合成器/采样器/音源/音色

https://www.你吐吧.com/watch?v=hmCzEHwMIKQ

[tr]Agreed, as well. This "more is better" approach is unnecessary. And I agree on this pad-like sound, too. With this ridiculous number of players you can't really make professional sounding orchestration, in my opinion. I don't like Hans Zimmer scores, I am a John Williams' fanboy, and I would always prefer his complex scores. For this "epic" kind of stuff this new llibrary may be sufficient. But "epic" lies also in the orchestration. I dislike this "trend" and I really hope that there will be more composers like John Williams in the future. At the moment we have very boring movie scores without any motifs/themes really, and, which sound all the same to me.

[tr]The only thing which I like is the UI by ustwo. I am a media designer and really are in this kind of stuff. Unfortuantely, Synchron Player looks a bit "old" compared to this. But in the end it's all about the functionalities and the sound.

[tr]@fahl5, I had similar thoughts. I do like Spitfire, although I can't use their products for everything I like to do, as most of their libraries have this massive ambience baked into them, and as you said: so much is geared towards playing long, slow harmonies until someone in the back stars falling asleep. And it's always all these different obscure "longs" variations -  super sul tasto, con sordino sul ponticello, no rosin flautando, tremolo with your teeth and a sock stuffed under the string  ... while in reality, sample libraries still struggle the most with rhythm.

[tr]Therefor, these new HZ strings left me moderately unimpressed. Big name, big sound, big data, but beneath the surface, the scope of what I believe I could express using what it comes with in terms of articulations seems typically limited, albeit the sound of course is great.

[tr]From that perspective, I don't see what kind of sense it was supposed to make to bring it up here. Synchron Strings covers completely different ground and is definitely suited better for my purposes.

[tr]Having hung out recently with about a dozen low budget guys here in LA, (who do lots of shorts, ultra low-budget features, student films, etc), the Spitfire stuff is perfect for them, especially anything with "Hans Zimmer" in the branding.

[tr]Most of them come from pop/rock mid-2000s or late-90s bands and have no real knowledge of how an orchestra works.  If you show them a picture of an english horn and ask them to identify if it is a single reed or a double reed, they'll ask "what do you mean? Like, how does this instrument read?"

[tr]The Spitfire stuff is good for them because they can play block chords ofvi - IV - I - V[tr], slap on some takio drums in a 3-3-2 rhythmic grouping, and it sounds "cinematic" to a client who doesn't know any better.

[tr]VSL on the otherhand is for composers who need a tool that has a extensive expressive range.  I foolishly bought the Spitfire Symphonic Brass a couple years and absolutely hate it now that I know what I'm doing with sample libraries.  When I tested it and could play the horn solo inTill Eulenspiegel[tr].  Months later I tried to playPetrushka[tr]with the trumpet and it's simply not possible.  Most things in the brass literature are not possible with Spitfire.

[tr]With the exception of works requiring extended techniques, the Synchron series has yet to show me that it isn't capable of rendering any passage from the classical repertoire.  I believe it engenders composers to rise to the challenge of being able to make use of that full expressive range.  Technology is leading the way, artistically, so far this millennium, and it is a benefit to us all.

[tr]That is a good point about the huge string sections -- I am now becoming tired of the "epic" sound and in fact believe it instantly screams "Sampled!"   Also it is very generic sounding and less expressive because of the size.

[tr]I am thinking about this because I am working on a feature film score that is for a dramatic but small-scale low budget film.  In the past, with a live orchestra, this would be scored with a small ensemble, almost chamber, but nowadays the usual is to have  giant sampled string ensembles.  There is a clash that is weirdly inappropriate, so I am trying to figure out a small, even chamber sized ensemble, which has the added advantage of being more intimate, expressive sounding.