The hall was selected for its warm tone, clear sound and medium size, big enough to create natural ambience without drowning the sound in reverb. The Cinematic Strings samples were recorded in a modern, 500‑seater, split‑level Sydney concert hall using players from a variety of orchestras, including the Sydney Symphony and Australian Opera Orchestra. Recording Down UnderĬinematic Strings combination patches allow you to mix close, stage and hall microphone positions and control surround mixes within Kontakt. The orientation problems of standing on opposite sides of the globe don't prevent these two from seeing eye to eye: as busy composers whose work involves creating orchestral mock‑ups to tight deadlines, both perceived limitations in the current crop of orchestral libraries, which they felt could only be addressed by creating a new strings collection that's optimised for film work.

The operation spans two hemispheres, with Hearn conducting his composing, production and programming duties in London, while Wallbank does the same kind of thing in Sydney, Australia. One outfit are so committed to the cause that they adopted it as their company name: Cinematic Strings, an enterprise headed by David Hearn and Alex Wallbank.

With media composers clamouring to get that expensive Hollywood action film feel into their orchestral mock‑ups, sound companies are once again turning their attention to creating string libraries that will help to give productions the requisite big‑screen sound. Whether the mood is romantic, dramatic, brooding or plain scary, orchestral strings have always dominated movie soundtracks - listen to the music behind any pirate battle scene and you'll invariably hear the strings driving the rhythm along under the yo‑ho‑ho‑horn melodies. Think film scores, and you think strings. 'Bartok' snaps are mapped to the top velocity layer. Has the latest movie‑oriented string library got what it takes to spill your popcorn? In the film world, orchestral strings reign supreme.

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