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The surround mic also loading in the "classic" mood. Really, there are only two things holding me back from using OPUS more and those are: Well, I do sincerely notice lots of improvements in the programming, which is great. The orchestrator largely leaves me cold, so what exactly did I just throw $495 at?
They're decent, and that's about all that I can say about them at this juncture. I'm not particularly amazed by the new samples.
My own experience with OPUS has left me in two minds. Maybe there is some vanity/pride thing going on and I'm secretly an old, very grumpy composer on the inside sticking to the "old" ways. I probably should since opinions seem to be quite positive about it, but at the moment I can't be bothered.
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I haven't even bothered to install it yet. When a sound blast happens, Ice9 triggers incredibly fast and it saved me a couple of times already when I had either kontakt or cubase creating static noise blasts (it's been a while, I don't remember the exact conditions that caused it).įunnily enough the orchestrator is the part I was least interested in. This does mean I had to pull my overall mix down a tad so I don't accidentally trigger the automuter on a big crescendo, but to me it's worth it having the insurance. My workaround is to put Ice9 on my output (on the monitoring, using Cubase's control room). Even if it happens only in 0.01% cases - the idea that it could happen is enough not to use OPUS. White noises blasts are a big, big no, no. Are you running it on a (six-core) Mac mini with 64 GB RAM? Are you using an NVMe SSD?ġ00% agreed. I especially look forward to feedback from users who meet the minimum requirements, but not the recommended specs of eight cores, running at 2.7 GHz (or above) and an NVMe SSD. As for crashing VE Pro, Kontakt 6 does that often hereĪs I wrote elsewhere, I think it looks promising but I've decided I'm going to wait for more reports from early adopters before I upgrade. The sound blast has not happened here, not even once.
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(Speaking from experience having used CC on season 1 of a tv show.) Just buy the libraries and avoid the hassle of broken cues later.
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I don't think it makes much sense to do movie or TV projects on ComposerCloud though. The ability to functionally "Demo" their libraries for just $30 has always been their strongest point. I can see a lot of working composers paying the $1k for this. When your choices are THIS, or Symphobia 2. I think it really makes HWO competitive for busy composers in a way that HWO might not be able to compete on the pound for pound sound alone. The Orchestrator is a huge deal, esp the ability to program your own presets. I'll wait for the "PLAY 5" of OPUS, thanks. It does seem that OPUS has some nice features like DFD, but. I won't risk my ears - had too many similar blasts with the early 2010s versions of PLAY, (although they were partially my fault for running overburdened templates). Instant dealbreaker for me, no matter how rare or non reproducible. So the negative reception of OPUS is pretty fair IMO since those reported white noise blasts are SCARY. There are some basic red lines for a sampler, things like not blasting your ears, not crashing VEPro, not irretrievably corrupting your project files etc.
So I am not saying "must have" or "all you ever need." But what I AM saying is "highly recommended." Another, more to any given persons' taste? Sure, More Chamber sized? Yes. Auditioning and searching for sounds across libraries is now easy, as is creating favorites,Īlthough I will probably not use Hollywood Orchestrator much, because I am not under tight deadlines these days and am a roll my own kinda guy, it is very impressive and pretty damn easy to use and customize.Īnd I have yet to hear a collection that to my ears overall sounds better than the Hollywood Orchestra, but that is of course, my subjective opinion.
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The ease of building key switches in Opus and corresponding Logic Pro Articulation Sets is terrific.
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I have to say, Opus is such a massive improvement over Play that it is worth the upgrade price alone, even if there was no new content, which of course, there is, a lot of it very improved and good. Yes, they have given me many of their products for free, but so has Cinematic Studios, Strezov, Fluffy Audio, Kirk Hunter, and lots of others. Before I write what I am about to write, let me remind everybody that EW fired me as their Online Coordinator a few years ago, so I have no financial reasons to shill for them.
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