![]() ![]() The former’s studio acoustic works well with solo instruments (particularly woodwinds) and scores highly for intimacy and detailed expression, while the latter’s concert hall sound and immersive audio capability are a good bet for cinematic projects. VSL’s output divides between the stereo Vienna Instruments range and the multi‑miked Synchron series, both of which contain all the instruments, sections and articulations required to create a full orchestral score. With around 230 products and a sample count of over six million, the company’s libraries constitute the world’s largest orchestral sample database, and their forensic sampling and ground‑breaking legato mode helped set the standard for today’s orchestral products. Prominent among this select group are Vienna Symphonic Library(VSL), founded in 2000 by Herb Tucmandl and long regarded as a market leader. Peter Siedlaczek: "The complex instrument called ‘orchestra’ has become more democratic and affordable, available for everybody willing to learn more." Full OrchestraĪ number of developers have multiple full symphonic products in their catalogues. The first part of the guide lists companies whose product ranges contain one or more full symphonic collections, while the second part casts the spotlight on those offering orchestral ensembles and solo instruments. Since cinematic drums and sound‑design textures are now established fixtures in orchestral libraries we’ll include some notable examples, but rest assured any products left out for reasons of space will be in plain view on their manufacturer’s website! ![]() ![]() In order to narrow the field and help buyers make meaningful product comparisons, this guide concentrates on the core orchestral instrumentation of strings, brass, woodwinds and percussion and excludes choirs, pianos, saxophones, jazz and big‑band brass, pop horns, phrase libraries and loop collections. Today’s orchestral sample users may be spoiled for choice, but the sheer quantity of libraries on offer makes it increasingly difficult to choose. The advent of disk streaming prompted developers to sample every orchestral instrument, ensemble and performance style under the sun, sparking a proliferation of products which shows no sign of abating. If the bad old days of miserly RAM had one advantage, it was that buyers weren’t faced with an overwhelming number of libraries to spend their money on. With RAM now served up in gigabyte portions, users can run huge orchestral libraries on their home computer, giving musicians with no academic training access to high‑quality symphonic sounds. Now that hardware samplers have gone the way of the dinosaur, the London Necropolis Railway and Macclesfield Town Football Club, we can all look back and laugh at the logistical nightmares of trying to cram a sampled orchestra into 32MB of RAM. Sound On Sound's Buyer’s Guide aims to help you find a way through the maze. With hundreds of products crowding the marketplace, choosing an orchestral library can be a daunting experience. ![]()
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