HERE’S WHAT LOTS OF LOVELY PEOPLE FROM ALL OVER THE WORLD ARE SAYING ABOUT SABLE.
“Your instruments changed my writing style, sound, realism and now I have far more pleasure during writing.
My music are really far more better now) You are drastically changed mu sound and approach.
Not only I think so… my friends and clients have the same opinion.
And friends who also have your instruments think so too.”
Please, do what are you doing. And don’t listen dissatisfied people. Many of them just can’t understand a conception. Your ideas in orchestral sampling is the most beautiful among all other developers in my opinion.
And Lundhurst Hall… just amazing)
And please take a big big thanks for BML range! It is truly great! Sable is a magic) And I am sure brass and woodwinds will be fantastic too!
“The second violins are softer and smoother than the first.
Very beautiful sounding alone… And together with first – perfect.
Also, the shorts are simply brilliant! I heaven’t heard something
like this in sample libraries that able to compete with it…
And flautando is very different… much more gentle and airy.
So V2 is unique. Not just re-recorded in the different position.
They complement each other. And each of it have unique sound and feel.”
“Combining Sable Vol 1 & 2 together is jaw-dropping! I have been searching
for the ‘perfect’ string library for years. I thought I found it with the
full VSL library, but Sable blows me away.”
“Violas as we all already heard – is fantastic.
Play with any articulation… and ideas will come right away.”
“The basses… very deep and powerful, but accurate and precise.”
“And all sections together is simply mindblowing. But it’s not all. Load up the Loegria Hi Strings patch and play a note.
Then load V1 & V2 and VA from Sable… and play the same note.
Yes! The positions are identical! This sounds like a same library…
And this is the point where magic begins…
With all three Albions, Solo Strings and Sable,
we can create almost any section sizes.
And it will sounds perfectly in one space.
I can speak about this instruments very long…
But better than reading my post, just try it if you not already tried… ”
“Thanks you guys! My music has become much better
thanks to your work and inspiration that you constantly give.
This is the most incredible instruments in my opinion
with widest range of possibilities.
And I think, having all instruments from Spitfire is like
having the one instrument devided to volumes…
all of them perfectly works together.”
“Bottom line, the sound is fantastic… Just stunning, glad I bought the 3 vols at once!”
“Just had a chance now to go through some of the violins in Sable…thank you and your team so much for your hard work…it’s truly a pleasure to just sit and play with it…the tone and the playability are really quite special.”
“The library is absolutely stellar chaps – another blinder from Paul and Christian. The detail is phenomenal – the intimacy, delicacy and dynamic range is simply amazing. It also sits beautifully with solo strings and within my template with the bespoke strings.”
“The library is absolutely stellar chaps – another blinder from Paul and Christian. The detail is phenomenal – the intimacy, delicacy and dynamic range is simply amazing.”
“Right now, you chaps have made me jolly proud to be British!! ”
“I AM VERY DISAPPOINTED……..that I’ve wasted my money on PAST libraries that I will not be using any more since Sable sounds soooo freakn’ good Great job Spitfire chaps!!!!!!”
“Sounds amazing and gorgeous. As good as I thought it would be, it’s better. Congrats Spitfire guys. ”
“Spitfire releases are top notch, and they spoil us with their openness to user input and free updates. I, for one, am very grateful, and I really appreciate their hard work!”
“I just want to praise this library sound and the way it is professionally tailored for a real composer.
I get exactly what I want, as a composer and orchestrator: Legatos, Flautando, Sordino, Feathered spiccato (finally!) (technical terms only)”
“This library is a STUNNER! Absolutely Brilliant! Very logical layout and control.”
“Congratulations on a wonderful library! It sounds fantastic.”
“I love you guys. You hit the nail on the head.”
“Sounding gorgeous! And seems to be very playable too…”
“First of all: I’m at a loss for words to describe the sensational experience that is exploring and playing Sable. I really don’t know what to say. Magnificent achievement. Seriously: this is the stringslibrary I have been dreaming about and waiting for all my musicmaking life. It is simply perfect. Thanks sooooo much to everyone at Spitfire.”
“Playing with mixes – WOW! Sounds like I invited a real players… It’s so amazing! Thanks guys. This is really great instrument!”
