I do have the feeling that stuff like the Grid series and much of their "boutique", "artisan" etcs nonsense is just Paul Thompson making sure that they record the musicians warming up, just in case! :D I mean, genuinely I had a O___o wtf face at a lot of the LCO, felt very much like an update to Chamber at (very) best. I do like a lot of their "big" releases and I'm grateful to try all of them, obvs. They're fun to play with at least, mostly. I do get equally annoyed by the bugs and glitches and "analog drift" when you dare to jam for more than ten mins and use CCs a lot, tho. Which does seem replicated in similar ways, across libs. I appreciate what @Andrew said about there needing to be moar Pianoteq devs, fewer awful 8Dio old hacks / troels. Which Spitfire is in danger of becoming? It's not like they haven't got an endless supply of free $ to do Stringteq or Brassteq or even Guitarteq!

 

Man, do I hope you are never on the jury of a court case I argue! Good grief, whose lying? They're a company that puts out awesome sound libraries, and businesses sometimes withhold things that happen behind the curtain. Shocking! They're not a Pharmaceutical company.

 

I dont know what is wrong with you guys. The samples are only half of the sound. The rest is what you do with them. How you edit them . How you mix them . The tuning. The scripting etc.
Having done some of the samples for the First sampler "The Fairlight CMI" I dont think that if I gave you a bunch of samples you would have a clue what to do with them. Let them keep changing the way they use the original samples and let them resell them as a new library as they really are a new library.. Spencer

 

On some of the Fairlight Strings I mixed short spicato with long sustains and used Key Velocity Attack to select the sound. So I used the same samples in different ways.
Spencer

 

With all due respect sir, it's not like you had much in the way of options back in 1980. Also I'm not sure I'd agree that I would describe something like a bright new Yamaha C7 rebadged as an 80 year old Bechstein as a "new library" if all that had been done was to roll off the top end and increase velocity sensitivity.

 

But that is exactly my point. You now have so many things you can do with samples that the skillset is not recording the raw sounds but the processing after the recording. I believe if you invest the incredible amount of time to process the samples you have the right to resell the library any way you like. Any donkey can put a few mikes up and record the raw sounds.
Spencer

 

I'd totally agree with you when it comes to synth sounds, but with orchestral libraries? I think they're mostly meant to be played as they are.

 

Well, I think most of the expensive -when it comes to recording- choir/orchestral libraries are built on the same original material. The big ones (Vienna and EWQL) doesn't hide it.

IMHO there should be stated explicitly clear in the advertising and documentation because a big share of the price should be proportional to this. And Spitfire and 8Dio doesn't do this, instead they advertise most of them as if they were new from scratch. If all 8dio libraries were original recordings the famous grammy-awarded-blabla Trolls Foellman would need three clones only for that and I'm guessing he has more important things to spend his time with.

That doesn't mean there're work and benefits by improving playability, keyswitching and so on. Even effects. BTW, a very warm f*ck you to Prominy for this. Money wasted 2 years after I bought V-Metal.

 

Or in the case of a specifically branded piano library, Mr Spencer seems to disagree that it is disingenuous, or flat out lying as I believe, to take samples of one piano and alter their characteristics and sell them as something else. Sure that might have worked back when the Fairlight could manipulate a cello sample to sound like a bass, but there is no excuse now for not sampling the actual instrument you have branded as a new library.
However, should a library labelled "Cello Bass - a unique deep bowed bass instrument developed from our Cello library" be produced and sold at a reduced price, I would have no issue with that.
It's about honesty in marketing and selling, not rebranding to increase sales.

 

Pardon my intrusion, but is that you Mars? If so, love your work. It's inspired mine

 

Bruno Mars? No, it's not him. The Spiders From Mars? No. Ziggy broke up the band. A Mars Bar? Mmmmmmmmm..... Mars Bars..... (drooooool, gurgle)

 

@notsoloud ....The Fairlight Maestro himself:

All Fairlight...

 

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I do not know this person. How remiss of me. I do however live about 5 minutes away from Peter Vogel. I will look into the current whereabouts of Mr Lasar.

 

Mars and I have a lot in common. Of German heritage, raised in Australia, keyboardists and about the same age. Except he is a success and I am a failure. My mother told me. She's always right.

 

Your only unsuccessful because you forgot to reuse orchestral samples! You failed and used fresh sampled content every-time. Shame on you

 

I should never have sold my Ensoniq Mirage. I sampled my mother saying "you'll never be any good at anything".... It would have been a hit.

 

Priceless conversation...

 

I don't know about those inflated 100GB libs but Spitfire (recently) has also started LABS which gives a free library every month. Btw what about thousands of producers selling ripped of trap drumkits as their own.
I don't know how many of you know this Kontakt library called Altron, I tried it to find if it was really good but it was just a Nexus ripoff.

 

I just stumbled on this older thread, just wanted to say that many of those sampler specific libs and sample cds are rip-offs but some of them are not.
Off the top of my head, getting one of those multi-track Drumdrops drum sample double dvds, gives you something like 20-25 full blown, song mode drum performances in a complete 24bit multi-track package. If the genre is up your alley you are in for a ball, that is if the user knows what to do with it of course hehehe.
Cheers