Albion ONE: The Albion Orchestra, Walkthrough

hi there this is Paul Thompson from Spitfire audio I'm very excited today to be showing you the latest refresh of Albion 1 we've given it a bit of a update and we've put some extra content in there's lots of really great stuff in here so I'm just going to jump straight in I'm gonna focus on the orchestra section in this video and there are other videos focusing on the other sections but within the library there is the album 1 orchestra the Brunel Loops Darwin percussion and Stevenson's steam band and some stuff from the Albion legacy version the original Albion within albion is this Orchestra which we're going to look at now it's a 109 piece it's an epic really great quick way to get epic sounding music it can do kind of fierce really punchy stuff but it can also go very soft and gentle but essentially it's a great way to quickly get the British orchestral sound recorded in a beautiful room air Lyndhurst bang into your tracks straight away with no kind of complex so how do i eq this and put some IR on that it's just out of the box sounds great so let's kick off with the with a new section which is a combination section and within the combination section here we have a number of different orchestral combinations which we've put together from the source recordings so I'm just going to jump straight in with the brass and string octave short now you can hear from this this is quite a good way to listen to the individual mic so at the moment I've got the closed Decca tree and the outriggers up and we'll jump in to have a quick listen to those I'll give you a listen to what that sounds like [Music] so you can hear their that goes from kind of really quite softer to quite loud let's listen to the close mics on their own they sound like this so you can see that is quite an upfront and punchy sound but obviously you can hear the hall in the background let's try the Decca tree so that's often the kind of core of the sound and outriggers the next logical ones are the wider mics from the Decca tree so you get a slightly more wide screen sound from those and then the ambient mics the most distant ones for when you want to really add that kind of bloom so you get the idea and you can just blend them to get exactly the right kind of color that you want so you can hear their nice wide dynamic range and okay so this is the brass and strings high trims [Music] now you can hear there you've got a nice wide dynamic range and it's a really great balance sound straight out of the box here we've got the low kind of consort type sound let's see what this one sounds like [Music] so you can hear you've got an interesting crossfade there and what we've tried to do with these comm bees is apart from just having a sound that sounds great at the box is to do put something really creative on the model says always use your cc1 or your dynamic slider is always gonna give you a really interesting kind of blend through and sometimes it will be two layers sometimes it'd be three layers but we've we've picked some really interesting sounds to go from from one to the other so that you're you can in real time kind of paints with these with these patches really interesting colors let's have we had a listen to that so strings long / con sword [Music] now you can hear that's a really nice interesting blend obviously we've got some something kind of similar within the symphonic strings you get the players playing con sword bite well by the desk split by the desk on sword and normal but in here we've taken the whole section playing consort the whole section plane normal and cross-faded those it gives you also a very very interesting sound check out this one and again here you can bring the nasty kind of edgy brass in and out of the consort strings a great color consort to tram [Music] [Music] that's a really useful one so as always the idea with Albion 1 to get a great sound as quickly as possible but also to provide you with really really creative options let's check out this one [Music] so you get the idea we've got loads of these things as processed wrinkled legs got more kind of trams [Music] so it's a bit clumsy with that but you can you can hear as it can we come back in you can really kind of if you're delicate with the controller you can really creep these crossfade them really really slowly I'm not going to spend too much more time but just flick through so you can see we've got some lovely actually these ones a really really nice those and some of the stuff has this is a good one [Music] so nice to be able to crossfade between those fantastic low words and the and the bottom end of the strings there and then again woods and strings [Music] okay so strings lagartos up let's have a quick listen to the four options in here and I'm just gonna stick on the front page the easy mix and we'll leave which is just the tree mic we'll just leave that up for now have a listen to this [Music] that's a beautiful kind of it's got a nice amount of vibrato it's not too over-the-top I think you really really go for that kind of you really have that right man and off thing it's great for some things but it tends to restrict the usefulness of it here are the lows which are among my favorites [Music] [Music] really nice kind of deep and throb II and if that's coming through the YouTube audio but it's got a lovely bottom enter our mid strings [Music] so those again have got a really beautiful singing quality and then here we've got their strings high octaves one which is this as a really useful kind of very filmic thing but check this out so that's a really great collection of four-string lagartos we can pop up the console Dino versions now and check those out [Music] always makes me think of Jerry Goldsmith a consort octaves thing let's check out the midsection rather lovely Arlo's [Music] [Music] and finally our full high section this is a three octave string legato [Music] very very beautiful and let us now look at the brass lagartos so first up the low octaves and the midsection and as you can hear I'm playing different speeds it really handles you know pretty fast playing as well