No, I think you're correct. I'm sure that Miroslav is included in the SampleTank free sounds. I can see the directory with that name once the free sounds zip file is unzipped.
I can certainly select Strings Ensemble, Chamber or Music (see 1st attachment, am I looking in the right place?)
But I cannot find the term Miroslav in BIAB, that's what I was trying to do.
The BIAB Help File shows the 2nd image, which includes Miroslav
My VSTi settings shows as per last image, below.
I'm still confused about that statement: "There are a few samples of what Miroslav can do in the Sampletank finder, listed as "Miroslav Philharmonik Sounds."" Q: Is that Sampletank finder a separate thing, or is it the VSTi plugin screen, as I've got listed below (but with no Mr. Miroslav)?
BIAB & RB2026 Win.(Audiophile), Windows 10 Pro & Windows 11, Cakewalk Bandlab, Izotope Prod.Bundle, Roland RD-1000, Synthogy Ivory, Session Keys Grand S & Electric R, Kontakt, Focusrite 18i20, KetronSD2, NS40M, Pioneer Active Monitors.
Win10Pro,i9,64GB,2TBSSD+20TBHDDs,1080TI,BIAB'24,Scarlett18i8,Montage7,Fusion 8HD,QS8,Integra7,XV5080,QSR,SC-8850,SPLAT,FL21&others,Komp.14,IK suite&others, just a guitar player-AXE FX III &FM9T, FishmanTP, MIDIGuitar2, GK2/3'sw/GI20
Appreciate the clarification. Interestingly, when I unzipped the Free Samples, in the "Instruments" folder there is definitely a folder with that name "Miroslav Philharmonik Sounds" and containing 104Mb of files.
I ran the associated file: "SampleTank Free Sounds Installer.exe" that came with the download, but it apparently didn't install the Miroslav or other files?
What's more interesting is that all of the above are included in the download named: "SampleTank Free Sounds", so I really expected Miroslav to be free...
BIAB & RB2026 Win.(Audiophile), Windows 10 Pro & Windows 11, Cakewalk Bandlab, Izotope Prod.Bundle, Roland RD-1000, Synthogy Ivory, Session Keys Grand S & Electric R, Kontakt, Focusrite 18i20, KetronSD2, NS40M, Pioneer Active Monitors.
Unless you only happened to need that ONE brass ensemble - French horns, or only the one choir sound of "Female Oh's" or solo Violin 2 looped (which is not bad).
Larry
Win10Pro,i9,64GB,2TBSSD+20TBHDDs,1080TI,BIAB'24,Scarlett18i8,Montage7,Fusion 8HD,QS8,Integra7,XV5080,QSR,SC-8850,SPLAT,FL21&others,Komp.14,IK suite&others, just a guitar player-AXE FX III &FM9T, FishmanTP, MIDIGuitar2, GK2/3'sw/GI20
Hi Larry, and FlatFoot, thanks for the feedback and clarifications.
So, one tiny sample as a teaser eh? I should have known. There really is no such thing as a free lunch...
Appreciate your efforts
Regards
Trevor
BIAB & RB2026 Win.(Audiophile), Windows 10 Pro & Windows 11, Cakewalk Bandlab, Izotope Prod.Bundle, Roland RD-1000, Synthogy Ivory, Session Keys Grand S & Electric R, Kontakt, Focusrite 18i20, KetronSD2, NS40M, Pioneer Active Monitors.
Look into the Native Instruments software solutions.
Get Kontakt as it has a nice selection of orchestral stuff and is considered by many cinematic composers to be a MUST HAVE piece of gear.... good stuff at a reasonable price. Entry level to the professional realm.
In addition, NI has dozens of add on sound packs that are worth looking at since each one generally has a specialty and runs on Kontakt.
PLUS.... there are lots of little independent companies making their 3rd party sample libraries so that they run on Kontakt.
You can't go wrong with Kontakt.
You can find my music at: www.herbhartley.com Add nothing that adds nothing to the music. You can make excuses or you can make progress but not both.
The magic you are looking for is in the work you are avoiding.
Thanks Herb, will have a look. NI Kontakt works OK in BB and RB?
BIAB & RB2026 Win.(Audiophile), Windows 10 Pro & Windows 11, Cakewalk Bandlab, Izotope Prod.Bundle, Roland RD-1000, Synthogy Ivory, Session Keys Grand S & Electric R, Kontakt, Focusrite 18i20, KetronSD2, NS40M, Pioneer Active Monitors.
Yes Kontakt works in BIAB and RB (it has both 32 and 64 bit VSTis) I use it as well as Sampletank (and a bunch of others) .
It is now sort of the "standard" sample library player and you just missed the holidays sales with reduced pricing - but I think they do it again a few months.
You can get the free Kontakt Player right now ((just like IK's SampleTank freebie) but it has a lot of limits and a lot of commercial libs will only work for 15 minutes and can’t run scritps etc. unless they specially state they will work with the Kontakt Player - check it out!
It will give you an idea of how well it works, what it's capable, convince you that it works with your music SW etc. and with some homework you can see how much ti will cost to get it and a few good libs.
