Layering Sample Libraries: Performance Samples Vista and Cinematic Studio Strings
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- Опубліковано 25 лип 2024
- In this video, we are going to not compare sample libraries but getting into the process of layering them.
Let's get into the process of layering Performance Sample Vista and Cinematic Studio Strings.
We will also talk about further processing such as reverb, mixing, and mastering. In this example, I am using Audio Ease Altiverb, Seventh Heaven and also Slate Tape Machine, the Shadow Hills compressor, and the Stealth Limiter by IK Multimedia.
If you are supporting me on Patreon, you can download the following files:
- dry stereo mix of CSS
- dry stereo mix of Vista
- processed stereo mix
- MIDI arrangement
- Cubase session
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Video content:
00:00 Intro
00:17 Playing the track
00:55 Tempo curve and blending the libraries
02:21 Performance Samples Vista
03:18 Cinematic Studio Strings
04:40 Purpose of layering the libraries
07:32 The Mix
08:42 Audioease Altiverb
16:06 Liquid Sonics Seventh Heaven
18:16 Shadow Hills Compressor
19:54 EQing
22:52 Slate Digital Virtual Tape Machine
23:56 IK Multimedia Stealth Limiter
24:55 Thank you!
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What sample libraries do you want to see layered and processed together in future videos?
Soundiron Flatulus and Afflatus Chapter I.
😂😂😂😂😂
@Carlo Tuzza Thank you!
With strings, it seems to me that layering easily gives nice definition or density, depending on the libraries involved. I struggle, however, with layering brass (and/or using trumpets from Library A with horns from Library B). They've been more difficult for me to place in the same space and complement each other.
Been experimenting with Spitfire BBC SO and Chamber Strings - would love to hear what you you might create with those.
I’m envious of how well you explain this, in not your native language , and that you Are fluent in 3 languages, German, English, and music!
wow, thank you so much! I really appreciate! 😊
Fantastic job with that beautiful composition, thank you for sharing and discussing it with us. :)
The Patrick Doyle FRANKENSTEIN cue you mentioned is gorgeous and one of my favorites as well. I also like the track, "Please Wait" from that score (same theme, but slower).
Useful video, thanks. CSS and Vista is one of my favourite combinations. Fluid Shorts also works excellently with CSS short articulations. The room tone from Performance Samples really helps give some life to Trackdown.
Loving this! I’ve had my eyes on that Shadow Hills for a while! My friend uses it on his metal tracks too and it’s insane!
Yeah, I love it too! Seems it doesn't work on everything, ... but when it works, it sounds awesome!
Yayyy Vista and CSS!! :D Thanks for the video!
You're more than welcome! :)
Really a good explanation Thank Alex
Thank you Pierre!
Very interesting! Well done Sir :) PS: I love your new setup
Thank you, Martin!
Great video Alex! I would love to see one on how to combine brass libraries. I'm finding it very difficult.
Thank you, there definitely will be something soon :)
Thanks Alex, that interesting.
I'd be interested in a video that more extensively explores the justification and reasoning for layering libraries in general.
Such questions as: What can layering archive? When and where should it be done? Can similar results be achieved using other techniques? Is layering always necessary for producing competitive trailer music? Can layering be overdone?
The reasoning for my uncertainty is that it adds more time and complexity to the already very complex job of producing orchestral music. It promotes the need to own even more libraries even just to try out combinations. And I find myself unsure and second guessing my layering a lot.
Thanks!
Hey, I wouldn't overthink it. Layering sounds create a certain custom character, things can sound more dense and juicy. If you want to create something that is, at least soundwise, a bit more outstanding then layering is a must. Again, don't overthink it but experiment around with it. There is no ultimate receipt or formula. If it works for, great, if not and you think it is too much hassle without any effective outcome, then don't bother 😊
The 'bump' with CSS is likely because velocity is higher than 63; CSS cuts into the sustain sample if velocity is between 64-100, and 101+ adds the sfz overlay, whereas 1-63 will give you the proper sample start.
I'd personally be very interested to hear CSS layered with Spitfire Chamber Strings or Berlin Strings - the timbres of Vista and CSS are too similar despite Vista having seemingly more bow pressure at fortissimo.
👍👍👍👍👍
Yay! 🙌
Thanks, Alex! Love this kind of content.
Is there a reason why you begin your gain staging/balancing chain in the Cubase mix console, rather than their player origin? For example Kontakt master volume > Kontakt individual instrument volume > and then remaining adjustments in Cubase. I'm building out a new template, and trying to de-mess my (extremely messy) historical setup. Are there benefits, or more about personal preference? It gets even more messy when VEPro is involved. Thanks again!
Thank you, I do it all in Cubase because most of my orchestral samples are hosted in VE Pro and I want to touch it as little as possible. If I find that something is off and I want to readjust he gain staging, I can do that in the Cubased template sesssion. If I do that in VE Pro it entirely changes on all previous projects :)
Nice video, on the matter of pre delay. I believe it's the opposite w ay you explained it. For example, it's best to start with strings as they are the closest to an audience and will require the most pre delay. After that woods, brass and perc and the pre delay gets progressively less. An example would be, strings 40ms, woods 30ms, brass 20ms and perc 10ms. Of course this just rough, use your ears to gauge the distance.
Sorry, but is exactly what I mention in this video. Travel time from strings is the highest and it requires the most predelay, woods and then brass less. It depends on what walls you prioritize.
