna is more pristine which makes it a bit colder but more accurate sounding. I've used Hollywood on some projects recently, and wonder if I am doing something wrong because it is really hard to use. The legato violas are exquisite once you figure them out! A trumpet patch generally doesn't take long but a string patch will take a little time. I don't have Vienna Ensemble Pro and am ashamed to admit I don't even know the purpose of Ensemble.
It annoys me to hear the same sour note every time I press a key that is critical to the song. It is a great product that I have put on records and will continue to use. I have Vienna Dimension Strings which so far includes violins and cellos. I have the Vienna Pro Player paid and the free version of Vienna Ensemble. Vienna is simple to use, by the way. If I used Hollywood everyday, I am sure I would get to know which patches to pull up without all the painful loading and unloading. Konrad Current album and more: Sonar X1d Producer.
With Vienna, I load a matrix example: Orchestral Violins and use keyswitches and controllers to select the articulation. You just run it normally off of your hard drive? And the only reason they have 2 sections is to avoid phasing when you are only 2 notes of the same note, as when you start out with the same note and then to separate directions after that, as in a typical classical orchestra. With Dimension Strings, you can keep the parts perfect or select a degree of humanization. We are talking about strings, but the same applies to winds. I can change from Triple Horn to Vienna Horn, or from Oboe D'Amour to French Oboe without even editing the sequence.