EWQL Symphonic Choirs WordBuilder v1.1.2 ISO

WordBuilder is the word building software that enables Symphonic Choirs users to type in words for the Choirs to sing. This included software runs on both MAC and PC, and includes a pop-down menu (under the "tools" menu) that includes 28 popular Latin phrases that you can load instantly. Many choirs sing in Latin so this is a real time saver for those on a tight deadline. The phrases have been optimized for each Choir. The pop-down menu is completely customizable so users can add their own phrases to the menu for quick and easy access.

The EASTWEST / QUANTUM LEAP SYMPHONIC ORCHESTRA sample library is the result of nearly two years of planning, scoring, recording, editing, and programming by over 100 creative professionals. Our goal was to create a full orchestral sample library—that could be reproduced in surround sound—recorded where orchestras sound their most natural, in a “state of the art” concert hall.

First, we had to find the right team to execute the plan. A lot of brainstorming went into this process until the right blend of talent became clear. To capture the sounds, we needed someone with an impressive history of recording orchestras live. The answer was Prof. Keith O.

Johnson. His 90-plus recordings have long been considered the standard for high fidelity, and include two GRAMMY award-winners and eight additional GRAMMY nominations. All of the recording equipment used in the project was either hand-built or extensively modified by him to optimize fidelity.

Next, we had to find the right concert hall in which to record EWQLSO.

Fortunately, his experience was invaluable here as well. He had recorded in most of the “critically acclaimed” concert halls throughout the world, and had a short list of favorites.

It’s extremely difficult to book a popular concert hall for weeks at a time, but we managed to do it during the resident orchestra’s summer break. Needless to say, the orchestra never got a summer break, because they were working on this project.

After the recording was completed, the post-production team was put to work, which included some of the finest sound designers and programmers in the business. Special software was developed to edit the multiple tracks simultaneously, and keep them in phase. Nearly a year of post-production was necessary to achieve the final result—a result we are all extremely proud of.

We hope you enjoy EWQLSO as much as we do—and we would love to hear what you create with it. Explore the many sections of this Guide, using it to spark the endless creative possibilities of this ground-breaking sample library!
— Producers DOUG ROGERS and NICK PHOENIX

Instrument Sound
Sonic perspective, close or distant sound experience, has been important during the evolution of musical instruments. Craftspeople develop their sound in the close environs of their shop or studio, but composers and listeners perceive and expect instruments to work properly in an acoustic space. Both aspects must be sampled and reproduced correctly because a listener can focus or hone in on a direct sound from one instrument when placed among others. Feedback mechanisms involved with human hearing subordinate the other sounds so they are perceived as diffused or as an ensemble. When we can see an instrument, this sensitizing feedback, or “cocktail party hearing acuity” is quick and effective. It works for a live concert experience but not for a recording made from the “best seat in the house.” Without visual connection, a microphone placed there will capture a diffuse “whole” sound. One can have exact speaker placements in a symmetrical room and meditate on the experience to focus in, but generally some form of spoon-feeding is required.

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