This week in my series on my favourite orchestral sample libraries we are going to take a swinging side-step into the world of Jazz and Big Band sample libraries.
It’s an area that is not often explored as there aren’t nearly as many options for the budding jazz arranger / writer, but I want to share with you the jazz libraries I love and why!
If you’ve followed the series you’ve probably seen the regular disclaimer I’ve made about the important points to look for in a sample library, but just in case you’re late to the party:
I look for usability, great sounding recordings, flexibility of sound and how easily my computer will cope with the strains of running the sound library in question.
I also focus on the sound of the acoustic in which the samples are recorded, as they give the sound it’s character. However, this week (like so much of Jazz) one of the star libraries breaks many of these rules!
If you haven’t read my article How To Choose Orchestral Sample Libraries - An Introduction, then you might want to bookmark this page, go and read my introduction and then come back to this page.
Below is a list of the libraries that I’m going to be focussing on
Broadway Big Band - Fable Sounds
The Trumpet + The Trombone - Sample Modelling
Swing - Project Sam
Swing More - Project Sam
Glory Days - Orchestral Tools
Trillian - Spectrasonics
Vintage Drums - Native Instruments (as part of Komplete)
This week I enlisted some help from some good friends and colleagues Daisy Coole and Tom Nettleship - a.k.a Two Twentytwo Music.
They’ve graciously allowed me to mock up a section of one of their fantastic swinging big band pieces (Swing Sister Swing).
Instead of trying to use an entire library to mock up the whole big band, I’ve used the same rhythm section throughout:
Spectrasonics Trillian for the bass (upright bass patch)
N.I Vintage Drums
Spectrasonics Keyscapes for the Piano (not featured as it’s not primarily a jazz library)
Then on top of these I’ve aimed to show you each of the other featured libraries to compare their various sounds. There’s also a snippet of just bass and drums so you can hear them more clearly.
Thanks to my assistant Mark Fabian for creating these audio examples for me.
Broadway Big Band - Fable Sounds
Where to start with this enigma of a library? It’s a Kontakt library that works in either iteration of the software.
Broadway Big Band breaks all the rules I have for a successful sample library.
Let’s start with the many disadvantages… it’s hard to understand, confusing to use, with key switching modes that switch between latching on/off key switches and hold-me-down key switches or both at the same time. Some for changing note-starts and some for note ends.
It has the look of a product which has been produced by someone that deeply cares about music a little more than they care about the front end of a piece of software! Confusing areas that aren’t well explained, pages that don’t entirely make sense, and I could go on.
Another disadvantage is it’s easily the most expensive software instrument library I’m featuring in the whole series (almost triple anything else we are looking at)
So why on earth would I even consider featuring a library that is as annoying to use, confusing to understand and hard to get to grips with?
Simply because it sounds absolutely stunning! To my personal taste it is comfortably the best sounding jazz / big band library I own and is pretty much the only library I have that sonically covers every area from rhythm instruments to lead instruments in extreme detail. - enough to be a one stop shop (If I’m prepared to put a towel around my head…). It has a deeply sampled choice of muted trumpets and trombones, including plungers, growl, buckets, harmon and with different playing techniques.
There are choices of legato instruments and polyphonic instruments with playing styles specifically suited to Big Band. The trumpet is bold and entirely not orchestral and they’ve taken great care to leave in slight subtle note splits and the subtle imperfections that turn sterile software into real sounding instruments.
They have now added on a “real-time-orchestrator” option, to allow notes in a chord to be played by different instruments at the same time (you choose which is which) or even to choose multiple instruments to play in unison or in octaves on certain notes.
It’s an innovative idea, but honestly i find the implementation so complicated that i just don’t use it but for me that’s not what I need from it.
Conclusion
So to sum up - if you are prepared to really knuckle down, check out the manuals long list of articulations and switches and just mess around until you get a cool sound, this library is unparalleled!
PROS:
Absolutely enormous amount of sample choice including multiple mute options
Sounds genuinely stunning
Crazy amount of of articulation detail (including rarely offered vibrato styles)
CONS:
Overly complicated to understand the key switching
Awkward GUI to understand
The whole workflow just isn’t easy to access
Very expensive
Sample Modelling Brass
Sample Modelling software is the brainchild of sampling guru Peter Siedlaczek and Giorgio Tomasini. Siedlackek came to prominence in 1997 by releasing “The Advanced Orchestra” on 5 CDs -The first library to offer instrument alternatives and different articulations.
