Readers who have followed the jazz scene over the past 25 years will recognize the name Miroslav Vitous. This European bassist was one of the original members of the seminal band, Weather Report. Those unfamiliar with the group should check out their recordings on Columbia. Since those early days, Vitous has recorded numerous solo and group projects and has been recognized as an innovator in contemporary music.

More recently, Vitous has been compiling a rather extensive library of Symphonic Orchestral samples. His complete set comprises five CD-ROMs: Solo Instruments I and II ($800 each), Woodwinds and Brass Ensembles ($800), String Ensembles ($1,500) and Orchestral Percussion and Harp ($800). The CDs may be purchased individually or as a complete set ($3,800). Also available is a single MiniDisc, which is a compilation of different parts of the library ($695).

For the technically inclined, the samples were recorded on a Yamaha DMR 8 at 48 kHz with 20-bit resolution. The end product was dithered to 16 bits at 44.1 kHz (Vitous also plans to release a 20-bit version). Microphones used included Bruel & Kaer, Briel, Neummans, and Schepps.

Background

We auditioned the library on a Kurzweil 2500 with 82 MB of RAM (other formats include Akai, Roland and E-Mu). The library saves the samples in a K2500 format (K25 extension). To load them into a K2000 requires upgrade Version 3.16 or better. Also, trying to run this library on less than 64 MB of RAM is a waste of time (unless you only load a few selected samples). Most banks average around 25,000 MB. Composers working on large scores can quickly do the math — several samplers are needed to handle complex orchestrations. This is often the case, regardless of the library.

For evaluation purposes, we continually monitored the Vitous samples to other libraries and playback modules. For the most part, we found the Vitous samples to be superior. Their overall tone is rich, smooth and very natural. Most of the other sample libraries sounded overly compressed. But the lack of compression can act as a double-edged sword. While offering a more natural sound, the Vitous samples are less hot and in-your-face. This may be a concern to composers looking for an edge in their work.

The library was recorded dry; however, a small amount of Kurzweil reverb was added to the programming. This seemed appropriate and the effects can be turned off when not needed. Most of the samples occupy the instrument’s range when mapped out on the keyboard, eliminating the temptation to use sounds out of their normal pitch. In addition, Vitous pans many of the instruments to their relative position in the orchestra. This appears in the sample as opposed to the programming of the output positions. Some people will appreciate it, others won’t; but it’s easy enough to change pan assignments on the mixing board.

There is a huge abundance of sounds in this collection (more than can be covered in this review). While one person may think there is redundancy, others would view the library as thorough. All instruments include stereo and mono versions.

Vitous also includes classical performance techniques like vibrato, detache, staccoto, marcato, legato, mute, tremolo and spicato. With the layered patches, a user might find a long note layered with detache and staccotto notes. Depending upon the velocity played, one of the three sampled notes will be the primary sound. Nice programming. Vitous also includes looped versions with many of the sounds. While it is best not to overuse looped samples, the loop points are extremely clean. Continuous controllers have been used extensively. For example, mod wheel, after touch and data sliders have been programmed to control envelopes, effects, panning and equalization. Users will need to tweak these settings in response to individual applications.

Orchestral discs

The Solo Instruments I disc includes bass clarinet, bassoon, bass trombone, cellos, clarinet, contrabassoon, trombone, trumpet, viola and violoncello. The cellos and violas are absolutely elegant with beautifully defined bow sounds. In fact, the forté of this library is the solo strings samples. These include wonderful pizzicato strings.

Also exemplary are the viola combo patches. The clarinets displayed excellent touch sensitivity. Although in some of the layered patches, the staccato notes needed to be hit rather hard to be effective (this is intentional). As for the trumpets, they seemed less rich than some of the other samples and we found the velocity response a bit difficult to control with the looped trumpet patches.

Solo Instruments II contains alto flute, contrabass, English horn, flute, French horn, oboe, piccolo, tuba and violin. Like the strings in the previous disc, the violins are absolutely superb. Some of the looped violin patches, however, displayed a harsh undertone when high notes were played at strong velocities. Vitous states this is the natural rosin sound of the bow close-miked against the strings. But the normal violins did not display this anomaly.

The contrabass samples are also excellent. It is easy to feel the wood of the instrument emanating through the sound of the bass. As for the alto flute, we liked the flutter tones and portemento. The regular flute samples could use a bit more velocity sensitivity. The piccolos have a nice airy and breathy quality to them. The English horn is one of my favorite instruments. While the samples are excellent, it was disappointing to see only one bank of 13 MB. In contrast, the oboes comprised 3 banks at 75 MB. As to be expected, there are plenty of quality oboe sounds.

With the String Ensembles disc, Vitous provides small and large orchestral settings. For example, the small configurations consists of 11 violins and four violoncellos. The large ensembles have 23 violins and 10 violoncellos. Also on this disc are groups of four violas and nine contrabasses. Our favorites on this disc were the violas — especially the pure violas without vibrato. Again the breath of the bow work is stunning. As for the ensemble cellos, they seemed a bit heavy compared to the solo cello samples.

The Woodwind and Brass Ensemble disc contains mostly three instruments in ensemble settings. Included here are flutes, bassoons, clarinets oboes, trombones, trumpets and French horns. In all honesty, there did not seem to be much difference between these ensembles and the solo instrument discs. We would have preferred a bigger and larger ensemble sound. Sonically these samples are excellent, especially the trombones and French horns.

The newest disc is Classical Percussion and Harp. While there are too many instruments to list, most of the standards percussion instruments are included. There are tons of great sounds including cymbals and gongs (which are often difficult to record due to the transient overtones).

While we liked the variety of snares, it was also our only complaint. We would have preferred to have different velocities of the same drum on different keys. This would add more realism for different types of snare drum techniques. The real knockout on this disc is the orchestral harp. Vitous provides a good mix of notes, overtones and major and minor arpeggios.

Summary

Needless to say, this is an extraordinary library. Vitous provides an authentic snapshot of orchestral instruments. Don’t expect to find any creative processing or enhanced sounds in this set. These samples are definitely geared for classical applications.

In comparison to other libraries, we wished for a bit more versatility and creativity. How about more arpeggiated runs, grace notes, glissandos, special tonal effects, trills and short melodic lines? There are some, but not enough. In addition, we would have liked more cutting-edge samples with stronger timbres.

As for the documentation, it is a bit sparse. The insert for each disc contains several introductory paragraphs and a list of samples. Most of the inserts (but not all) include the volume size of the banks. I would have preferred some additional background and technical information regarding the samples and the recording process. Specific application techniques for controllers would also be useful.

Clearly the price tag of the Miroslav Vitous Orchestral library is not for the faint-of-heart. This is a highly professional package designed exclusively for high-end applications. The price tag should be viewed with regard to the library’s usability ratio. Most of these samples will provide stunning results. In addition, there is little editing or equalization needed. Anyone involved in serious orchestral composition, film work, sound design or classical music should audition this library. These sounds won’t be obsolete anytime soon!

Arif Verner is a recording artist for Spotted Peccary Music and a regular contributor to Pro Audio Review. He can be reached via www.infinitesound.com

Ron Riddle is a film composer. He can be reached via www.ronriddle.baka.com