Sorry, I forgot to mention this.You may wish to check out Project Bravo. http://www.hybridtwo.com/newsite/project-bravo
See the video at around 29:21https://www.youtube.com/watch?v=UMcrA_XdWEk
It’s a more involved process, but it can be done, and you get access to Bravo’s scripting.
But I’d still recommend Omni 2
Honestly, Kontakt is not the best choice if you’re just going to use a single sample. For that you really want a more powerful synthesis engine, and Kontakt isn’t that. Likewise with Kontakt’s effects. They are really not very good and have needed updating for many years.
The obvious suggestion at this stage is Omnisphere 2 which has drag & drop functionality and that gives you access to Omnisphere’s simply amazing synthesis engine.
Additionally, the now defunct CamelAudio Alchemy gave you four samples to play with, but unfortunately that’s not purchaseable anymore.
To give you an idea of how well Omni 2’s sample stretching works, here’s a fantastic video that simply speaks for itself.https://www.youtube.com/watch?v=UeGTPaXp79c
In answer to your question though, you can already drag and drop any WAV file into Kontakt and it will playback instantly. Also, through the scripting window (the wrench) you’ll have access to all the Filters/FX you need. I just think with a single sample, there are better options.
A friend of mine send me a composition as MIDI, I was using same instruments that I used on one of my latest tracks and I was using a very similar mixing concept. The tracks, his and mine are quite similar as orchestration, feel and mixing. His track got rejected, mine got approved. Again I say, same instruments used. Explanation to him? low quality instruments… if 11 people are THAT much biased, then…
I’ll give my general opinion on this.
Many authors here have similar libraries. Some of them have what would be considered the very best libraries.
If you give the same sample libraries to 2 different composers, you are likely to get different results. It is not just about mixing concepts and orchestration, it is about programming or what is now popularly termed ‘synth-estration’. I guarantee that MIDI data from one composer to another varies greatly, and thus composers using the same instruments get different sounding pieces of music.
Perhaps the most important thing is that successful use of sample libraries is about good programming within the context of the track. If the track’s concept is executed well by the samples, it probably has a better chance of being approved – even if the author uses what are perceived to be low quality samples – if it’s synthestrated well (layering, inventive production skills, etc, extensive and ‘musical’ use of CC controls…). Conversely, if a track’s concept is NOT executed well by the samples (even if they are the ‘best’ samples), it probably has a lower chance of being approved.
It is possible to make good quality samples sound bad, I hear it every day, not just here, but also outside of Audiojungle. Simply owning expensive sample libraries is not solely a prerequisite for musical success.
It is also possible to make bad quality samples sound good if you know what you are doing. I also hear this every day, not just here, but also outside of Audiojungle. Learning how to make the best use of your music equipment is one of the many things an author will need to do throughout their career.
USB 3.0 is fantastic.
If you have the cash, Samsung have released fairly recently some pretty great external SSDs – which should be able to take full advantage of the speeds that USB 3 offers.http://www.amazon.com/Samsung-Portable-USB-External-MU-PS1T0B/dp/B00RWXVRW8/ref=sr_1_3?s=electronics&ie=UTF8&qid=1429047314&sr=1-3&keywords=samsung+t1+external+ssd
The only other thing you want to make sure of is that you are using 1 USB port PER drive. If for example, you have the drives connected to a USB Hub (as many do) – then they will all share the same bandwidth with all the devices connected to that hub. Not a problem if it’s just mouse, keyboard, controller, etc… but if you have 2 drives on 1 hub, you won’t get the best performance.
Working hard, networking (real networking face-to-face, not social media/online), writing really great music and learning from it, self-critiquing and evaluation, and just a tiny bit of luck.
Oh, and perhaps above all, you really need to be fun and memorable in person, otherwise no-one will want to work with you!
You can easily have a career without all of these things, but if you want to win an Oscar, you’ll need most if not all of these things.
Soniccouture Grand Marimba – it’s superb.http://www.soniccouture.com/en/
Spitfire Audio’s Frank Ricotti Marimba is also excellent – but you won’t have quite as dry a sound (but you do have the amazing hall sound at Air Lyndhurst)http://www.spitfireaudio.com/frank-ricotti-marimba
And then a tried and tested option is Soundiron’s Bamblong, which I have used a TON of.http://soundiron.com/products/bamblong
It’s a steal at $39
If I had stuck to a price list this year. I would have lost a significant amount of money. Every single project is different. To give you an idea, I had one project this year where the budget was $12,000 for 30 seconds of music. Another where I did a project for $400 for 3 minutes of music. It just depends on so many factors.
I have also hired people this year that based on their initial prices, were well out of range of what I could afford but people are generally flexible if you talk it out.
Most deals I make are package deals (all inclusive). On rare cases there is often a separate budget for live recording in addition to creative fee.
I don’t charge for revisions, UNLESS they are conceptual changes. If a project needs many revisions, someone screwed up somewhere. Either you, the composer – in which case you should take responsibility. Or the client (completely changing edits, new content, etc…) and they should take responsibility. You’ll find most companies will agree to this as it’s very reasonable.
And above all, I definitely don’t charge an hourly rate. I don’t know how I could charge an hourly rate for creating music, when there are often many hours where I am procrastinating/thinking/getting inspiration. All of this can – and often does – help the composing process, but I don’t feel any client would understand this, so I just do a flat rate / per-project basis. Creating music – to me – is not like a factory job where you clock in and clock out.
People aren’t paying you for your time, they are paying you for your ideas.
As for what you’re worth, only you can decide that. There are many things to take into account. Some things to consider are:
– Your education. (more education, higher cost)
– Your experience. (more experience, higher cost)
– Your overheads / cost of equipment. (more gear, higher cost)
– What people have paid for your music in the past. (depends…)
– Whether you actually like the project. (the more you like it, lower your cost)
- Whether the client is a repeat customer. (Double-edged sword, they may want a discount for coming back, or they might have a bigger project – and therefore more $$$ because of great work you did previously. If you develop your relationships, the flexibility goes both ways).
– How much the project will benefit your career. (if it’s early on in your career, lower your cost)
Not just limited to these though, there are probably more I’m forgetting. There are no rules to any of this, just make sure you’re 100% happy before signing the deal. Hope this helps a little.