A couple of questions on some issues I was having and Alex Wallbank was straight back to me with some quick-fire answers that resolved my queries. There’s a certain flavour of sound it offers which I currently don’t own and can make a lot of use out of. OverallĬSS is a good tool for most composers to add to their current arsenal of string libraries to add some more depth to their compositions. I would recommend playing with the mic positions, you get a great “airy” type sound when you have room and main mics on however, play with at your content to find the right dryness of the mix you want. It has been recorded and well produced to give you a great out of the box sound. I’ve actually used this one a more intimate piece for a pitch I’m currently working on and it takes away a lot of my post-production I have to do with a lot of my other string libraries which saves me a lot of time and hassle. I’ll definitely be using much, much more of CSS in my future compositions. There’s an amount of that missing in the library but once I overlayed it with some other string sections it sounded powerful yet precise.
Now I’m very used to libraries with a lot of bite, which based on my own compositional style works very well for me. You can also turn this off if you prefer which is handy.
#Cinematic strings 2 pro Patch
The marcato patch compensates for the lack of bite in the legato lines by adding a singular staccato note to overlay each marcato hit to accentuate the line. I’ve already been sampling some of the sounds to come up with some crazy horror sound design. In terms of the rest of the articulations, the tremolo strings don’t sound as muddy as what I’ve experienced in the past and the trills and harmonics give opportunities to expand on your own palette. As I previously said I was on the tipping point of buying this anyway due to the brilliant reviews I had seen beforehand and after hearing it’s lush production I wanted in.įor me it took some time to get used to changing velocities to determine the speed of the legato notes but once you get the hang of it, the seamless transition between notes gives a very intimate and somewhat “breathy” sound to the strings. Which made it a little annoy when having to switch between articulations and draw in the keyswitches, but nothing to overly complain about. I prefer to draw my midi data in manually and edit as I go to make sure notes and articulations are precise. I, unfortunately am not one of those composer. It is very fluent in it’s transitions from articulation to articulation and ideal in situations where composers prefer to play their compositions in live and make small tweaks afterwards. This makes it very useful for players to customise their own patch to suit their playstyle and type of MIDI keyboard being used. You can easily identify the settings from con sordino and true legato and modify virtually all of the keyswitches by holding down SHIFT when selecting the correct parameter. You can easily do this by ALT+clicking the desired articulation to turn it off. I would also recommend purging any of the samples in the patches you are not using to limit the amount of resources being used up at any one time. I would recommend on a small-ish system, making sure you’re loading multiple patches in one instance of Kontakt to preserve CPU and RAM usage. It is however a hungry library in terms of RAM. The library is very easy to setup and get going. Now this article will be much shorter than my previous article as the bulk of the content will be in the video review provided but I will cover a few points for those of you just want a quick overview of the library whilst on the go. So the opportunity to review the library came and I jumped at the chance. I must admit, prior to receiving my copy to review, my hand was already in my pocket, eager to try out what the team had in store.
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