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:
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