Hyperion Strings Elements Free Download

"Full and punchy, to the extent that this characteristic survives even when attack is set to slow and Body is used to thin things out. Clearly the aim is to give the strings a very modern sound, and I can imagine Strings Micro finding uses in pop and rock productions as well as film scores and game soundtracks. If you want no-nonsense strings at a fair price, give it a try."

My Overall Impression: Hyperion Strings Elements is an all-in-one orchestral strings package which is super easy to dive into, mix your sounds, and honestly very inspiring to use due to the vast sound design capabilities. I found myself creating lots of different ambiences, string pads, distant plucks, and shimmering tremolos. The effects tab and position mixer are addictive. All of this for an incredibly value in my opinion, compared to many other string libraries on the market.

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I own lots of Orchestral Strings VST plugins and libraries. So how will Hyperion Strings Elements fit into my workflow and sound palette? Well, after testing out all the sounds and features, I am suspecting this will be my new go-to string library for sound design and processed strings. Anything from ambient string carpets and pads, to twisted pluck sounds.

The Hyperion String ensemble has a forward and robust sound unlike any other. It has a strong tone and wide dynamic range that can be shaped to fit any genre or style. It can also be used to fatten and layer with other strings to create massive arrangements.

In the first look video above, I wanted to see how the Elements version of Hyperion Strings was expanded from the original Micro release. In short, elements expand the articulations available and the upgrade from Hyperion Strings Micro is highly recommended as the cost is so little and the expansions will add a lot of flexibility to your arsenal.

How realistic an orchestral sample library sounds is one of the major factors that separates a good sample library from a bad one, especially when it comes to strings. In the case of Hyperion Strings Solo Violins, we have to say its level of realism is not the greatest for us.

One of the best things about Hyperion Solo Violins is its highly intuitive user interface. Within my first use, I quickly learned how to navigate my way around and find all the things I need. I do have a decent amount of experience using VST strings so I knew what kind of things to expect, however, I strongly believe that even a first-time user of a product like this would quickly feel comfortable using it.

So this lead me to look at Spitfire BBC SO, which is touted as the "most complete orchestral suite out there", but i've found a lot of people online complaining about a lack of choir included, a lack of a good amount of articulations for strings and especially brass mutes, and some intonation issues with some of the instruments, so now i'm questioning if i am going to get that or not, because now im unsure.

This is the first of what will be the entire set of Shostakovich Quartets recorded by the St Petersburg String Quartet on Hyperion. Shostakovich wrote his first string quartet in 1938, with No 2 following six years later in 1944 (three weeks after the completion of his Piano Trio). The Piano Trio and String Quartet No 2 appear, emotionally, to be the obverse of the same coin and although the Quartet contains structural elements such as found in the Piano Trio, it stands entirely on its own as a wholly convincing work of art.

As the symphony and the string quartet evolved, formally, from the same sources, it may seem odd to say this of Shostakovich, but both forms arose two hundred years or so earlier, and whereas the orchestra had expanded out of virtual recognition from Haydn or even Sammartini, the string quartet remained constant. In addition, the string quartet, as an instrumental group, forms the basis of the symphony orchestra, and whilst there doubtless exist symphonic elements in quartets by composers of all persuasions - three elements, founded upon, in Hans Keller's phrase, 'the large-scale integration of contrasts' (namely themes, keys and statement-and-development), the very nature of the quartet's instrumental make-up, and its historical legacy, have made the twin disciplines of writing symphonies and string quartets by no means complementary or interdependent. The greatest masters of both disciplines have realised the truth of this statement.

The Second String Quartet was composed in September 1944, less than three weeks after the completion of the Piano Trio to which it appears, emotionally, as the obverse of the same coin. Both were premiered at the same concert on 9 November 1944. The Quartet, whilst containing structural elements such as are found in the Piano Quintet and Piano Trio (notably the recapitulation of themes from earlier movements in the finale), stands entirely on its own as a wholly convincing work of art. ff782bc1db