“Timbre seems unbeatable, congrats. That high register is, for sure, the best one I’ve heard in sampled string sections. ”
“Every articulation sounds unique. So detailed…
And overall possibilities of this instruments is outstanding. So many ideas! And flautando is just a gem. So esoteric… so emotional…”
SAMPLING THE “SPITFIRE WAY”
As working film and TV composers ourselves our principals to sampling are simple, we record our library just the same as we do our scores….. So at Spitfire we don’t approach it as if we’re recording samples we approach it as if we’re recording a film score one note at a time.
In order to make a VI the inspiring compositional tool it needs to be. The realistic sounding mockup aid, the building blocks for a sample backed recording or indeed a 100% electronically realised master, we believe you need to cram as much chaos into the instrument as possible. In order to do this we created the most chaotic signal chain we could think up:
London has some of the finest orchestral players in the world, playing some of the most prized instruments. We hand pick the cream-of-the-crop, major orchestral principals leaders and stars of the film music world, people with spirit and passion.
We believe that recordings are not just defined by the piece and the players but the room it is played in. With 70 or 80% of what you here in concerts and recordings being early reflection not recording this is simply madness. So Spitfire picked the best room in London for adding in all this wonderful reflection, the chaos, the bloom. Air studios has played host to film scores that have generated literally billions of dollars the world over. From the Christopher Nolan’s Batman tryptic, to the Harry Potter series. When you use a Spitfire product it sounds like film music out-of-the-box, because this room with only 3 others the world over has defined the sound of film music over the past two decades.
Another key stage of our chaotic signal chain is how to capture the air around these wonderful players and preserve it for use within a VI. We only use the most temperamental, rarefied and diverse set of vintage valve and ribbon mics, from the eye wateringly pricey Neumann M50s on the tree to the original 1950s C12 above the leader’s head. All running through unique custom built Neve Monserrat pre-amps, into the largest Neve 88R console in the world, onto some oxide rich tape through a pristinely maintained Studer tape deck and into the hard disk recorder via the finest Prism AD converters running at 24bit 96k.
We recreate the conditions of a film session, but pay our musicians the highest hourly rate payable within the union structure. We also pay a voluntary royalty based on sales every 6 months, so our sessions always start with that level of trust and good-will in place. Just like film sessions we keep things moving along and we encourage players to play in a way that makes every note different, just as it would do in real life. We keep the squeaks, the fruitier tuned notes, lose pizzicatos? Well thats how they would be. Artifacts in the harmonics longs? if that’s how it sounds, that’s how it stays. We only stop to rewind the tape, or wait for an ambulance to pass (Air is situated next to the Royal Free Hospital).
To maintain the chaos at every stage of production and throughout development of these tools we have amassed a motley collective of creative retrobates. Not one member of our tech-team is a software developer, or sample-maker. We’re all from the world of film and TV music, even our web designer recently finished working on the marathon that was “Les Mis” the movie! The artwork is designed by the composer of the Poirot TV franchise and countless pulpy british horror flicks. We market research ourselves as we are the people we’re designing this stuff for. This means at every stage the creative spirit fizzes and fires. Mad ideas are born and buried or born and thrive, and when we make our wares we take them straight to the coalface. VIs can be making their way to masters on the day they were built, being passed under the sonic nostrils of film directors, and TV producers that very same week.
We believe this “signal path” to be totally unique, one that could never be copied and recreated anywhere else in the world or with anyone else. Thats why our samples are so unique in sound, beautiful, detailed, chaotic, real and just a little bit mad.
We don’t say it’s the right way it’s just the “Spitfire Way”.
HERE’S SOME NICE THINGS PEOPLE HAVE SAID ABOUT THE CIMBALOM
“I have bought some Cimbaloms from other manufacturers (Sound Banks of course, not real Cimbaloms !), but yours is the most beautiful I ever listened. The sound is really impressive, the real Spy Movies’s touch ! It’s the one !
I love this sound since I was a kid (I think I can say I am a big CD and Movie Soundtracks collector), and yours is the most closest tone from the “Real” instrument. I’m going to Lalo SCHIFRIning my home studio !
Thanks a lot for this incredible release Paul and James”
“Purchased this yesterday and all I can say is, “bravo!” What a great instrument.”
“Been using this today on a bunch of stuff, and love the earthy, dark tone it has. No issues with lack of dynamics or rr becoming repetitive – good, intuitive design behind the tremolo function. And a killer price – what’s not to like?”
“Exceptional, as always !!”