# Actual game-changers?



## MaxOctane (Jan 27, 2020)

We always joke about marketing fluff, but it made me wonder:

_* Has any library/plugin truly *_*changed the game *_*for you guys?*_

Is there any library or plugin that unlocked a completely new way of composing, or increased your creativity or your sound immensely? There's obviously a lot of awesome libs out there (and just having these orchestral libs is a game-changer compared to 10 years ago), but which ones marked a turning point for you?

Myself, my game hasn't changed much in last couple of years (_in fact, I have no game _), despite now having a formidable arsenal of tools.


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## Guy Rowland (Jan 27, 2020)

Symphobia 1
Omnisphere

In the last year or two, the one that's had the most impact for me is XLN's XO I think.

EDIT - oh yes, agree with Cinebient below on the VIR Harmonic Bohemian range.


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## Cinebient (Jan 27, 2020)

Library: Emotional Cello
FX: 2CAudio stuff, Replika-XT (N.I.)
Synth: P900 (sounds better as similar analog modulars for me and better as any other software synth i own), Alchemy, Sculpture
Then there are some iOS apps which are so unique and expressive in terms of live tweaking and/or workflow which you do not see in any desktop plug-ins.
But now it is really hard to see a game changer anymore. Mainly it is more of what already is there. I would like to see new innovations in physical modeling and resynthesis.


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## Pianolando (Jan 27, 2020)

Omnisphere 1 was a huge deal for me when I bought it. 
Definitely Vienna SE back in the day...first legato strings I ever used - it felt like magic even though I always had problems with getting the sound the way I wanted it.
Ivory 1, and 2 as well in a way...suddenly I had the sound of three world class, close miced Grands in my arsenal... doesn’t get much more game changing for me.


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## zimm83 (Jan 27, 2020)

Oh yes. All the OT stuff : Metropolis ark 1 to 4, first chairs, expansions, Inspire and Time Macro.
Really game changers for me for the sound and useability and the ideas behind those sounds...and...inspiration.


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## Bluemount Score (Jan 27, 2020)

It's hard to say for me because with only one and a half years in the DAW-composing business, there is still much to explore and there are many "little game-changers".
But I couldn't name a library I own that truly changed something for me. I like many of them, some I like less.
Gullfoss has been a game-changer when it comes to mixing, lately (it's absolutely amazing if used wisely). Beforehand, Pro Q3 enhanced my workflow a lot in comparison to the stock EQs.


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## wwwm (Jan 27, 2020)

Noteperformer. I actually feel like I'm writing for instruments instead of negotiating with a sample library.


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## erica-grace (Jan 27, 2020)

*East West Quantum Leap Symphony Orchestra*

Of course, that was awhile back, but if Guy gets to claim older libraries like Symphobia, so do I!


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## South Thames (Jan 27, 2020)

A while back Spitfire did a seldom talked about product called 'Motion Strings' -- essentially recording of minimalist-type string ensemble loops. It was_ almost_ a relevation. If they recorded it in such a way that you could cross-fade through the dynamic layers yourself (rather than having to take as given the dynamic contours and start points of the loops), and recorded more material so it wasn't so limited, it would have been a real gamer change; a hassle-free way of introducing controllable, realistic organic movement and interest into textures that is pretty much unachievable with multi-samples.

Because it's so limited I found it's worked well on a few projects, but became over-exposed very quickly.

I kind of wish they'd go back and improve it - there's real potential there.


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## Hanu_H (Jan 27, 2020)

I started with EWQLSO and Symphonic Choirs. But when LASS was released and I played the first melody with legato violins, I was sold. And I still use it in every composition I make. Definitely a game changing library.


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## Dex (Jan 27, 2020)

Gullfoss. The polish it adds to things is unreal. I've used it easily over a hundred times now, and I always A/B it with my eyes closed, and every single time I've preferred the sound with it on.


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## chillbot (Jan 27, 2020)

Actually Game-Changers:

Stylus
Kontakt

Actually Ground-Breaking:

Omnisphere
Evolve
Morphestra

Actually Worth Having an Announcement about an Anouncement:

...

