Abbey Road Orchestra Professional 1st Violins - Sets A New Standard

[László]

I realize that maybe two or three members here are interested in orchestral string libraries. But you never know. So I'm sharing this.

Spitfire Audio came out with a new violin library that was sampled at Abbey Road Studio - which, BTW, will soon no longer be doing orchestral sessions. As you might expect from Spitfire, the sound quality is wonderful, and the mic positions capture a very realistic and lovely sound.

But the magic with this library is that in addition to sonic attention to detail, it's programmed to respond to performance and touch more realistically than anything else I've tried - and I've got and used them all - with a lot less need to use controllers other than the keyboard, and less need for external articulation switching.

What this translates to is that you can play it more expressively. So it's pretty effing nice to compose with.

If the rest of the library is this expressive, it's going to be a very expensive adventure - that's the only drawback. Because for a violins-only library, it's pricy at $449. Worth it if you compose with strings a lot.

Abbey Road Orchestra: 1st Violins Professional — Spitfire Audio

www.spitfireaudio.com

 

[Prina]

Interesting to follow the technological growing points of digitization of real life.

So cool for something that gives you more expression directly from keys. Their clips are pretty impressive and hard to distinguish from the real deal. Would be interesting to see what logic/algorithms they're using to translate more directly translate keys to strings and determine which samples to use with less controller use & articulation switching.

As you say not cheap, but the idea of buying a string quartet for something like 3 x $449 isn't bad.

 

[László]

As you say not cheap, but the idea of buying a string quartet for something like 3 x $449 isn't bad.

It's only bad if you already have more than 40 of their other libraries, which, yes, I have.

I'm a complete sucker for every damn thing they come out with. It's an illness called Sample Library Syndrome.

I know because I was just nominated its poster boy.

 

[László]

Just an update on this Abbey Road Orchestra 1st violins Pro thingy...I'll start with the important thing:

1. I wrote a piece of music with it. Sounded realistic, but the piece sucked.

2. There was a 48 hour sale at Spitfire. Based on the quality of nuance of the 1st Violins Professional, I bought the Abbey Road Orchestra Low Percussion. Holy Sh!t, the sampling is unbelievable. Sounds like big drums in a real studio.

3. I'll now sit down and write another bad piece of music no doubt, only this one will have great low percussion sounds.

4. None of it will matter at all, because I've run out of talent. The well is dry.

"You never had any talent in the first place."

"Thanks a bunch."

 

[László]

I knew this 1st Violins library would cost me more money. Even with the 48 hour sale, I blew more money on the low percussion library, and honest-to-goodness would have bought the high percussion and metals libraries if they were on sale, too, but buyers were limited to one library at the discounted price.

Thank you for small favors, O gods of sample libraries! There will be an end of year sale. I'll get the rest of them soon enough.

Because I'm that guy who waits for sale unless I have a project that will pay the freight on new gear.

"Did you have a project for the DGT?"

"Nah. Just a jones for it."

"How about your 4x10 Mesa cab a few months back?"

"That would be a predictable 'not really'. But one will come along."

"You'd be a lot better off if you cut that debit card in half."

"I'd be better off if I cut my dick in half, too, but it's too late. I've already reproduced and caused myself other trouble."

 

[Prina]

I'll now sit down and write another bad piece of music no doubt, only this one will have great low percussion sounds.

"Commenting on bad music with great low percussion sounds got guys like DTR kicked off the forum."

"Not quite, he said that a highly percussive genre wasn't music at all."

"Oh, that's different then. So as long as it's bad music then it's OK."

"Maybe better then to throw out the bad music part and retain the lovely sampled great low percussion."

"Fine, just don't say that your percussion is lower or bigger than mine."

 

[László]

"Fine, just don't say that your percussion is lower or bigger than mine."

Does your percussion hang low,
does it wobble to and fro?
Can you tie it in a knot,
Can you tie it in a bow?
Can you throw it over your shoulder like a continental soldier,
Does your percussion hang low?

