As of NAMM 2012, Miroslav Vitous’ new String Ensembles 2.0 is now shipping, and with a massive free 31MB NAMM update.
Before I talk you about this final version of 2.0, I need to “update you” from the pre-review. First, because of a series of planned paid updates, which Miroslav Vitous has described as a study in glissandi and trills, the previous trills have been deleted in favor of a temporary trill tool. Additionally, the programmed muted strings have been removed.
Now, the new update. This revised library now comes with two completely different string ensembles. The first is the Main Library, and has a very lush, beautiful sound. The second library are called Blends. They are less lush, and more aggressive. Because they are a bonus to the original library they have fewer articulations than the Mains. See the chart below.
Additionally, there are pre-programmed “symphobia-like” combinations for all strings, unisons, octaves, and pads. Their purpose is in having combinations that match the Miroslav library.
Like Vienna, you have to use panning to position the sections. Some will complain about this, but since so many use Vienna Ensemble Pro, using Power Pan you can do the deed in a few seconds. Since there are 5 different seating positions for the string section, you can select the one that works best for your piece without being locked in to the standard seating arrangement.
Now, some insights since I’ve been working with this library for several months.
Like most sampled string libraries, you need to carefully select the right reverb. SE2.0 was recorded in a room that has a beautiful natural ambiance to it, so you don’t need a lot of reverb. Miroslav uses a Lexicon PCM96 with a Concert Hall length of 1.6secs to 2.0secs. In my own tests, I’ve found that the Vienna Suite Convolution Reverb seemed to be the most ideal adding an airy quality to the library, which itself has a slightly darker sound than others.
In any of my writing/recording tests, I did not find the library to be synthy-sounding. However, I also wrote for the strings. While it has some divisi-like capabilities, it’s not a divisi library. So if you start stacking vertical harmony on one program, depending on the register, you’re just inviting synthyness. By the way, this is true for most any sampled string library. To this end, MV has included helpful insights inside the Engine player. The screen capture below explains how to pick violin programs to avoid phasing.
Consequently, to achieve the best sound you have to write for SE2.0 like you would any live string ensemble.
Stating the obvious, a string ensemble has five sections, which means you can write five independent lines or five notes in a vertical harmony stack (excluding the occasional double stop).
As a test, I sequenced a part of a cue by Sir William Walton from the movie Richard the Third called The Princes in the Tower which you can find on YouTube. Starting at G above middle C, the violins and violas were voiced down in triads with a separate part written for cellos and basses in octaves. I compared this to a YouTube video performed by a civic orchestra and the sound was dead-on.
Another insight is maintaining proper spacing. While this always gets the yucks on the forums, no one’s career was ever harmed by looking at a Mozart score. Mozart had the same writing limitations with a live ensemble as you do with sample libraries – 5 vertical pitches or 5 independent lines. Applying these spacing concepts with SE 2.0 (and other string ensemble libraries) creates a big sound and each section speaks clearly and in balance.
Now, some will say that this is classical writing and they don’t want to write this way. My response is that it’s not trying to write classically, but rather looking at string ensemble spacing techniques that work and bringing that into your music, yes… even with sampled string libraries.
Regarding the staccatos. These fall into two categories: one where it’s best to use those that make use of the sustain pedal to bring out the full potential of the sound, and those that don’t. These, unfortunately, aren’t labeled in the library, but it’s quick enough to find out.
One nice feature about the new update is that the folders are more clearly organized and there are starting PDFs to get you going quickly.
That said, here’s how to get going even quicker.
When a conductor and/or concertmaster mark the bowings for a performance they often start with what’s legato and work from there.
Following this approach, start with the legato bowings first, and the detache legatos. Each of the legatos is slightly different from the other in a very subtle way. If you do your homework you’ll find that different legato bowings match different film soundtracks.
RECOMMENDATION: Build your legato section first starting with the Mains.
If you’re looking to combine SE 2.0 with another library, make sure you test the Blends to see which one is the better match.
Don’t mix section sizes. You have a large ensemble and a small ensemble. Pick one or the other, but don’t mix for example, 14 violins with 5 cellos. Even if you like the 5 cellos more than the 10 cellos it can create an imbalance in the mix. So make sure you check it.
Once you’ve tested your legatos, then begin testing the short bowings. A word about the Staccato. String players are taught to have at least ten different staccato bowing techniques in their kit bag. MV’s staccatos are more lyrical and to my ears work best in a flowing line. The staccatos in the blends can be used for a more aggressive sound. in all, you need 6-10 bowings per section to cover most writing assignments.
Follow this advice and you’ll get your template going fairly quickly. When the core template is done, then go back and explore your other options, but stick with meat and potatoes for now.
I compared SE 2.0 to Hollywood Strings, LASS, and the Vienna strings. MV SE 2.0 has a radically different sound from the others, so buying it adds to your palette.
And now some critiques.
My one criticism of the library is its lack of consistency in certain places. For example, there’s a good starting selection of up-bow/down-bows, but a few more are needed for completeness. The same is true for the folder called First Chair Supports. These are a starting collection of solo strings shorts to layer over a larger ensemble. More are needed for completeness.
The pre-programmed combinations are pre-panned while the individual instruments are not. Consequently, a PDF with a chart showing the panning of each combination is needed in case they’re mixed in a template with the individual instruments.
And now, the legato-interval discussion. In my first review, I didn’t know which methodology MV used to program the legatos. In one of the PDFs for 2.0 he discusses his technique. Since these are available for download, go read them.
MV-Articulation List NAMM 2012
But whether or not he used the legato interval approach, you still get a beautiful flowing sound when you lean into the keys. Here, a comment from an old timer. There is a lot of forum discussion about “true” legato. There has yet to come a methodology in sampling that enables you to play a keyboard and achieve the sound of a violinist playing legato! You have to put yourself into this. Reality is that the better your keyboard skills (Czerny anyone?), the better a “true” legato program sounds. Additionally, rare is the discussion of “true” legato with the strings that includes the two methods of playing legato: the number of pitches played under a single bow, and what some call grande detache, which is legato created with a back and forth motion of the bow. See some of that here.
It’s worth noting that whether “true” legato or “true” spiccato or “true” pizz or “true” anything, you still must have some requisite keyboard skills to play a keyboard in a manner to achieve what a musician achieves by bowing a stringed instrument.
Moving on.
Given the design of the NAMM update, this is a monster library that gives you a broad palette of string colors from which to work. Nearly every one of Miroslav’s demo makers have told me that the more they use the library the more they love it for its lyric beauty, expressiveness and ease on the CPU. This describes my own experience with the library. Let me give you a word picture. Working with this library is like building a relationship with a beautiful, quiet, reserved woman. The more time you spend with her, the greater the depth and beauty you discover.
