Recently I\'ve been reading ads in magazines and websites claiming that certain libraries are \"the new greatest thing\" or \"revolutionizing sampling as we know it\". Sean and I have never been ones to make statements like this and we generally just a chuckle of out them but I got to thinking about something today.
Some of these libraries in question (no I won\'t mention names) are using big name guys to do demos of their stuff that have been worked and reworked for several days, run through expensive outboard gear most on this forum will never see in real life, and have very good compositional skills.
I have always been a big believer in putting up raw, dry, unprocessed midi files that show what the library sounds like right out of the box. Heck I\'ve even posted a demo triggered with the mouse in GS?
For us it comes down to this....how playable is the library right out of the box? The test of a great library is not how many discs it is, what it was recorded with, or even who\'s endorsing it. It all boils down to HOW DOES IT PLAY!
So Sean and I have decided to take a little unorthodox approach to proove a point. Most developers have contests to see who can come up with the most realistic demo using their sounds which is a cool idea. But we want to turn the tables a bit. I would like to see who can make the most UNrealistic demo using any of our libraries. In other words try to convice me that it\'s not a live player. The only criteria is that is must be actually playable by a human...thats it.....
I think Percussion is easier to get realistic performances out of a sample than say Horns. Its also harder to get to sound fake....yes when recorded well....
Still when a horn is recorded well its still much easier to get it to sound fake.
I\'m jsut trying to put into perspective why it may be more difficult to get LOP or UOP to sound bad. not saying that its not a great library./ I only have LOP to go off of, and I think its pretty fantastic, but you have to admit its way easier to get say a well developed string library or a well developed choir library to sound false.
now if I needed to I\'d play crecendo nsare rolls at 8th note intervals withthe same velocities...should sound fake. or 16th note timps one hand only at forte
crotales fast maybe? finger cymbals...yah those woul be easier to make sound fake....
Granted it would all still sound pretty good....well except the crecendos
Sometimes revolutionary is partly the way its programmed, and what you\'re able to coax out of samples in a performance in terms of expressiveness. Which is why I like VotA and GOS so much. ad why I\'m excited to hear the new updates for VotA.
Really...I am an Idiot
[This message has been edited by KingIdiot (edited 03-05-2002).]
<BLOCKQUOTE><font size=\"1\" face=\"Verdana, Arial\">quote:</font><HR>Originally posted by donnie: Recently I\'ve been reading ads in magazines and websites claiming that certain libraries are \"the new greatest thing\" or \"revolutionizing sampling as we know it\". Sean and I have never been ones to make statements like this and we generally just a chuckle of out them but I got to thinking about something today. <HR></BLOCKQUOTE>
That´s right. You just call your libraries names like \"Ultimate Timpani\" and \"Ultimate Orchestral Percussion\".
As a customer I prefer totally unprocessed demos. I also want the developer to show me all the how much control I will have over the samples as given by stock patches. If I can make a sax growl by using the mod wheel, then demonstrate. If you have to fake a growl by recording two parts on two separate midi channels and fading between the two mixes, don\'t make the demo so that it insinuates real time control. If after purchasing a set I feel that I have been tricked or mislead, I will be an unhappy and probably a non-returning customer. If you are honest up front, tell me what effects bring out the best in the sample collection, or suggest methods of creating realistic parts then I am a happy customer.
I\'ve never been one to make purchases based on what sounds \"real\", rather it has to sound \"good\". I can get a \"real\" sounding orchestra down the street at a local high school and it will still sound like dookie.
The way that I would approach this idea is by taking a beginning band arranging book and totally break every rule about instrument range and intonation. a good example of this would be to play a G bellow middle C on a soprano flute, or play a C two octaves above middle C at triple forte on an oboe.
Just a thought
[This message has been edited by ryounger (edited 03-05-2002).]
Ok I totally disagree with the mentatality of \"well, percussion is easy to do\". If that were so DS Soundware would of never been created.
Try this....take a snare drum, xylophone, glock, bass drum, or anything percussion excerpt and play it with our sounds and then play it with AO, Miroslav, or anything else. It\'s the difference between real and fake everytime.