One simple way this issue could be greatly minimized, would be to implement clearly visible notifications at some point during the upload process, to serve as a reminder to authors that any tracks uploaded to the Envato marketplaces in an exclusive capacity MUST remain as that, and NOT sold or licensed via other marketplaces. I think one of the key problems here is that some authors (especially new authors) may miss the point of how exclusivity and non-exclusivity works, or are oblivious to the consequences of going against the rules, thinking they will just ‘blend in’ and that nobody will notice. To me, drilling it home from the outset seems like a good start.
It’s Envato’s responsibility to think of more severe consequences in such cases, to remind new authors that it’s not just a petty offence and that they’re actually risking something.
Great! Congrats.. Seen results allready?
Check this thread for results:
Well said, Ralf, +1 at everything you said.
Seen from every angle, be it non exclusive or exclusive, I consider it a slap in the face of every honest author here. On top of this they are damaging the reputation of the marketplaces they’re selling on. The rules of exclusivity are perfectly simple, aren’t they? So I totally agree with Tim, and until then I say: Cheaters, be aware, a sudden feature could give you some exposure you might not have wanted.
Going back to hardware synths.
Soft synths are ok, they’re easier to handle but most of them lack character and leave me dissatisfied. Though many sounds are outdated, I’m still amazed how powerful and distinct my old Roland JV880 can sound. I recently bought a Korg M1 and it’s the same.
Compared to a softsynth, they seem to be very limited and outdated machines, but, these limitations are their strenghts, why? Because you immediately also hear and recognize their strenghts. Like I heard Brian Eno say recently in an interview, the challenge of our time and all these gazillion sounds of VST plugins is their limitlessness. NOT being limited has become the problem!!
I’m sure everybody here has spent many days browsing through the thousands of presets of synths like zeta+ and the likes, only to give up three hours later, not having done a single song or recorded an idea.
When I got my M1, I tried a few presets and one sounded so good and unique, that just a few minutes later a new song was born.
The strings of this synth…. aweful!! But that’s okay, because for that I’d go to the JV 880.
Most of the time, it’s the attack and ‘directness’, the presence of the sound I’m misssing when I compare soft synth agains hardware. I recently started sampling some sounds with Kontakt, but though the result is quite nice, it’s not the same. We’re talking subtleties, but in the end it’s these subltelties that always bring me back to hardware. It seems to me that in the end of the day, it’s the soundcard and the quality of your converters that eventually define the sound of your softsynths. With your hardware synths you have more variety, because the basic sound of a Roland synth and an Ensoniq synth for example are very different, because the AD converters are pretty different.
And it’s the odd things in the limitations that give these synths character. Try sampling an M1 dry and add the Kontakt reverb, it’s not the same than the crappy, but characterful M1 built in effects.
I can go on: Of course many have already mentioned the feel of turning real knobs…. ok not so much on an JV 880 or M1… they’re honestly a nightmare to program. But: the keyboard of the M1 is excellent! Where can you get such a great keyboard feel today? The M1 cost a fortune back then, but that meant they really built a great keyboard. I played a current Roland Juno G a while ago and the keyboard touch is total crap. Even with their King Korg, Korg nowadays doesnt implement aftertouch.
Congrats, Jaap! I see you’re an exclusive author here one AJ….:zipped:
Haha, brilliant, need to get that plugin!!