 

[Prina]

 

[László]

These gentlemen would like a word with you...BTW, the drums' rims are also deeper by far than the Purdue bass drum.

 

[László]

Since writing the original post, I've managed to buy nearly all of the Abbey Road Orchestra releases to date: 1st Violins, 2nd Violins, Violas, Basses. Celli, Low Percussion, High Percussion, and Flutes. I'm on the fence about their metal percussion release; I may get it for their Black Friday sale, might not, since I have most of it in the excellent Hans Zimmer percussion library.

All of these libraries work the way 1st Violins works: You don't really need to switch between articulations, the nuance of your playing handles a bunch of the work for you, though they also do have the basic articulations if you prefer to use them.

As great as my original Spitfire Symphony Orchestra library still sounds, these sound even more realistic. They're a clear step up from any sample library I've ever used.

There's a caveat to all this:

These are for traditional orchestral playing techniques. Spitfire also has more specialized libraries that do other interesting things intended for different types of pieces, and I use these often. Even though the new library sounds amazing, I go to these often for inspiration, and to make use of some of the more unusual techniques.

Fragile Strings is a good example: The bowing techniques, and the variety of ways the articulations can be programmed for very light bowing, unusual harmonics, etc, can't be easily duplicated with the more traditional Abbey Road Orchestra library.
They're complimentary, not mutually exclusive.

The other thing is that the Abbey Road Orchestra Library in the Professional version I use costs close to 3 grand, and that's at Black Friday sale prices. There is a less expensive Core version, but it doesn't have a few of the articulations and only has one mic mix. The Pro version lets you create a mix of multiple mics to achieve exactly the sound you want.

And they still haven't released Brass, the remaining woodwinds, or a few others that are essential. So to get this and have the full Monty, you're signing up for a pricy adventure.

Bottom line is that I love, love, love this library. It's amazing. But not everyone needs it.

 

[László]

I guess I should point out that Spitfire's more basic Abbey Road One orchestral library, which is reasonably priced and was recorded in the same room, is excellent for the dough. I have it, and still use it, often in conjunction with the new library.

The thing about the new one is partly the sound quality, but the difference-maker between it and all the other libraries I've ever used is its ability to get much more nuance from your playing. In other words, it's as much about the programming as the audio.

 

[Jcub]

Spitfire Audio libraries are outstanding! I will check these out. I have Albion Tundra and some of their smaller libraries and instruments. For expressive strings, woodwinds, and brass, I am a fan of the SWAM instruments played on LinnStrument for real time performance control.

 

[László]

Spitfire Audio libraries are outstanding! I will check these out. I have Albion Tundra and some of their smaller libraries and instruments. For expressive strings, woodwinds, and brass, I am a fan of the SWAM instruments played on LinnStrument for real time performance control.

I have Albion Tundra, too. I like the vibe. I'm kind of addicted to their libraries; they're inspiring, and I've invested in a lot of them.

The Linnstrument looks truly interesting. Did you find it difficult to master?

I visitied your website, and dug it. Really interesting stuff. 'Walking the Line' reminded me in some ways of late Miles Davis band stuff - I realize it might not have been what you had in mind, but that's where it took me - and I liked everything.

Our styles are different, I'm mostly a scoring guy, not an instrumentalist. But you might find it interesting. A good chunk of work done with Spitfire libraries is here on the 'orchestral and hybrid' page: https://leslieschefman.com/

There's also some video, including a reel of some advertising work. I'm a mishmash of styles, really.

 

[Jcub]

Thanks very much! The LinnStrument has been a very rewarding journey for me. I first saw it at MoogFest in 2013 at a demonstration by Roger Linn and Dave Smith. The 8 rows are analogous to “strings” tuned in fourths at the default setting which is identical to the melody side of a Chapman Stick, an instrument I have played since 1996.