as the kind of more traditional lyrical stuff this is a high again this one's in octaves the reasoning behind setting our brass in octaves in Albion was just we scanned a huge amount of the kind of traditional literature of orchestral writing and found that the vast majority of the time when they when these instrument groups are playing together they were playing in octaves they were very very rarely playing at unison because the Unison range is very small and also the instruments are not singing in the same way so they're not projecting the same kind of tone so that was the that was the reasoning behind this and I think you'll you'll agree that it sounds much more kind of real when you when you're using a really familiar sounding arrangement so that's our brass and let us check out finally the woods okay so first up the low [Music] really nice stuff and let's check out the hi [Music] little bit clumsy there but you get the idea again really beautiful sound there and let's go into now the main section we'll start with strings the main kind of section patches let's put the spoke our toes up first so we'll listen to the mics quickly and then we can move on from that you'll give you a good idea of the sound of the room [Music] that's the Decca tree let's just check out the closed mic so you can hear that's pretty close it's pretty tight sound you can hear the shadow of the of the room but you know if you want to really get that kind of real intenseness out of your track then those close mics are really going to help give you a punchy sound here are the outriggers [Music] now you can hear there you've got a very wide sound so that gives you that kind of real kind of filmic spread [Music] and within that you hear where the instruments are very very clearly so for when the tree is slightly too safe for you that really adds that kind of widescreen sound so let's turn that off and listen to the ambience finally and the ambience are the most distant mics [Music] so you get the idea with those really really useful kind of additional depth and obviously you can send all of these out different outputs so you can create your own surround sound mix as well so let us put a let's put a mix up I'm going to use my faders actually should really this is the easiest way to do it I'll just turn me those off and we'll have the outriggers as well okay so our combi sound um now let's have a quick listen through the other thing so we've got our combi spit stack so that's a slightly longer but it's a kind of morph it's a kind of blend II sound half-half the players with a kind of gentle spicata and half of them playing a longer staccato I'll pick sock our toes here very very nice loose enough [Music] to sound realistic because you know the really super tight pits it just never is played like that if you have a section for pits it's always going to be a tiny bit loose and so there's just no point owning honing it you want to design into it that it's got that kind of looseness because that your ear kind of goes right okay I can I can hear the players I can hear it's much nicer sound - listen - oh : yo and obviously one thing to remember with the colonies as you get higher on every instrument but especially as you get higher on the smaller instruments the colony owes lose power they become a lot it's still a great sound still nice and for maybe using as a kind of rhythmic thing but the real power is down the bottom end let's check out the lungs now I can control dynamics here but I can also control with CC 21 my vibrato Seles so so really nice and if I get in the bottom end [Music] so you've got a really nice the ability to kind of very smoothly crossfade between the non vibrato and the vibrato sound gives a huge extra dimension of control and I would really urge you when you're you know doing your parts to keep one hand free or if you're more of a kind of you know drawing the data in on the door after you've asked you've played something really get go to town with that vibrato and try and think how you might sing a phrase or something like that and you can really get musicality into a phrase using these controllers let's carry on Arkansas dinos [Music] and down here [Music] [Music] so some lovely stuff there Tremeloes [Music] so some good stuff in there and then finally our low octave shorts now it's worth saying I think one of my favorite sounds out of the original Legacy Recordings was the lungs in octaves at the bottom and low strings in octaves it's so common so common it's almost overwhelmingly the way that the low strings are written with the cellos and the bass is the octave apart and the basses obviously have the the trans the transposition already built into what they're reading sounding an octave below so this is really a Kiki sound as well [Music] so one of my favorites really these are really really useful as well the lungs [Music] so that's a great sound again it's one of those sounds that you really hear so woodwinds often the kind of poor relation in orchestral orchestral music or at least certainly written for a kind of film quite haven't forgotten about certainly your epic superhero music but so they really sound great let's compare that to the arranged one so with that we've sectioned them up split them up according to the way that we think sounds most useful so again it's it's giving you the ability there to use something which is if it's only going to be doubling on a single pitch or if you want to get the sound of an arranged woodwind section you know even with two notes you know it's really useful to have that stuff pre-arranged and you've got the Long's to match and then with your arranged version yes having them having them playing in there kind of in their traditional kind of sections and the way that you might arrange them if you were doing an orchestration now again low words my my kind of thing about the low words is that I'd love to have them doubling down the bottom end doubling those strengths tabs and things like that really really powerful stuff people forget you know you get some great great depth so just to hear the short so you can hear the sound of the room [Music] so