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I’m sure it’ll be useful for some but I’ve never used it.Īll in all it’s a great library.
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#Garritan instant orchestra missing samples Patch
In other news there is also a “harposphere” patch, which gives you a beautiful ethereal harp patch with lush and airy pads. So you set pedals by changing things within the pedal graphic.
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Without giving you a harp pedalling tutorial (I had mine from a legend of the virtual instrument world Gary Garritan - himself a harpist and who taught me how to properly write pedalling for a harp), suffice it to say that by setting the pedals in the right position you can write bespoke glissandos to fit any key or run. In addition to all of this you can set the harp pedals. Then you’ve got both whole tone, pentatonic, diminished, major, minor harmonic and minor melodic options. Firstly they’ve been recorded in every key. The glissandos (glisses) are often the primary thing composers look for in a harp library and there are a whole heap of choices in this library. The flageolet (harmonic), which is made by placing the ball of the hand on a string whilst plucking to produce an overtone is beautiful and haunting. I do like the subtlety of the different articulations. Skyla is a legendary harpist, who has played for many movies and with whom I’ve had the pleasure of working on a number of occasions.
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To give you an idea of the differences between these libraries, here’s a recording of a few bars we’ve composed to show the differences in the sound of each library.Īs with all of the original spitfire products pre 2020 (this product originated in 2015) this is a Kontakt library - which works in either the free Kontakt Player or the full Kontakt instrument. Kontakt library Orchestral Harp (from legacy Vienna Symphonic Orchestral sounds (VSL)īonus mention for Arpeggio (Sonokinetic!!) I have tried a number of harp libraries and just to reiterate what I’ve stated in the previous article, the following is NOT an exhaustive list of available options - it’s just what I choose to use, and an explanation of why. I also focus on the sound of the acoustic in which the samples are recorded, as they give the sound its character.įor some context if you are new to this series take a moment to look at Episode One.īecause harp libraries focus on that instrument alone, it can often be forgotten when allocating budget for samples and consequently can be overlooked completely - with users relying on inbuilt factory sounds of their DAW, which sells the instrument short. I look for usability, great sounding recordings, flexibility of sound and how easily my computer will cope with the strains of running the sound library in question. If you’ve followed the series you’ve probably seen the regular disclaimer I’ve made about what i look for from a sample library but just in case you’re newly tuning in:
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Continuing the series on my favourite orchestral sample libraries, this week we turn to one of the forgotten areas of the orchestral world, the harp.