East West Quantum Leap Symphonic Orchestra Platinum Crack Strain

STRINGS • 18 violins. • 11 violins. • Ten violas. • Ten cellos. • Nine double basses.

East West Quantum Leap Symphonic Orchestra Platinum Crack Strain. Insider - Information about all domains. The AXS Cookie Policy. This website, like most others. Quantum Leap Symphonic Orchestra Platinum Pro Bundle At a Glance. High-quality Samples Total Control Over the Ambience. East West PLAY 4 and Pro Tools 11.

• Solo violin. • Solo cello. WOODWINDS • Three flutes. • Three clarinets.

• Three oboes. • Alto flute. • English horn.

• Bass clarinet. • Contrabassoon. BRASS • Four trumpets.

• Four tenor & bass trombones. • Six French horns. • Three Wagner tubas. • Trombone & bass trombone. • French horn. Doom 3 Download Full Game Pc on this page.

DRUMS & CYMBALS • Bass drum. • Snare drum. • Snare drum ensemble. • Field drum.

• Field drum ensemble. • Tenor drum. • Funeral drum.

• Crash cymbals (piatti). • Suspended cymbals. TUNED PERCUSSION • Timpani. • Tubular bells. • Glockenspiel.

• Vibraphone. UNPITCHED PERCUSSION • Tam-tams. • Metal rail. • Wood block. • Slide whistle. • Tambourine.

INDIVIDUAL VOLUME SIZES • Strings: 27.9GB. • Woodwinds: 16.5GB. • Brass: 17.4GB. • Percussion: 5.41GB. • Entire library: 67.21GB. Maintaining a convention established by Miroslav Vitous in 1992, the EWQLSO producers recorded woodwind ensembles of three players, providing unison samples of three flutes, three clarinets and three oboes.

Solo woodwinds consist of the standard orchestral fare: piccolo, flute, alto flute, oboe, English horn, clarinet, bass clarinet, bassoon and contrabassoon. There are no exotic extras, but more crucially, no important instruments are missing. All the ensemble and solo woodwinds play sustained notes (most with a choice of vibrato or no vibrato), staccatos and trimmed legato samples like those supplied for the strings, and most have an 'expressive' sustain option. Long notes are generally looped, the only exceptions being the solo clarinet and contrabassoon. Beyond that, a variety of extra performance styles appear sporadically, among them tone and semitone trills, upward semitone grace notes, glissandi (the term here used to indicate an upward run of two or three semitones leading to a short note) and 'falls' (descending octave runs, some chromatic). These auxiliary performances are implemented differently (and rather unpredictably) from one instrument to the next.

* WOODWIND ENSEMBLES The three unison flutes have a lovely breathy texture, and impart a great soothing atmosphere (use for your next new age Healing Moods album — do not use in kung fu film fight scenes). The straight sustains and legato samples work very well for pads, the latter producing a lovely mellow tone. The players' vibrato is quite subtle, but you certainly notice its absence in the 'no vib' preset. Cartoon soundtrack composers will be pleased with the perky grace notes, slurs and looped trills. Unison notes on three clarinets can sound unpleasantly synth-like, but these samples are very easy on the ear, their success stemming from good ensemble tuning, fine timbral control and Professor Johnson's canny miking strategies. Although they play in only three basic styles, each one sounds great! Composers may prefer to avoid writing chords for the library's three oboes, but their naturally angular, slightly piercing timbre sounds very evocative in tandem with the subtle dynamic motion of the 'expressive vibrato' performances.

Semitone grace notes played by the three oboes are also a colourful sound source. * THE FLUTE FAMILY The piccolo may be the smallest of the orchestral woodwinds, but its piercing falsetto shriek can cut through the densest orchestral chords. The instrument's bright, incisive quality is shown off well by glissandi and trills; its vibrato sustains are pretty cutting too, but the breathy, occasionally wispy delivery of the staccatos reveal the piccolo's fragile side. The library's flute scores well, with a pure, lyrical singing quality which is particularly enjoyable in its middle and high register. The natural beauty of its vibrato sustains is somewhat obscured by the added release and reverb, but reducing those parameters restores the instrument's appeal.

There's a nice little selection of handy performance styles: cartoony grace notes, 'falls', and flutter-tongue sustains. But this flute's strength lies in its evocative long notes — select the surround version of its 'slow expressive' performances, play a few sultry phrases, and it truly sounds like the Piper at the Gates of Dawn. Completing the family is a very nice alto flute, sounding comfortable and assured on its sustained and 'expressive' long notes and maintaining the same sumptuous, full tone in its staccato performances. The alto flute performs trills, and has one further trick up its sleeve — it plays up and down octave runs, the only instrument in the library to do so! The tempo and scale of the runs is undocumented, which probably means they were conceived primarily as an effect.

* ORCHESTRAL REEDS EWQLSO 's oboe sounds bright and piping, and its slow-growing, subtle vibrato underlines the credibility gap between fake 'mod-wheel' vibrato and the real thing. The instrument's straight sustains and legatos cope well with loud, assertive melodies, but for quieter passages, users of a delicate disposition may prefer the expressive sustains' more sensitive, evolving approach. The oboe clocks up the most performance variations of all the woodwinds, playing grace notes, falls, trills and glissandi (here sounding more like short, ascending chromatic phrases). It also serves up two fresh styles: some good, attacking sforzando crescendos, and a category called 'slide' in which, perplexingly, no slide is audible! The oboe's big brother, the English horn, shows solidarity by also playing non-slides (actually unlooped, four-second vibrato sustains). How To Install A Program With Wine Ubuntu. The English horn's vibrato is very restrained and develops slowly, and while that's preferable to an overstated 'pub singer' wobble, some might prefer a stronger vibrato. Putting such quibbles aside, the instrument's delightful, clear timbre and lovely breathy attack have an immediate emotional effect.

Its grace notes are very appealing, and its falls and so-called glissando phrases have a nice languid flavour. Using the classical 'no-vibrato' delivery, the orchestra's clarinet player has very good sound and control, but the instrument suffers from a paucity of playing styles. The player's unlooped sustains dwindle in volume after five seconds and stop after eight, an unwelcome note length restriction. Fast melody lines pose a slight problem; the trimmed legato samples can actually handle them quite well, but you have to reduce their release setting first to stop the notes blurring together.

There are two good crescendo options, loud portatos and excellent staccatos, but fancy stuff like trills and grace notes are off the menu. * LOW REEDS Bass clarinet, bassoon and contrabassoon provide a sound foundation to EWQLSO 's higher-pitched woodwinds. Like the clarinet, the bass clarinet turns in steady, controlled performances, playing no-vibrato looped sustains in soft and hard varieties. There's a big jump in timbre between the soft and hard samples — a 'medium' option employs some crafty sample layering in an attempt to bridge the gap, but this introduces a few subtle chorusing artefacts you wouldn't expect to hear from a solo instrument! The bass clarinet's highlights are its liquid glissandi phrases and jocular staccatos. The basic requirements of a sampled bassoon are simple: it should have sustains capable of carrying a tune, and staccatos tight and energetic enough to handle quick rhythm patterns, like the little dancing arpeggios in Smokie Robinson's 'Tears Of A Clown'. Happily, this bassoon meets these specifications and more, offering sustains with and without vibrato (the former well-suited to melodic work), emphatic portatos, long and short crescendos, and glissandi phrases.

All very jolly. Contrabassoon — now there's a good Scrabble word.

The contrabassoon's samples also bag a good points score, showing off the instrument's wide timbral range. Its vibrato sustains sound quite controlled and melodic, the 'expressive' volume swells introduce a menacing rasp, and the loud portatos make a big, bassy, buzzy racket like the glass-shattering two-note trump let off by the alien spacecraft in Close Encounters.

The staccatos have a good dynamic response, and are a lot of fun to compose with. * FAKE WOODWIND ENSEMBLES Some bright spark of a programmer has lashed the individual woodwinds together to create a couple of virtual woodwind ensembles, which sound fabulous! Woodwind ensemble number one consists of (from the bottom up) contrabassoon, bassoon, three oboes, three flutes and piccolo. Number two is made up of bass clarinet, three clarinets, English horn and piccolo.

Keyboard players will appreciate the exotically blended timbre and eight-octave span of the first; the second has a rounder, softer, more 'flutey' and supportive tone, with the English horn adding a delightful breathy attack. Overall, the library's woodwinds provide a wide range of timbres. There's no shortage of expressive performances, and, as with the strings, a great many presets feature key-switching and mod-wheel crossfades, giving users even more expressive power. Occasionally, the omnipresent release trails can make solo instruments seem a little lacking in intimacy — if that's a problem, the trails can easily be reduced in volume or turned off, effectively placing the instrument closer to the listener. But if it's a concert hall sound you want, these woodwinds have it!

Mapping the 'C', 'F', and 'S' samples to the speakers in a 5.1 array to create a convincing surround mix. The producers recommend that users make their EWQLSO-based projects future-proof by using the 'C', 'F' and 'S' versions of the samples to create close, stage and ambient stereo mixes respectively. The idea is that these separate stereo files can later be combined to create six-channel surround mixes (a further use would be to do quick stereo remixes with different amounts of hall ambience in the sound). The diagram on the right shows the suggested speaker assignments for creating a 5.1-compatible mix. In this setup, the full (F) and surround (S) stereo mixes are sent to the front and rear speakers respectively, while one side of the close (C) mix (left or right, but not a sum of both) is sent to the centre speaker.

The sub speaker carries a mono mix consisting of sub-bass frequencies derived from all the channels. There is something innately noble and impressive about orchestral brass letting rip in a big hall — EWQLSO aims to recreate the auditory thrill by supplying sampled brass ensembles of four trumpets, four tenor and bass trombones, six French horns and three Wagner tubas, supplemented by solo trumpet, solo trombone and bass trombone, French horn and tuba. All the ensembles perform looped sustains, and most instruments play staccatos, sforzando crescendos and accented, one-second portato notes. The ensembles (and solo trumpet) also perform a number of additional styles, as detailed below. * TENOR & BASS TROMBONES The bass trombone's powerful, raunchy bass notes have been popular with composers and arrangers since the '60s.

With this in mind, EWQLSO tacked a low octave of bass trombone ensemble samples on to the bottom of the tenor trombone ensemble's range, effectively extending the section's bottom note down to E1 (same pitch as a bass guitar's low E string). The composite super-ensemble of four tenor and four bass trombones makes a very flexible keyboard patch, giving players the best part of four octaves to compose with! The trombone ensemble has a very handy 'sus accent' preset which layers tight, ultra-powerful staccato attacks over rich, sonorous looped sustains.

The mod wheel controls the amount of staccato, creating a versatile program which can switch instantly from short, punchy phrases to supportive pads. Weighty portatos and attention-grabbing fp samples sound suitably portentous, while very dynamic, one, two and three-second crescendos pile on the big screen drama. The players must have struggled to keep a straight face when playing their flutter-tongue samples (the only ones in the brass library) — depending on how cynical you're feeling, these convey a chilling sense of post-nuclear desolation, or sound like a family of hippos farting underwater. But whatever the performance style, this trombone ensemble sounds tremendous. A solo tenor/bass trombone combination stretches four octaves from E1 to E5, offering only three basic categories — no-vibrato sustain, staccato and sforzando crescendo, the latter confined to the bottom octave. Though the combined instrument delivers these performances with aplomb and also features a powerful 'sus accent' preset, the lack of more expressive, dynamic samples and the complete absence of trombone slides may occasionally be a restriction for users.

* TRUMPETS/SOLO TRUMPET EWQLSO 's ensemble of four trumpets is likely to prove a hit with samplists. Their fp and sfz crescendo samples are packed with power — both feature a fast, brilliant attack followed by a sudden dip in volume, but while the fp samples settle into a quiet, looped sustain, the sfz samples quickly flare up into a big, blasting volume swell which will have cinema audiences regurgitating their popcorn. The trumpet ensemble's three-second crescendos are excellent, but their 'slurs' are a let-down; instead of the quick semitone slides performed by the strings, you get a weird, unnatural attack containing a trace of the lower octave — a pretty useless delivery, which the manual doesn't explain. But that's the only negative — the 'surround' samples are superb, making the trumpet ensemble's mighty sustains and staccatos sound absolutely regal.

Nick Phoenix did a great job sampling solo trumpet in Quantum Leap Brass, and he and his colleagues have come up trumps (as it were) here too. The solo trumpet is the library's only brass instrument to play vibrato and non-vibrato sustains, both benefiting from high-quality note production. The vibrato is subtle but telling, and though unlooped, the sustains are long enough for melodic purposes. One unique preset provides staccatos with built-in alternating tongue attacks, giving the same advantages as the strings' up- and down-bows. Additional styles include a couple of the library's trademark 'expressive' volume swells, one subtle, the other histrionic!

Dynamic and highly responsive, EWQLSO 's solo trumpet is among the most playable and expressive instruments in the library. * FRENCH HORNS/SOLO FRENCH HORN The programmers have gone to town with their French-horn presets.

The biggest, incorporating five dynamic layers, is a great showpiece, demonstrating the ensembles' wide timbral range from soft and soothing to bright, bold and blaring. Other presets focus on a particular timbral area by employing fewer dynamic layers.

The horns' tight, fat staccatos are also very responsive to dynamic nuances and make a great symphonic keyboard patch, while the portato performances sound unhurried, stately and rich. Unlooped, hand-stopped long notes provide a marked tonal contrast, making a thin, metallic, attenuated section sound which evokes cinema's darker 'noir' side. The horn players let it all hang out with lusty octave rips and energetic 'shakes' (short, tremulous elephantine brays). Only one complaint — the so-called 'slides' are not slides at all, but the same kind of baffling racket as the trumpets' 'slurs'. Clearly perceived by the makers as one of the jewels in their crown, the French horns are the most lavishly sampled by far of all the library's brass instruments, offering a grand total of 39 presets, and an impressive collection of big-sounding samples.

There's not a duff moment amongst the solo French horn samples, either; the sustains and staccatos are spot on, all the way up to the improbably high A5 top note. One can overlook the limited selection of playing styles — this is a fine French horn that can really carry a melody, a worthy companion for the library's solo trumpet.

* WAGNER TUBAS/SOLO TUBA A trio of Wagner tubas, noble-sounding, horn-like instruments, contribute some stirring sustains and octave rips, but for some unfathomable reason their samples are all played in octaves. Although this creates a very powerful and impressive brass sound, the built-in octave doubling (of which this is the only instance in the entire library) tends to muddy chord voicings, thereby reducing the instruments' flexibility. The solo tuba (the conventional instrument, rather than the higher-pitched Wagner contraption) sounds big and almost mournful in the empty hall, but its deep, round warm tones are equally comfortable playing a low bass line or a lyrical melody. The sfz crescendos reveal the tuba's fiercer side, and though the selection of playing styles is modest, the player puts in a big-hearted performance and delivers some high-quality samples. EWQLSO 's brass has one more treat in store: a 'fake' brass ensemble made up of the four bass and tenor trombones, six French horns and four trumpets.

The horns tend to dominate, but the overall sound has an epic, gargantuan quality — film composers will be on to it in a flash. The full version of EWQLSO (reviewed here) is known as the Platinum Edition. Two scaled-down packages, both fully upward-compatible with the Platinum Edition, are available at reduced prices. Both reduced editions can be imported into the Kontakt sampler (v1.5 and up), enabling users to build their own programs. GOLD EDITION (15GB) This includes the vast majority of instruments and articulations from the Platinum Edition in 16-bit stereo, but only has the output from the stage mics, plus release trails. SILVER EDITION (2.4GB) The most basic version of the library omits Wagner tubas and some percussion instruments, includes only basic articulations, and features fewer samples per preset. It's also only 16-bit stereo, and features the recordings from just the stage mics, with no release trails.

However, there are some bonus sounds: an East West Steinway B grand piano, Post Musical Instruments pipe organ, and Quantum Leap Voices of the Apocalypse male and female choirs. PRICING Platinum Edition (19-DVD set) £1999.99. Gold Edition £649.99. Silver Edition £199.99. Strings volume (seven-DVD set) £649.99. Woodwinds volume (five-DVD set) £649.99.

Brass volume (five-DVD set) £649.99. Percussion volume (two-DVD set) £329.99. All prices include VAT. At 5.41GB, EWQLSO 's percussion is the smallest of its four volumes. According to Doug Rogers, power-users who run the library on multiple computers generally find they can install the percussion on the same system as their audio sequencer. This volume contains both tuned and unpitched percussion, covering all the main orchestral bases.

* TUNED PERCUSSION The concert hall acoustic adds a fair bit of wallop to EWQLSO 's timpani — if you're looking for a classic big orchestral sound, the stage mics produce impressively grand, powerful, clean-sounding hits, while the close mics add more definition if required. The drums are mapped chromatically over the best part of two octaves, with the same samples duplicated in two separate keyboard zones so players can use both hands to play fast repeated notes. Performances comprise single hits with hard and soft mallets, crescendo rolls in a choice of two and five-second lengths, and mp sustained rolls (conveniently looped, with release triggers adding a very nice, subtle final hit on note-off). Moving to the other end of the frequency scale, the library has a very pretty glockenspiel. The close-miked incarnation of the instrument sounds pure and bright, but adding the 'surround' samples produces a halo of almost supernatural high-end energy. There's also a less high-octane variant called 'mellow glockenspiel' which sounds like the same glock played with softer beaters.

Operating in the same rarefied pitch register are a two-octave chromatic set of crotales (small tuned cymbals). At the risk of sounding like a shampoo ad, sampled xylophones often suffer from dry, brittle tone, but this one maintains an appealingly round timbre through its whole range. The stage mics add a very attractive ambience, enhancing the xylophone's sweet, friendly sound. Once again, we mourn the absence of a marimba, but its jazzy pal, the vibraphone, does get a look-in. However, these vibes are not an unmitigated success: the vibrato mechanism was disabled during recording, the quiet samples sound slightly dull and the preset contains too much release.

A little editing might be needed here before use. Orchestral chimes (or tubular bells, as we Brits know them) peal out their portentous, churchy clangs over two full octaves from G3 to G5. As with the glockenspiel, the stage mics add a fabulous extra dimension, transforming an attractive set of close-miked samples into a spectacular sonic event. * ORCHESTRAL DRUMS & CYMBALS As well as lending three of his custom-built tubas to the orchestra, Wagner kindly donated his gigantic bass drum. The manual doesn't give dimensions for Wagner's drum, but judging from the selection of booming crescendo rolls, straight hits and one thunderous, almost sub-sonic sustained roll which rattled the floorboards, you'd have trouble fitting it into a Mini. A smaller-sounding concert bass drum performs a similar menu of rolls and hits — all these performances are fine, but a little more dynamic variation in the straight hits wouldn't have gone amiss.

EWQLSO recorded three different orchestral snare drums, playing left- and right-hand single hits, sustained rolls and crescendo rolls. They also supply two excellent snare drum ensemble programs, the larger one sounding slightly deeper than the smaller. Both ensembles have a small menu of very well-chosen samples which sound totally convincing when combined in performance. The library's field drum gives a lower-pitched, ominous snare sound, while a funeral drum and tenor drum darken the mood further with some agreeably doomy, resonant hits. Orchestral libraries usually make a dog's dinner of recording tom-toms, but the set of five included here are an unexpected treat, sounding nicely tuned, pure, melodic, dynamic, resonant and sustaining.

The library offers six pairs of piatti (crash cymbals), ranging in size from 12 to 20 inches. Though the samples lack the explosive quality necessary to jolt the audience into full cardiac arrest, the recordings are super-clean and the hall ambience adds some weight and sheen. If you prefer the more subtle sound of a single cymbal played with mallets, there are four suspended cymbals of different sizes, playing a selection of single hits and lovely crescendo rolls. * UNPITCHED PERCUSSION The library's gongs are not tuned, but big, unpitched 'tam-tam' orchestral gongs that go 'BWOAARGH!!' There are four, ranging in size from 23 to 60 inches, performing straight hits, rim scrapes and a choice of short and long crescendo rolls. The latter performances really live up to their name, taking so long to, er, crescend that you begin to doubt whether the key has a sample assigned to it.

The five-foot tam-tam turns in a couple of absolutely massive loud hits which megalomaniac producers will love. According to the manual, four anvils and some 'railroad tracks' were also used to create a bank of resounding metal clanks — hopefully someone remembered to put the rails back afterwards. EWQLSO 's percussion volume concludes with two miscellaneous categories: 'various metals', containing tasty samples of bell tree, mark tree swishes and triangles, all beautifully recorded. Concealed under the heading 'various perc' are castanets, wood blocks, claves, ratchet, whistle, slide whistle, vibraslap and tambourine, plus a couple of unidentified percussion hits, which is a shame — busy composers would surely prefer to see an itemised list. Having spent some quality time with EWQLSO, it's clear that its pre-release hype was based on solid achievement rather than exaggerated claims. The library passes all technical and sonic tests with flying colours, leaving its musical stance the only area open for debate. Geographical, cultural and commercial connections with the West Coast film industry resulted (in Nick Phoenix's words) in 'a conscious decision to make a library aimed at Hollywood film scoring'.

While many European composers will be delighted with that, some may be unhappy with the decision to omit certain performance styles (flute and clarinet trills, for example) on the grounds that they are not essential to Hollywood composers. But this is a minor concern compared to what's on offer here — a big, bountiful, powerful, expressive, sonically superior collection of top-quality orchestral sounds, recorded in a first-class concert hall, played, recorded and programmed by expert practitioners, waiting to burst into life in your compositions. East West/Quantum Leap Symphonic Orchestra pros • Top-quality performances from the entire orchestra. • Produces a real-life big concert hall sound straight out of the box, with no need for external reverbs. • Offers a choice of three listening perspectives.

• 24-bit throughout, and 5.1 surround-sound compatible. • The multi-platform Kompakt virtual instrument is easy to operate and quick to edit. Cons • No solo viola, solo double bass, marimba, celeste or piccolo trumpet. • No strings or brass runs, no brass trills, no harp chords or glissandi, no strings pitched col legno.

• The occasional gap in the implementation of performance styles reduce the library's flexibility. Summary Though designed with Hollywood film scoring in mind, EWQLSO's samples will work for many musical genres. If you're interested in creating full orchestral arrangements, or just using top-quality orchestral sounds to enhance your productions, make a point of checking out this thoroughly impressive library.

— SOUND ON SOUND Recorded by 11-time Grammy nominated classical recording engineer Prof. Johnson, the EASTWEST/QUANTUM LEAP SYMPHONIC ORCHESTRA is the most awarded orchestral collection ever, including winning Sound On Sound's Reader's Choice Award an unprecedented 3-times, and the first orchestral collection to be recorded in a 'state of the art' concert hall where orchestras mainly perform. To achieve the feel of a live concert hall performance, each instrument and section was recorded with three mic positions, close, stage (conductor‘s position) and hall.

By selecting different mic positions, users can mix these sounds together to create any kind of natural ambience their project requires. This eliminates the need for artificial reverb. The EASTWEST/QUANTUM LEAP SYMPHONIC ORCHESTRA eclipses all others with the highest level of fidelity and realism. Get that big 'Hollywood Sound' film/tv/games directors and producers seek 'out of the box', no other orchestral collection comes close or is as easy to use!

EASTWEST/QUANTUM LEAP Symphonic Orchestra has already come out on top in a recent roundup of orchestral collections for its level of warmth and detail. Now with the incorporation of PLAY, users of the upgraded EASTWEST/QUANTUM LEAP Symphonic Orchestra will experience the benefits of the new sample engine immediately.

With the typical orchestral composition encompassing a large amount of instruments, EASTWEST‘s PLAY software will streamline the process by allowing many more instruments to be loaded at one time than with previous systems. Beyond the orchestra's phenomenal recording quality is its ability to breathe life into the virtual world, creating a real space and filling it with sound. In the past, this meant adding reverb and effects, further digitizing and degrading the overall quality of your music. EASTWEST/QUANTUM LEAP accomplish this through separately recording the natural hall ambience after the instrument has stopped playing until the sound has actually ceased. The software triggers this 'release trail' at the end of every note and adjusts the dynamics so that the samples blend seamlessly, truly placing the listener in the hall with the orchestra. Each instrument and orchestral section is chromatically sampled at three different mic positions (close, stage and hall) allowing you to mix together instantly within the included PLAY sampler (PLATINUM and PLATINUM PLUS versions only) any combination for the ultimate in real-time tone and ambience control.

