Just about the only positive thing I can say is this: I have created a disabled template with pretty much the whole Berlin series disabled in VEpro. let's say, this list is growing every day. I am currently building a new template and have made a list of problems I find, thing I cannot do with the two players, things that are incredibly stupid and cost precious time for no good reason. The only exception is, I hate the Spitfire player even a tiny bit more. Oh, and I must say, Piet, I completely share your resentment towards Sine. Could that be the first step of moving back to Kontakt? they are offering the Kontakt versions? By the looks of the advertisement they do! This is how Capsule looks and that design is not to be found in Sine. If you don’t share my misgivings about Sine, the Arks have a lot to offer.
Reasons enough to have as little to do with that software as I can. (I’ve searched for “cryptocppd圆4.dylib” on my computer, but it’s nowhere to be found.)Īs you can read: Sine (even just thinking or talking about it) makes me grumpy and whiney. At the next attempt, it might load just fine though.
It is, in fact, getting worse.Įven my DAW doesn’t like Sine: 8 times out of 10, when I try to load Sine, Logic shies like a startled horse, shuts down immediately and then gives me the notification: “Logic Pro X quit unexpectedly while using the cryptocppd圆4.dylib plug-in.” Might have nothing to do with Sine as such, I don’t know, but those type of crashes *only* happen when trying to load Sine. You might ask: if you don’t like Sine why do you have so many libraries in that format? Well, a couple because they’re only available in the Sine format - Miroire, for example (some of its contents which I really like) - and all the others because I’ve always hoped that, over time, I would learn to like Sine. And I positively hate its interface as well. Sine, for me, takes all the fun out of working with orchestral samples (inasmuch as there is any fun in it to begin with).
Not the entire reason, not even the biggest part of it, but they’ve definitely contributed in a major way to my by now deep-rooted disenchantment with the mock-orchestral idiom. Software like Sine and Spitfire’s Player (and the getting-worse-with-every-new-version Kontakt) are, as a matter of fact, part of the reason why I stopped doing mock-orchestral work. Big shame really, because Orchestral Tools has some good samples. (Spitfire’s Player comes second.) I’ll use Sine, but only under the most extreme duress and when I have absolutely no alternatives for what I want to do. I have no other software on my computer I dislike more. If Orchestral Tools can skimp anywhere on velocity layers, they’ll usually do it.Īnd I’ve given up on Sine.
They all feel a bit undersampled to me though. Not quite a Belgian Draft type of workhorse (something like Symphobia would qualify more for that description, in my opinion), but useful nonetheless. I have most of the Arks - three complete volumes and selections from the two others (the first two volumes in Kontakt, the rest in Sine) - and, yes, I suppose you could call them workhorses.