— 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.

• Symphonic Choirs Free

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!

Symphonic Choirs Free

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 1995-2018 Sounds Online (A division of East West Communications, Inc.). All rights reserved. Sounds Online uses cookies.

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I have a Mac Pro 8 core - new! So it has just the initial 2 GIG Ram. I loaded up the Sopranos and then Female Multichoir for the Altos part. Nothing else was added - no instrumental parts.

The sound of Symphonic Choirs is amazing. However when loading the third tenor part, the sound started cracklng and had pops. By the way I used Kerrigans method of virtual MIDI PORTS to get three parts happening in LOGIC. I will also put in the Bass as well this way. I CANNOT WORK OUT WHY THERE WERE CRACKLES AND POPS. Also I checked the CPU load in LOGIC, and the Choirs were using only one core which going into the red.

Mmmm what to do now. Is there a method of using the Choirs, 4 instances all standalone so that this problem does will not happen. Is it because I need more Ram THAT THE CRackling and popping has started. I was also going to post a question about something similar (and will post seperately).

I have Choirs running on two machines old and new. My old Athlon PC single core XP3 2gig is showing very heavy CPU load when running under Cubase 5.

The VST perfomance is showing about one third 33% with one solo line of one multi no reverb. I wonder what is causing this with what seems to be basically sophisticated midi and samples. I still love the program though Seems a lot for a sampler. I wonder if this is connected to your issue? I have a Mac Pro 8 core - new! I CANNOT WORK OUT WHY THERE WERE CRACKLES AND POPS. I too am experiencing crackles and pops with, and only with, Symphonic Choirs PLAY edition.

I have a Mac Pro 3.2Ghz 8 core machine with 10gigs RAM, and Symphonic Choirs is installed on a dedicated 1TB Western Digital 7200 rpm Caviar Black hard drive. I am using Logic Pro 8.0.2. I increased Logic's audio buffer to its maximum setting of 1024 and am still getting crackles and pops, a little less with this buffer setting, but still enough to be disenchanting. I have also tried to no avail each Audio Engine Level within PLAY's preferences.

Impeccable and inspiring sounds, but with this machine and configuration I didn't expect to have these issues. Are there any solutions? My System Specs: Mac Pro 3.2gHz 10GB's RAM 6TB's Hard Drive Mac OS X v10.5.6 Logic Pro 8.0.2 PLAY v1.2.0 SC v1.0.1. Hi there, I have a brand new Mac Pro 'entry level' 8-core (6GB Ram, 2.26Ghz) hopped-up with 2 standard 1.5TB seagate drives. I've got cracks and pops with a normal 4 play WB instances (6-7 notes at same time) and CPU overload because Logic do not distribute PLAY SC instances when they receive midi from WB.

I've detailed my problems some days ago here: and I've submitted (is it correct? Not sure of my english, I apologize) a support ticket with same contents: got 2 answers but with no solutions. We all cannot understand why a simple different midi routing can affect core allocation within Logic. In last reply they told me that with WB integration in PLAY the problem could be solved, asking to be patient.

So I had to find a workaround. And here it is: Give it a try: it sounds (and it is) a bit tricky but it works perfectly. The point is to keep PLAY (SC) instances outside logic and do with audio the same routing you do with midi (well, ok, more or less). I had some hard time figuring out how to use jackosx and making Logic accepting audio from it, because my hardware setup is different from the one of the author of the thread (I have only Mac Pro built-in standard audio system) Try it and if you are still stuck I will try to detail the hard parts tomorrow. But believe me it works!

Now I have a full SATB choir (with some voice splitting) and 5 parts SO string section (that inside Logic with no problems) and the processors reach hardly 30% load each. Hey not to brite. Do yourself a HUGE favor and increase your ram to around 10gigs. IMHO with just 2 gigs you will run into many problems down the line. Your choir issue is probably NOT related to RAM (although it is playing its part) but you will save yourself a world of grief by gettng more RAM for other reasons. Cheers, What Allan said. I used Kontakt for years on a single-core and then a dual-core system, and it worked great.

I used PLAY for about 6 months on a dual-core system before I upgraded to a quad-core. I've seen a significant improvement in performance.

PLAY is pretty accessible to even mainstream computers these days if you aren't doing anything too intense with it. But a single-core processor really is obselete. I don't know all the tech. Details that you want to know, so I'm sorry about that.

But I can tell you, if you bump up your system specs to at least a dual-core, preferably a quad-core, and ideally an eight-core processor and more than 2GB of RAM, you'll see a HUGE improvement. It's not 'just samples and no convolution reverb.' There are literally thousands of samples that have to be waded through to find the exact ones you're using every time you hit a note or especially play a file. The fact that a library can be that extensive, and a processor can sort through the huge number of files and find the appropriate one, while the first portion of the sample is loaded into your RAM, and then it can stream the rest is all incredible!

Especially considering how it does it in 1ms-100ms (or whatever you have your buffer set to for it). I'm not surprised at all that a single-core processor can barely handle the load, if at all. Even a few years ago, most relatively 'hardcore' systems wouldn't have been able to run PLAY. But with good technology from the last year or two (at least a dual-core processor, at least 1-2 SATA II hard drives, and at least 3-4GB of RAM), you can get a good beginner setup going.