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Softube has announced that their awesome saturation effect called Saturation Knob is now available as a free download for all popular plugin platforms. Mixcraft 8 Crack is a wonderful software for audio multi-track recording. It is a reliable tool which provide easy and simple way to create professional. East. West Hollywood Brass. Electronic Musician: East. West . The process was much the same for the latter as for the former: Hire A- list studio musicians in Los Angeles; enlist Academy- and Emmy- winning engineer Shawn Murphy to oversee the sampling sessions; and do it in East. West Studios (formerly known as Cello, Ocean Way, and Bill Putnam's United/Western Studios). How's that for pedigree? Having previously reviewed HS for Electronic Musician, I had high expectations for the brass library. I was not disappointed, as the level of recording and programming detail runs deep; however, HB is much easier on your system than their string library. HB's 1. 50. GB Diamond Edition (reviewed here) is delivered on a 7. GB Gold Edition features one mic position and 1. Available articulations between the two editions are identical; only the sample rate and mic configurations differ. I worked in both Studio 1 and Studio 2 with Burt Bacharach and Elvis Costello when it was operating as Cello Studios, and I can attest to Studio 1's sound—open, but not excessively reverberant. This makes it a good choice for sounds that are both rich and spacious, and East. West has included a number of excellent convolution reverbs in the current version of Play (the cross- platform, virtual instrument engine used by East. West library releases) for adding actual reverb. In the Library The Diamond Edition provides four simultaneous, phase- locked mic positions that can be mixed to taste: Close (directly in front of the instrument(s); Mid (back a bit and in front of each section); Main (a Decca tree configuration up high above the conductor position); and Surround (room mics, switchable to an alternate . The Gold Edition utilizes the Main mics only that, frankly, sound great and are sufficient for a lot of orchestral and film work. Each section includes a thorough, though not exhaustive, set of articulations. Trumpets, trombones, French horn, tuba, and cimbasso are presented in solo form and in various combinations of two- , three- and six- member sections. Most of the common articulations are well represented, in addition to round- robins, true legato, and a number of effect and low brass unison and octave patches. Don't expect a lot of jazz and pop style articulations, as that's beyond HB's scope. The well- written and detailed manual lays out the mapping of the various patches, which use a combination of mod wheel, keyswitching, velocity, and expression to shape the performance. You'll need to spend some time getting to know the various instruments and how they're controlled, which vary from patch to patch. After a couple hours you'll understand the basic library layout; however, it's not trivial to play perfect- sounding brass parts on the fly. The next standard. Instantly familiar—yet nothing feels like it. Studio One ® 3 contains everything you’d expect from a modern digital audio powerhouse. Even now, I still have to edit various controllers, patch changes, and my playing to create realistic- sounding brass parts. Although the EW Play engine can be demanding on resources because the complexity and depth of this library pushes technology to the edge, the current version runs much more smoothly than in the past. With patience and a sense of good orchestration, HB can produce stunning results not easily achieved until now. SUMMARYSTRENGTHS: Meticulously- engineered brass samples recorded in a legendary studio. Extensive variety of articulations and ensemble configurations. Excellent companion to Hollywood Strings. LIMITATIONS: Sophisticated technology is demanding on CPU resources. Not all ensemble configurations represented.— Electronic Musician. Music. Radar. com: East. West/Quantum Leap Hollywood Brass. East. West's shift from straight- up sample libraries to its own ROMpler- style playback instrument (Play, now at v. The company has also started supplying its libraries on hard drives, enabling not only simple installation but also direct use from the provided disk; Hollywood Brass comes in two versions: Diamond ($9. Gold ($5. 95). The main difference is that Diamond weighs in at 1. GB and comes on a external hard drive, while the Gold Edition, at 2. GB is downloaded. The reason for the size difference is that the Gold edition has one mic position and is 1. Diamond's 2. 