Get a six year old child to sing your songs, send it to Ellen Degeneres, BOOM, ONE BILLION VIEWS.
Probably not, the only thing you might be able to make sound halfway decent by adding good reverb is VSL. The problem with orchestras…some instruments (mainly strings but brass too) really need to just be recorded in a good sounding hall to begin with. At least that’s my opinion. Violin is especially troublesome. It’s not all about sound either, I think the really good libraries have a lot of articulations and little touches built in that don’t really jump out but that definitely add to the value. Most of the expense of the good libraries is recording great players in great sounding environments with great engineers.
Of course “good” and “cheap” are both subjective terms. Just because something is cheap doesn’t mean it necessarily sounds bad and just because something is expensive doesn’t mean that it sounds good, although that’s the perception. I think with smaller instruments and ensembles, you really have the opportunity to create quality stuff at different price points. With orchestral sample libraries, it’s a whole different ball game.
OceanicPiano saidWell said….and if they new what was commercial, why do more than half of my accepted tracks have no sales? Okay, so I just dissed myself big time.
Sometimes rejection is because of low quality, but once in a while we get something like “not commercially useful…” quote. Some reviewers have no idea what commercial useful is. For example most of my tracks are “commercially useless”, some of them were rejected… then why I am making sells in extended licences every month? Not everyone needs only jingles and ukulele backgrounds.
I think half of everyone’s portfolio has no sales.
That’s interesting,but,i don’t think creativity matters a lot in this business,when i produce royalty free music i always see it as a grind and i don’t need much creativity because most of the times i produce music that i don’t really like but the music that i think that will sell. Tried making music i like,didn’t work
You really want to subject the world to my singing. Well alright, challenge accepted.
Behringer Truth B2031a. Maybe one day I’ll upgrade, but so much of music production – from preamps to mics to monitors – is balancing increased $$$ with diminishing returns. Yes, this sounds better than that, but is it enough to justify the purchase, or does it just sound a little better? Already my cheapish monitors sound better than what 99.9% of people are going to be listening to a mix on. If we were all really smart, we’d mix using generic car speakers, television speakers, crap movie-theatre spearks, and iphone earbuds to get a sense of what the mix is REALLY going to end up sounding like.
I guess we were all less popular than we thought.
Their stuff is pretty good, but expensive. They have BUNDLES now (sort of miffed on that one, as I spent a ton of money to buy stuff individually right before the bundles came out.)
I guess it depends on what you are trying to write? I’d recommend the BML stuff over the Sable stuff for orchestral work, but damn, the Sable stuff sounds good. Albion is still a pretty good value for coloring things.
If your serious about using the spitfire libraries, just make sure you have a fast enough computer with enough memory. I’ve got 32 gigs of RAM and a SSD and it is just barely covering it. For me, it’s worth it to not have to not EQ and mix a bunch of instruments and have things sound good (more-or-less) out of the box. It’s also worth it to me to pay the bit extra to not have to deal with ILOK DRM bullcrap (ala East West.)
Buying stuff from Spitfire isn’t the greatest. Not only do they not accept Paypal anymore but they take a day or two to process your credit card payment before they send you download links – at least they did for me.
Finally, a lot of the libraries don’t work like they do in their videos. All the BML Mural String libraries no longer have master patches with all the articulations and keyswitches, so if your used to keyswitching, fugitaboutit. Some of the BML libraries are lacking, in terms of things like you need to buy BML Mural vol 2 to get tremolo patches for all the strings (what?) the Trombone library doesn’t have a solo patch, just a2 (What?) the horn library doesn’t have an a4 patch just a2 (what?) ect…hopefully they release other volumes in the future for these kind of things.
Usually I don’t use a sample library, I will use the string/brass patches on my Yamaha Keyboard. They sound like crap, but when you need to play strings and brass across the full range, they do the trick.
VSL has a nice “all” string patch, but really, If I’m loading patches it’s probably time to start breaking it down into the individual instrument sections.