LA Scoring Strings

Very beautiful texture, and very real sounding, especially in the crescendo. I also like the dryness of the samples, because i reckon there’s much of a difference to create with a variety of reverbs.

Thanks for posting.

Great pieces and the strings do sound amazing. Can I ask, what other libraries did you use? For example, woodwind, brass, percussion, vocal etc?

Thanks for the feedback on these strings and the compositions.  Regarding sheet music, I haven’t thought of doing that, but if I do I’ll have Andrew Kerestez post them on the LA Scoring Strings site.  I mostly use custom samples I’ve recorded myself through the years for winds and brass, but hope we’ll have better options commercially soon.

Colin

Stunning.

Hi Colin,

Nice music, very well done! How much effort did you put into it? I mean, how much work is it to create such realistic strings with LASS? Can you describe the process (inputting and editting notes and velocities, finetuning, CC’s, ...).

Thanks, Wouter.

I heard this the other day (She Was a Fair Lass), and I really do think it is the most realistic VI string performance I have ever heard.

Obviously this isn’t just the library.  You have a great sense of orchestration.  I love how you passed the melody between the violins and cellos.  There was also a great use divisi, which really gave this piece outstanding dynamics.

On top of that the mixing was superb.  I’m assuming you’re using Altiverb, which is how you gave the mix such depth.

I wish I heard this earlier.  If you continue creating music like this I imagine I will see you on the Academy Awards some day.

Are those real voices or samples? Wow, this is the most gorgeous piece of music I have heard in a long time. Kudos. I would love to see the score for this as well; i am just starting to learn the art of writing for strings.  again, wonderful work Colin!!

Thanks for your comments, Alan.  The voices in Reverie in G are real.  3 female vocalists triple tracked actually.

Colin

You are very talented   & me 2 would love to see the score if it possible   for (( reverie in G ))  It`s Amazing .  Thank`s

Hello Collin, beautiful music, amazing, great orchestration, i like your music, i wish you succes.
The library is incredible. I follow you.

Dear Colin

I fell head over heels for this piece the first time I heard it (as I suspect most people did).

If you’ve got an album of this stuff, I’d sure like to know about it!

Carl
UK.

Hi Colin,

I hope you make it big in the movie biz. I know this has been said already, more or less, but once more:

I consider both of your works with LASS to be THE best programmed orchestral stuff ever. AudioBro can be very happy they have you for making these, coz it is not that easy to program as it sounds… LASS is very cool, but your demo is breathtaking !!

Hello Colin

I love what you do.Thanks for the inspiration.

Can you answer this for me please ??? Do you score your strings before sequencing them everytime ???

Thank you

Thanks a lot, Stephano.  No, I never write using traditional notation first.  I work everything out in my sequencer.  I only deal with notation if a cue is going to be recorded live. 

Colin

hello Colin, congratulation for this work in the music, very very amazing.

could you tell me? how is the process to make these projects, step by step? what do you do after the melody have been create?  from Colombia.

Thank you.

Gilberto Santamaria

Indeed, outstanding job on these LASS demo’s. Well, outstanding job on all your productions you did so far, I just listened to everything on your site, very impressive stuff. I just ordered my copy of LASS, and I really hope I can get a fraction of the result you did on these demo’s. Really looking forward to using this library, I’m convinced this library will be a step up, from the VSL’s I’ve been using so far.

Keep up the good work. I’ll be looking out for your name in end credits.

A new fan, from Belgium.

Hey Colin i like youre work! I was hopping you could give me a tip on how you set the reverb for the strings. I guess you youse the altiverb, Todd AO setting, but i would really apreciate if you could tell me how exactly you set the altiverb parameters and pan for the strings! Thanks and congrtulations again!

I’m just going to repeat the previous post by Gabriel.

What setting do you use?  Are you bussing the signal of each section to multiple instances of Altiverb?  What mics, dampening, etc.?

If you use Logic I would buy a mixing template off of you - that’s how bad I want to know your mixing secrets.

Either way, your music is fantastic.  Thanks and best of luck.

-Keith

Keith and Gabriel,

I wish I had some sage advice, but I really don’t.  If anything I’m doing very little to LASS eq and verb wise and just embracing the natural sound of it.  I really work to keep things expressive in the lower dynamics with cc1 and cc11.  I am very careful about using a lot of higher dynamics. I think spending too much time at the ff dynamics really starts to make things sound harsh (with any library really).  That’s the biggest mistake I hear in some mock ups (including my own) A live group seems to move from mp to ff on nearly every note of a ff passage for example.  There is always a subtle arc in there.  I’m mimicking that on every attack.  Basically, try to write with LASS riding CC1 from 0 to 70 (only above that for occasional drama).  CC 11 just use for shaping lyrical attacks and coming out of notes in a flow.  Don’t over do it.  The tendency is to go nuts with CC1 because we want things to be expressive.  You’ll end up chasing your tail, feeling like you need to fix things with verb and eq when you spend too much time sitting at the higher dynamics.

Colin

you are better.. very better wow i love this library that’s sound is great wow i’m bryan reyes I am an amateur composer, clarinetist and part of the Philharmonic Orchestra of Honduras unfortunately in my country there is no orchestral conducting race composition or unfortunately I love to be a composer pucha learn more and respect the truth that I admire much in love your music wow indeed you are one of my favorite composers I admire very much happiness I really would like to show some of my pieces and made so perhaps you give me good advice thanks