Larry
Last edited by Larry Kehl; 01/01/1409:08 PM.
Win10Pro,i9,64GB,2TBSSD+20TBHDDs,1080TI,BIAB'24,Scarlett18i8,Montage7,Fusion 8HD,QS8,Integra7,XV5080,QSR,SC-8850,SPLAT,FL21&others,Komp.14,IK suite&others, just a guitar player-AXE FX III &FM9T, FishmanTP, MIDIGuitar2, GK2/3'sw/GI20
At one time NI actually was giving away a free player that worked with no limitations other than it wouldn't run all the samples the full Kontakt player would.
Yes, Kontakt runs on BB/RB as well as most other DAW's which support VST plugs.
If I could only have one synth..... Kontakt would be that synth
You can find my music at: www.herbhartley.com Add nothing that adds nothing to the music. You can make excuses or you can make progress but not both.
The magic you are looking for is in the work you are avoiding.
Everything that works that can possibly be done with Strings has already been written.
Voicings, choice of chord stack open, closed, etc. and even other instruments in the orchestra that work well (and it pays to know which instruments DON'T work well with Strings) are as close as your local library that stocks "mini scores" of classical musics and etc. Studying a few of these, while listening to recordings of the piece, can serve as a full education in String Arranging that will last a lifetime.
Orchestral Instruments that work well with Strings are the woodwinds and the French horns, mostly.
Pays to listen to those genres, too, and get to know the few various String arranging systems, so that you can knowledgeably pick one that fits your personal project.
Closed voicing in chording is not all that wonderful with Strings in popular recordings, unless we are talking String Quartet or the likes, which usually stand alone.
Opening up the voicing can open up the String part. Yields Space.
A few close-spaced triads played on any String sampler or synth will "organ" - and kill any chance of yielding the most desirable aspect that Strings can bring to a project. At that point, you could substitute a Pad of any type, synth, organ, what-have-you using the same notes and achieve the same result, but it likely won't sound like a String arrangement should.
Put the Violins in the octave that Violins play in, the Violas in the octave that Violas live in, Cellos in their area, Bass Viols at the bottom. This should cover at least two octaves, if not three or more, depending on things such as available Space, etc.
Finally, having some MIDI samples of MUTED strings can really be a very good thing.
>>>...A few close-spaced triads played on any String sampler or synth will "organ" - and kill any chance of yielding the most desirable aspect ...>>>
Hi Mac! ... I know how to write open and closed voicings, and how they sound .. but please explain the use of the term "To Organ..."
. >>>...Put the Violins in the octave that Violins play in, the Violas in the octave that Violas live in...>>>>
I love the sound of solo viola, but when I write for a string quartet using my idea of SATB voice ranges, the result is often thick and muddy. Its worse when there is a BiaB rhythm section playing. Losing the viola often opens up the sound.
What would you suggest for a bottom note for the 2d violin and a top note for the cello, such that the viola has a respectable space of its own in which to play?
Flatfoot sez: Call me when 'Talent-in-a-Box' is ready to ship! -- [8{>
>>>...A few close-spaced triads played on any String sampler or synth will "organ" - and kill any chance of yielding the most desirable aspect ...>>>
Hi Mac! ... I know how to write open and closed voicings, and how they sound .. but please explain the use of the term "To Organ..."
One of the aspects of ensemble playing is that no matter how well-trained the musicians involved are, no matter how well each has practiced their ability to count, which in performance terms means, "to hold meter" - the fact remains that not every single member of that ensemble is going to initiate each and every note at the exact same point in time.
String parts, horn parts, etc. that are played on a keyboard with one hand and sometimes even with both hands will have all notes starting at darn near the exact same times and thus add that telltale "organ-ing" sound. Think the Theater Organ sound. Dead giveaway.
Quote:
>>>...Put the Violins in the octave that Violins play in, the Violas in the octave that Violas live in...>>>>
I love the sound of solo viola, but when I write for a string quartet using my idea of SATB voice ranges, the result is often thick and muddy. Its worse when there is a BiaB rhythm section playing. Losing the viola often opens up the sound.
What would you suggest for a bottom note for the 2d violin and a top note for the cello, such that the viola has a respectable space of its own in which to play?
I've already suggested what needs be done.
Again, "everything that can be done with Strings has already been done" - get your hands on some scores and check it out.
Sometimes it is not necessary to assign a different note to each string section. This is much the same sort of thing as assigning vocal harmonies, it can get very dense sounding very easily, consider the different Timbres of the same note, perhaps being shared among your 2nd Violins and Violas, or between Violas and Cellos.
Sometimes just two notes are all that is needed, too. Strings are the original "Pad" - often just the sonic "glue" that is just enough to compliment what else your song is doing as movement.
Often can be the case where that movement is rhythmically, melodically, or a combination of both that create too much "chop" - add the pad to smooth things out. And leave the feelings and emotions to your listeners, where they belong.
Movement within the Pad is best done in between Melody/Vocal movement.
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