Kirk Hunter Solo

Great sounding, ready-to-go, strings for your pop and rock productions. Degree in Classical Arranging not required to create stunning, ultra realistic string arrangements. Kirk Hunter Pop/Rock Strings was created specifically for today's pop and rock productions. It sounds great out of the box, eliminating the need for you to spend hours tweaking samples for your style of music.

Great sounding, ready-to-go, strings for your pop and rock productions. Degree in Classical Arranging not required to create stunning, ultra realistic string arrangements. Kirk Hunter Pop/Rock Strings was created specifically for today's pop and rock productions. It sounds great out of the box, eliminating the need for you to spend hours tweaking samples for your style of music.

The newest and largest of all Kirk Hunter Studios' solo strings packages gives you 4 new solo sections which include 1st and 2nd chair (excluding solo bass). Coupled with innovative and progressive TVEC 3 programming, you will not find a more flexible and playable solo string library! One very nice feature is the way TVEC 3 handles the slides for Solo Strings 2. When you play a note, followed by another note you want to slide into (up or down), TVEC 3 knows whether to slide a lot or just a nudge. Also, the vibrato of the slide is now variable.

The newest and largest of all Kirk Hunter Studios' solo strings packages gives you 4 new solo sections which include 1st and 2nd chair (excluding solo bass). Coupled with innovative and progressive TVEC 3 programming, you will not find a more flexible and playable solo string library! One very nice feature is the way TVEC 3 handles the slides for Solo Strings 2. When you play a note, followed by another note you want to slide into (up or down), TVEC 3 knows whether to slide a lot or just a nudge. Also, the vibrato of the slide is now variable. With these the new solo strings, you can get all kinds of emotional solo playing styles, such as Country Western, or flat-out classical! Musical expression was key in recording these new sections. You'll be able to get lush rich vibratos, lighter vibratos (for violins and violas), and austere and "creepy" non-vibratos.

This library includes a complete Brass Section from Kirk Hunter Diamond Symphony Orchestra. Brass Section consists of french horns, trumpets, trombones, tubas, bass trombones and some combinations. The library uses advanced Kontakt scripting technology - TVEC4 providing great opportunity for orchestral music production.

This library includes a complete Violins Section from Kirk Hunter Diamond Symphony Orchestra. Violins Section consists of concert, studio and chamber combinations. The library uses advanced Kontakt scripting technology - TVEC3 & TVEC4 providing great opportunity for orchestral music production.

This library includes a complete Violas and Cellos Section from Kirk Hunter Diamond Symphony Orchestra. The instruments sections consist of concert, studio and chamber combinations. The library uses advanced Kontakt scripting technology - TVEC3 & TVEC4 providing great opportunity for orchestral music production.

The World’s Most Flexible Ostinato Pattern Strings! With Kinetic, you get the entire string section in one instrument (Violins, Violas, Cellos and Basses). You get a separate timeline for each section. Each timeline contains 64 note or rest events and can be divided into up to 4 "regions". And you can have each timeline play a different pattern, section or articulation when you hold down a single note or chord!

Woodwinds samples from Diamond library. Diamond Woodwinds consists of bassoon, clarinet, english horn, flute, oboe, piccolo instruments. Diamond combines Ruby with Emerald, so it is like getting 2 complete orchestras in one package.

Actually, Spotlight Strings started out as "Solo Strings 3" back in 2008. I was experimenting with Kontakt's LFO abilities to simulate string vibrato. This was due to the fact that I wanted to be able to have the user manipulate vibrato in any way so as to suit his or her needs. At that time, it seemed there was really no way to realistically alter vibrato speed, intensity or fade-in time in real time by merely using samples and crossfading. So LFO manipulation seemed to be the solution. And also at that time, it seemed to me that there was just no convincing way to simulate a good string player's vibrato using Kontatk's LFO's back then. It was ok, but not good enough.