# Expeditions a collection of cinematic & world performances by sample logic review



## Thorsten Meyer (Dec 5, 2018)

*Expeditions a COLLECTION OF CINEMATIC & WORLD PERFORMANCES by Sample Logic Review*
https://www.strongmocha.com/2018/12...ic-world-performances-by-sample-logic-review/

*Expeditions by Sample Logic Review*
There are so many loop and phrase libraries for ethnic and cinematic application on the market, you’d have a better chance finding your way around Brooklyn in a cab. You have to do something interesting and playable to stand out with a loop library, and we’re going to see if Expeditions from Sample Logic provides that edge.

Sample Logic has been around for some time, offering widely used products like Assault, Impakt and Cinematic Keys among others. They’re no strangers to cinematic sampling and complex Kontakt scripting so this library is standard fare for them. Sample Logic did send a review copy with no strings attached.






Expeditions a COLLECTION OF CINEMATIC & WORLD PERFORMANCES by Sample Logic Review
Expeditions ships as a surprisingly small package that contains just shy of a thousand different loops, covering a wide range of territories including hybrid, ethnic, world, percussive and even the odd orchestral content.

Read the Full Review here:


*Expeditions a COLLECTION OF CINEMATIC & WORLD PERFORMANCES by Sample Logic Review*
https://www.strongmocha.com/2018/12...ic-world-performances-by-sample-logic-review/


----------



## X-Bassist (Dec 5, 2018)

How ironic that your review ends with a comment about the high price, yet there are just over 6 days left on the $90 deal at apd (or were you saying $90 is too high?). I thought you were an affiliate of apd, how could you not know?
https://vi-control.net/community/threads/get-70-off-expeditions-by-sample-logic.77301/#post-4315126

Or perhaps you thought them sending you the free copy was a coincidence?

I agree about the list price (but SL is usually overpriced), just not sure loops will help in an orchestral setting, as you mentioned. Perhaps you could post a demo or walkthrough demostrating this? Nothing in the official walkthrough seems remotely organic or natural sounding (compared to a playable dynamic sample library or live player), but I’d appreciate being proven wrong.


----------



## Thorsten Meyer (Dec 5, 2018)

X-Bassist said:


> How ironic that your review ends with a comment about the high price, yet there are just over 6 days left on the $90 deal at apd (or were you saying $90 is too high?). I thought you were an affiliate of apd, how could you not know?
> https://vi-control.net/community/threads/get-70-off-expeditions-by-sample-logic.77301/#post-4315126
> 
> Or perhaps you thought them sending you the free copy was a coincidence?
> ...



Cory who wrote the review is always mindful of the price of the product. I see a price point of a library as cost part on an investment. If the investment makes sense the spent made is reasonable.


----------



## Cory Pelizzari (Dec 6, 2018)

X-Bassist said:


> How ironic that your review ends with a comment about the high price, yet there are just over 6 days left on the $90 deal at apd (or were you saying $90 is too high?). I thought you were an affiliate of apd, how could you not know?
> https://vi-control.net/community/threads/get-70-off-expeditions-by-sample-logic.77301/#post-4315126
> 
> Or perhaps you thought them sending you the free copy was a coincidence?
> ...


I also agree SL's prices need to accommodate the times more. When I was given the article task I was given a discount code to use on SL's site for the NFR, so I wasn't aware of any sale. $299 standard price is definitely too high for me personally when it comes to phrase-based libraries, but $90 is a steal in my opinion. And yes, Sample Logic don't do a very good job of showing off their libraries, which can be annoying.
There are plenty of world loops in here that I think are great for cinematic orchestral work and fantasy adventure cues (or action cues), but I just didn't have time to make a video for this one as I'm already working on 4 other videos at the moment. Personally, I was surprised at how flexible the content was, so that's my two cents. Sample Logic definitely know how to script their libraries.
I can't promise anything but if I get some spare time over the next day I'll put together a couple of natural examples that don't sound like they came from a Transformers trailer to show off the better side of the library.


----------



## Cory Pelizzari (Dec 6, 2018)

Got some free time and chucked this together in 20 minutes. I've provided the mix, then the loops only track to show you just how much work Expedition is doing in this battle cue context:

https://www.dropbox.com/s/da1rwa5gi0ko38c/Expeditions_Orchestral_Context.wav?dl=0
https://www.dropbox.com/s/3avtlfgktag5v1q/Expeditions_Orchestral_Context_Loops_Only.wav?dl=0


----------



## X-Bassist (Dec 6, 2018)

Cory Pelizzari said:


> Got some free time and chucked this together in 20 minutes. I've provided the mix, then the loops only track to show you just how much work Expedition is doing in this battle cue context:
> 
> https://www.dropbox.com/s/da1rwa5gi0ko38c/Expeditions_Orchestral_Context.wav?dl=0
> https://www.dropbox.com/s/3avtlfgktag5v1q/Expeditions_Orchestral_Context_Loops_Only.wav?dl=0



Apologies, did not realize it was a Cory review! Now I’ll have to reread with that in mind. 

Cory, you are not a sample reviewer... you are a sample warrior! Thank you you so much for the examples and the time spent. I really didn’t expect such a quick response, you are truely a man among men who lives up to the hype (if there is hype... well, there should be!) 

My only question now, as with all phrase libraries, is how well does it transition or end? I know with perc it’s a little easier, but with the Sonokinetics libraries I’ve had trouble using them because transitioning to another phrase or ending the phrase is always a bit clunky and needs to be hidden with something (a hit or sound to mask the cutoff ending), which keeps me from using it (I’d rather perform something with a “playable” library). Does this have some of the same issues? 

I have a few SL libraries and like you say, they are well scripted (even their oldest stuff) but often gets by because of the “hybrid” sound and effects that ring out to cover the tail. I do have beautiful reverbs, but would the tails work dry? I only ask because film directors have recently asked me for dryier and dryier sounds, and I want what I use to work bare, in case it comes up.

Thanks for your review and for stepping up. I hope other reviewers will take the high road you have, and be honest, forthright, and consider the price in thier reviews. Cheers!


----------



## Cory Pelizzari (Dec 6, 2018)

X-Bassist said:


> Apologies, did not realize it was a Cory review! Now I’ll have to reread with that in mind.
> 
> Cory, you are not a sample reviewer... you are a sample warrior! Thank you you so much for the examples and the time spent. I really didn’t expect such a quick response, you are truely a man among men who lives up to the hype (if there is hype... well, there should be!)
> 
> ...


Abrupt endings are always something you have to deal with when it comes to loops. There are two ways I would deal with this kind of thing in Expeditions - find a quiet splice in the loop and add that loop into another slot, then only activate the quiet part as a faux-tail, or simply have the loop play its first splice after your song/passage has ended, bounce or render then do a quick fade out on the end of the wave, then copy paste that tiny end bit on a new track and put a 100% wet reverb on it so just that slice has a tail.
Sounds a little complicated but it's something you should get in the habit of doing when working with loops in an exposed mix. Just a little trick of the trade.

PS - Thanks for the kind words, I appreciate it!


----------



## X-Bassist (Dec 6, 2018)

Cory Pelizzari said:


> Abrupt endings are always something you have to deal with when it comes to loops. There are two ways I would deal with this kind of thing in Expeditions - find a quiet splice in the loop and add that loop into another slot, then only activate the quiet part as a faux-tail, or simply have the loop play its first splice after your song/passage has ended, bounce or render then do a quick fade out on the end of the wave, then copy paste that tiny end bit on a new track and put a 100% wet reverb on it so just that slice has a tail.
> Sounds a little complicated but it's something you should get in the habit of doing when working with loops in an exposed mix. Just a little trick of the trade.
> 
> PS - Thanks for the kind words, I appreciate it!



Interesting ideas, thanks. Begs the question, why doesn’t SL include these “end splices” with the loops? But I suppose it would depend on what beat you wanted to end on (although the bar end is always a good choice ). Perhaps this would greatly increase the size of the instrument and time it would take, it just seems like a more elegant (and less time consuming for the user) answer would have surfaced by now.

But perhaps this is the trouble with loops (and why I’ve avoided these instruments). Seems like, especially with percussion, just performing what you want is easier, more creative, and ultimately more flexible. But if loops inspire your music writing, that is really all that matters. Thanks again for the review and demo! 

Edit: Oops, just noticed there’s no way to change key on the GUI (perhaps the tune knob would work, or does it mess up the timing of the loops? ). Seems like you may be locked into the loop’s key (?), at least Sono has key change possibilities. But I must admit the content choices here are higher.


----------



## reutunes (Dec 6, 2018)

X-Bassist said:


> Interesting ideas, thanks. Begs the question, why doesn’t SL include these “end splices” with the loops? But I suppose it would depend on what beat you wanted to end on (although the bar end is always a good choice ). Perhaps this would greatly increase the size of the instrument and time it would take, it just seems like a more elegant (and less time consuming for the user) answer would have surfaced by now.
> 
> But perhaps this is the trouble with loops (and why I’ve avoided these instruments). Seems like, especially with percussion, just performing what you want is easier, more creative, and ultimately more flexible. But if loops inspire your music writing, that is really all that matters. Thanks again for the review and demo!
> 
> Edit: Oops, just noticed there’s no way to change key on the GUI (perhaps the tune knob would work, or does it mess up the timing of the loops? ). Seems like you may be locked into the loop’s key (?), at least Sono has key change possibilities. But I must admit the content choices here are higher.


Transpose is available on the GUI - per entire loop or per loop slice. Check 4:20 in my walkthrough overview video here.



...or at 5:00 in the video below.


----------

