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 Though many sounds are outdated, I’m still amazed how powerful and distinct my old Roland JV880 can sound.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Compared to a softsynth, they seem to be very limited and outdated machines, but, these limitations are their strenghts, why?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!!
Nice work, Josh! Well deserved! Congrats
Awesome post, Gareth! Thank you very much for this. Everybody trying to produce orchestral stuff should pin this next to their monitor
The fact is: producing a good orchestral trailer with convincing strings is A LOT of work. I did some arrangements for strings in the past, some have even been played by real performers/instruments, so I knew at least a little bit when I sat down and did a small orchestral piece for AJ two years ago. (It’s not in my portfolio anymore, decided to delete it last year from here)
I didnt have any expensive string library by then (still dont own one), I didnt even have Miroslav Philharmonik by then, so I had to do everything with the built in sounds of my DAW (Presonus Studio One) and a few soundfonts I think.
Like Gareth said: Hiding the attack of mediocre samples is a must in this case.
I chose to use a piano for that for example.
But the main work went into automating the volume. Making the strings breathe and follow the ‘ductus’ , follow the imaginary conductor. I spend two days ONLY with the automation of the volume(s).
Nothing puts me more off than listening to an ‘Epic Orchestral Trailer’ that uses high quality samples that are off the pulse and ‘ductus’ of the intended phrase, melody line or whole passage, sometimes even the whole piece. In no other genre would pieces get accepted with this happening. Imagine a guitar player doing the same, it would just sounds like a total amateur and the track would get rejected. There are countless examples here of bad orchestral trailers on AJ, so many that I stopped listening to this genre completely, except for a few authors of whom I know that they take the time to get it right.I hope with Gareth in charge now, AJ will be more strict about it.
Gareth tips are solid gold and by following these rules you can get a great sounding convincing orchestra out of even not so ‘expensive’ libraries.
If you cant afford one of these reverbs Gareth mentioned yet, you can start with some good free convolution responses for Reverberate LE or get Halls Of Fame Free.
It is also a good idea to get a feeling what works with the samples you have and what doesnt. I find that if you work with sample libraries it is a good idea to first write for the samples and their expression possibilities. Because if it doesnt work, asking a decent violinist or cellist to double a line doesnt take long and usually there are many music students that are happy to play a few lines for you for a reasonable price.