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The ones that come in Kontakt……would ask a similar question that I asked about Garritan. Good enough to do the job, for say, reality TV placements, and maybe commercial or corporate music? Anyone had success with placing music using these samples? Or better to upgrade? have to say I love the sound of , say, chris Hein Horns or Samplemodeling. But pricey and hoping to go with (or stick with ) the most bang for the buck as far as useability. Thoughts?
Hire some real horn players….if you have the budget.
Usually always sounds much better and gives the cue
an original sound and life. And if the horn players
can play more than one instrument (which in most cases they do) even better. Just a thought….Hire some real horn players….if you have the budget.
Unfortunately, if Chuck doesn’t have the budget for Chris Hein Horns or Samplemodeling Brass, he probably can’t afford to hire a horn section.
With live players, you have know how to write charts and transpose for the key of the instrument, which is not something everyone can do. So, add the cost of an arranger.
Then there’s the matter of recording. It would take thousands of dollars to buy the mics and signal processing equipment used by Samplemodeling or NI to record their samples in a studio environment.
So, add studio time to the budget to record the section.Lets do the math: Two “A” list players in the OP’s city for a few cuts, might cost $600. Setting up and cutting three tracks wit overdubs might take 3-4 hours of studio time, assuming that the oP will mix at home, so add $300 to $400.
I’ll leave it up to Chuck…$1,000 for the tools to create many cues, or $1,000 for a horn section on 3 or 4 cues that may not earn him $1,000.
Oh I was assuming he had a small studio or anywhere to record really.
As far as an arranger, if you have midi tracks and any decent program that prints out the score it’s fairly easy. As musos are pretty good at making changes. I think $1,000.00 is way high. Try a couple of hundred or less. Musicians like to play and if it’s sometime when they are not busy then it’s cool.Besides you get to get another view point on your music which is always good. And it’s rather fun to get other musicians on a project!!!
Even one player can make a huge difference in the sound. Or players
going to college who need experience, be open to that also. anyway….
I’m not sure what OP is? Was that the little boy on the Andy Griffith show? What I am saying is it can be done and really the results in most cases will be better in the long run. Music libraries want real instruments and real performances.
I kinda feel now like I should have kept my mouth shut sheesh!!I am sure I will get shot for this but here we go, if its a cue that doesn’t have a blatantly exposed solo horn or strings piece, use samples, and we are talking about library music here. IF we are talking about a totally orchestral piece, then unless you have the the arranging chops, samples are going to stick out.
Check out Mike Cinesamples youtube channel, he is actually using older libraries for the earlier stuff and gets great results, more than good enough if used as underscore and more. Mike is a top class arranger and orchestrator.
Would it sound better if played by 80 players in Air, definitely, its all down to usage and budget.OP = original post / poster
I kinda feel now like I should have kept my mouth shut sheesh!!
Not at all. If you have ways of doing things less expensively, that’s cool. Sometimes I call in favors.
Chuck, I answered your question in the GPO thread, because you really asked the same thing twice.
Based upon your posts in other other threads, listening to some of your cues and knowing some of the libraries that you work with, I think I have an idea what you want to accomplish.
My answer tailored to your needs is as follows:
It sounds like you want a package that can do a lot of “good enough” things. Take a look at NI’s Komplete. It covers a lot of bases, including horns strings synths, keys, drums etc….enough to keep you busy writing for a long time.
Good luck.
Michael
It’s not the same…..What a beautiful score…
I am definitely no expert when it comes to horns, but I do like Session Horns for Kontakt. I use horns sparingly and do not need “real” players.
I think Session Horns Pro would be better suited along with some other libraries for composers that don’t have money to hire session players. It does take some skill to get things to sound realistic though.
It’s not the same…..What a beautiful score…
Yes, Aaron Copland was a wonderful composer, and those are great film scores, neither of which bears any relation whatsoever to the type of music and purpose for which Chuck wants to know about Native Instrument Horns.
The recording that you posted sounds a bit dated. But, for the sake of argument this is what good samples sound like in the hands of skilled composers. No, you’re not going to recreate anything like this at home with the help of a few college kids.
http://www.spitfireaudio.com/albion-ii-loegria
It does take some skill to get things to sound realistic though.
Yes, DI, you still need to know how to use horns properly, otherwise they sound fake. That Benjamin is the downfall of sample libraries.
I honestly feel that in the case of Session Horns, the demos convinced me NOT to consider it.
I honestly feel that in the case of Session Horns, the demos convinced me NOT to consider it.
Good ear Vlad. I would only get it as part of Komplete, which would give Chuck a lot of bang for his buck, and work for what he’s doing.
I use CineBrass Pro, EWQSLO, Symphobia and Project SAM Classic Brass, for orchestral stuff.
For pop horns I use Broadway Lites. http://www.fablesounds.com/B-Lites-about.html
I think Samplemodeling brass is great too. It’s on my wish list.
I honestly feel that in the case of Session Horns, the demos convinced me NOT to consider it.
I’ve used it and fooled some very picky ears about horns. It does take a lot of work though.
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