About The Hollywood Sound Timbral Impulse Collection: LASS Edition
New From Numerical Sound! The Hollywood Sound Timbral Impulse Collection: LASS Edition
With Audio Demos by Mike Verta
Now Downloading! NAMM pricing ends FEB 3!
Please allow one (1) business day to receive your download link as all timbral impulses are custom watermarked with your individual customer information and e-mailed to you direct from Numerical Sound.
The Hollywood Sound TI Collection: LASS Edition transforms L.A. Scoring Strings into 6 different beautiful sounding string section sounds: Deep Body, Full Body, Light Body, Natural, Half Sordino and Full Sordino.
There are 3 listener Perspectives that help with spatial placement (stage front to stage rear)without having to use any
spatialization program. These perspectives are Stage Position, Near The Stage, and Far From Stage).
Plus you get two (2!) matching sets, one in 48K and the other in 44.1K.
Click below to download the PDF instruction guide! (Opens in a new window)
The Hollywood Sound - LASS Edition Training Guide PDF
Of course, there’s lots to tell, but the music tells the story.
Mike Verta’s Crimson Lake
Listen to Mike Verta’s original composition, Crimson Lake. Running 2:31, Mike’s Crimson Lake is all LASS except for the added harp. No TI’s nor reverb have been added. This is LASS “out of the box”.
The next step is applying a Hollywood Sound Timbral Impulse: LASS Edition to the tracks. Here the Natural Stage Perspective has been applied.
Now the final step is adding either an early reflection or reverb. This version of Crimson Lake includes an Early Reflection IR "121_ERa150ms_1s5_Bright_48K.wav" from The Hollywood Sound Impulse Response Collection releasing Dec. 30 2013.
This demo of Crimson Lake includes the MedBody stage perspective Timbral Impulses applied to the Violins 1 & 2, Violas, Cello and Double Basses.
This demo of Crimson Lake includes the LightBody near perspective Half Sordino Timbral Impulses applied to the Violins 1 & 2, Violas, Cello and Double Basses.
Comparison with LASS Stage and Color and
The Hollywood Sound Timbral Impulses: LASS Edition
Excerpt from John Williams score from "The Cowboys"
by Dan Reynolds http://www.dannthr.com/
The original rendered midi version done with LASS 2.5:
Completely dry - no Stage and Color. This version has been normalized for comparison purposes.
The same as before, except with LASS 2.5 Bat Man Stage and Color turned on.
To recreate the test, here is the starting point of Numerical Sound's rendered MIDI version. Except this version uses LASS 1.5 completely dry with no timbral impulses or reverb.
Now hear the effect of using the HSTI: LASS Edition "light body near" perspective timbral impulses, isolated with no reverb.
Now hear that same HSTI:LASS example, with reverb added from "The Hollywood Impulse Response Collection." An ER with 52ms attack and a reverb length of 1.2 seconds is used with mix of dry at 0 dB wet at -5 dB.
Listen to the effect of changing from the "light body near" to the "MedBody far perspective" timbral impulses. This example uses the same reverb as the previous demo.
Finally , listen to the effect of swapping in the "Half-sordino natural near perspective" timbral impulses. Once again, the same reverb is used as in the last two examples.
Classical example with Basses and Cellos Only
In this series of demos the 16 bar passage of Beethoven's "Ode to Joy" theme is played with LASS (v1.5) basses and cellos. A reverb impulse "148_ERa200ms_1s5_Bright_48K.wav"
from the upcoming The Hollywood Impulse Response Collection is used with an
Early Reflection of 200ms reverb length 1.5 seconds dry 0db wet -5dB.
Here is the first version with no timbral impulses but with only reverb.
Now hear the effect of using HSTI: LASS Edition "natural far" perspective timbral impulses.
Now hear the effect of using HSTI: LASS Edition "deep body far" perspective timbral impulses.
Now hear the effect of using HSTI: LASS Edition "light body near" perspective timbral impulses.
Finally hear the effect of using HSTI: LASS Edition "medium body far" perspective timbral impulses.
The Hollywood Sound TI LASS Collection extends the usefulness of LASS through a proprietary technology that transforms LASS into a string sound reminiscent of the classic film score sound – a sound completely different from Stage and Color.