Honorable Mention:

Taiko Creator
World Percussion 2.0
Elysium
Mallet Flux
Rise & Hit
Botdog Lalis

I dunno, it's a short list for me.


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## Bollen (Jan 27, 2020)

For me personally... VSL's dimension series...


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## Saxer (Jan 27, 2020)

Windcontroller and Breathcontroller combined with VSL Dimenstion Strings, Samplemodeling, Audiomodeling and Wallander Instruments. Made the change for me between sketching and producing music.


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## Jimmy Hellfire (Jan 27, 2020)

I don't think there was truly a "game changer" after VSL introduced the idea of "true legato". And that was, what? 2003 or something?


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## Illico (Jan 27, 2020)

Regarding playability, Joshua Bell Violin from Embertone.


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## Rv5 (Jan 27, 2020)

For me personally it was Edirol Orchestral circa 2002, all-in-one orchestral package (pre-panned!) that meant teenage me could realise stuff like this without Sibelius default sound sets:



Propellerhead had some cool orchestral sounds around then too. Out of reach was the VSL (formed in 2000) stuff and then EW (set up in 1988) with EWQL Orchestra: released circa 2003; this was the first multi mic'd orchestral library in a concert hall? LASS - true divisi and incredible amounts of control over legato/portamento.

Peter Siedlaczek sampled a national media orchestra and captured some really interesting orchestral textures alongside more traditional articulations. Early/pre 2000s?

Project Sam's Symphobia 1 was an incredible all-in-one orchestral phenomenon no doubt inspiring many that have come since. Sample Modeling Brass; closest thing to brass players in your computer for sure.


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## Geocranium (Jan 27, 2020)

Perhaps a bit late in the game to be a true "gamechanger," but it's undeniable that Cinematic Studio Strings has left a big mark on this community, as well as the orchestral samples world in general. It basically came out of nowhere, and is always near the top of peoples' recommendation lists. I think it's especially impressive that it was able to do this in a market that was this mature. It came out when how many other major players had released their flagship string libraries? 5? 6?

I haven't been using orchestral samples as long as some other people here, so my knowledge of history only goes back to around 2010 or so. I remember Hollywood Strings being a huge deal when it came out. The demo _Allegro Agitato_ by TJ blew everyone away, and to this day is still incredible. Before that, EWQLSO was the complete orchestral package you needed to own, and some people are _still_ using it.

Another notable mention I think is Berlin Woodwinds. I remember when it came out I was very impressed by the sound, flexibility, and comprehensiveness compared to other woodwind offerings at the time. In a market now this saturated, I rarely get that impression from new products.


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## Studio E (Jan 27, 2020)

Pianoteq.


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## Loïc D (Jan 27, 2020)

To me, the first library I bought with separate instruments : EWQLSO Gold.
My first baby steps into serious VI (and a huge expense for me).
I still use it from time to time. Too bad Play didn’t evolve much ; with custom keyswitching I would probably still use it.


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## Wolf68 (Jan 27, 2020)

it depends on which time slot you look at. I do since the year 2000 music on the computer, and during these 20 years there were some really exciting library releases with true innovations. but - sample library developers come, and sample library developers go. 
looking at a time slot of one year or so, I am sorry to say that I can't see much new ideas. just my opinion.


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## IdealSequenceG (Jan 27, 2020)

Melodyne
Izotope RX
SpectraLayers
Gullfoss
Altiverb
Kontakt
Acustica Nebula


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## Mike Fox (Jan 27, 2020)

For me...

Afflatus
Damage
Symphobia
Omnisphere
Ark 3
Cineperc

I'm sure there's some other stuff I'm missing, but that's what first comes to mind.


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## ryans (Jan 27, 2020)

erica-grace said:


> East West Quantum Leap Symphony Orchestra



Agreed. When it comes to game-changers I can't think of a bigger one than EWQLSO..


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## angeruroth (Jan 27, 2020)

The plugins and instruments in *Cubase 7* Elements. That showed me the path to the pro version.
*EWQLSOG*, my first complete orchestra, changed the way I could render the pieces I was writing with notation software. Suddenly I was able to write something for oboe, cello and tuba, and the sound was ok!
The fact that I hate the score editor in *Cubase 8* was also a game changer, 'cause that's the reason I now use the piano roll.

