Eastwest Silver Edition

— SOUND ON SOUNDHOLLYWOOD STRINGS production team includes 2019 GRAMMY WINNER 'Best Engineered Album, Classical', ACADEMY AWARD, C.A.S. ABOUT HOLLYWOOD STRINGS GOLD EDITIONHollywood Strings Gold Edition is 16-bit, with one mic positon (mid-tree, no divisi) and all articulations except bow change legato. Upgrades to the Hollywood Strings Diamond Edition will be effortless as all articulations are included in the Gold Edition, and can be done at any time. The Gold Edition is available for purchase via download, and available in DVD format.ABOUT HOLLYWOOD STRINGS SILVER EDITIONHollywood Strings Silver Edition is 16-bit, with one mic position (mid-tree, no divisi), and includes an essential set of articulations and instruments with slur legato.

Upgrade to Hollywood Strings Gold and Diamond Edition when you need more options. Hollywood Strings Silver Edition is available for download only. Recording. Recorded in the famous EASTWEST STUDIOS 1. Neve 8078 mixing console. Meitner ADC converters.5 user-mixable microphone positions (use as sound options):.

Main - Decca tree (Neumann M50s) and Brauner VM1 KHE (Klaus Heyne Edition) outriggers. Mid - Neumann KMi, Neumann KM 254, Sony C37A, Neumann U-47. Close - AKG C12, Neumann U47, Neumann U67, Nordic Audio Labs NU-47. Surround - Neumann KM 83. Alternate Room - Vintage RCA44 Ribbon. Convolution reverbs include new impulses from Quantum Leap Spaces. These include soundstages and halls from Southern California.InstrumentationAll sections except the Basses were sampled with wide extended ranges including almost 4 octaves for violins.5 mic positions plus divisi spot mics.

16 1st Violins (9/7 divisi mode). 14 2nd Violins (8/6 divisi mode). 10 Violas (6/4 divisi mode).

10 Cellos (6/4 divisi mode). 7 Basses (4/3 divisi mode). Reviewed by Dave Stewart in Sound On Sound September 2010When it comes to keeping an audience interested, Los Angeles-based sound company EastWest have the instincts of a showman. Their latest release was originally announced over a year ago, raising expectations sky high and setting Internet forums ablaze with gossip.

Reviewed by Tim Curran in Film Score MonthlyVolume 15, No. 8 - August 2010Okay, so everyone knows that the quality of orchestral samples continues to get better and better. As the hardware and software get more robust, the producers of these libraries take full advantage of it all, creating sounds that are sonically richer; and ones that use more microphones in more positions, have more dynamic range and articulations, and are generally better than ever before. What was impossible even a year or two before quickly becomes the standard in composers’ studios here in L.A. And around the world.Such is the case with the EastWest/Quantum Leap Hollywood Strings Diamond Edition. This thing is a monster, and it has quickly set a new bar in what you can get out of a library of orchestral string samples.Now, when I say “monster,” I mean that in two ways: in the Hollywood Strings’ system requirements, and in what it provides the user. You really need to have a robust computer to take advantage of this library.

When I was offered the chance to review Hollywood Strings, I almost turned it down because my old computer system (Mac G5/dual 2.0GHz/8GB RAM) simply wouldn’t run it; it needs an Intel processor to run, so I was out of luck. But I needed to upgrade my 6-year-old box anyway, so I took this opportunity to do it. I bought a Mac Pro 2.93GHz machine and put 12GB of RAM in it. I’ve been working with the Hollywood Strings library for a couple weeks now, and I haven’t exactly pushed it to its limits. I haven’t attempted to build my entire string orchestra with it, as that’s not the way I work. I like to pick and choose from a bunch of different libraries and get the best bang for my buck. By doing that, I tend to get the “best of the best” sounds and also spread the CPU/RAM demands around a bit.Here’s a way to get an idea of how far things have come in the world of sound-sample libraries: Remember when they used to ship to you on CDs?

Then multiple CDs? Then the libraries began to get bigger, and the samples themselves began taking up more space. So they started shipping them on DVDs. Then multiple DVDs.

The Hollywood Strings library ships on a 500GB hard drive. You read that right. 312GBs of files.

It comes in a pretty red box, and inside the box is that hard drive and a quick-guide of FAQs.Next up is the installation, which is very easy. I think it took over an hour on my system, so be patient. As soon as that’s done, you can get to work and start auditioning sounds. Just open up your host digital audio application (mine is Digital Performer 7.2) and open an instance of Hollywood Strings just as you would any other virtual instrument. East West’s proprietary PLAY engine interface comes up, and you can start loading string sounds in immediately, if you want.

But I highly recommend you do yourself a favor and watch the Hollywood Strings video tutorials first. There is a pdf user’s manual that ships on the hard drive, and other information and details about Hollywood Strings can be found online here. But the video tutorials at the Hollywood Strings website are really important to watch so that you know what you’re looking at as you load and listen to sounds.

