Native Instruments have such a monopoly on the entire sampling industry because of it. I honestly cannot imagine working with orchestral composition, or just sampled instruments in general, without Kontakt anymore. That is an incredibly difficult task you're facing. If you abuse EQ to make space for every instrument in a bloated arrangement, their timbre will be wrong. Every instrument section has its distinct timbre and range, so the arrangement has to take advantage of this. It's the key for good sounding orchestral music. Maybe you can experiment with it anyway, but be careful to not drown the instruments in reverb. You can't do that with Spitfire's BBC Symphony Orchestra Discover however, as there's only one (mixed) mic position. If the virtual instrument behaves badly with reverb tails, select the closest mic position, tame the high frequencies with an EQ to simulate distance, and slap on a good IR reverb. Try to highlight the instruments that sound best on your library. Don't expect that you can create a violin solo with the same level of expression as Itzhak Perlman, those will simply sound bad on VIs. Simple musical ideas with limited articulations will work fine on it. Don't forget that you're writing for a library that is quite limited. The problem with virtual instruments is their lack of expression and realism. Spitifre already took care of that, post-processing is not going to save you. Orchestral recording is all about a great performers in a great space with good microphones.
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