Scoring Central

Full Version: Palette -- Primary Colors
You're currently viewing a stripped down version of our content. View the full version with proper formatting.
I don't think I've seen this mentioned here before and I don't know how long it's been available, but it seems like a nice orchestral freebie. And yes, it can be exported to .wav from Kontakt Player so it can be ported to SFZ or whatever format you prefer.

Makes me think this along with Sonuscore Orchestral/Strings Chords and the Spitfire LABS Strings could make an excellent and completely free solution for roughing out orchestral arrangements?
Or you could get the full version for $300 so you can get "Braaams." And "Whooshes."

Do any of you use ensemble-type patches like these, though? As a freebie for sketching I guess it kind of makes sense but Palette is apparently a whole line of ensemble patches that seem really expensive. I guess I'm just surprised that people would pay that much for ensemble/section samples only.
(11-09-2018, 02:34 AM)Melchizedek Wrote: [ -> ]Do any of you use ensemble-type patches like these, though?

I find an ensemble patch useful if I want a section to be playing chords. For example, I'll use the ensemble patch to record the entire string section playing a chord, then I'll break up that MIDI item into separate items, giving each instrument a different note from the chord. The ensemble patch never makes it into the final recording.
I sometimes use ensemble patches same way as Paul -- for laying down chordal parts or just experimenting. I used Cinematic Strings Monster Staccatos and som other "full strings" ensembles in the Horus Heresy soundtrack. Everything was still sensibly arranged though, I didn't use it as a synth pad.

Edit: but for what that library is, yes I do agree that $300 seems a little steep.
I always prefer an ensemble patch when writing for strings. It is fine for chordal parts and unisons, as long as you arrange them with some realism in mind. The same thing goes for brass. I think of it as "I would like some strings/brass there", then write in my ensemble patch. I would only call for instrument patches when I want a certain instrument to play in a range that is "blendy" in the ensemble patch.

As for the woodwinds I always thought of them as "lead" or "support" instruments, given their distinct sound, so I can't conceive how an ensemble patch would be useful. Maybe 3 different ensembles, aeros, reeds and double-reeds?
Your answers revealed an interesting insight into my own compositional process. You made me realize that I rarely think in sections. I don't think, "Oh, I need some brass here," or "Hey, this part needs strings." I typically think more along the lines of, "Oh, this needs French horn," or "Hey, cello would sound great here." In my mind, trumpet and French horn are so different that I don't group them together unless the sound I'm wanting is their two sounds blended. As usual, I blindly assumed that everyone thinks this way, thus my reaction of "what the heck is an ensemble patch useful for??" 

You'd think I would learn to stop being so surprised to find that my way of thinking isn't the only way.  Tongue