Take the 40 minutes or so to watch these videos; you’ll be glad you did. They explain the different articulations, the file-naming conventions, the reverb specs, the different miking positions and much more—all things that are talked about in the user’s manual, but seeing them in video format really helps.And Away We GoSo this is where the fun begins.

As the size of this whole sample library suggests, producers Doug Rogers, Nick Phoenix and Thomas Bergersen have gone to amazing lengths to provide both quality of sound and quantity of samples via various articulations, bowings, finger positions, dynamics, section sizes and more. The first thing I noticed was the sonic quality of the samples.

They’re amazing, which stands to reason, since they were engineered by Shawn Murphy. That’s right, John Williams’ engineer Shawn Murphy. These guys set out to create a string section that sounds like film-music strings, not concert-hall strings. They recorded in Hollywood, with A-list session players, and one of the top scoring mixers of all time. And the samples show it.There’s so much in this collection, over the past couple weeks I’ve been able to put but a portion of it to practical use.

But here are some of my favorite things:Choice of short-note bowings: Staccato, staccatissimo, spiccato, marcato, on the string, just about any length and attack of a short note, you’ve got it in Hollywood Strings. It’s pretty darn comprehensive. Now you don’t have to search from library to library to find that perfect attack. Chances are, it’s here.Consistency of sound and style: This is one of the most frustrating things to deal with: a lack of consistency from section to section. Bowings in the violas are slightly different from violins, for example. (And I’m not talking about the “human factor” in playing. I’m talking about an obvious difference in attack or a slight difference in how long a note is held, stuff like that.) To get this kind of thing right takes an incredible attention to detail and a lot of work.

Kudos to the producers here because these samples have been incredibly consistent across the sections.String runs: For commercial orchestral music, this is a must-have because when you build these manually, it rarely sounds right. And to get it to sound in the ballpark takes a lot of time. There are a ton of choices (variations of minor, major and whole-tone scales) and they all sound great.Choices of key switch, keyboard splits or mod wheel: Let’s say you want to load a string run. One of the options is a sample that contains both a run up and a run down.

Depending on which you prefer, you can load in the key-switch version, which allows you to trigger the change from up to down with a single key. Or you can load the keyboard-split version, which means that the runs are divided by octave and direction on the keyboard itself. Or, you can load the mod-wheel version, which lets you switch the sample via your mod wheel.

I like that they took a user preference into account here.Measured tremolos: The PLAY engine is able to match the tempo of your sequence so that your tremolos become measured to that tempo. Again, such a time saver, and you can avoid making lower-quality manual versions.Microphone choices: Close, Mid-range, Main, Surround, Vintage—you get plenty to choose from. I’ve been sticking with the mains, but it’s sure nice to have the other options. Those mics, combined with the myriad reverbs modeled after Hollywood scoring stages provide you with a ton of control over the sound you’re after.

And chances are, you’re always mixing different sounds in from other orchestral libraries, so having this many options increases the likelihood that you can tweak your strings to match the rest of your orchestra, and vice versa.Expressiveness: The Hollywood Strings collection has really upped the ante in this regard. The velocity-triggered portamentos and slurs in the legato folders are amazing. They’re a specialized sound, of course, and won’t be appropriate for every situation, but when the need arises for this kind of expressiveness, you’ve got it here.In terms of negatives, there aren’t many. I found an ever-so-tiny slur in one of the violin patches, which only occurs on a couple notes in the lowest octave, and only on the initial attack.

But it’s annoying and particularly troublesome if you want to use it as a solo instrument in a quiet passage.As for the PLAY engine, which the EastWest folks have designed themselves, this has been my first interaction with it. From what I’ve heard from other users, there have been vast improvements made to the interface and the engine itself, and I find it pretty easy to navigate in its Hollywood Strings iteration.The $1,495 sticker price makes Hollywood Strings one the more expensive sample libraries out there. On the other hand, I’ve worked with plenty of libraries whose ratios of useable samples to cost make me feel I didn’t get my money’s worth, no matter what I paid for them.

Eastwest Voices

That is not the case with this. I think you’ll find that you get what you pay for with Hollywood Strings.With the critical acclaim garnered by the Hollywood Strings collection, I have to believe that Phoenix, Rogers, Bergersen and Murphy are already in at least the planning stages for the next section of the “Hollywood” orchestra series. At least, I hope so. Features:. Produced by Doug Rogers, Nick Phoenix, and Thomas Bergersen. Sound engineered by Shawn Murphy (Academy Award, C.A.S. (Cinema Audio Society), BAFTA, and EMMY award-winng sound engineer).

Silver Edition Grow Tent

5 user-mixable mic positions, extensive articulations, and no shortcuts!. Includes new PLAY 6 64-bit software on both MAC and PC, powerful scripting for ease of use, more user control and detail than any other collection, all recorded in the world famous EASTWEST Studio 1, the home of major Hollywood soundtracks and television themes. Copyright 1995-2019 Sounds Online (A division of East West Communications, Inc.). All rights reserved.Sounds Online uses cookies.

East West Silver Edition 2017

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