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Alternative Solo Strings...thoughts?

CJ
CJ
edited April 6 in Spitfire Audio products

Hi everyone,

I'm considering the Alternative Solo Strings (congrats Spitfire, your sale worked) but still unsure if it's what I'm looking for.


First some context:

I'm really into the soft aching strings sound. I also enjoy a good emotional cello line.

I currently own Sptifire Solo Strings and Sacconi Quartet. Both are nice libraries, but I find they both have a bit of a nasally and distant sound (likely because they're recorded in reverberant settings) but are also a bit to virtuoso for my taste. Heavy vibrato and sharp attack. I'm looking for something a bit more upfront, emotional, and dare I say....warm.

I do love the British Drama Toolkit. It kind of gets to that sound for me. But obviously not much control or legato options.

I'm a huge Spitfire fan and would love to find what I'm looking for from Spitfire but I've been wondering if I should look elsewhere for this sound. Then this sale came on.

I've heard mixed reviews about Alternative Solo Strings.

What say you?

Comments

  • Alternative Solo Strings is one of only two disappointing purchases I've made from Spitfire. The lack of legato probably rules it out for your use case. It does have several useful articulations not to be found elsewhere (I love the staccato digs for e.g.) As a palette-widener it's an excellent tool, but IMO it's not that useful as an exposed general-purpose solo library.

  • Jack
    Jack mod
    edited April 8

    I love Alternative Solo Strings! I personally find it should be considered more of a tool for particular styles however and not an all round go to Solo Strings library. For example, I wouldn't suggest using it for traditional Solo Strings Arrangements which are more classical based, or the leaders who sit in front of orchestras.

    That being said, where I believe this library really excels is when writing within folk music styles, or more intimate Neo styles where the drier, rougher around the edges tone suits taking lead /FX phrases or chordal accompaniments.

    I've also found by being recorded on a dry sound stage it gives the ability to manipulate and make unique sounds in a way that is greater than other libraries in the solo ranges making it quite flexible in other ways when working in popular music genres, or creating horror scrapes.

    The drier, rawer shorts and pizz sounds also really great for creating Ticky percussive sounds.

  • I'm really fond of it. I use it along side LCO which it works with beautifully. When I need the contrasting, missing articulations, I'm usually looking for something its not designed to do anyways, so BBCSO has filled my "smoother, graceful" niche. ASS, as it shows up in NI Access (really, can't I get a graphic??? hahaha...my wife makes fun of me whenever I open Access for updates...), is my avant-grade and experimental soloists library.

  • I'm really fond of it. I use it along side LCO which it works with beautifully. When I need the contrasting, missing articulations, I'm usually looking for something its not designed to do anyways, so BBCSO has filled my "smoother, graceful" niche. ASS, as it shows up in NI Access (really, can't I get a graphic??? hahaha...my wife makes fun of me whenever I open Access for updates...), is my avant-grade and experimental soloists library.

  • Really appreciate the feedback! It does seem to be a library I'd enjoy. I'm definitely interested in the dry and more "imperfect" qualities. The question for myself is: do I break the rule I made for myself to not buy any more sample libraries? Haha. I have a handful of Spitfire libraries I never touch. Not because they're bad, but because I get shiny object syndrome and then never touch them for compositions.

  • Really appreciate the feedback! It does seem to be a library I'd enjoy. I'm definitely interested in the dry and more "imperfect" qualities. The question for myself is: do I break the rule I made for myself to not buy any more sample libraries? Haha. I have a handful of Spitfire libraries I never touch. Not because they're bad, but because I get shiny object syndrome and then never touch them for compositions.

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