Sample Modelling instruments are all Kontakt libraries, working in either version of the software. The first thing to say about these remarkable libraries is that they are not technically just sample libraries, they are a different concept.
I was first introduced to the idea by Gary Garritan in the early 90’s. He was working on a product with Peter Siedlaczek called Gofriller Cello. The way he described it to me (with apologies if I misrepresent the tech), instruments are sampled chromatically as well as sampling phrases and articulations at one dynamic. Then computer algorithms model how different dynamics, different vibratos and different playing styles would change / model the sample or sound. The instruments model both the physical and behavioural characteristics of an instrument, which is what is so ingenious.
Because an instrument is not made of several gigabytes of samples, it loads quickly. Also, because a computer algorithm has designed the vibrato (modelled against real vibrato) and there’s no morphing from a non-vibrato sample to one with vibrato (which is traditionally terribly hard to get to sound realistic), so dynamics from pp to ff with and without vibrato are immediately easy to play - just with cc11 for volume and modwheel for vibrato.
In my opinion, sample modelling Trumpet and Trombones (which I’m covering together as they work in an identical manner) offer the best cross between simplicity of use, quickness of setup, immediacy of result and lightness on my system.
As long as you turn on midi cc11 (it literally doesn’t work if you don’t turn on the expression control), it immediately allows you to play realistic phrases.
Unlike any other type of library it doesn’t need short samples and long samples, or crescendo options - they are all just played in how you want them. And it’s SO refreshing!
In order for the modelling to work, the instruments are monophonic only, so if you want a 3 note chord, you’ll need 3 instruments (or some clever 3rd party software) but that’s a small price to pay, and for those of us that are accustomed to writing the lines for real players, it’s a positive and not a negative.
In order to make an instrument give the impression of reality, there are other factors than just the physical sample or behaviour of the player to consider. The biggest of these being the sound of the environment - ie the room or space.
Sample Modelling handles this spatial jiggery pokery by giving users control over three key factors.
Early Reflections
Pre Delay
Distance
So without a huge diatribe on each lets say this.
Between the three elements, with a little noodling around, you can place your sound in a very, very convincing room environment (and change this to suit) which takes an unrealistic close sound and makes it feel almost completely real.
These instruments are also tailor made for using with multi impulse response software like MIR by VSL (see next week for more information on this!), where the sound of the room itself is completely configurable.
Conclusion
For quick, flexible use these instruments are hard to beat and because they are so adaptable they work absolutely perfectly blended with other libraries, and blending is the key to almost all Big Band or jazz work.
PROS:
Sounds superb with a bit of work
Incredibly easy to use
Tiny RAM footprint and easy on my CPU
Quick to set up, very flexible
Plenty of articulation options including mutes
Options inbuilt for predelay, early reflections and distance control.
CONS:
Takes a little getting used to the ecosystem
Without understanding the use of Predelay, early reflections and distance controls, instruments can sound unrealistic.
Project Sam Swing
Project Sam Swing (in my opinion) is a Kontakt based library (working in full or player varieties) but not really a jazz or big band library. What it’s intended for is to create Jazzy film score or TV music. To that end, they’ve set things out very usefully into seven different categories. These include individual instruments, ensemble patches (which include big band chords), tempo synced grooves, lead instruments, rhythm guitar and slide guitars.
Within each area you have lots of choice but some commonality across all patches including reverb choice, ADSR controls, velocity switching and onboard FX.
Within the tempo synced grooves you can choose double or half speed options and once you start to layer some of the crisp, beautifully recorded horn samples on top of the rhythm section loops you’ll be fooled into thinking it could be the real thing.
There’s a great choice of unusual instruments (from manouche guitar to toy piano) and a fantastic harmonica sample which is hard to find elsewhere.
Patches that particularly appeal to me are the lap steel guitar, the big band legato patch (which is a whole band legato - but feels really juicy!
Some of the multis on offer would be particularly attractive to some users -with great titles like Trench Coat, Django etc… and each one is specific to a certain genre or sound.
