How large is the string ensemble heard in these instruments?

Personally, I wouldn't aim to emulate a particular section size of strings. Instead, I would recommend using the library (or layering libraries) that end up giving you the performance qualities you desire while also being as similar to the reference as you need. That said, per Rimsky-Korsakov's book on orchestration, a "medium-sized" string ensemble has roughly 12 first violins in it (with other string sections usually having less players), but modern sessions can often use less players depending on budget.

Not being familiar with (or even owning) any of the string libraries you have, I can't say which of your libraries specifically will give you what you want, but I would try and match the "vibe" of the string section on the recording by ear as well as you can, rather than focus too much on trying to get the sound of a specific size of section. It's so variable that it's often not worth fussing over such details.

Knowing the individual sound and capabilities of each of your libraries is the best thing you can do, but all of your libraries are good enough to give you the sound quality you need.

Hi @RMH

There is no substitute for your own taste and ears. IDK your background but just make it sound cool to YOU and that is the way to go. The minute you doubt yourself to the point of tossing aside your own instincts in hopes of pleasing what you guess or imagine someone else will like, you’re doomed.

in short, present what you think sounds great. At least that gives you a solid basis for presenting your work.

Another thing — be wary of what anyone tell you to do verbally or in writing. People, even those involved and with good intentions, are rarely accurate or even that thoughtful when they give musical directions, so for the most part it’s best to keep your work moored to what you personally prefer. I’m not saying you or any of us should ignore producers, fellow musicians or directors. But it’s vital to stick to something you like and then filter what you think they really mean.

This “advice/directions” thing is even more hazardous if it includes specific musical terminology. One director told me he hated the clarinet, so I gave this big solo to the oboe. At the recording session he pointed to the oboe and said, “I told you I HATE the clarinet.”

Besides, words are slippery. One man’s “emotional” can be another’s “overly sentimental.” So stick to your own taste.

Have fun and don’t torture yourself; if it sounds good, it IS good.