That made the tuning, scales, and most of the chord shapes identical to the Stick (on LinnStrument you can play more than one note at a time on a string which is impossible on a real string instrument). It also solves a problem I have had with lead synths - playing one keyboard with my left hand while playing a lead synths with the rights AND using the pitch and mod wheels.

With LinnStrument you can play a note, bend the pitch, at modulation, and aftertouch with one finger! It is also an MPE controller (multidimensional polyphonic expression). You can hold a chord and independently bend, modulate etc. each individual note assuming you are using it to control an MPE capable virtual instrument.

The SWAM instruments are especially well suited to LinnStrument although they are not MPE instruments. This is a recent piece using a SWAM alto saxophone:

And since this is a guitar forum, here is a sacrilegious duet from years ago with LinnStrument electric guitar and drums:

I have been listening to your orchestral sketches this afternoon - fantastic work! I can tell how much work went into the orchestrations, playing, and programming of articulations etc. I have tried my hand at orchestral libraries but need to develop more discipline and patience. I am more improvisational in my approach.

We also have similar academic backgrounds (my day job is an IP lawyer).

 

[Moondog Wily]

I have been on the LinnStrument fence for a couple of years now, have yet to pull the trigger! Great to hear that you are utilizing it and I hope to do so in the future!! I had an email exchange with Roger when I first learned of the LinnStrument as I was wondering if he could customize it some for me, but no go on that option. He did suggest that I sign up for his development course on building my own instruments though, which I have considered but not taken the steps on!

 

[Jcub]

Roger is a super nice person and brilliant as well. I use LinnStrument on most of my recordings and had the chance to play it on stage a few times. I have not dived into the world of customizing it but for folks with the appropriate skills (not me!) it is customizable/programmable etc. FYI, Roger is discounting LinnStrument by 10% through Black Friday weekend - check out the KVR Roger Linn Design website for details. Full disclosure - I have demoed the LinnStrument for Roger at NAMM and elsewhere in the past but I get no compensation for anything related to LinnStrument.

 

[László]

Thanks very much! The LinnStrument has been a very rewarding journey for me. I first saw it at MoogFest in 2013 at a demonstration by Roger Linn and Dave Smith. The 8 rows are analogous to “strings” tuned in fourths at the default setting which is identical to the melody side of a Chapman Stick, an instrument I have played since 1996.

That made the tuning, scales, and most of the chord shapes identical to the Stick (on LinnStrument you can play more than one note at a time on a string which is impossible on a real string instrument). It also solves a problem I have had with lead synths - playing one keyboard with my left hand while playing a lead synths with the rights AND using the pitch and mod wheels.

With LinnStrument you can play a note, bend the pitch, at modulation, and aftertouch with one finger! It is also an MPE controller (multidimensional polyphonic expression). You can hold a chord and independently bend, modulate etc. each individual note assuming you are using it to control an MPE capable virtual instrument.

The SWAM instruments are especially well suited to LinnStrument although they are not MPE instruments. This is a recent piece using a SWAM alto saxophone:

And since this is a guitar forum, here is a sacrilegious duet from years ago with LinnStrument electric guitar and drums:

I have been listening to your orchestral sketches this afternoon - fantastic work! I can tell how much work went into the orchestrations, playing, and programming of articulations etc. I have tried my hand at orchestral libraries but need to develop more discipline and patience. I am more improvisational in my approach.

We also have similar academic backgrounds (my day job is an IP lawyer).

Wow! I wish I had your improv skills and chops.

Loved the videos. You should be on tour with the best folks out there.

Small world that we both have similar academic backgrounds!

 

[Jcub]

Thank you for the kind words! I have bookmarked your website for more exploring!

 

[László]

54

Thank you for the kind words! I have bookmarked your website for more exploring!

You do me honor, kind sir!

FYI, Roger is discounting LinnStrument by 10% through Black Friday weekend - check out the KVR Roger Linn Design website for details.

I just got out of the hospital and haven't seen what my co-pays will be yet.

I'll have to wait for a bit, but it really does look like a cool buy.