LA Scoring Strings - Xolotl - Official Music Demo - Audiobro
LA Scoring Strings
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Xolotl - composed by Ian Livingstone using LA Scoring Strings - a new benchmark for expressive strings.
Xolotl is a great example of LASS's spiccato and staccato capabilities as well as a soaring melody over a driving bed. Notice the penetrating Bartok pizzicatos at the beginning of the piece as well as the ascending spiccatos that build into the crescendo at the end. Listen to the Spiccato Cellos and the A.R.T. script demo (see below) to learn more about LASS's short articulations' powerful capabilities.
Also featured in this piece (on the spiccato strings) are the exclusive LASS ERs (early reflections) and IRs (impulse reverbs) that accompany the library.
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Audiobro - Home Of LA Scoring Strings - A New Benchmark For Expressive Strings
LA Scoring Strings (LASS) brings a whole new level of expressiveness, realism, and real-time playability to sampled strings.
At the heart of its revolutionary sound are Real Legato performance sample patches and a unique "layered ensemble" approach. These ensembles were all recorded individually in a large film scoring studio. Because they're made up of different players (avoiding the dreaded "same player" sound), they combine seamlessly to produce entirely cohesive small, medium, or large sections with the right divisi ratios.
LASS also features solo instruments performed by the section leaders. Rather than sounding like "guest soloists," these instruments sound like the first chair players they actually are, blending perfectly with the sections they come from.
The players are recorded in position on the scoring stage and mixed in the traditional orchestral seating perspective, making it simple to get a magnificent string mix out of the box. Meanwhile we took the utmost care to ensure that the instruments can be panned anywhere with virtually no phasing problems should you need to do that.
And to make it easy to get just the right sound, all LASS patches and programming are consistent from the first chair to the full mix. If a part sounds right using the first chair patch, the same sequence will sound right with the full ensemble — no MIDI reprogramming required.
The result is unprecedented control over dynamics, performance, and section size.