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REALIZE introduces a new way of working with samples that I think could shape the future of virtual instruments. Here are my honest thoughts after spending some time using it:
The idea of recording performances and then chopping up the phrases into individual notes creates a degree of realism that already sets REALIZE apart from most sample libraries. Though I’ve worked with a few other libraries that use a similar approach, this one stands out because of the engine built around the sampling technique and the fact that it allows for deep editing of each individual note. REALIZE offers an experience closer to working with actual players than any other library I’ve come across.
After learning the basics of how it works, the plugin is really intuitive to use and everything runs smoothly. The process is similar to preparing MIDI to send to an orchestrator for a recording session and the result is similar to getting a recording, but with a lot more flexibility–every note can be adjusted and it’s easy to go back and change things. I’ve found that it does take a bit of time to fine-tune the performance since each individual instrument needs to be separately edited (horn 1, horn 2, etc.). But luckily there are plenty of options available to improve the output like the dropdown menu where you can choose from a ton of different recordings of each note, so it’s well worth spending time with it to get the best possible result. Right now it takes me slightly longer than working with traditional sample libraries, but if the algorithm is updated in the future it has the potential to become much faster.
After editing each note, the realism of the performance is great. It can play slow and fast passages well, though there aren’t any fancy articulations like flutter tongue or mutes. It’s handled most things I’ve thrown at it including complex melodic passages with a lot of articulation switching. It also allows for a lot of flexibility with processing since each instrument was recorded individually and completely dry. The tone of the library is pretty bright, so it cuts through an orchestral mix well.
In summary, REALIZE is a super powerful and well designed tool. Though it takes some time to tweak and might not work in every context, it’s definitely a valuable addition to my template. It does a great job of bringing an existing brass mockups to life and is a good option if budget is not available for a live recording. The concept and engine are groundbreaking and I look forward to seeing them applied to more instruments in the future!
About Timothy Shortell
Timothy Shortell is a composer based in Los Angeles. He has scored an assortment of films, video games, series, trailers, and other media. He has also composed hundreds of tracks for publishing companies which have been placed in thousands of TV spots, trailers, commercials, and TV coverage for Hulu, Paramount+, Prime Video, Riot Games, BBC, ESPN, ABC, NBC, CNN, FOX, CBS, Discovery, and various international networks.
In 2022, he became the youngest composer to ever write custom music for a theatrical movie trailer at the age of 19. He received the Thomas Bergersen Grant for Young Talent from the co-founder of Two Steps From Hell and was three times awarded Occidental College’s Elinor Remick Warren Award for Significant Achievement in Musical Composition. He currently works at Hans Zimmer’s Bleeding Fingers Music.
This is truly an amazing virtual instrument. Hands down the most realistic sounding I’ve ever worked with. Very inspiring and remarkable, the brass elements really come to life with this! The ability to tweak things is nearly endless. While I haven’t tried every virtual brass instrument out there, and not an expert in the field by any means I’m still very confident that nothing even comes close to this one.
About Jarno Huhtanen
Jarno Huhtanen is a genre-bending composer who comfortably navigates between orchestral pieces, hip-hop and even blues. His compositions have been featured in hundreds of tv shows. Some of his credits include Here Comes The Boom (Columbia Pictures), The Big Bang Theory, America’s Got Talent, Dancing With The Stars, Grimm, Chicago Fire, Smash, Empire, The Tomorrow People, Nashville, Lie To Me, Shameless, CMT Music Awards etc. He also wrote a theme for a reality show “The Last Alaskans” and has custom scored dozens of tv shows and documentaries on Discovery and National Geographic.
What I love most about REALIZE is the freedom. With traditional sample libraries you must always write to what the samples can do and that is severely limiting to one’s creativity. It’s fun to compose something with basic sounds then hear the magic of realization of that. It’s almost like hearing your music performed by a real group and there is a kind of magic to that.
Nothing on the market has even attempted to challenge the idea of using multiple articulations that require significant time in of themselves to set up and execute and with those you are often left with artifacts where you can obviously hear a change from one articulation to another.
REALIZE solves those issues and creates the possibility for never before heard realism. There is a bit of a learning curve to using the software but it’s actually easier to learn than learning how to use the multiple articulation system of other libraries.
This is not a Hans Zimmer type library. This is a library for a swath of people who care about ultra-realism. If one is required to create ultra-realistic symphonic realizations this software and library are capable of doing better than anything else.
The samples themselves are also so different from what you find in other libraries and that lets you create passages that aren’t just faking it but sound like actual performances. It really feels like I am writing for live players with all the excitement and unexpected results that happen with that.
The thought and engineering that has gone into this project is awe-inspiring. This is such a step-change for samples and I can’t wait to see where it takes us. I am very excited for strings in the future.
