The Sound Board

I wonder if layering will solve the problem though, since with layering samples you are layering noise too, which is going to have a similar effect to increasing the gain.

I'm a little more understanding of ambient noise given the philosophy. Blatant coughs and other intrusive noises are still hard to forgive, but room noise is understandable when you're sampling sounds that are barely ppp.

Not for me really Jason. My very first thought when I head the concept of "quiet library" "at the edge of silence (TM)" was noise reduction. First thought. The very concept begs a technical challenge, especially in somewhere like Air hall - for me it's a significant failing that they didn't really seem to factor it in adequately. My guess is that they have done some, but didn't go far enough / have the rigour needed to apply across the library. Again, that doesn't stop much / most of it being terrific, but it looks to me like another example for me of when the Spitfire Hype Machine (TM) failed to meet the reality.

Guy Rowland wrote:Not for me really Jason. My very first thought when I heard the concept of "quiet library" "at the edge of silence (TM)" was noise reduction. First thought. The very concept begs a technical challenge, especially in somewhere like Air hall - for me it's a significant failing that they didn't really seem to factor it in adequately. My guess is that they have done some, but didn't go far enough / have the rigour needed to apply across the library. Again, that doesn't stop much / most of it being terrific, but it looks to me like another example for me of when the Spitfire Hype Machine (TM) failed to meet the reality.

+1 here.

Disclaimer: awaiting the ssd to arrive tomorrow before installation of Tundra.

Hats off to the Spitfire group for all the good work they've done but... (but - the one word that cancels out all the good that comes before it) in their manufacturing of so many products within a short timeline they have failed to reach (or any apparent attempt to reach) the Quality Control heights of VSL in 2003.

I realize the two founders have very adventurous/omnivorous goals for all the sampling needs they want met. Perhaps a tad of judiciousness might be warranted.

Probably like most in this forum I have thousands of dollars of Spitfire libraries and use them in every session. Still I seem to continue to purchase them on a regular basis despite their flaws.

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I bought Tundra yesterday and had a quick play with it this morning. I really like the sound and the Steam Band / EVO bits are great too.

The difference in volume levels between the High Strings and Low Strings patch is enormous though. Turning on the close mics helps a lot but I found I was turning the volume up in Kontakt lots and had expression at max.

My thoughts on Spitfire's idea of acceptable noise are very different from Christian's though. I don't mind a few noises here and there but I don't want to hear the same squeak everything I hit C4 of a string short. That in itself isn't realistic!

I've found a noise in Tundra's low Brass FX patch on B1 & C2

https://www.dropbox.com/s/wmkxbtx4caxrr ... r.wav?dl=0

I don't really think I should be able to hear someone clearing their throat on a £300 sample library. I found it in about 5 secs of playing the patch!

Guy Rowland wrote:Not for me really Jason. My very first thought when I head the concept of "quiet library" "at the edge of silence (TM)" was noise reduction. First thought. The very concept begs a technical challenge, especially in somewhere like Air hall - for me it's a significant failing that they didn't really seem to factor it in adequately. My guess is that they have done some, but didn't go far enough / have the rigour needed to apply across the library. Again, that doesn't stop much / most of it being terrific, but it looks to me like another example for me of when the Spitfire Hype Machine (TM) failed to meet the reality.

Agree with all this, especially the hype. The video of Christian walking through the woods...ehhh cringe level off the charts. While I admit that, IMO, their over the top style of marketing has always been a huge turnoff to me, this is just on a whole new level. I'm still not quite over the whole Sable to SCS upgrade where they basically said pay up for ensembles (I bought the sable bundle in 2013, long before ensembles was even talked about) if you ever want an update again, so I'm sure that factored into my feelings.

On the noise, I also agree 100%. When Christian was describing Tundra my first thought went to the sound of ambulances and bodily noises in general, lol. No thanks, not my bag.

As an aside, awhile back I recall Hans Zimmer saying he usually records with the ceiling lower than spitfire does. I think somebody asked him why all that ambience wasn't in his recordings like their libraries. That immediately made me want a whole new SF orchestra with the ceiling lower!

Are you referring to the ambulance in Sable's double bass longs?

Lol, probably. It's been awhile so I can't recall the specific patch.

It's definitely there, I listened to it this morning just in case I'd imagined the whole thing :-)

I let Spitfire know about the throat clearing in Tundra and they replied saying that there was definitely a noise but not necessarily a cough. Sounds like one to me.

I don't know about that one, I mean, listening to the demos and walkthroughs. If I remember correctly,Sascha Knorr said something about Mr Thompson's walkthrough not being his cup of tea because they don't show enough aspects of the libraries or just simply not demonstrate what they're capable of, their playability. On this one, I must admit I'm in his camp : I find it hard to have an idea beyond the sheer tone of a couple of notes. I like the concept of Tundra, as I'm a tad fed up with "loud like thunder" libs we've heard the last 5 years or so but during the walkthrough I found quite some overlapping patches, especially amongst strings - and some not making enough difference if I come to compare them to my Mural vol 1. Might just be my poor gift at discerning.
I find it deconcerting too that Mr Henson is saying something like it's even too new a concept for him to know exactly how to deal with the "almost silent" patches, if not layering them with others till you can hear something without resorting to the "gain" knob of your DAW mixer.

I think Tundra is going to be a bit like Albion Loegria - lots of nice Strings, and a few other alright patches I might use every now and again.

I've had a good play around with it now and I still really like the sound of the strings. I'm not convinced that I'll use the brass and winds too much though. I like the sound of them, I just wonder how much use they'll get.
All the synth stuff sounds great though too.

In terms of the volume level, I'm finding that I'm turning on more mics - almost always the Close mics. Quite a lot of the patches operate on very different volume levels. I really wouldn't want to be using it with key switches. Some of the patches are REALLY quiet, while others seem more usual for spitfire.

Interesting sounds but I too feel like I can cover this area with other libraries that don't have the noise problems. As it is I turn up most if not all Spitfire patches 6 to 12db, can't imagine grappling with even lower patches and RX in my template. For those using soft strings regularly it's interesting colors. Would be amazing to hear a library like this that had less air (lower ceiling) and super clean pre's right into high end A to D's - recorded 96k/24 bit- and delivered that way- just the strings. If every effort was made to lower the noise floor with signal path (amazing mics, cable , preamps, AD, etc) then to select only the best takes (no chairs, noises, coughs, etc.). It would be worth $200 for strings alone. But I realize this is a monumental task given the size of the players and the amount of recording needed to provide for all the takes of all the articulations (at least it's only ppp dynamics).
I'm still holding out that Alex could do something like this in the next couple of years.