Quantum Leap Rare Instruments is almost done-
Here is the final list of instruments-
Sarangi ( classical Indian bowed instrument ),Laudennas ( Sardinian triple flute with reeds, sounds like a bolivian bagpipe ), Duduk ( Armenian flute ), Alpenhorn, Erhu ( Chinese 2 stringed violin ), Middle Eastern Fiddle, Gedulka ( Bulgarian Fiddle with sympathetic strings ), Hurdy Gurdy( sounds like a fiddle crossed with a bagpipe and an accordian with some buzz ) and Taiko drums. Available in March 2001!
[This message has been edited by Nick Phoenix (edited 01-15-2001).]
How did you guys manage to sample the Duduk, hell, the Er-hu for that matter! Tough task considering how wonderfully soloistic these instruments are. Most of the Er-hu sample sets out there consist of simple (and not very useful) phrase loops.
Most of these instruments were difficult to sample, but by no means impossible. Some of the samples need alot more editing than average and some of the instruments only play wierd scales. The trick was finding good players. The gedulka player wasn\'t so great and so I find myself in editing hell. All the other players were fabulous ( some of them fabulously expensive ). I had to fly the Sarangi player in from New York.
Sonic Implants may have their \"massive\" Mediterranean compilation ready before March in Giga format and it\'s sure to be a bargain as usual
But they can be slow as molassaes like anyone
who demands quality pretty much
Sonic Implants is a company started by Jennifer Hruska, who was one of the voice developers for the K2000. I have bought several of their Soundfont products, and been extremely pleased. With all the thousands that I have spent on synths, I find it amusing that I often use drum sounds I bought for $30. Until I bought your QL Guitars, the Sonic Implants acoustic guitar was my favorite. It is more than about time that this company started marketing their products in \"professional\" formats. I am sure that once their giga products start coming out, they will be quite highly regarded.
I am curious about your forthcoming Rare Instruments CD for a non-musical reason--that is, money, or more precisely potential profit. Why you think there is enough interest in obscure instruments in the sample CD-buying market to justify the hopes you might have of making a profit. Let me hasten to add that I don\'t mean to be critical in any way of your project. On the contrary, bravo for breaking new ground. But I am genuinely curious about the economics of these sample CDs. Does anyone know the size of the total market of computer musicians using GigaSampler and GigaStudio? How many of them buy sample CDs. What is the total size of the market for sample CDs in AKAI format? When a Rock group releases a CD publicly, usually sales figures are made public--in Billboard and other publications. But who knows how many copies the various sets of sample CDs have sold? We all know that sample CDs are priced at extremely high levels compared to CDs of recorded music--ostensibly because
of the limited market for sample CDs. But is that market for sample CDs now growing in numbers and total money spent? Are sample CD prices going to come down eventually? Are sample CDs now a substantial marketplace in terms of total dollars? I\'m hoping you might know the answers to some of these questions.
<BLOCKQUOTE><font size=\"1\" face=\"Verdana, Arial\">quote:</font><HR>Originally posted by Charles-Valentin Alkan: Nick Phoenix:
We all know that sample CDs are priced at extremely high levels compared to CDs of recorded music--ostensibly because
of the limited market for sample CDs. <HR></BLOCKQUOTE>
Hmm.. (scratching head) I\'m actually surprised how low cost some of these orchestral library sets are considering the small fortune it takes to record a typical professional orchestra:
- hall rental
- player fees
- mic rentals
- dat/recorder rentals
I have not even mentioned the time and effort put in by sample producers who are basically working on a \'spec\' project that might or might not be successful. There\'s offcoarse variance between a project like Ultimate Percussion and say.. Miroslav Library. The budget difference between the two is massive and that in someway explains the prices. You can debate these prices all you want, you have a right to since it is your hard earned cash, but there are many other things I can think of that a person can do to make some good money: producing samples is not one of them.. try daytrading or something.
On a related note I wonder what EMU spent to record (last year I think) their fairly hefty 25 Gigabyte orchestral library set recorded with the Seattle Symphony Orchestra? I bet ya it was in the 6 figure range, easy...
Take heart: I think some of these libraries are actually priced low because the producers have found ways to limit excessive fees (i.e. hiring player friends, recording in smaller venues, etc) I don\'t see how, and more importantly _why_ a producer should charge a ridiculously low price taking into account the size of the niche market and the rampant pirating going on out there. Only those sample makers that can deliver very high quality, standard-setting libraries will probably survive for any long period of time.