About Matt Gates
Matt Gates is a composer for TV and film. His Credits include Blood Money (starring John Cusack and Elar Coltraine) and The CBS hit reality show The Amazing Race. Matt was born in North Little Rock, Arkansas and studied trumpet and composition at the University of Arkansas and now resides in Los Angeles. Matt is a graduate of the prestigious USC film scoring program, was a fellow in the highly selective ASCAP film scoring workshop, and won the 2004 Jerry Goldsmith award from UCLA. At USC Matt studied orchestration with Pete Anthony, Jerry Goldsmith’s orchestrator, Mark McKenzie, and John Williams orchestrator, Conrad Pope as well as composition with horror legend Christopher Young. Shortly after graduation Matt worked for Disney Theme Parks to arrange, synhtestrate and re-orchestrate the music from Finding Nemo for their revamp of 30,000 Leagues Under the Sea Ride. Since then he has scored dozens of indie and small studio films and documentaries and created music and themes for a variety of cable and network TV.
I recently had the privilege of trying out the REALIZE Orchestral Brass virtual instrument, and I must say, it’s a game-changer in the world of virtual instruments. As a composer and producer, I’ve encountered my fair share of brass libraries, but REALIZE Brass takes a fresh and innovative approach that left me truly impressed.
User-Friendly Innovation:
One of the standout features of REALIZE Orchestral Brass is its approachable learning curve. Despite being a departure from traditional brass libraries, the software’s concept quickly became clear to me, making it easy to navigate. I found that grasping the new approach was well worth the effort, as it significantly simplified the process of creating authentic brass tracks.
Seamless Sound Selection:
REALIZE Orchestral Brass boasts an extensive array of thousands of samples, which could easily overwhelm users. However, the software’s intelligent algorithm streamlines the process by seamlessly selecting the most suitable real brass samples for each note in my arrangement. This feature alone sets REALIZE Orchestral Brass apart from other Brass Virtual Instruments, allowing me to focus on the creative process rather than getting lost in sample selection.
Revolutionary Customization:
What truly sets REALIZE Orchestral Brass apart is its revolutionary ability to fine-tune, tweak, and even interchange samples on a note-by-note basis. This level of customization opens up a world of possibilities, enabling composers and producers to sculpt brass sounds to fit their exact vision. I found this feature especially invaluable in breathing life into my compositions.
Versatile Applications:
While REALIZE Orchestral Brass’s forte lies in classical, film scoring, and band material, I was pleasantly surprised to discover its versatility in various genres. I successfully integrated it into Jazz, Hip-Hop, and pop arrangements, demonstrating its adaptability beyond its intended scope.
Final Thoughts:
In conclusion, REALIZE Orchestral Brass is a cutting-edge virtual instrument that redefines the way we approach brass sound design. With its user-friendly interface, intelligent sample selection, and groundbreaking customization options, it’s a must-have tool for composers, producers, and musicians alike. Whether you’re seeking a quick and effortless solution for realistic brass rendering or aiming to push creative boundaries, REALIZE Brass deserves a place in your arsenal. After my experience with this software, it’s clear that it could easily become my go-to choice for crafting authentic and captivating brass arrangements.
Ali Lexa
Credits – Audio Producer, editor and online content manager for the Pacifica Radio Network. Former positions as digital asset manager at Sony Pictures Entertainment, MGM.com, content creator and editor for EastWest Sound Warehouse, AMG (Advanced Media Group). Product specialist and media consultant for Steinberg Music Software Gmbh. Former Sound Designer for Activision and Trimark Pictures. Remix producer and engineer on dozens of records in the dance genre. Music Director of Samba Da Mudança (Brazilian Samba Ensemble).
What impresses me most about REALIZE is the end result: a brass ensemble recording that sounds incredibly life-like, the kind of thing I’d expect from a live recording session with studio musicians. Full of life, variance, space and punch.
I own products from all the major sample libraries out there, and none of them can produce the same degree of realism, ease of use and efficiency of production as Realize.
Besides saving me loads of time and effort dealing with multiple patches and keyswitches, one feature I love is being able to alter the speed of a crescendo with a simple turn of a knob; or the ability to quickly audition dozens of sample choices on a note-by-note basis.
The sample base for this library is so vast, you can edit to your hearts content and never run out of choices (as you quickly would with any other library out there).
But who has time to tweak these days with the tight deadlines we all have? That’s why I love the fact that the out-of-the-box performance provided automatically by the software is more often than not pretty close to what I want.
Having all the articulation choices, keyswitches, etc. happening automatically behind the scenes is an absolute game changer.
Bottom line: if you’re looking for ultimate realism and ground-breaking relief from endless keyswitches, multiple tracks and searching for the right articulation, this is what you’ve been waiting for.
Source: Two-time Emmy-winning composer, Ron Komie.
Credits: The Amazing Race, The Voice, The Late Show with Stephen Colbert, Pawn Stars, and many others.