*Kontakt*, of course. I bought it to be able to get *Requiem Pro*, but it also opened my mind to endless possibilities like tweaking the instruments and even creating my own.

*PERC*+. At the moment in life I was, the way I discovered its existence change something inside. And the things it does are just Marvelous.

*Tundra *changed the way I think about the compositional process. And *BDT*, for me the son of Tundra, pressed in that direction.
Textures, textures and more textures. I had to understand how to integrate that into my compositional process... or change the process. In the end it was a bit of both.
Now I just have to extend my fingers and the shy minimalism comes to play with me (although, I reckon, it's still a bit elusive, and it is always a prankster).

The last two things that are changing my game are: a pair of mics, and *Acoustica 7*. Now my mixes are better than before, and my recordings sound better every day.


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## KEM (Jan 27, 2020)

Omnisphere and JXL Brass, off the top of my head


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## Violeiro (Jan 27, 2020)

The inbuilt vsts of ableton live was the big game changer for me, cause i got a grasp of how good could be vsts - i spent years thinking the Acoustica mixcraft vsts were the best available, and a whole life before ignoring the very existence of computer music. 

Recently Ivory ii was important to me in the perception that piano could be much that i needed to keep on with music. 

Few days ago i started using Joshua Bell violin and it might be a little game changer in the fact that i can easily know how a melody sounds with a classical ethereal sound.


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## Thundercat (Jan 27, 2020)

Bluemount Score said:


> It's hard to say for me because with only one and a half years in the DAW-composing business, there is still much to explore and there are many "little game-changers".
> But I couldn't name a library I own that truly changed something for me. I like many of them, some I like less.
> Gullfoss has been a game-changer when it comes to mixing, lately (it's absolutely amazing if used wisely). Beforehand, Pro Q3 enhanced my workflow a lot in comparison to the stock EQs.


I listened to the samples on the gullfoss website...couldn’t hear any difference at all in before/after. I was listening on a tablet...


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## paularthur (Jan 27, 2020)

CSS.


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## Bluemount Score (Jan 27, 2020)

Thundercat said:


> I was listening on a tablet...


There's you problem. 

But to be honest, the samples on their website aren't great imo. Gullfoss is able of more significant, audible and good sounding changes.


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## Land of Missing Parts (Jan 27, 2020)

Logic's addition of articulation sets changed some games for me.


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## NYC Composer (Jan 27, 2020)

I’ve had most of my game changers for so long, they seem more like antiques (much like myself.)

Komplete (been in since Komplete 2)
Omnisphere (updated from Atmosphere)
Stylus RMX (updated from Stylus)
Trilian (updated from Trilogy which was updated from the Bass Legends CD-Rom)
EWQLSO (now have EWHO except perc, like the brass especially)
Art Vista VGP2
SampleModeling brass (esp The Trumpet)
Taylor 710 Ltd acoustic guitar
Clariphonic


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## ProfoundSilence (Jan 27, 2020)

berlin strings. The ability to crossfade between articulations works stupidly well on strings, and wish I could set it up on SCS+SSO but they're locked libraries

you can do the same with other kontakt libraries that don't have scripting that overwrite the functionality, but newer libraries tend to do that


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## CT (Jan 27, 2020)

BBCSO and the Eric Whitacre Choir. No other VI's have allowed me to get as close to what's in my head, nor with as much ease.


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## ProfoundSilence (Jan 27, 2020)

and maybe not for me directly. but I think the composer cloud indirectly effected the whole market, some for better some for worse - but accessibility to good sounds is now like 30$ a month


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## ProfoundSilence (Jan 27, 2020)

NYC Composer said:


> Clariphonic




I'm afraid of this plugin, seems like it works too well so I don't trust myself with it Haha


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## artomatic (Jan 27, 2020)

Antares Tech's Auto-Tune. I saw this demonstrated at its infancy at the NAMM Show in '96 or '97.