Overall the interface is beautifully simple but provides a large amount of choice although sometimes the velocity changing can be a little tricky to get right.. it can be a bit hit or miss - but maybe I’m nit-picking.
Conclusion
Overall I would say this is produced as more of a tongue-in-cheek light-hearted library for those that produce quirky, comedic jazzy film scores - but it’s versatile enough to use as a layer within a more legit jazz mock up.Overall a very valuable library.
PROS:
Easy to Understand
Great balance between choice, flexibility and ease of use
3 mic choices
Works beautifully with other project Sam libraries
Great multis and ensemble patches
CONS:
Drums don’t quite have the “crack” that I’d like for big band
Not many individual instruments
Project Sam Swing More!
Project Sam Swing More is a Kontakt based companion library to ‘Swing”.
It focuses on filling in the gaps in the original library. It’s primarily designed for use in the film-noir genre, but this time with much more focus on solo instruments. That said, they’ve covered an enormous amount of ground.
Piano, vibraphone, strings, vocals (including marvellous ooh and mmm legatos and even big band chords which are selectable by key switch with a simple graphic to help you choose. In this big band chord area, there are 12 chords per key and even chord inversions to help with realism.
One of the things I love about this library is that it’s the complete antithesis to Broadway Big Band. It’s simple to understand and quick to pick up, even though there’s a lot of detail.
Saxes (which include soprano, alto, tenor and baritone) have multiple articulations, and multiple vibrato styles. The vibrato styles are often neglected in libraries but in this genre they are key to realism.
Added to the rhythm section arsenal are banjo and mandolin as well as fretless and electric bass, each with a variety of sustained and short (and muted) articulations.
The percussion and drums (with a GM layout) are a particular feature of this library and include tempo synced grooves in a variety of incredibly useful styles. (Even toms in the style of sing sing sing).
Conclusion
I regard myself as a bit of a string library snob, but actually the strings in the library (for the intended genre) are particularly useful. They include an “All Strings” patch and separate sections for violin, cello and bass (strangely no viola!). Each provides useful shorts, longs and tremolando articulations (choosable by mod wheel) and even pizz for Celli and Bass.
PROS:
Perfect accompaniment to the original Swing library
Hugely detailed individual instruments
Retains the simplicity of the original for the most part
Works beautifully with other project Sam libraries
CONS:
Articulations don’t all offer key switching - some are mod wheel and have lower volume that I’d like.
Orchestral Tools - Glory Days
Glory Days is the first foray into the Jazz / Big Band world for Orchestral Tools (who are better known for high end orchestral samples - eg The Berlin collection and Metropolis Ark).
Glory Days is a bold first step for Orchestral tools. It’s a Kontakt based library (requiring the full version of Kontakt) and features huge articulation choices for all instruments in the library. As with the orchestral libraries made by Orchestral tools, the focus is on individual instruments per part (as opposed to ensemble patches).
As an example, in a big band there are usually 4 trumpets and so 4 separate trumpet players have been sampled with every articulation available for every player.
Saxes can be pretty tricky to sample because they have such a smooth timbre but the adaptive legato engine in Glory Days is quite a leap forward in this area. Both fast runs and legato transitions sound really convincing.
Within each family there is a huge dynamic range with multiple note-end styles available and playable swells.
Conclusion
Where this library falls down a little for me is that even the spot mics have noticeable hall reverb. I often want to use a big band library to produce intimate sounding club-style mock ups and I simply can’t do that with Glory Days. That said, for filmic big band styles (and even 20’s and 30’s mock ups requiring mute choices) it has a huge amount of choice and can’t be discounted.
PROS:
Separately recorded sectional horns (ie Tpt 1, tpt 2, tpt 3 etc)
Large choice of mic positions
Consistent playing from all players in the section
Multiple mute options
Fantastic interval legato sampling
Huge dynamic range
CONS:
No rhythm section instruments - horns only
All mics have a noticeable hall reverb. If you want a dry intimate library (which is possible with most of the other libraries) then this might not be the one for you.
More complicated than most others to understand what
Spectrasonics - Trilian (Upright Bass Sample)
Trilian is the latest bass offering from the wonderful Eric Persing at Spectrasonics, who previously released Bass Legends in the 90’s and Trilogy before the release of Trilian.
