A symptom of larger developments, imo; the breakdown of journalistic integrity in our society has been encouraged by the tech industry as a way to grow adoption of the internet without paying for content, accompanied by a fascist takeover of a major political party that already didn't like jews, homosexuals, creative types, or original thinkers in general. (sound familiar?) The decline in liberal arts education has only exacerbated the problems.

But on-topic, at least we have some options for brass samples.

Tell us how you really feel, mojo! (about brass libraries, of course! )

Geez... Mojo.

What's your music sound like these days?

'nuff said

I just stumbled upon this product... I'm not the most technologically current person out here but if you haven't heard of this brass library... it's NICE!

http://www.samples4.com/catalog/demo//V ... s-demo.mp3
http://www.amg-software.com/amgkickassb ... brass.html

Here's an amazing demo (a salsa arrangement):
http://www.samples4.com/catalog/product ... cts_id=680

The demo sounds very good but the demos for Mojo sound very good too. Almost all contemporary VIs are *capable* of producing realistic results, the question is how long it takes, how much tweaking it requires, and how intuitive the process is to arrive at such a realistic result. I have pretty much stopped listening to fully produced demos as a yardstick of how "good" a library is. Give me (video) demos of one person playing the instrument in realtime, that will show me what's possible, what the workflow is etc. Unfortunately I couldn't find such a video on AMG's website, the "Quickstart" video only shows you how to install the VI.
I'm not knocking this library, for all I know it could be brilliant, I just would have to see more before plunking down my hard earned cash.

The longer I do this, the more I'm looking for libraries that are designed for composers on a deadline who need to create awesome sounding stuff. The ones I gravitate to these days are designed by busy pro composers for composers, two spring immediately to mind: LASS and Cinebrass.

Both of these libraries still need some grunt work by the composer to get a good result, but they are designed to be able to get up to speed pretty quickly and then dig into as time allows. It helps to show up with some previous experience and some sequencing chops, of course, but the libraries are getting better and better at allowing a great result in a much shorter time frame. When I first got East West, I spent days on one piece to get it to sound as good as I could get it. I really can't afford that kind of time these days so I'm always on the lookout for stuff that sounds great and is intuitively tweakable and expressively playable without a lot of fuss and muss.

Samplemodeling falls somewhat into this category, and it really shines when the nut behind the wheel knows a little something (or a lot ) about how the instrument is played in the first place.

The tools are getting better and better, it's no longer impressive to come up with a big texture because one can have that pretty easily, particularly with tools like Symphobia or Cineorch, etc. Now it's back to knowing how to compose a great piece and then using these great libraries to bring the piece to it's fullest potential.

All on a deadline!!!

Woo Hoo!!


EDIT: I feel the need to clarify: I will spend the time it takes to get a piece to sound right, days if necessary, but for certain types of projects and deadlines, that's not possible. So it's time to figure out what to leave out and what to leave in, that's where the practice of the composing craft comes in! Lots of learning!

So if those demos for those libraries sound awesome, how long did it take that demo-er to put that together? That's the rub for me!

Truth be told, it doesn't sound like libraries.

http://snd.sc/mwmYAZ