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SAM are refreshingly non–purist and occasionally throw in a bass synth, banging timpani or loud piano as an option to bolster the low end, and this is used to great effect in 'Full orchestra hits & rips' - a tremendous collection of violent noises created by layering percussion from SAM's True Strike with instrumental performances. By way of a finale, the brass and strings join forces and perform some cataclysmic clusters and 'gliss rips' which will make your trousers flap.
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The brass play their own 'X'–rated collection of eerie clusters, weird repetition effects and disconcerting pitch bends, plus some great, uninhibited horn rips for ribald comedy moments. Some of the strings' massed glissandi are amazing, and there's a grandiose quality to these turbulent, chaotic, slithery performances that I've not heard elsewhere.
I've never seen such an extensive collection of string clusters, and these atonal events range in pitch from low, grinding discords to fingernails–on–the–blackboard screechers, all with a variety of articulations.
Symphobia's effects section constitutes about half the library and contains some truly far–out stuff. My only minor criticism is that the tutti bass notes are played almost exclusively in octaves: although that adds power, it can muddy chord voicings.
Topping off the ensembles are massive–sounding tutti patches, featuring the brass and string ensembles playing in unison. Mirroring the strings' articulations, the brass feature low–register patches consisting of tuba and trombones in octaves (incidentally, there are no bass trombones in the library), plus a set of straight major and minor chords performed with very nice tuning. I was also impressed by the tightly co–ordinated timing and forceful delivery of the brass crescendos and forte pianos. 'No trumpet' ensembles allow the pure sound of the horns to shine through in the upper register, while a bright–sounding horns/trumpets combo is ideal for Olympian fanfares. SAM have an excellent pedigree with brass ensembles, and those in Symphobia sound wonderful, with sonorous tubas, blasting trombones, soaring horns and regal trumpets, recorded together in a fine concert–hall acoustic. Also included are solo strings: although restricted to a handful of basic articulations and a single dynamic level, their accented sustains and marcatos are surprisingly emotive. The strings also play a set of conventionally–voiced major, minor, fourth and fifth chords - nothing revolutionary there, but the bowing has an expressive ensemble feel that you won't achieve by playing the same chords with single–note multisamples.
#Project sam symphobia review full
The low strings have enormous presence, and if you need a driving short–note articulation for a film action scene, the full section's loud staccatos will blow your head off.Ĭertain patches feature the classic combination of cellos and double basses in octaves - always a handy option. But they still sound big, and play with attitude, commitment and aggression. The string sections seem to be of chamber rather than orchestral proportions, and as a result the ensembles sound tough and wiry, rather than lush and romantic. No artificial layering was done and no programming is necessary - you can instantly hear the effect of a full, well–orchestrated string or brass ensemble, a great boon for musicians who like to compose music by playing it. Similarly, the four principal members of the brass family were recorded together in a vibrant live mix. Thus, Symphobia's string sections feature basses, cellos, violas and violins blended in unison according to range over six octaves. Rather than segregating instruments by type, SAM recorded them playing together. With this in mind, they've made a point in Symphobia of procuring unusual performances that will make listeners sit up and take notice.
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SAM say that all their libraries are specifically created for film, TV and game composers, and since they work in those industries themselves, the producers (Maarten Spruijt, Vincent Beijer and Marco Deegenaars) have a shrewd idea of the value of atmospheric orchestral sound (are sonic effects the new chords?). What's missing from the orchestral sampling market? Wild rips and improvs, combined strings and brass unisons, tutti hits, mad effects, dreamy and percussive sound design textures? Actually, no, because Project SAM's terrific 17.4GB library Symphobia contains all this and more. Published December 2008 Project SAM Symphobia