As you heard in Mike Verta’s demo, The Hollywood Sound TI LASS Collection works with both the LASS full ensembles, and totally enhances the divisi experience by enabling you to do beautiful, lush divisi writing.
And this isn’t just sales hype, either. Ernest Cholakis secured a professional violinist with recording experience, Hannes Frischat (www.strings-on-demand.com) to beta test and critique his efforts.
Said Hannes, “When Ernest Cholakis asked me to test his new "The Hollywood Sound Timbral Impulses: LASS Edition" he decided to dare a difficult task: An exposed strings composition, just one sample patch per voice without layering or live overdubs, nevertheless uncovered by any other instruments and acoustically transparently mixed with only a minimum of reverb.
”I think the "The Hollywood Sound Timbral Impulses: LASS Edition" are excellent for this challenge. They prevent the gorgeous L.A. Scoring Strings from being too close, add dimensional depth and refine the sound. My favorites
for this composition [see tab 1] are Natural Near and Light Body Near, and there are many more options provided for different styles and situations.”
This was matched with two other composers who tested for sound, ease-of-use, and work flow.
The beta team’s input lead Ernest to two major innovations.
The first was the use of body resonances. Deep Body is the fullest timbre with a solid tone in the lowest octave of each stringed instrument. Full Body is not quite as strong as the Deep Body. Medium Body has a smoother, sweeter overall sound. The Light Body has a less bottom end in the lowest octave of each instrument, but with a smoother and sweeter overall sound. Natural is the original LASS sound but with an overall smoother and sweeter sound. With this are what Ernest describes as Half-Sordino and Full Sordino TI’s to help you match other libraries.
Next up were the Three Perspectives.
The Stage Perspective is essentially the conductor’s perspective, which is set back about 1 meter (a little over 3 feet). There’s a slight reduction in bowing noise relative to the string harmonics.
Think of the Near Perspective as being near the stage. You’re back about 15 feet with this selection. And there’s a slight reduction in bowing noise relative to the string harmonics.
Think of the Far Perspective as being farther back from the stage, this time, about 36 feet or so. This yields a significant reduction in bowing noise relative to the string harmonics.
Incredibly Easy to Use
The Hollywood Sound TI LASS Edition is organized for fast use. There’s an individual folder for Violins 1, Violins 2, Violas, Cellos, and Basses. Put simply, one per section.
First, check the PDF manual to see how to setup your convolution reverb. Now pick the body type and stage perspective you want and insert it into your sequencing program’s convolution reverb. Next with Violins 1 and continue throughout the section.
Finally, apply your favorite reverb. You’re done.
Bruce Botnick, engineer for The Doors, Jerry Goldsmith and the Beach Boys Pet Album project had this to say about the Impulse Response work of Ernest Cholakis:
”The best impulse responses I ever heard are from Pure Space [Classical and Mystical Reverberation Impulses]....Ernest Cholakis out of Canada is the genius/mad scientist who listens to music. He's mathematically figured a way to eliminate all of the electronics from the sample. They sound extraordinary. An acoustic room-it blooms. You make the sound and then it [snaps] responds and the room does it's thing. The majority of the digital reverbs are very linear and they die off, but Ernest's samples are extraordinary. I've got one that I think sounds super close to chamber four at Capitol, which is *the* chamber."
Ernest’s work with IRs includes his own Pure Space Classical, Pure Space Film, FORTI/SERTI for the Vienna Suite, eight (8) software products for Reason (including Bass Tilt Filters, Midrange Tilt Filters, Treble Tilt Filters, Tone Mutation, ReStereo, and RiVerb), and now this special package for Visual Orchestration 3.
As an instrument developer, he co-produced with Dan Dean the Bluthner Piano.
Many of Cholakis' unique drone tones have been used in feature films, film trailers and TV by many well known film composer and several movie studios such as Paramont Pictures, Warner Brothers and Lions Gate Entertainment, who have licensed material directly from Numerical Sound.
Cholakis has co-produced the world's most recorded drummer Bernard Purdie, the world's most sampled drummer Clyde Stubblefield, and top Reggae drummer Sly Dunbar.