I am just about to embark on putting together a Gigastudio. I have a Pro Tools Hd Studio and run nothing but Macs. I was not very excited about the idea of having to buy a PC but with the help of a friend I found a solution that would save me the embarrassment
They have a way to run Gigastudio via Ethernet into my Mac, awesome!!!!
Anyway my question is:
I have some keyboard modules Korg Triton Rack Proteus stuff Roland stuff yamaha stuff. Will I need any of this now that I have Gigs studio. In other words do the sounds from sample cd\'s made for Gigastudio blow that stuff away?
If so may I please have some suggestions on what sample libraries are a must have.
Will I have appregiation control for synth stuff?
Like I get with the Triton Rack
I looked at the hardware vendors site. This is a very good deal and system. I would only hold out until G3 is released.
The MIDI over lan solution works great. I just purchased MIDIOverLan+ since I am in a PC world. I wish I had done this sooner, as it eliminated most of my cabling.
With respect to GIGA samples. I have been an owner of JV2080 and JV1080 in teh past. I looked at the XV 2020 last week because I needed something to work with when I went on the road. I was heavily dissapointed after working with Giga, and I did not purchase.
My only quirk against giga is the memory limitation. The # of samples I can load is limited, and you need multiple machines for any orchestral scoring. 2-3 machines is norm, which makes working away on weekends hard to do w/o some sort of truck! On the other hand, the samples for Giga are great. I could never go back to any other devices, and I have heard other samplers and nothing can compare.
But as said, it\'s money. I spent a fortune on samples up front, but really don\'t use as much as I need. My sussgestion is to only buy what you need for the project you are working on and build from there.
Legit makes sense. There\'s sooo many libraries that cover the entire spectrum of musical style. Buying Giga is kinda like buying a cd player when you\'ve only had LPs. You have to start from scratch.
It\'s going to be a long road so you might as well buy the stuff that you\'re most interested in at the moment.
I would suggest trying to find 24-bit libraries at this point. 16-bit is on it\'s way out and there\'s already plenty of 24-bit libraries around, so you could think of prioritizing your purchasing that way as well.
I also have a Triton. I still use it. I love the enormous gong it has. You can single-stroke roll it and the velocity brings out the shimmering which makes it mighty functional. I prefer it over the Quantun Leap Rare Instrument gongs actually, which brings me to my next point. Giga is great for getting realistic strings, brass, vocals, ensembles and drum sounds. I don\'t usually use it for synth stuff (they have a lot of synth libraries). I\'d rather buy an analog synth than an analog synth library.
I would suggest going to Sounds Online and just listening to the demos of the libraries in the genre you\'re interested in. They have just about every library there is, except Ilio, which is another great source for libraries.
Use \"small\" instruments and feel like a god. No really, use instruments that don\'t occupy a lot of space and memory, for instance, from the older libraries. If you do, you feel like you have a supercomputer at your disposal. Why go for those \"large\" instruments, which will eat up all your resources (and they will, and you can only load a few), when it\'s only a...demo?! You think the audience hears the difference? And even if they do, do you think they really care if you use old or new samples for your mock-up? Do the projects, you usually work on, call for the real thing? Will your clients, or their audience, walk away if it doesn\'t? It\'s not like they expect you to compose a real sounding violin concerto, do they?
\"Small\" or \"large\", as long as you\'re not working with a real orchestra your giving them a substitute. A subsitute that most of the time will be more than perfect for the assignment. It\'s the music that counts. Whether it is composed on a Proteus Orchestra, or a VSL library spread over 5 PCs. Your compositions have to...work. That\'s all what it\'s about. Many composers/bands did their best work on an old Emulator or Akai with only a few MBs. It\'s not the tools you have, or the material you use...it\'s what you do with it.
There\'s truth in the fact that the audience may not tell the difference, especially in a film scoring situation where you are competing against dialog and SFX. However, it\'s a good idea to invest the time and the money in purchasing good quality samples...samples that will not only emulate closely the instruments you are mocking up, but also, since you are going to be using and listening to them everyday, flexible and interesting to you.
What you probably don\'t want to do is invest in 12 different varieties of the same instrument, and obscure samples that you will never or vary rarely use. Take the time to listen and look around the diverse packages out there before you pay. And then only buy what you need for the currrent project you are on.
As for writing, yes, I am tired of hearing poorly written pieces, where the *composer*, if you call them that, have used all their best technical gear and samples to richly orchestrate something that has absolutely no novelty of form, structure etc. Yes, they had every great sample going, well recorded etc, but the piece fails because it is poorly *written* and doesn\'t take risks. Nothing gets older quick as a new sound. Spend your time in the writing, and watch out that you don\'t get sucked into the technical engineering aspects. Too easy to get distracted into spending time tuning the gear, editing this or that sound, and not spending time in writing. You\'re writing music here, hopefully, but not always, good art, not code...