![]() ![]() ![]() My Ableton workflow is about the same as it's been for the last fifteen years or so. Once in a while I will use a UAD plugin like Ocean Way Studios for strings reverb, or some sort of saturator to add bite on the short strings, but this is not all the time. I've tried out many other libraries like CSS and Spitfire in that cue, thinking I could improve upon the sound, but I always wind up going back to the original combo of live + Kirk Hunter.Īs for the plugins, it's kind of hard to see in those videos but for the most part I am just using Logic's stock eq and compressor on every channel, with Space Designer's "Piano Hall 2.3 sec" preset as my only reverb, and Waves 元-LL as a limiter on the stems. But things like the sustained strings and high staccato melody in the Hello Zepp cue are made from a live string quartet layered with an old Kirk Hunter "chamber strings" library that was originally for the Akai S-1000 and is maybe 20 years old. I need a wide variety of string libraries so that I can find the ones with the kind of attack and "chunk" that I want to hear, and I combine and layer them in various ways to sculpt the sound to my liking. When I'm trying to get those chugging ostinato strings, then, sure. I actually DO have most of the fancy libraries, and I do pick bits and pieces that I like from them, but a lot of the time when I try to build a cue from those sounds it just sounds "normal" and "ordinary" and I quickly lose interest. Then 6gb of download becomes 100mb of stuff I might be able to use without being too embarrassed. No backups, no second chances - just "spacebar, delete, spacebar, delete, spacebar, oooh I'll keep that one, spacebar, delete" all day long. So I'll buy that Boom Library "cinematic metals" library on special for $99 from VSTBuzz or whatever, just because with a name like "cinematic metals" there HAS to be something good in there, and then immediately load it up in AudioFinder, audition every one of the 4,000 wav files and delete them as I go. But nobody is coming to me for that type of music, and it's not "morally satisfying" to me to use that kind of content anyway. A lot of that content is quite well-produced and useable - drop some 16-bar loops into Ableton, overdub a few lines, and in an hour you've got a tense documentary score suitable for the Vice TV channel. Same thing with "inception braams", "epic trailer drums", etc. Robot and all that, it took about three months before the sample library sites were absolutely awash in this type of content - pre-packaged and ready to rock. When the retro-synth-wave craze hit a couple of years ago, with Stranger Things and Mr. ![]()
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