Seems that Kontakt remains very popular. I’m using the Kontakt Player for various sound libraries, but haven’t yet bought the full version of Kontakt. Is it a good buy at $399? Are the included libraries good quality or are they ‘left overs’ from the past?
It’s a good buy in the sense that there are a HUGE AMOUNT of 3rd party libraries for Kontakt that require the full version in order to run outside of 15 minute “demo” mode. As far as the stuff that comes with Kontakt – no not so good.
If I remember I got Kontakt Full when they ran a 50% off promo, so it was only 200 bucks – good deal.
I think most of the reviewers are pretty experienced in terms of having written music in all the different genres (I could be wrong, but that’s my impression) so they are all (probably) fairly adept at reviewing whatever comes in. The review process will always be a very human thing – after all, we are human, not robots – so having a “specialty” genre is sort of redundant, as each reviewer is probably a little biased to begin with. It likely helps the review process to spread the tracks around. Besides all that, it would probably get pretty boring listening to the same kind of track all day and all night. I’m sure it is already quite rough on the reviewers to sit down and have to critically listen to track, after track, after track…listening to the same kind of track would probably drive them insane.
I would not use PROTOOLS because PROTOOLS uses it’s own proprietary plugin technology (RTAS) and doesn’t natively support VST or Audio Units, which, in my opinion, makes it garbage for composing. Most plugins are authored in VST or AU, so why limit yourself? Most DAWS are pretty much the same. They all take floating point numbers or short integers and mix them together, change their volume, run algorithms, ect it all comes down to how you like the interface, the plugins that come with it, ect. On the MAC side you get a pretty nice sized library of Apple instruments with LOGIC. I’m not a huge fan of the LOGIC interface, but if you are used to it I’m sure it is ok. If you are used to GarageBand, Logic really is just a fancier GarageBand, the two programs seem to share almost the same interface and a lot of the same programming. I don’t really make music on a MAC, but I always liked the look of DIGITAL PERFORMER. I would also recommend looking into REAPER just for the simple fact that it’s (essentially) free and comes with some very nice DSP plugins.
I currently switch between Motu 8-pre and Motu 2408 MK3 (line-level stuff, preamps ect).
Hello, here is my honest feedback.
First track is a bit repetitive and ends ubruptly.
Second track – ok, but feels like half of a track and should be developed more.
Third track – also ends uprubtly, feels like it needs to be fleshed out more.
Fourth track – this one is more fleshed out, but to me, the electronic sounding drums clash a bit with the with the pizzicato sound of the strings, It is interesting, but maybe not the kind of aural texturing AudioJungle likes to hear.
Fifth track – Not bad, maybe more a typical Audio Jungle track, but your patch libraries and production are holding it back.
sixth track – Pretty good, but the instrumentation could sound more “natural” and “live.” Barring that, a sweet simple counterpoint might be nice, say, played by a solo violin.
Seventh Track – A little bit all over the place, there isn’t much tying the track together except for the drum beat.
Eight Track – The first half clashes a bit with the second half, minimalistic strings and then the supporting instruments come out of nowhere, maybe bring in the supporting instruments sooner.
The production and samples on all your tracks are riding a hard line between synthesized/electronic and fake sounding. With straight electronic music, it’s not as big a deal, but when you have bass that is supposed to sound like bass and strings that are supposed to sound like strings and they don’t sound quite realistic enough, you will probably find the reviewers rejecting your stuff a lot just in terms of sample/production quality. I think with better patch libraries and by fleshing out of the shorter tracks you could probably get them approved.
I pretty much just begin writing music on the piano with chords/harmonies/melody once you have something going it is quite easy to take that music and orchestrate it. This is traditionally how orchestration has been done over the past few hundred years – guys like Williams still work this way I’m fairly certain. Sometimes it’s fun to just screw around on a template with all your instruments and produce something, but my best orchestral stuff is just “orchestrated” piano music.
Piano roll will yield no “soul,” realistic orchestration requires some midi and most importantly velocity data. An orchestra will almost always be “mixed” the same way – yes there are slight variations but you will always have your violins on the left, your cellos on the right, your brass farther back, ect. so on and so forth, anything else will just sound weird for a true “orchestral sound.”
Most of the newer libraries are pre-mixed and pre-reverbed so they already sound somewhat good so adding more reverb will accomplish nothing save for muddying up the sound. Important to mix libraries, or to at least have a few different libraries, because after awhile you will want 4 different horn voices, two different violin sections (possibly with divid), ect.
Understanding orchestration is probably infinitely more important than things like mixing and eq-not that these things aren’t important, but without the right tonal combinations you will get a very dry and dull sounding orchestral sound.
So on AudioJungle you are probably not aiming for a really accurate orchestral sound anyway, you probably want it to sound bigger and less realistic than a real orchestra, with a lot less reverb – this is more of a commercial sound these days and is probably more what people want to hear.
No they shouldn’t, that would be foolishness. Even if there was a good reason, It likely helps AJ’s promotion to say they are a large marketplace withe X numbers of users and Y number of files, not to mention the logistics and labor cost of iterating through all the profiles and determining which ones are active/inactive. From their end it would be a lot of work for nothing.
Everything sounds a bit like something.
garethcoker saidYes they sound quite nice, actually all the Spitfire stuff sounds quite nice.
I don’t understand why every brass library doesn’t doesn’t record the horns individually
Take a look at this.http://www.spitfireaudio.com/bml-horn-section-volume-1