In the latter case, you can choose whether specific beats are slightly before or after the grit. Here you can change samples, adjust tuning and groove. Ĭlicking on each tool will open its editing window.
For example, the Feel parameter will add random velocity, which will give more gumming to your sound, while Intensity will affect the overall velocity level of your groove. You will see other Swing, Feel, Intensity, and Reverb settings in the lower right corner. In addition, panning settings and the ability to route them to the individual channels of your DAW. You will also have a small ensemble mixer at your disposal, with the faders of all your instruments will be displayed here. But besides that, you can press the Edit button, enter the special pattern editor, and affect the rhythm more specifically. Here you can adjust the tempo, and whatever triggering will be – through the notes or host. Also, there are three different Balafons, 2 Fula Flutes, and other melodic instruments.Īt the bottom, you will see the Pattern Player, which allows you to create ready-made rhythms. For example, you will have 7 different Djembe samples, 4 Dunubas, 4 Kenkenis, and 4 Sangbas. I think some of these VST makers should offer a 14-day trial period to test whether you really want the library or if the sound doesn’t meet your standards rather than buying it an it having been a waste.The number of tools in this library is impressive.
I have to keep myself from buying more when one doesn’t give me the right sound, because I’ll probably just get the same result. The question is why do I keep shelling out $$$$$$ for these supposed top-shelf libraries and never getting to use them because I can’t (or they won’t) perform what I want or expect 90% of the time? Sure, NotePerformer doesn’t have the nice studio hall/Hollywood sound stage audio quality that these other libraries do, but how can a $100 plugin in a notation program perform so much better than these $500-$600 libraries? I So then I just opt to write the piece with Dorico and NotePerformer and I’ll be damned, it plays the parts EXACTLY as I expected and envisioned. Than, after that didn’t work, I when back to my old workhorse, Cinematic Studios, strings, brass and woodwinds-same result Soooo, next up was Audio Imperia Aeria for the strings and well, at least the “modern mic” mix sounded a bit better, but again the legato articulation couldn’t quite pull off this simple melody. I really don’t know how others get this library to sound so good. I started that piece trying to use BBCSO, but the articulation set, while plenty there, wouldn’t play the piece right, even with the “improved” performance patch, and the strings somehow get drown out when doing the melody. I was about to go on a rant myself after completing my Yuki Kajiura cover piece the other day. (Sorry about the “attitude,” but all of this really pisses me off sometimes, along with the related obsession with locking everything down, forcing me to use rubbish operating systems that are not really fit for the job… Maybe I’ll just get myself a dedicated hardware recording system, and work with real instruments only eventually. Maybe they shouldn’t be in the software business in the first place? I suppose it would be annoying for the developers to try to determine whether or not “new” material was rendered before or after the license was transferred, but if they’re really that paranoid about it, that’s their problem. All it does is f*** over the legitimate users, who have to deal with online activations, dongles, rootkits that die along with your licenses if the wrong component in your computer fails, etc…Īdd to that, many libraries actually do have cryptography in their DRM, in the form of fingerprints, that can supposedly be decoded from any audio created with the samples, as long as they haven’t been too heavily processed. Ironically, non-refundable, non-transferable licenses - or any licenses, DRM, or anything like it, for that matter - does very little to prevent piracy.