Trailer Brass - sample library

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remmet
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Re: Trailer Brass - sample library

Post by remmet » Sat Dec 17, 2016 1:55 pm

Cruciform wrote:I've looked and looked and never found a brass library that quite satisfies me for trailer work. I have to use all sorts of processing to beef 'em up.

But finally this looks like a really good option about to be released. http://www.musicalsampling.com/trailer-brass/

Walkthrough here - https://www.youtube.com/watch?v=ulVcRm9 ... e=youtu.be

Edit: yum, first play is delicious. Will report back once I've used it in something.

This sounds great and is certainly worth considering even at the current price of $249.

But I have a couple of questions for Rob and others who are writing trailer music using VSTs: Are you getting your music placed in trailers? And if so, what type of films do these trailers support?

I had one 13-second passage of my music placed in a big-time trailer a few years ago (Elizabeth: The Golden Age). It was an etherial passage using virtual strings placed under Cate Blanchett's voice-over. But for the big bombastic action trailers, I wonder to what extent composers using virtual orchestras can compete with those who have the resources to hire real orchestras.

I know this is not the best Forum category for this question, but if anyone cares to respond, I'd be interested in your observations.

Richard

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Re: Trailer Brass - sample library

Post by edmondredd » Sun Dec 18, 2016 4:18 am

Hey Richard,
I've spent the last year writing orchestral cues.. Not a single placement until now, but I've found that it just keeps better every time in terms of understanding the orchestra, the different articulations, the layering and all of these. I love epic orchestral music, and I'm hoping I'd do that as a full time job. What I discovered, is that, no matter how hard you try with virtual instruments, there is no way to reach what a real orchestra can do. One of the biggest trap is to tend to "write to the samples", which is a destructive limitation. The opposite would be to think the instrument, to visualize the player, and to play the part as if it was a real musician interpreting your score. This way, you'll get very close to what a real orchestra can do.
It does take time, effort and CPU power.. a lot. But I hope one day I'd be signed with a big trailer library: they usually pick a couple of tracks from different composers and set a real orchestra to play them.
Rob is definitely one of the best resourceful persons on this forum regarding the matter, I've personally learned a lot from him, thanks to his peer reviews, advices and forum posts.
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Re: Trailer Brass - sample library

Post by Cruciform » Mon Dec 19, 2016 6:17 pm

remmet wrote:But I have a couple of questions for Rob and others who are writing trailer music using VSTs: Are you getting your music placed in trailers? And if so, what type of films do these trailers support?
Yes. Although placements for my music in major spots is still a short list, check out the credits of companies like Colossal Trailer Music, Red Cola, Cavalry Music and Really Slow Motion just for starters. These guys don't use live orchestra. Companies like Two Steps From Hell, Audiomachine and Immediate Music do record the real thing and they do get more of the big spots but they also have a helluva larger cost base to recoup before net earnings starts. For them it's worth it because they're already established with long credit lists and solid contacts. They'll also tend to get major ads because 'real orchestra'. If you can get onto the writer's list for one of those companies, it's certainly worth it.

For hybrid music I actually don't think it's really worth the extra cost. Check out the credits list for Jack Trammell just as one example. He uses samples. But for straight orchestral style music, yes, the real thing with a top notch mix engineer and mastering guru certainly puts the production into a league up. With one company I had a run of tracks recorded with live strings and choir and it sounded great but again to be honest, I think full orchestral recording is where you'll hear a real world difference.

FWIW, we've (Cypher TM) gotten quite a few positive comments back from industry contacts and are regularly being pitched for major spots. It's ultra-competitive though. Takes time to lock in the good placements and sadly, all too often you can do all the work (such as a custom cue) and still lose the spot because they change direction. That's happened to me several times. :(

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Re: Trailer Brass - sample library

Post by remmet » Tue Dec 20, 2016 3:48 am

Well, I got the Trailer Brass library following a couple of other recent orchestral libraries. They seem to be getting better and better. I posted the first result on Peer to Peer if anyone is interested.

And thanks for the info, Rob. Sounds like you're doing well!

Best,

Richard

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Re: Trailer Brass - sample library

Post by orest » Sat Dec 24, 2016 3:04 pm

I think Cage Brass from 8dio is worth looking into to!
That will be my next purchase. I'm currently using Cinesamples Cinebrass and will add Cage Brass to my collection.

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Re: Trailer Brass - sample library

Post by remmet » Sat Dec 24, 2016 7:34 pm

Another excellent brass library is the Spitfire Symphonic Brass.

https://www.youtube.com/watch?v=mCn1Wl9 ... 524Q#t=696

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Re: Trailer Brass - sample library

Post by orest » Tue Jan 03, 2017 2:37 pm

I'm not sure if East West HollyWood Brass might be something?
It's on sale and the Gold edition is really "cheap" now.

It's a bit heavy on the computer, but if you have an high end computer with a lot of RAM it shouldn't be any problem.

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Re: Trailer Brass - sample library

Post by MattCurious » Sun Jan 15, 2017 6:43 am

I recently had a trailer mixed by a top-drawer engineer with serious mainstream credits - he works with some of the people mentioned above (I won't name-drop for his sake rather than mine!). I wanted to observe the session and see what I could learn. He was happy to talk me through his process - it was absolutely invaluable and possibly the best Christmas present I've ever had.

One of the main pieces of advice was that it's possible, in his words, to "get the same result" from 10-15 tracks of audio as it is from using multiple libraries and so on. In his view, we (aspiring composers) often over-think this stuff.

Based on our session, the authenticity seems to come largely from the orchestration and being careful with your articulations (he softened some of my more obvious dynamic rides by multing them in the mix).

And the size and richness seems to be very much about reverb - but more the quality of the plugin than the settings (he's "not that bothered" about pre-delay and the like). I'd been completely ignorant of this. But he demo'd a few "quality" reverbs for me and in my view it's made all the difference.

I only use Brass Ensemble (Symphony Series, NI), but with a quality reverb (he demo'd Lexicon as a "relatively affordable, quality reverb") it sounds like thunder.
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