I really liked this video especially the discussion on the use of IR reverb. Also, I was not familiar with Seventh Heaven and have used similar reverbs to achieve some dramatic trails. Instead of leaving S.H. on, why not automate its MIX knob and dial it in when needed? BTW, I’d be interested in knowing what kind of CPU and audio interface you are running especially with your comment about running 1200 trks. Your approach ( VST layering vs comparison ) is exactly spot on as they all have their strengths and minuses and being able to record/tweak a set of similar libraries to accentuate a realistic performance can make a big difference. I look forward to your next video whatever libraries you choose.
I have a video where I talk about my template in use with VE Pro. All of the instrument that do NOT need tweaking (such as orchestral instruments) I host within VE Pro but PURGED and DECOUPLED. All the instruments that need tweaking or automation (such as synth) are hosted inside Cubase but DEACTIVATED. Therefore my saving time is always around 1 sec by having roundabout 1300+ tracks available.
Hey Alex! Thank you as always for sharing your knowledge with us. May I ask, how do you deal with CSS Advanced Legato latency? Also, do you use strings like one for shorts and one for longs at the same time, for example in a epic, trailer track?
Thank you! Advanced legato in CSS introduces different starting times, so I manually move them until my melody or pattern feels flowing in the track. What do you mean with strings like one for short and one for long? :)
@@AlexPfeffer For example in first climax of a trailer track, if you want to layer long articulations and short articulations for the strings part. Do you have a selection such as, always Nucleus for shorts and CSS for the longs etc. What is your approach about this kind of layering? (forgive me for my poor English :))
@@goreybeydagi ah I got it, thank you. It's usually as always, what fits the track best. I decide while I go and test out different libs and see what feels good. However, yes, when it comes to a thick staccato strings arrangement that is more focused to get hybrid and epic, then my first choice would be Nucleus Ensembles.
Hi Alex, great video. Unless I missed it, did you discuss your mic mix from these 2 libraries? I’m assuming you just went with the default mix the developer provides. If I’m placing them in a room and adding verb I tend to go with a mic mix using more close and less of the room and surrounds etc.
Thanks, it all depends on the final track. I usually don't think about this unless I know how the final track sounds like. Then I know if I need less or more reverb or what to do in case something gets blurry or not. I can't generalize these things, because the client may like a more wet or juicy version or a more dry one. It can also happen that transposing the notes (e.g. another key has to be used) create a completely different sound. To me it is all about depth, when it comes to using several libs, not matching them and making them sound the same.
darf ich dich mal zu deiner Meinung zu Damage und Damage 2 fragen? Bin am überlegen mir eines von beiden zu holen. Mir geht es eher um spielbare natürlich klingende episch orchestrale Percussions. Loops interessieren mich nicht so. Synth Drums Drums für Hybrid Songs auch nicht so. Epic Low Drum, Taiko Ensemble etc. ist wonach ich ausschau halte. Ich besitze Hans Zimmer Percussions, aber irgendwie sind die sehr komisch abzumixen, cutten oft nicht durch den mix genug etc. Die Taikos wirken zu weit entfernt, nicht genug prozessiert und zu muddy.
Mfg und danke für deine ganzen Videos
Hey Conrick, welchen Mix nutzt denn bei HZ01? Ich nutze nur noch die JXL Mixe und wenn mir etwas zu weit entfernt erscheint, dann schiebe ich einfach mehr closed mics dazu. Organische Drums findest du in beiden, also DMG1 oder 2. Die Frage bleibt nur noch was dir mehr zusagt. Abgesehen davon ist DMG2 moderner. Loops findest du in beiden, aber die kannst du ja ignorieren. Ich würde auch evtl. DAGU in Betracht ziehen.
@@AlexPfeffer Ich benutze ebenfalls immer die JXL Settings, aber mit zu weit entfernt meinte ich irgendwie, dass denen punch fehlt, aber wenn ichn saturation plugin draufwerfe sind sie zu scharf. Schwer zu beschreiben. Danke für die infos. Dann werde ich wohl Richtung Damage 2 tendieren. Und danke für die Livestreams. Die schaue ich unter anderem mit denen von Daniel James sehr gerne wenn ich dafür zeit habe :D
@@Conrick falls noch nicht final festgelegt, dann werfe ich auch nochmal meinen Hut in den Ring: in deinem Falle auf alle Fälle Damage 2, Damage 1 hat gerade mal eine Handvoll natürlicherer Sachen
@@Conrick Vielen Dank auf jeden Fall. Nur noch mal zur Sicherheit, klingt die Lib wirklich für dich so entfernt? Wenn ich hier die Closed Mics aufdrehe und den Room sehr weit zurück wackelt hier alles vor Impact!? :)
@@felix9711 herzlichen Dank. Gekauft habe ich bisher noch nichts, aber bei Native Instruments gibt es gerade Damage 2 für -25% off, weshalb ich auch die Frage hier ursprünglich gestellt hab :P
Honestly Alex, the arrangement sounds so much better when played with just one of these library at a time. As for Vista, while they have a nice overall emotional/romantic sound, the samples are just way too noisy and "blurry". When you blend in Vista with CSS, this "bluriness" ruins the sound for me. I can see what you're trying to achieve, and I understand you like the "washy" sound of Vista as you call it, but for me it's CSS any day of the week :)
Hey, of course, if you are not into layering, or layering this kind of sound, then this is not for you. It is all a matter of taste.
1200-1300 tracks??