![]() In the many products we've mixed (from film to games to TV) whenever it's been EW Plat it's one big fight of phasey sound and overly bright AND nasty reverb those things have! Sorry if you don't like that - but that's how it is! Orchestras don't sound like East West platinum! I'd love to get into private discussion and SEND you what score mixers would like to receive such that we can make powerful mixes!! PM me if you have time or inclination.ĮWQLSO is the best selling library of all time for many reasons great price point, usable, nice articulation selection, DXF is pretty good - but I can assure you one of them isn't sound quality! I have 9 copies of the thing (all paid for thank you) across all of the edit machines here. IT's only the sound (and reverb) I complain about. HOWEVER - the East West system of multi mics is excellent! I certainly couldn't criticise EW for performance articulations at this price point (and age). Listen to VSL if you want to hear well done recordings. violins and timpani just don't sound like that!! It's brighter than CTS and THAT was one of the brightest rooms out there! We'll have to beg to differ on the recording as I consider it overly bright. ![]() I can accept that no EQ was used at source but it is so obvious something was done in post. I've over 20 years of orchestral gigs under my belt and work on score all the time - I'm used to what an orchestra sounds like!. It's very good.Nick, you put out some great product s (and I've been one of the few who've continually defended PLAY as being alright once you get used to it!) but I absolutely do not believe no EQ has been used. One of the best classical engineers out there and he didn't use any EQ. Thanks again guys, your brains and experience are HUGE help, I'm going to be doing some serious thinking on it based on everyones opinions.ĮWQLSO was recorded by Keith Johnson. My main thing is strings, but hearing the demos of gold/platinum did not make me go 'okay wow this is really worth the money' compared to what I hear in my head a string orchestra should sound like in a good hall. Still up in the air on this, as for another $150 I can get the Gold Hollywood and not feel the pressure of needing to drop $500 in one weekend. I'd HATE to spend the $500 on the Platinum and be underwhelmed when I could have saved another $500 and gotten the LASS in early November. Mr Phoenix and narcoman, thank you for your detail responses, greatly appreciated.Īlso the VSL is around 1k-6k for the whole package (out of my price range right now, but maybe not later), and LASS are $999. Some weirdness aside from typical GS banter, conspiracy theories, my dads DAW can kick your dad's DAWs a$$ stuff we sometimes can get people helping other people out. ![]() Guys thank you SO much for taking the time and detailed responses. Still no match for the real deal but at least not using East West alone helps alleviate the terrible sound recordings (overly bright - more EQ to undo whats been done) in the EAST WEST Gold and Platinum bunch. I am not a composer - but often I get MIDI based scores where a bit of work in all of the above improves matters no end. I use VSL for some legato and all horn chords. Great for legato phrases and especially good horns - sonically and playing wise. No mic position but very basic in what you can achieve. I use LASS for "chug chug" parts when I have to.īrilliant superb sound quality and great playability in many of the legato articulations. It doesn't work the same - leave them flat) The sound quality is good when you switch off the terrible EQ on each instrument (honestly chaps - why do all you sample makers insist on putting loads of top end on stuff - we don't do that in the orchestral mixing world, well not on individual instruments. Obviously only strings - but the arp engine is good. When I have to I use East West for blasts. ![]() The blasts are fun, the staccatos useable, the drums are over woofy and bright, the legatos are abrasive. The top end is just abrasive and nothing like any of the hollywood scores I've mixed. It's all been EQ'ed with the goal of making it sound "hollywood" but nothing could be further from the truth in terms of sonic. Somebody has added a ton of EQ that is entirely unsuitable for an orchestra. The recording quality is sonically horrible. So in that way it mirrors how I do it in the real world. When I mix a real orchestra I often have the spot mic's down at minimum and bring them up to articulate parts on particular instruments as required. I like having mono groups of spot mic's and being able to balance them as I do a real orchestra. ![]() The flexibility with the mic's is great once they've been bounced out. I work with real orchestras all the time so I'm bound to have a slightly skewed view. Okay - heres my slightly sidetracking take on this: ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |