I am experiencing this same problem, when I have a project in Cubase and I run VSL SE Woodwinds on VE Pro 5, always when I open the project all the instruments are out of tune and I have to reload them in VE Pro. Quite annoying problem.

Edit: It seems that the new patch (17th of March) have fixed this problem for me!

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And your opinion is that the only guys that should be allowed to go to universities in the UK are the guys wearing a Benetton shirt and going punting in Cambridge?

I guess then that the "younger generation" of UK must be mentally ill as when I was studying at the University there few years ago, most of the students were reading The Guardian.

As far as I can tell to me it sounds like you might have seen all of it - perhaps you are just afraid that your little latin speaking friends in this forum might find it a bit too unsophisticated thing to watch, no?

You hate the series even you haven't seen any of it?

If you want to fairly judge Giacchino's work on Lost you'll be better off watching an episode or two, as you'll hear the music in the right context.

I find it quite ironic that after all the discussions you've had in this thread, I am giving you this eloquent example from Lost which I think is brilliant by the way as it's just a trombone articulation yet so unique and memorable at the same time (no one can ever do that with a trombone again without the association to the series) and you are giving me this answer.


..What more do you expect, some taikos with that perhaps?

Well he is 2nd-rater enough to have caught the attention of Steven Spielberg.


P.S And to be honest I have no idea what or who you are talking of.. I am talking of film composers here.

Talking of Star Trek as an example - I can recognize a Michael Giacchino score miles away! An obvious example; there would have been no cultural phenomena of Lost without its brilliant score blending with the sound design, one recognizable example to anyone being the famous trombone articulation that begins every commercial break that people now identifies the series with.

Well I don't think that for example Paul Greengrass' The Bourne Ultimatum is particularly badly shot or written, and the action sequences in the film are usually being shot using 10 cameras cutting very rapidly between the angles. The pace is pretty darn fast (and gripping).

What we are dealing with in here I think is that modern film music is becoming more and more in line with sound design. Film composers today are using traditional instruments from the sound design perspective. Melody and harmonies and traditions are not (always) as important as used to be. Among the thousands of clichés, people are also inventing new ways of using instruments. This can be related to cultural identity; In modern society people move from country to another thus we are constantly bombarded by various cultures. People are also inspired by video games and using electronic instruments in line with orchestral score to create hybrid compositions for films.


Now the real question is - is this all necessarily a bad thing? In my opinion no. In fact I think it's a great thing! Things change and evolve. Sometimes things evolve toward worse, sometimes towards better. Sometimes towards something we have never seen or heard before. But composing Herrman style for the next century is it going to takes us anywhere? I love Hitchcock's films, but to me that would be the ultimate death and suffocation of film music.


And Jerry Goldsmith very often used classical orchestra like sound design - very effectively so.


When it comes down to the new generation that is accustomed to being bombarded with information - looking at the trend these days things are going to evolve more this way. This can be also applied to film editing, the pace of cutting is getting faster and faster. I've heard that its difficult for some old people to follow films like Pirates of the Caribbean as their brain is not accustomed to read images that fast. I am sure by the time I'm old the pace will be so quick that I feel the same and then i'll be happy watching Star Wars and other films I grew up with remembering the "good old times".


To me its not the final death or agony of film music, but film music reborn.

Hollywood Brass demos are up in the EW site. Have to say that HS and HB together sounds lush.

What's wrong in Taiko drums? It is a beautiful percussion with a strong traditional legacy.

I was wrong about the sound - sorry William I apologize.

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I must admit I am not very happy with the woodwinds I currently have (not VSL). I am eagerly waiting for companies like Cinesamples, Audiobro and EW to come up with their woodwinds libraries. I am sure VSL woodwinds is the best you can have at the moment, its a bit too expensive for me to get right now..


I have layered quite a lot of different things from various sources in the hammer type percussion hits and such.. There is some stuff from Sonokinetic Tutti, Spitfire Percussion and then some Tonehammer percussions..

I knew you would love it, that's why I posted it up - just for you mate.

I made this 30sec trailer cue today using Hollywood Brass.

I think you guys gonna love it its very chugga-chugga and Zimmer like http://dl.dropbox.com/u/9178387/In_Utopia.mp3

The samples are pre-panned (except for close mics) so that you have the instruments in the right positions in the mix when you have your pan set to center. However you can change this and pan everything as you wish.

I've had this library for one day now and I love the sound. The dynamic range is mindblowing in these samples.

Go and watch the videos: http://www.soundsonline.com/Hollywood-Brass/ - These Brass really got some balls!

That's a really good point. To have 3 (or more) mic positions really helps you to get your instruments to sit in the mix, or to make the sound "bigger". This is the reason why I really love instruments like HS and Spitfire Percussions for. Another important element offcourse is a good reverb. Something like Altiverb with Todd-AO Impulse Response can give you a very lush and complete sound. Off course the way the instruments are recorded matters a lot on the results..


What I find somewhat challenging is that when you are working with various different libraries that have been recorded in different spaces, it becomes more complicated to get everything to sit in the mix and sound complete. Easiest solution is to turn more towards the close/mid mics and then connect different libraries via the convolution reverb you are using, but then you are missing on the beauty of the natural reverb of the space recorded with the main decca tree and the surround mics.. But multiple mic positions gives you all these options.

Thanks a lot for your post! Finally we do get some informative and useful discussion on this matter..

P.S There are some good articles related to this topic in here: http://scoringfilm.wordpress.com/ - including some music comparisons of the same piece recorded for live orchestral performance vs film music.

Hey Paul, what about Hollywood Brass then that's coming out tomorrow, I am really interested to know what do think about that - no Hollywood sound?