good to have the closed mics in and the outriggers give you that with let's jump straight to the brass hi it's outriggers up so again we're listening to two types shorts and then this is the octaves very very useful and the Long's correspondingly [Music] and with the octave so a good selection of sound in there let's check out the low brass start with the shorts again now as you hear as he get down the bottom end there gets a certain point where you can hear that it's more difficult to get those notes out at volume and with that kind of punch and we love that and we've we've left that in and not kind of tried to raise up the level or fake it or anything we're all about leaving the real kind of temporal and dynamic change across the instrument in the library because partly because you're hearing something that is more real and so you don't get you know you're not kind of being tricked into thinking that something is playable when it isn't and partly because it just sounds nicer it sounds you know work from being from being aware of orchestral music all around you you know in TV and films where it's been recorded by a real orchestra and in you know the orchestral repertoire going to concerts you're used to what things sound like you're used to certain instruments sounding louder and having different kind of tonal characters in different ranges so it's really important to keep all that stuff in the recordings we feel here are the nasty qui Breyers kind of lippy as possible and again you hear as you get down there it's like oh it's really hard to get that out here are the lungs mistake you John Barry sand [Music] and then you full-on and then with the nasty [Music] yeah some good stuff in there let's check out the brass mid have a listen to the difference between the trombone and tuba based kind of sand playing quietly and this one which has got horns in and different euphony I think different stuff like that [Music] so a lovely different texture and when you start to go through the dynamic that's where you can hear the horns you know their characteristic sound start to cut in and the shorts are similarly useful and when you really hammer it you get that punch again a lot of this kind of stuff you change the mic balance and you change the the amount of punch in the sand so if we were to for example push up the close mics I should be doing this on my controller and maybe pull down a bit of the tree change the balance of the sound have a listen to this now you're getting you're getting that immediate punchy sound straightaway so that's very different from you know the way that we had it and it is important to have the sound of the brass changes over over space so it is incredibly important to have that space and to hear the room because the room is a really key significant components of the brass sound but when you want to add the edge or the punch or the you know that kind of immediate thing then that's when you're bringing in the closed mics to get that so that's a look through all of the sections there I'm going to show you very quickly because we worked some fabulous how it works videos explaining a lot of the kind of functionality in detail but within here the COG patches you've got this editable you've seen cog on our previous libraries but it's a way to edit out a particular round robin you don't like or you know any of that kind of thing therefore when you need them comedy's we went through originally individual patches self-explanatory it's the individual articulations on their own ligase patches we looked at originally time-machine patch is very very useful for when you want to lengthen or shorten the short notes in real time so that's all of the short notes on one patch for each section and then you've got a slider which you can control by MIDI CC you can play it in real time or destroy it in and and adding I use that all the time changing the length of the short notes really really helps to phrase short you know short note passages incredibly useful that is and then runs it's the last thing we didn't look at this will be familiar to anybody who has watched Albion video before but let's have a quick look so within here you've got different scales you've got different kind of ups and downs and [Music] [Applause] that's reactive one if you want to end these early if you want like that it's just part of a thing just back in a bit of reverb and that will help you out so that's just a thing that sits there for you to use or not it's got a nice hall sound in it it's just yeah an additional function that you can use or not and then you've got the low runs as well and we've got tempo lock versions so that you can optionally lock these tempo sync tempo here or you stick with the 150 BPM locked I think oh yes one thing I didn't mention so and if I pull cc1 down you'll hear that we've recorded them with different dynamics so very very useful there you can stretch compress those in your door use them they're really nice beautiful stuff so that is the runs patches that's the album 1 Orchestra we might say everything that you need to write epic music and that doesn't necessarily mean just your kind of full-on pumping trailer stuff although it obviously is perfect for that it's also really good for writing quiet epic music as well where you just want the the weight and spread of the sections and you want to hear that sound but you want the the beautiful sound of the hall Elland her studio is in London and that kind of weight of players it's it's just yeah it's it's got a very wide dynamic range so it's a really usable and useful kind of toolkit so I hope you enjoyed looking at album 1 and this is our orchestral section the album Juan or Castro and we'll look at the other sections in other videos thanks very much for watching and we'll see you on the next one bye you

Channel: Spitfire Audio

Views: 166,361

Rating: 4.9334221 out of 5

Keywords: Albion One, The Albion Orchestra, Orchestral Samples, Kontakt, Spitfire Audio, Sample Library, Orchestral, String Samples, Walktrhough, 10th Anniversary Edition

Id: NeofqKnnPcg

Length: 30min 36sec (1836 seconds)

Published: Mon Dec 18 2017