So kind of you! I've a request: 8dio Alexandria Library (I'm sure Troll Froellman also signed this one):

 

I was one of those guys that was religiously into old gear, old is better, etc, plugins and soft synths?, oh what would i do to buy the real deal....and then you realize this mentality is working against you.
I think it was trough Acustica, Nebula, and recently AO EQs and PSP e27 that completely destroyed that prejudice and now im a total believer in BOTH old and new tech and once you free your mind of that clutter you will catapult your creativity and engineering to a whole new level.

 

Is the same as with movies, generic CIG everywhere. Sound quality from technical standpoint sure go up, but distinctiveness and uniqueness go down. There is no time to do that today. Time and money is main focus these days and to boost that, tools need to be effective which lead to overproduced, perfectly balanced, ready to mix sounds and tools. Of course this lead only to one way which is "generic production". Vanilla Ice cream, chocolate or strawberry are different flavors, but they are still just a ice cream after all. Anyone want a real chocolate or strawberry?This is good for hobbyist, but uninspiring for music overall. Also lack of good storytelling, let me do not start here

 

@Von_Steyr
I'm all with you. Sample libraries though is not gear, it's artistic content. Or at least should be "judged" as such. And just like normal music albums some can be timeless, some mediocre, some can be crap and so forth and even more important sometimes, what works for one person doesn't for another. I do remember how my old Burning/Liquid Grooves' content found new purpose in Stylus. Yes it was just a re-pack of sorts, but the new -at the time- pack was full with a ton of neighboring interesting choices to explore and come up with something exciting using the new and old together.

 

Last edited: Jan 25, 2018

I'm afraid that cd melted in the fire, but i still have some content from the Ashurbanipal Library from 7th century BC. Now that's some vintage samples man.

 

Aren't they?
That's vintage-analog-scrolltape-saturation-decoloration-mojo for you!

Edited: sorry, I forgot retro-warmth-distortion!

 

Last edited: Jan 25, 2018

I'll be short and to the point. Which is not my trait... Well, most of the good stuff has already been said.

Everything has its purpose. New, old, super new, super old, ultra new, ultra old etc...

It's how you use it that matters, anyway.

 

10 could be difficult, but if you'd give me 20, I'd say Rammstein and Nightwish.

 

You arrive late to the party. But we can always talk about Virtual Machines until they kick out our asses for boring geek OT, that is...

Congratulations for your good musical taste

Brilliant reply lol. I didn't get the fire thing at first

 

The old emu librarys beutifull..

From the ol esi range thru to the E series n ultra range onwards.


Always had a truly beutifulll warm tone to it all..

I can see tha library gettin used today still....sure!!
Preffered it to akais,

i Think alot o the ol proteus.n audity 2000 stuff -was sampled at some point...

And added to llb.

could be wrong.

but audity was a killer rack mount.
As are they all..
Especially that bigger bro to the proteus....the 3 u -rackmount one i mean!!

 

Putting everyone's most favorite piece of music aside, i just bought an Integra-7 a week ago & when i was testing the SRX expansions, i instantly felt in love with the Symphonique Strings, Platinum Trax & Ultimate Keys expansions even though it's newer factory soundbank is also good on it's own.

With that being said, as i already mentioned, i love some of the many current sample libraries. Of course, i'm absolutely not against using them, far from it, in fact some of the libraries i own are ranging from 2013 to nowadays.

And again, i privilege older libraries because of their timbre & "warmth" as in " i like this violin because it dosen't sound too flat, static and, dixit @Utada Hikaru , dosen't have that "Hollywood" influence " .

Dunno if this makes any sense to anyone of you.

 

Last edited: Feb 4, 2018

Well I agree that there are some very good current artistic works (sample libraries included) but is rare to find such things today.
And what @kimikaze said in his post summarizes pretty much the reason of it, and the 1st post of taskforze too.

 

I am old and don't use samples, never have, never will. to me that is like painting with numbers with a predetermined amount of colors to use. I rather get to know my apps|plugs and make my OWN noise. although... back when I was in school, a lot of the old school sample packs that have been mentioned in this thread were used a lot, each to their own

 

Last edited: Feb 5, 2018

To each their own, indeed. Not influencing you in any way though.

 

I see it as being two main factors: storage capacity, and fashions in processing. Back in the day of floppies, or even when CD burners were rare, storage was expensive, meaning that people had to be selective. Every millisecond, every byte has to really count. Nowadays, it is easier to just leave the record button on and try whatever, and try to sift it through for the good bits.

Likwise, trying to fit samples onto low bit depth and low sample rate storage affected how people processed them. With no length, sounds had to be recorded pretty dry, because there was no room for tails. For old gear like EMUs and drum machines, the sounds were compressed to death before storage, and then expanded at playback. This was the best way to capture all of the detail at 8-12 bits, but the dynamics were often weird. Checking out my old 707, IIRC those sounds are only 6 bits, but they sound like 8. It all results in a texture that you don't quite get from just converting a wav to 8 bits. Older DACs were kind of crap, and introduced weird nonlinearities. Like that Dynacord that was probably the first 24-bit home sampler - but got there by using three 8-bit DACs. Also I think generally, more attention was paid to the analog output circuitry of gear before the 90s, when "CD quality" was cheap and easy enough that companies no longer felt they had to squeeze every bit of fidelity out. The earlier stuff didn't sound faithful, but it had its own character, which is why I think people still like older gear and samples.

There are a lot of advantages to modern sampling. There is a world of difference with regards to the depth of coverage of acoustic instruments now. More samples with better mics in better conditions. But as for pre-made samples of electronic material, I am really picky about how sounds are pre-processed. I usually prefer for them to be as dry as possible, just raw material for my own processing rather than something already polished for a finished track. So for acoustic samples, I tend to go for new. For electronic, I tend to go for old.