«by SPITFIRE Welcome. Thanks for purchasing Albion II - Loegria, an exciting new array of orchestral and cinematic tools made “the Spitfire way”. ...»
The basic principal is to load in several instances of the same patch routed to the same MIDI channel with different mics selected and each instance routed to a different out, or panning selection on your surround panner.
Each, and all microphone samples have been edited to sample accuracy together, so provided you give each instance identical MIDI information, or indeed the same channel, everything will remain true as recorded. If you are concerned that a round robin cycle may be out of sync, hit C0 on your keyboard controller to reset.
Here’s some suggestions:
Basic Quad (2 instances):
Output an instance with T(ree) to your L&R, A(mbient) to your Ls & Rs. If you need a slightly less widescreen surround image swap out your A(mbient) for O(utrigger).
Intermediate 5.0 (3 instances) Output an instance with T(ree) to your L&R, A(mbient) to your Ls & Rs. Bus a slightly smaller amount of Tree into your C alongside a final instance with C(lose).
Business Class 5.0 (4 instances):
Output an instance with T(ree) to your L&R, A(mbient) to your Ls & Rs. Bus a slightly smaller amount of Tree into your C alongside your 3rd instance with C(lose). Use your surround panner to output the O(utrigger)
mics to a point directly between L&R and Ls&Rs as pictured:
Posh 5.1 (4 instances + some clever routing):
It would be easy for us to suggest you simply pull up the LFE fader as found in Logic (pictured above) on one of your 4 instances. Indeed, the C(lose) mic would be a nice focussed signal for this task. But your dubbing engineer wont like your for it, and 9 times out of 10, he’ll simply cut all of your LFE tracks.
You can make his life easier by understanding the much misunderstood roll of the LFE track in cinemas. This is, as the title suggests, an “effects” track. It is for intermittent use (albeit these-days, often used!). This should never be part of your bass management and should be used in a selective manner. If you give them continuous program, they’ll strip it out as it will interfere with their room tones, nice bangs and thuds. And with a 60 piece orchestra all sorts of info gets into the sub range if you simply route your mix to it, even with instruments playing in a pitch range well clear of the sub.
Your C(lose) signal is a good starting point. Route this to a sub bass synthesizer, the Waves MaxxBass is a great plug, alongside many free plugs bundled with DAWs. But the DBX 120A is very much the industry standard, and inexpensive bit of outboard kit for this purpose. Send your C(lose) into this but also make sure you noise gate it. Judge a point that you feel is a loud peak, and set the threshold to that, with a nice slow attack and release. Hey presto, you just made friends with a dubbing engineer.
Oh, and don’t forget to introduce your Darwin “Subs” and “Easter Island Hits” to the LFE........
AFAQs (Anticipated FAQs) Our first comment is to remind everyone that this is a manual to accompany v1.0 of a totally new line for Spitfire. With a totally new set of arrangements, samples, scripts, and UI. But more importantly a totally new selection of non-orchestral sounds and tools. We have used our experience as busy film composers to deliver something that we’d like. Certain areas may need expansion, certain areas may need improvements, and certain areas may prove to be “best left alone” as quirky ideas that no one used!
It is our hope that you keep in touch with us to let us know how you’re getting on, how you’re using Albion, how you’re finding it, and, if we were to consider looking at areas in the future, what you’d like us to look at. From this we’ll form a consensus and wholeheartedly pledge that we will act upon it wherever possible or practicle.
Our private library is what we often refer to as a “living” library, that has embraced true legato among and other scripting technologies and will no doubt find new life in experiences we have earned in making Albion. We hope that Albion too can enjoy this kind of fluid feedback that will keep our tool-sets fresh and vibrant.
See you at v10!
• This library really isn’t behaving how I’d expect. - OK, so we’re now officially blue in the face. But before you go ANY further please check you are using the ABSOLUTE latest version of Kontakt. Visit your trusty service centre and we hope this page remains relatively under-thumbed.
• My instrument or patch seems to be playing just bits of sound, some keys are missing, and there’s lots of clicks and crackles. - Make sure that your patch is fully loaded (detailed on the front panel, page 16). Some of
these are biggies so can take a while. But if problems persist make sure Kontakt memory manager is activated:
You’ll have to restart this instance of Kontakt to feel it’s benefits.
Another reason your system may be struggling is that you’re using too many mics live for the spec of your machine. Try cutting the mics as detailed on the front panel to see if this cures your problem. If it does, don’t worry you can still use these mics, just play in your parts with one active (we recommend the T(ree)) and then activate multiple mics and render down (eg. freeze function in Logic Studio).
If you’re still suffering may we suggest you try and manage your pre-load buffer. Kontakt pre-loads some samples into memory so that when you hit a note Kontakt plays it out from RAM whilst addressing the rest of your samples from your hard drive(s). The slower your drives, the more you may want to rely on RAM, the faster the drives, or smaller RAM available, the more you may want to rely or your drives. If you’re using the latest generation of SSDs you’ll find you can radically reduce your pre-load buffer. Referring to the plate above tick the “Instruments Default Pre-Load Buffer Size” and drag the fader to the right to a setting you’re happy with.
A QUICK THANKSChristian & Paul would like to thank the cabal of genius assembled herein. To Dominic Kelly and the searing talents of the English Session Orchestra, to Alison Burton and the whole of the Air-Studios team. To Jake Jackson for brushing the dust off the Studer and making everything sound so marvellous. To James Bellamy, Ben Foskett, and the remarkable talents, immense intellect and invention of Stanley Gabriel, Stu Kennedy, Andrew Blaney and Blake Robinson.
Most of all we’d like to thank the amazing support and loyalty of our user-base, our Facebook friends and everyone on VI Control.
We are in the same boat as all of you. We’re not software developers by trade, so appreciate your honesty in paying your way to be a part of our family and not distributing this illegally. But more importantly, if you have any ideas or criticism please let us know directly via our website and in a constructive manner. You never know, you just may have thought of something that we hadn’t considered. We want to make our entire range the best there is, and we rely on you to help us achieve that..... With thanks.