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Multis are a much cherished feature of the Symphobia series. as for each note you play, three more will spring to mind. Of course you will find ProjectSAM's popular Dystopia section, too, with all-new sound design based on the library's samples.
#Project sam symphobia 3 vs garritan full
a full bell tower! The library also pays homage to the playful world of cartoons with dedicated ensembles and phrases for careful tiptoeing and tongue-in-cheek suspense. Lumina's solo and guest instruments range from legato woodwinds, such as oboe and clarinet, to a beautifully sampled celtic harp, tin whistle and. Refined with grand piano, harp and percussion, these recordings are truly luminous. Moreover, Lumina is packed with superbly orchestrated textures covering the full spectrum of fantasy and mystery. The warmth and beauty of orchestra and choir performing together has been captured in stunning, playable ensembles. ProjectSAM is well-known for its ensemble recording concept, and Lumina trumps this with even finer arrangements.
#Project sam symphobia 3 vs garritan series
Based on more recordings than ever before, this third volume in the Symphobia series is ProjectSAM’s most ambitious release yet. With Symphobia 1 and Symphobia 2, ProjectSAM explored the heavier side of orchestra to help you thrill directors and audiences around the world.įeaturing full orchestra, choir, smaller ensembles and a wide range of guest instruments, Symphobia 3: Lumina dives into the world of fantasy, mystery and animation, adding depth and delicacy to your musical palette. I personally feel that it helps to have at least a peripheral idea of what you want your musical voice to be, and that can sometimes be determined by abstracting from the sum of your influences.ProjectSAM Symphobia 3 Lumina v1.5 KONTAKTįeaturing full orchestra, choir, smaller ensembles and a wide range of guest instruments, Symphobia 3: Lumina dives into the world of fantasy, mystery and fairy tales. My individual sound and style are very important in my compositions because I'm a big believer in expressivity being the soul of an artist. Put away buying for certain time.hell, I even put away social media/forums completely for the first month after Ark 2. You just have to put the time in writing with the library. This happens too-seldom in sample libraries (I usually have to tell the performers what I want specifically), but it has happened, and it will happen to you. One could say they were analogous to my inner, musical voice. It's not that he thought they were musically unsound, badly programmed, or recorded poorly.but it took him a couple of seconds to understand that those particular patches worked for my own musical personality. I compared patches from a well known library to a fellow composer last year and he was frankly astonished at some of my picks. It takes a lot of actual working with the library to get the best out of it, and I think some of it has to do with finding one's own sweet spot(s). If someone intends to pay £1,000 or something for libraries and then limit your self to scratching the surface with five minutes' scan-throughs, I guess that's ok, but to me these are complex tools that take a lot of time to learn. Such overviews are somewhat less true of brass or wind libraries, but some of those also offer so much depth now that the "quick overview" from someone outside the company - a relatively uniformed user - is quite limited in applicability. Consequently, only someone who's spent a month - more? - with one of the larger libraries is going to be able to tell you whether it can really pull off this or that musical effect.
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Comparisons of full / fairly complete libraries generally are so limited in their usefulness as to approach meaninglessness.Ī big library like Hollywood Strings or Spitfire Symphonic Strings sports a large number of patches, often quite a few specialised key switches or other controllers, and is very sensitive to which patch, and how (which cc controllers) you choose to execute a particular musical passage.