![]() ![]() ![]() In this case, these libraries were recorded at the Teldex Scoring Stage in Berlin.Īnd the Cinematic Studio series is yet another great “Wet” library. ![]() As the room sound is so important to an orchestra, sample library companies will often call this out as a selling point – as Spitfire does:Īnother popular sample library that is recorded wet, is the Metropolis Ark series (1-4) from Orchestral Tools. The company Spitfire records many of their orchestral libraries in Air Studios in London. To relate this directly to the sample world, a sample library that includes the sound of the room in the sample itself, is referred to as a “Wet Library ” or, more specifically: “The samples are recorded Wet” so they will include the room sound. You would not just hear the instrument, you’d be hearing all the room ambience (reverb, reflections, echos) as well. Looking at the photo of an orchestra on stage below, imagine them playing a single short note and how it would sound within the room. When you’re sitting in the Symphony Hall listening to an orchestra perform, you’re never just hearing the sound the of instruments alone – you are hearing the sound of the room as well. This is why so much effort is put into the acoustic treatment of a Symphony Hall and why music can sound dramatically different from room to room. All that lush, beautiful reverb contributes to the overall experience. When you go to the Symphony to hear an orchestra perform, you’re not just hearing the sound of the instruments, you’re also hearing the sound of the room (i.e. One thing that surprised me when I first started getting into orchestral work, was that the room that an orchestra is recorded in, is a big part of the overall sound. To be clear, I’m not going to get into the microphone, EQ or preamp selections, I’m more talking about the space the orchestra is in. To kick things off, I’m going to start at the source, and talk about how the samples are recorded and what this means to us as composers and producers. If you are just getting started, and you’re interested in learning more about how to compose orchestral music using your DAW (digital audio workstation), and you want to understand some of the basics of orchestral sample libraries, then this is for you Please note: This series is orchestral sample libraries for the beginner. This will be my first in a series of posts where I share some of the key concepts that I use when composing and producing orchestral-based music using orchestral sample libraries. Orchestral sample libraries for the beginner | Part I: Wet vs Dry. ![]()
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