Welcome to the LASS Music Demos section. Here you will hear demos that feature LA Scoring Strings in a variety of ways…from featured, to accompaniment…from legato to spicatto and from first chair to full section…. and now LASS LS (Legato Sordino) all with the greatest expressive range.
Note the use of divisi patches (legato ensembles A,B,C) to create a realistic and balanced expressive sound. Also because of LASS’s unique Acu-Fade approach to patches (a new approach to cross-fading dynamic layers avoiding the smearing and buildup of the other dynamic layers), you’ll hear all the detail in the sound and an accurate number of players…even as their dynamics are manipulated real-time via the mod-wheel. In essence, the dreaded “cross-fade player-build-up sound” is minimized.
Note the use of divisi patches (legato ensembles A,B,C) to create a realistic and balanced expressive sound. Also because of LASS’s unique Acu-Fade approach to patches (a new approach to cross-fading dynamic layers avoiding the smearing and buildup of the other dynamic layers), you’ll hear all the detail in the sound and an accurate number of players…even as their dynamics are manipulated real-time via the mod-wheel. In essence, the dreaded “cross-fade player-build-up sound” is avoided.
Here Nathan used LASS to create a driving rhythm in a modern Bernard Hermann-esque fashion. Notice the use of the short articulations (staccato and spiccato) and how they drive the cue using the A.R.T. Tool. Using the separate A,B, and C sections also allows him the flexibility to alter the dynamics and intonation within the ensemble for a more ‘human’ feel. He also ‘buttons’ A.R.T. phrases with SLAM spiccatos when possible.
*All of the pieces by Nathan Furst were midi mockups for a movie project and were not intended as LASS demos… but since he used only LASS for all strings on all the cues except for the aleatoric string FX on this cue , we thought these mock-ups would make great real-world unsolicited LASS demos.
Featuring the new LASS LS library.
Here Willem uses only LASS LS (Legato Sordino) for all the strings in this piece and creates a beautiful and mystical sound that is so compelling in contemporary scores. This particular kind of string sound can only be achieved with sordino strings.
Clone Wars features a lot of LASS. This cue uses LASS exclusively for all the strings and is a real-world example of how Kevin uses LASS in a high-profile shows with crazy deadlines. Also, note the runs… all done using LASS’s Real Legato patches.
A wonderful example of how LASS tackles both soaring melodies and emotional content. This piece uses all the legato sections occasionally doubled by the sordinos. LASS has a great feeling of dynamic range with CC1 (pp FEELS like pp). CC1 and CC11 look like a rollercoaster on this cue!
As with all the LASS demos, only LASS strings are being used in Reverie. Notice the wonderful detail in the harmonics at the beginning of this piece. Although the chord is quite thick, you have a wonderful open sound because of the divisi capabilities of LASS. What follows is a beautiful legato string arrangement in the true fashion of a movie theme.
From action with a short-articulation driving-pulse – to emotional legato strings writing… and back again! This piece contains spiccatos using the A.R.T. feature, SLAM staccatos, Legatos, and Sordinos. Nathan’s manipulation of the string intonation at the A,B, and C divisions are used here often… from the spiccatos at 0:25, to unison sustains at 4:07.
This emotional cue features some nice solo viola and atmospheric high string sustains. Also note the detail of the basses bow and rosin. This cue predominately uses the legato articulations. Occasionally Nathan will double a melody or counter with sordinos (Mahler’s technique). LASS really sings when using all the separate divisi sections together… even (or especially) when playing in unison (1:25 and 2:25 to the end). As usual CC1 and CC11 are your friends!
Xolotl is a great example of LASS’s spiccato and staccato capabilities as well as a soaring melody over a driving bed. Notice the penetrating Bartok pizzicatos at the beginning of the piece as well as the ascending spiccatos that build into the crescendo at the end. Listen to the Spiccato Cellos and the A.R.T. script demo (see below) to learn more about LASS’s short articulations’ powerful capabilities.
Also featured in this piece (on the spiccato strings) are the exclusive LASS ERs (early reflections) and IRs (impulse reverbs) that accompany the library. They were created by veteran IR guru Ernest Cholakis of Numerical Sound. You can read more about ERs and IRs on page 41 on the LASS User Guide.
LASS is used with combinations of staccato/spicatto rhythms and string sustains in both harmonious and dissonant manners.
Notice how Nathan uses the staccato stings coupled with the powerful Bartok Pizzicatos at the beginning of this cue. What follows are soaring strings under the propelling bed of LASS’s short articulations.
A wonderful example of chordal and melodic writing with LASS. The divisi writing really shines here going from small to large and all dynamics.
A wonderfully atmospheric string cue…. Bitter sweet with great examples of legato and portamento string writing. Also, notice the use of harmonics at the end of the cue to give it that otherworldly unresolved feeling.
This demo is a good example of how LASS handles dense jazz harmonies with ease. Even with a thick jazz chord structure, the strings still sound open and uncluttered.