I’m absolutely not going to attempt a full review of Trilian but very specifically i want to focus on one simple patch - the upright bass.
For much of my jazz and big band writing i look for a convincing upright bass sample and this is just about the best one I’ve ever heard and played. On the main page it’s possible to configure the amount of slap and noise on the sample and that’s just the start. The instruments were recorded both with Mic and through a D.I, and controls for both are available.
There are multiple articulation options which are largely chosen by keyswitch (either regular or latching on-off). Separate patches are offered for upward and downward or up and down slides. In addition there is a “squeaks” menu with bass squeaks and thumps for added realism.
Spectrasonics have also thought hard about how users might take this instrument into a live playing environment with their “live mode”. It’s a little like Apple’s “Mainstage” where Instruments can be “assembled” for ease of playing in a band or pit band.
Conclusion
The best thing I can say about this specific patch is that there are very few libraries that are just a complete no-brainer, and even fewer that are a no-brainer for one single patch, but for me this library would rightfully command it’s list price for this one patch alone. I simply can’t manage without it.
PROS:
Industry standard collection of basses (acoustic, electric and synth based) - unparalleled.
The best upright bass sample I’ve ever heard
Seamless integration into the ecosphere of Spectrasonics, which most composers become familiar with (through their flagship - Omnisphere). Patches are even playable through omnisphere
CONS:
It’s my absolute go-to bass library for jazz and big band. Nothing I don’t like about this!
Native Instruments - Abbey Road Vintage Drummer
Abbey Road Vintage Drummer is a library specifically for writing 20’s - 50’s music in the jazz and cinematic spheres.
One of the things I love about this Kontakt library is the simplicity.
It’s made up of two main patches (each with full or lite versions).
The first patch is called Ebony (which is a smooth sounding kit\) and the second (Ivory) is the tighter of the two. It’s made up of a Slingerland kit from the 1940’s and it’s my particular favourite for most uses.
One of the problems when programming drums can be trying to get a snare sound that you like. To that end, this library has the solution by offering 3 different snare options per kit. In addition to changing the physical instrument, each part of the kit can be individually configured - tuning, hold, attack, mic mix.
This includes a good variety of percussion, from spoons to cowbell and many other things in between.
The mixer is a particular strength of this library. Although dealing with a vintage product, this library deals with the sound in a modern way. So it’s possible to configure FX chains, compressors, EQ and other bits, meaning you can really tweak this how you like it. It’s also possible to specifically configure routing, including the convolution reverb which has been placed across the whole kit.
However, with all that said one of the other strengths of this library is that it sounds great straight out of the box. Just load the patches up and play them!
The demo above features a MIDI groove that I’ve tweaked to fit the piece - so it gives you an idea how easy it is to create something quickly.
Conclusion
If you like your jazz in the whimsical area (think anything pre-Jetsons) then this library may well be for you.
Pros:
Beautifully sounding niche kit for 30’s and 40’s drums
Fantastic collection of pre recorded grooves, played by Paul Clarvis - the world class UK drummer and percussionist.
Grooves include Midi files for different parts of a song (Intro, verse, chorus etc)
Incredibly configurable sound via the integrated mixer
Cons:
Could use more depth in the groove choices
My Big Band And Jazz Desert Island Choice
Before discussing my Desert Island choice for this week I should discuss cross pollinating libraries in this genre. Personally I can't imagine only using a one-stop-shop for big band writing.
I’ll pretty much always use at least a couple of different instruments for the horns (from the list above), a different library (often Keyscapes) for keyboards / piano, Trillian for Bass, banjo or guitar from Swing / Swing More, drums from Vintage Drummer and wherever possible I’ll meld them all together with at least one live instrument (which can seriously blur the edges of believability).
So, if you put a gun to my head which would be my Desert Island choice?
Well… it would kind of depend on what I was doing:
For bass it would be Trilian.
For quickly putting down trumpet / trombone lines with ease it would be Sample Modeling.
For film style Jazz it would be Swing.
But if I had only one library for the lot it would have to be Broadway Big Band - assuming I had a wet towel to wrap around my head and some paracetamol at the ready!
Up Next Week
We’ll look at all of the associated software that helps me make libraries sound as realistic as possible.