4- bit. Diamonds are forever? We're looking at the Diamond edition, which arrives on a hard drive. Like Hollywood Strings, it's aimed at soundtrack and mainstream musicians, and was produced in East. West's Sunset Boulevard Studio 1. The five mic configurations are also the same: main (Decca Tree), mid (Auditorium Front Row), close, and two rear (Surround and Vintage Ribbon) setups. You can mix and match up to four of these simultaneously (the surround mics are mutually exclusive). Instruments were recorded in standard orchestral position, the full stereo spectrum of which is captured by all but the close mics (these have matching manual panning). The instruments comprise trumpet, French horn, trombone, tuba and cimbasso. All are available in solo patches, and then in a number of instrument- specific groupings. Maximum group sizes vary, from three trumpets to six horns, and you'll find the low brass is a combination group (two tenor trombones, one bass trombone, one tuba and one cimbasso). Articulations include sustain, staccato, mute, legato and effects patches for pretty much all instruments. The available effects vary, but you can expect to find the typical rips, shakes, trills, crescendos and combinations thereof. You also get slide- heavy jazz effects for solo trombone. Taming the horn. The Play 3 interface is straightforward, with an AHDSR amplitude envelope, convolution reverb, stereo spread control, velocity sensitivity and the mic mixer. There are also performance scripts for implementing portamento, repetition and legato. The key to making the most of the instrument lies in understanding the patches. Each patch generally contains one articulation, with sustained styles looped at the end. However, patch behaviour does vary - checking out the manual is essential. Some map velocity to timbre, others map the mod wheel to timbre, andsome use both. There are also patches in which the mod wheel gradually shifts between articulations, taking you from a very short sound to a more sustained one, for example. Beyond the basics, patch naming often indicates further functionality, such as round robin inclusion. What you won't find, though, is velocity influencing volume (MIDI expression, CC#1. With all those mic options, RAM usage can stack up. Thankfully, patches load and unload mics as they're selected, so everything's kept as lean as possible. Sonically, East. West's Studio 1's mid- sized, noninvasive ambience is the same here as it is with Hollywood Strings, adding a lovely sense of space without getting in the way. For actual reverb, the onboard convolution effect offers plenty of useful and convincing spaces. There's really nothing significant to complain about with Hollywood Brass, apart from the lack of keyswitching patches. The sampling is accurate and consistent, the patches are well organised and labelled, and it all sounds superb. Verdict. Hollywood Brass Diamond is quite possibly the ultimate professional solo/section brass ROMpler - hear it and weep.— Music. Radar. com. Film Score Monthly: East. West gives composers access to that Hollywood sound. Last year, when East. West unveiled their Hollywood Strings, I hoped that, assuming its success in the marketplace, they would continue the . The sound of the Hollywood Strings is big and bold; there are a ton of useful articulations, dynamics and idiomatic special effects, and the East. West PLAY engine/interface has improved markedly over time. So why not adapt this to the whole orchestra, right? Fortunately, that's what they seem to be doing, with the recent addition of the Hollywood Brass collection. It's been said many times before: No single collection of orchestral samples covers everything. Or, at least, that hasn't happened yet, that I know of. Composers tend to mix and match sounds, then try like crazy to make them all sound like they're from the same orchestra, recorded in the same room. However, East West seems to be putting together a collection that can, at the very least, be the backbone of a great- sounding orchestra, specifically one meant for that . Fill in with a few special samples from other libraries here and there, sure, but with such a varied collection as this, you may, by the time the East West folks are done, find that you use this orchestra for the vast majority of your orchestral compositions. Hollywood Brass follows faithfully in the footsteps of its string- section counterpart. Once again, the recordings were produced by Doug Rogers, Nick Phoenix and Tom Bergersen, engineered by well- known film- music mixer Shawn Murphy, and recorded in EASTWEST Studio 1, in the heart of Hollywood. Brass Tacks. Let's talk about the quality of the samples themselves. As you might expect, they sound great, across the board. The recordings are pristine and with a presence and depth unique to this collection. The recordings are dry, and the Play engine allows you to choose among a multitude of high- quality convolution reverbs to add to your brass mix, either to each individual sample, or to the instrument group as a whole. In addition you can tweak those reverb settings a bit once you've added them in the mix. Historically, the most troublesome part of the brass section to make sound really good and realistic in sample form— especially in exposed passages—is the trumpets. They get too bright, brittle and generally fake- sounding. Not so much with Hollywood Brass. The few that don't sound great on their own sound better in the mix. And more important, there are mod- wheel controls that can really smooth out phrasing, curb the brightness and generally make the samples lay naturally in the orchestral space. Speaking of mod- wheel controls, holy cow, there are a ton of incredible controls that you can access via the mod wheel on your keyboard or other controller, or by control changes.
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