For those of you following our fellow forum guys Donnie and Sean\'s percussion library, it\'s available. I just got my legit copy today, but I\'ve been using an advanced, pre-press version for the past couple of months. I\'ve got to tell you, these samples are amazing! My clients and friends have all commented on the step up in overall sound quality I\'ve been achieving since I started using their library.
The snare alone is worth the price of this library and the tympani makes it a total steal. If you\'re doing anything orchestral, this library will make a huge difference!
Is anyone else here using this library? Are you as impressed as I?
Donnie is referring to our new user composition area on the dssoundware.com page. We would love for any of you guys using the sounds to send us something composed with them. Just go to the user compositions area on the page and send it to the mail link there. For the time being, just be sure it is under 5mb (as currently that is what our mail server will handle). Preferably send it as an mp3. We\'ll post it that way and as a RealAudio file (for the impatient ones out there).
We are anxious to hear what everyone is doing with them.
great library, definately a notch above anything else. I have been using Rolands orch perc library for years, but this library has a more relistic live feel to it. Haven\'t really ABed them per say, but anyway Ultimate Percussion rocks.
No, Mitch. I did not get a free copy.
I guess my enthusiasm towards this library has made me a bit of a poster boy. I don\'t mind. They\'re incredible samples and I\'m happy to help Donnie and Sean out.
Well I certainly don\'t regret my buying of
this library, but I must confess I\'ve been quite disapointed by the Timpani. Not by the sound of it since it\'s 10/10 but rather by the fact you (Donnie & co) didn\'t bother to really sample every note from each Timpani in order to get the complete range of each.
It seems really strange to me and I\'m a bit p/o, but maybe you\'ll fix that in the future ??
Why not really sample a 5 Timpani set :
81 cm : D2 to A2
76 cm : F2 to C3
71 cm : G2 to D3
63.5 cm : C3 to G3
57 cm : F3 to B3
Thanks for your reponse. I think I know what you are trying to say with the timpani ranges for each drum. However, we did sample every note in the overall range of the drums. If you do as you are saying and sample every note of every drum then the end result would not have been as satisfactory. For example, a Bb in the the bass clef sounds much better inthe upper register of the 29\" drum than the same Bb in the lower register of the 26\" drum. This holds true for every pitch on timpani. Just because you can get a pitch on a drum does not neccessarily mean that it will be a desirable tone. Furthermore, I\'m not exactly sure how you would map out this because each drum would over lap and you would not be able to actually notate anything. Not to mention that it would of taken at least 2 cd\'s for the timapni alone for this effect when you consider that each of the four mallets is every note from D-F with four velocities.
Hope this clears some things up
[This message has been edited by donnie (edited 06-07-2000).]
[This message has been edited by donnie (edited 06-07-2000).]
Firstly I must state that I do not own your Ultimate Percussion CD so I can\'t really comment on that in particular. But I would like to remark about this area of developing the Ultimate sample CD.
Although I am sure your CD is of an exceptional standard I just thought I\'d place my theoretical weight behind Jericho. What I mean by this is that music is like art. If I want to paint my canvas a certain blue I go to the art shop to buy it. But the guy behind the counter says he hasn\'t got that blue. Why? Because nobody uses it, he replies.
So should I paint my canvas the color blue which he sells or should I try to stay true to my original vision and make the blue myself.
As a composer of (for want of a better word) \"modern\" music I almost invariably find myself bashing my head against the confines of my software/samples. Is it a universal law that someone won\'t want to use a 26\" timpani tuned down to Bb? After all John Cage decided he wanted to shove nails and stuff into a piano. Surely these decisions should be in the hands of the artist and not the developer.
I believe the goal of the developer is to develop a product which can harbour creativity. Whilst I am in no doubt that if I received your CD tommorrow I would be jumping for joy at the new creative possibilities allowed me, I just thought I\'d air my fears at developing too narrow a harbour for creativity to sit within.
Music is like water. It easily takes on the form of the vessel which holds it. The proliferation of \"Dance\" Sample CD\'s and \"Retro\" synths in recent years has led to a glut of similar sounding, formular driven, brain dead Dance music here in the UK. If a classical instrument sample CD only contains samples which are honed for 19th century-type composition, then there shall be a proliferation of such type of music... because it\'s easier to do with those samples (no I\'m not saying 19th century-type composing is easy).
We are, of course, in the 21st century now and music demands elasticity. With products like Gigastudio and Reaktor we are on the threshold of a new era where Composers can be truly free to transform what they hear inside into an audio experience of the purest form.
Over the coming months I will be developing my own samples for Gigastudio. I will hire or buy an instrument and sample it extensively, paying special attention to getting the full range of noises from the instrument that I possibly can through tampering. As I\'m not really a pro I don\'t think my samples will really be retailable. Obviously I am a special case, needing such a degree of tampering, but I still think that Instrument sample CD\'s should try to give a little wider birth for their users.
Is there a Saxaphone sample which grunts, squeeks, and groans? What about a choir of untrained voices? There seems to be a thousand sample CD\'s trying to do the same thing better than each other but very few/none doing the stuff inbetween!
Wow that\'s my rant over and done with... sorry it was a long one but I felt I should get it off my chest.
Peace and happy developing (I really hope I haven\'t put you off)
To be honest, I think the goal of most developers is to
1. \'develop\' the sample CD
2. Sell enough that they can go on to either
3. \'Develop\' the next sample CD
4. Pay off the mortgage on their house.
I don\'t know if you\'d get past point 1 with a cd full of untrained voices.
Basically it\'s got to be supply and demand. If developers saw a big market for a CD of a variety of toilet flushes, I\'m sure it would be available at Northern Sounds today.
I take your point that the creative possibilities are endless with any recording medium, but keep in mind that most of us are yet to hear what might be called the \'definitive\' strings CD. Before we come up with bizarre alternate-universe style string samples, shouldn\'t we understand the instrument well enough to be at least able to emulate it accurately, or do we just give up and lower our sights, calling it \'nouveau\'?