This is a great product—I have 2 albums worth of tracks to process for AJ, and I was absolutely dreading the tedious process of watermarking—$10 later and I had software that did it in 10 minutes.
Highly recommended for anyone who regularly uploads to AJ.
A couple of things:
1) Definitely would second (third? fourth?) the SSD suggestion. You can have as many slave PC’s as you want, but unless you’ve got the engine set to run absolutely everything from RAM (which for many libraries isn’t possible), a mechanical HDD will cause issues at some point unless its 10,000 RPM or in a well-configured RAID.
2) I get the hurt over SSD prices, but they’re way cheaper now than they used to be. If you would have told me even 2 years ago that I would have a 1 TB SSD at all I would have called you nuts—these days you can get a 500 GB Samsung EVO 850 for less than $200. Fortunately if the past is any indication, this trend will likely continue.
3) I run VE Pro on a slave PC and LOVE it. My orchestral templates are geared heavily toward East West stuff (I own almost every library they make), and I definitely see huge performance increased in Logic X running PLAY in VE Pro—even if its on a single machine.
4) If you’re not into building your own PC, I’d recommend Puget Systems (https://www.pugetsystems.com)-- they make fairly reasonable-priced custom machines that are truly excellent. I use a Serenity as my slave PC (I run the DAW and a few small libraries off a new-ish iMac) and the only sound I’ve ever heard it make is the POST beep. No fan noise even when running most of the Hollywood series in multi-mic configurations.
5) Invest in a good audio-repair tool. I go with Izotope RX, but you can find tons of click repair tools all over the internet. In addition to my EW stuff, I run a lot of Kontakt Libraries—particularly 8Dio and Output synths and choirs, and I find that every library is going to pop and click sometimes, you just can’t avoid it. A good click-repair tool can save you hours of headaches trying to figure out what PLAY, Kontakt, or a custom engine is popping or clicking on certain notes or transitions. Just run the repair and call it a day.
Nice to see someone come into the forums with a hard reject, ask for advice, actually follow it, and persevere when they still face some harsh reviews. Glad to see the track is approved, hope it sells well!
Note to people posting hard-rejects here: this is a great example of how and why you should post them. To learn and improve, not to complain about the review policies here.
The reviewers here are generally very good at knowing what is going to sell here. I’ve only had one item hard-rejected, so I simply sell it somewhere else. It sells well there, and while I’d rather that my stuff be on AJ, if they don’t approve it, I just move it somewhere else. Every soft-reject has resulted in feedback that improved my tracks, so I try to follow the reviewer’s requests, or, if I think they are asking for something unreasonable or something that would change the quality of the piece, I just… sell it somewhere else.
I’m not trying to be annoying here, but just know that AJ’s reviewers focus on their audience. It isn’t necessarily a comment on your music quality (even though they often cite that as a reason), but rather on a disconnect between your music and the site’s audience. Fortunately, there are other sites and audiences to sell your stuff on.
The glock is a bit aggressive and could be seriously toned down while still preserving its nice chipper feeling. Unlike others here I actually think the sort of lower-quality piano samples actually give this some nice character.
I shudder to recommend uke, but that could probably round this out nicely.
Does anyone uses an external HDD connected with usb 3.0 for storing their sample libraries? I’ve heard it can be beneficial.
I use this buffalo drive that came with the East/West CCC2 Pro collection:http://www.buffalotech.com/products/desktop-hard-drives/drivestation/drivestation-ddr
It works beautifully—I’ve been very impressed with the “SSD-level performance” that it claims. Excellent product for fast reads in particular.
Glad to see Envato making a wonderful, very positive change. Thank you very much for taking the time to implement this—those of us who sell exclusively here are much more willing to stay with this policy in place.
Thank you again!
We’re talking about Symphonic Orchestra, right?
If so, I agree completely—a lot of these patches are outdated (which is to be expected given that they were released in, what, 2003?) Even EW has moved on with the Hollywood Series, which is quite superior, and has a lot of features like true legato, portamento, etc. that are missing in EWQLSO simply due to its age.
Having said that, I’m not sure you’ve gotten the hang of how to use some of these patches—for example, are you making good use of the DXF patches that use modulation as a volume controller? Particularly in the brass, you can get a really good sound out of these if you work your dynamics correctly. Likewise, keep in mind that there are a lot of variations in patch intention, and a lot of them are designed for very specific use cases, and can sound odd or mechanical outside those specific contexts. I’ve found that being careful about violin patches in particular (using the 18/11 violin patches for violin 1+2 specifically) really helps.
It took me years to really figure out how to use SO properly, so hopefully there’s some stuff you can discover in the library that will make you regret your purchase less.
I can speak to the incredible value in the close mic samples in particular, although as I mentioned earlier, even here the Hollywood series is vastly superior due mostly to the fact that they are newer, far more deeply sampled sounds.
Again, newer libraries generally offer a lot of new features that simply didn’t exist when SO was released—I noticed you mentioned 8dio/cinestrings, which are both excellent modern libraries—but as you’ve already found out, there are a lot of really valuable, relevant patches in EWQLSO, mostly in the percussion section (even then there are better/more organic versions in newer libraries like Stormdrum 3/Spitfire)
TL;DR: SO is old, but there is a surprising amount of life in it if you can figure out specific use cases for instruments/articulations that you like. It isn’t going to trump modern libraries like LASS/Cinestrings/8dio/Hollywood though.