Play PLAY 5 is a 64-bit Advanced Sample Engine (plug-in or standalone). PLAY 5 is Included with all current EASTWEST/QUANTUM LEAP Virtual (software) Instruments. For 32-bit compatibility, please use PLAY 4. Multiple Mic Positions • All instruments were sampled with three different mic positions, allowing you to mix together any combination of mics using the interface for the ultimate in real-time tone and ambiance control. This feature enables you to customize the sound of the orchestra to your own requirements. Mic Mixer • Control all mic positions for the orchestra, choirs, pianos, and other instruments with multiple mic positions with the built-in mic mixer • Now taken a step further, do it right in the patch • Load, unload, adjust, pan, mute mic positions as you wish Load MORE thanks to 64-bit support • 64-bit support allows you to load many more instruments and voices, limited only by your system RAM.

I compose music for feature films. I come from a classical background and my music is primarily for the orchestra with additional electronic elements when appropriate. When I compose, I have a full orchestra loaded into samplers. The cost of it really isn't an issue for me, because when I need to do the orchestral mock-ups I need to have the best sounding, most expressive orchestral instruments I can find. The big issue I have had with orchestral sample libraries in the past has been the way they were recorded. Most of them were close mic'ed and not in a proper environment for an orchestra. No matter how much reverb you put on those recordings, they never sound good.

The EWQLSO recordings are excellent and sound the way a real orchestra sounds in a hall or sound stage. The sounds are inspiring to play because they sound so good. Simply put: EWQLSO is now the best sounding orchestral library on the market!

DAVID NEWMAN has written the music for more than 100 motion pictures. Nominated for an Academy Award® for his score for Anastasia, Newman has composed music for such films as Ice Age, Heathers, How to Lose a Guy In 10 Days, Other People's Money, Galaxy Quest, The Freshman, Cat in the Hat, Daddy Day Care, The Nutty Professor, Scooby-Doo, Scooby-Doo 2: Monsters Unleashed, Life or Something Like It, The Affair of the Necklace, Dr. Doolittle 2, Honeymoon in Vegas, Are We There Yet? And most recently, Monster-In-Law, and Serenity. Newman has enjoyed a longstanding working relationship with director Danny DeVito, having scored the films The War of the Roses, Hoffa, Death to Smoochy, Duplex, Matilda, and Throw Momma From the Train. Newman is the son of legendary composer Alfred Newman, brother of composer Thomas Newman and cousin of Randy Newman. He most recently conducted the Los Angeles Philharmonic in a series of concerts where he performed music from classic films about Los Angeles.

In addition, his classical-music composition “Songs of My Father” which is based on themes of his father‘s, was commissioned and performed by the Indianapolis Symphony. There are a lot of orchestral libraries on the market, but EWQLSO is the only one I really trust sonically for finished products. When I heard a score I had done using EWQLSO played in a movie theater, I couldn't believe how great it sounded over those massive speakers! It's difficult to describe my enthusiasm about Gold in one sentence. The FX patches, the qlegato and inclusion of all the platinum articulations has made this the number one library for me. Don't know what else to say; I'm your biggest fan. Just keep doing what you are doing.

As a composer working in the computer games industry, Im often working to tight deadlines and turnaround times. I couldnt meet my schedule without a library like EWQLSO. It sounds first class, right out of the box, and I find I dont need to do any panning or EQing - trying to make instruments sit in the mix.

The Platinum library has improved the sound of my productions 1000%. The emotional quality of the samples make my compositions sing and really show how much sweat and love were put into the creation of the library. As choir director, I need an orchestral sample set that exudes realism and impact, since our broadcasts cover the globe by radio and internet.I'm pleased to report that Pro XP fits the bill quite exquisitely!

EWQLSO, not only your orchestra, it is also your personal sound engineer! While it's not exactly miraculous these days to have access to good orchestral samples, it seems nothing short of miraculous to me to have this level of quality and realism available at my fingertips. There is simply no other library - at any price - that compares with the overall sound, usability and capability of EWQLSO. And of course the 'Pro' expansions take the product so far into the next realm that the competition might as well pack up and go home! Copyright 1995-2017 Sounds Online (A division of East West Communications, Inc.). All rights reserved. Sounds Online uses cookies.

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