Hey Mikael! I agree. Another one of the reasons i tend to use my scoring software, Dorico Pro, when I want to do a full orchestral piece with all the instrument sections. It allows me to orchestrate realistically with harmonizing the two flutes with two clarinets or separating the harmony between horns 1 + 2 with 1 trumpet and horns 3 + 4 with 2 trumpet etc. Plus you can divisi so you can maintain a rich harmony with less and quieter instrumentation.
As far as Abbey Road One versus BBCSO, I think it’s a personal taste. I decided to get it after watching a Guy Michelmore vid where he did up a short piece then played it with a few different libraries and I thought that the Abbey Road One version was the best “film score” sounding.
BBCSO is great from what I’ve heard many on the forum doing and it’s nice that all the instrument sections are separate–there’s much more there than ARO. If you want individual instrument textures, other than trumpets or horns (for what ever odd reason) you’re not going to get it with ARO, it’s all high and low section ensembles.
However, for me personally, I like ARO over BBCSO for “style.” The winds in BBCSO are a3 whereas ARO is a2, which really is subtle, but I notice it (I don’t need 3 bassoons!) My main issue with BBCSO is that they recorded it in their regular scoring stage which has a tonne of natural verb and a very “wet” sound I just don’t like.
ARO on the other hand, was recorded at Abbey Road Studio with LSO players, where John Williams and other big name film composers recorded many of the great film soundtracks. It comes with something like 8 or so different mic/mic positions so you can really dial up a vintage sound. The horns in particular are great. BBSCO is the whole package for full scoring and ARO is more a scoring tool for quicker writing, but for me it’s just got a magical sound to it. Spitfire just needs to put in some legatos to make it really great.