![]() ![]() An alternative method is to record MIDI parts with no dynamics, then draw on‑screen velocity curves after the event. If you want to play these long‑note articulations with two hands and incorporate real‑time dynamic variation, you can use the instrument's 'CC setup' page to reassign velocity control from the wheel to a footpedal. When auditioning the sustains, tremolos and trills, I was surprised to find that they don't respond to velocity - and that's because CS favours the 'velocity crossfade' approach of mod‑wheel dynamic control. ![]() Graphical displays show MIDI control-change activity. A neat application in a surround mix would be to place the stage samples in the front stereo speakers and the room samples in the rear pair, thereby replicating the concert hall's real‑life acoustic in quad sound. The overall effect is that of a string section that needs no additional reverb to fulfil its sound, but is not so intrinsically 'wet' that it sounds ringing and distant. In the third, distant miking, the hall ambience can clearly be heard as a big room acoustic, spacious rather than reverberant. This is the miking I'd recommend for general use. ![]() The 'stage' miking sounds far more dramatic and panoramic, with the different sections subtly fanned out across the stereo and a healthy amount of ambience in the sound. With cinematic 5.1 surround mixes in mind, the library offers three microphone positions: the close‑miked 'spot' samples are mono and comparatively dry, with a convolution reverb adding a subtle stereo ambience. Different players were employed for the first and second violins sections, maintaining orchestral realism, avoiding phasing issues on unison notes and effectively doubling the choice of violin section deliveries. Forty players were involved (see below for details), and while that's fewer than you'd find on a full‑blown Hollywood orchestral scoring session, I can say from experience that it's more than enough to achieve a big, powerful and lush strings sound. The hall was selected for its warm tone, clear sound and medium size, big enough to create natural ambience without drowning the sound in reverb. The Cinematic Strings samples were recorded in a modern, 500‑seater, split‑level Sydney concert hall using players from a variety of orchestras, including the Sydney Symphony and Australian Opera Orchestra. Recording Down UnderĬinematic Strings combination patches allow you to mix close, stage and hall microphone positions and control surround mixes within Kontakt. The orientation problems of standing on opposite sides of the globe don't prevent these two from seeing eye to eye: as busy composers whose work involves creating orchestral mock‑ups to tight deadlines, both perceived limitations in the current crop of orchestral libraries, which they felt could only be addressed by creating a new strings collection that's optimised for film work. The operation spans two hemispheres, with Hearn conducting his composing, production and programming duties in London, while Wallbank does the same kind of thing in Sydney, Australia. One outfit are so committed to the cause that they adopted it as their company name: Cinematic Strings, an enterprise headed by David Hearn and Alex Wallbank. With media composers clamouring to get that expensive Hollywood action film feel into their orchestral mock‑ups, sound companies are once again turning their attention to creating string libraries that will help to give productions the requisite big‑screen sound. Whether the mood is romantic, dramatic, brooding or plain scary, orchestral strings have always dominated movie soundtracks - listen to the music behind any pirate battle scene and you'll invariably hear the strings driving the rhythm along under the yo‑ho‑ho‑horn melodies. Think film scores, and you think strings. 'Bartok' snaps are mapped to the top velocity layer. Has the latest movie‑oriented string library got what it takes to spill your popcorn? In the film world, orchestral strings reign supreme. ![]()
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