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Spitfire Audio “This is London Calling” - BBC Symphony Orchestra

justthere said:
Attacks are important, releases are important, but they are also the shortest things in a note for anything but spiccato. There ought to be plenty of dynamics in the sustain available. Otherwise it will sound static
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You misunderstand, I mean dynamics in the technical sense of the word. I.e. the difference over time between the loudest and softest signals. Clearly attacks and releases are the most dynamic parts of the note. Yes of course there should be variation in the sustain portion of the note but at the moment we have little control over that apart from crossfading between different samples.
 
I don't think I'm misunderstanding you - I just take issue with the idea that we aren't sensitive to level changes in sustains when it comes to perception of realism. And we do have control over it to a large degree, though not always in the best way in traditional libraries like Spitfire's. It kind of sounded like you were saying if we had good attacks and releases then the sustain wasn't such big deal. I disagree, that's all.

VinRice said:
You misunderstand, I mean dynamics in the technical sense of the word. I.e. the difference over time between the loudest and softest signals. Clearly attacks and releases are the most dynamic parts of the note. Yes of course there should be variation in the sustain portion of the note but at the moment we have little control over that apart from crossfading between different samples.
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justthere said:
I just take issue with the idea that we aren't sensitive to level changes in sustains when it comes to perception of realism
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Well, I said less sensitive, not insensitive and I don't know what to tell you - it just happens to be a fact.
 
I doubt they'll have some new innovative software technology.

  • CH has said that "they're not a sampler company" - e.g. they make VI's not the software. That could change, but ...
  • There's no way they could go from zero - no sampler - to beating all of their competitors who have been working on this for decades
  • There's no way they could do that without hiring some industry top talent, which AFAIK they mainly staff with young new folks
  • They couldn't pull that off in a few short years since getting funding
  • Unlikely they could do that in parallel with the other libraries they've been releasing
Companies have a DNA, and C & P know nothing about software but lots about sampling, and Spitfire has that written all over it.

The two key bits are the "London is calling" and "pirate radio" as others have mentioned. So some kind of thing with the BBC seems obvious, like a BBC symphony orchestra library. OTOH this kind of library takes years, given their other releases I don't see how they could have pulled it off.
 
VinRice said:
the fact that Spitfire are the most successful company in the space
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Are they, do you have market share numbers? Not being snide but without hard data that's ill defined. VSO is the big brother, EastWest is the venerable choice been there for years with Spitfire as a relatively new comer. I think of them as the Tesla of VI's - big fan base, lots of attention, but the other companies are probably bigger in terms of customer base and revenue.

Note I have no idea either, just speculating, but since these are all private companies we don't know their relative popularity. My impression is that the big composers buy stuff from all of them, at least as evidenced by their templates.
 
I'm sure this thread can go even bigger. Sounds like it's the announcement of another announcement. I mean, the library introduced Wednesday will be only released mid October (info taken from latest pianobook video).
 
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