Please do!

I’m in!

Yes!!!

My pleasure!

Thank you!

Thanks Micah!

Thank you! I use negative track delay on the majority of the tracks, I find it a bit easier to program quickly. And I played in each part with the keyboard then quantized and edited the MIDI / CC data.

What is negative track delay?

I'm sure you're right. I don't think I'd use them layered together, but perhaps within the same piece.

Edit: also I would love if they included sections which are pre-eq’d for an ensemble. Because every section is recorded alone with full EQ, the combined string orchestra can sound unnatural IMO.

You can customize that and make them the same setting. In Kontakt Capsule lets you reassign it

@@tylerpedraja6049 On the original Kontakt Berlin library manuals, I think I remember something written about how they recommend EQing the strings. Generally speaking, I've found that there can be a bit of resonance build up in the 3-4k range for upper strings (ordinary unmuted strings), and they also recommend adding a bit above 8k to give it more air. The orchestration and string arrangement itself can have an enormous impact on this as well, and it's very easy to get overdo the low mid register.

Thanks! Negative delay is one of the trickier things to manage when combining articulations into a single channel. For example, I have all of the violin shorts (staccato, spiccato, etc...) on one track, but many of them require different negative delay times -- I try to find a good average number, but it can be tricky. But for me personally, this problem is necessary because I don't like splitting each articulation up into its own track (this would result in hundreds of tracks for me, which gets tedious). Some sample libraries will have more consistent negative delay times, so this problem is entirely dependent on the libraries you use.

I'm pretty sure that you can use it on more than one machine -- the SINE player is linked to your account, so it's sort of like an iLok device

@@AlexHeppelmann ahh makes sense. thanks you 🍻