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## jbuhler (Jan 27, 2020)

ProfoundSilence said:


> berlin strings. The ability to crossfade between articulations works stupidly well on strings, and wish I could set it up on SCS+SSO but they're locked libraries
> 
> you can do the same with other kontakt libraries that don't have scripting that overwrite the functionality, but newer libraries tend to do that


Only the legatos and the multiple articulation patches with legatos are locked down fully. I've been trying to figure out how to do something like this with Kontakt multis, but I don't know my way around the guts of Kontakt well enough yet to know how to set up cross fades across Kontakt instruments in the same multi. It seems like that's what you are doing with the Capsule instruments, which because of how Capsule is scripted you can do without going into the wrench. (I mean with two articulations you can put them on the same channel and then invert some combination of CC1, CC7, and CC11 using host or midi automation, but I don't think you can control the crossover point with this method and you can only do it with two slots. I've also wondered if you could use a multiscript to do this with more precision.)


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## storyteller (Jan 27, 2020)

Decades matter (as others have said)... but for me the biggest game changers have been:
—————————
Gigastudio
Kontakt
EWQLSO Silver and GPO for the original entry level orchestras
Gofriller Cello (Garritan)
Stradivari (Garritan)
Melodyne
XLN Addictive Drums
Komplete Ultimate

Now days....
—————————
I think @chillbot got most of the high points here with his list of VIs...


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## sathyva (Jan 27, 2020)

Thundercat said:


> I listened to the samples on the gullfoss website...couldn’t hear any difference at all in before/after. I was listening on a tablet...



You should download the demo and try it on your own materials. It's really outstanding ! a game-changer for me !


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## givemenoughrope (Jan 27, 2020)

Flux Spat
Acustica Audio (everything)
Kontakt
UVI Falcon's IRCAM algos


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## Yury Tikhomirov (Jan 27, 2020)

For my personal not-a-composer-yet workflow game-changers are: Divisimidi and VirtualSoundStage2.


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## ProfoundSilence (Jan 28, 2020)

jbuhler said:


> Only the legatos and the multiple articulation patches with legatos are locked down fully. I've been trying to figure out how to do something like this with Kontakt multis, but I don't know my way around the guts of Kontakt well enough yet to know how to set up cross fades across Kontakt instruments in the same multi. It seems like that's what you are doing with the Capsule instruments, which because of how Capsule is scripted you can do without going into the wrench. (I mean with two articulations you can put them on the same channel and then invert some combination of CC1, CC7, and CC11 using host or midi automation, but I don't think you can control the crossover point with this method and you can only do it with two slots. I've also wondered if you could use a multiscript to do this with more precision.)


I did an example with lass, but cc7/11 don't seem to be an equal power xfade

I would love to crossfade my crossfades haha.

wish I could with spitfire SCS/SSS, because I set up divisi that way, and it's a large string sound after all. the biggest thing was being able to fade between different bow techniques gives me control over timbre throughout a line


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## Saxer (Jan 28, 2020)

The main game changer for me is the possibility to select from a lot of libraries and workflows. Not so long ago it was possible to get EastWest or VSL or Siedlaczek orchestral samples and that was it.
Another game changer was the switch to 64bit architecture in computer systems. The break of the 4GB-border started the boom of sample libraries.


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## Gerter (Jan 28, 2020)

For me that has to be Omnisphere 2. It felt like a whole new world opened up for me when I got it.


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## Puzzlefactory (Jan 28, 2020)

The original Albion.

Up until that point I thought you had to spend thousands upon thousands of pounds and have a masters degree in music composition to write orchestral music.

Then I saw a video of Daniel James writing with a £300 library using Ableton live and a whole new world opened up to me...


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## NYC Composer (Jan 28, 2020)

ProfoundSilence said:


> I'm afraid of this plugin, seems like it works too well so I don't trust myself with it Haha


Just buy it and overuse it like I do


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## TomislavEP (Jan 28, 2020)

The first step in this direction was Komplete 9. Before that, I've had several IK multimedia libraries in addition to AIR Music Technology stuff which shipped with Pro Tools. Getting Komplete, along with switching from Pro Tools 11 to REAPER 5 was perhaps the biggest productivity boost for me.

Speaking of Kontakt libraries, the most coveted one for me was probably Albion I. Not only due to its stellar sound but equally due to its concept. Before getting Albion, I've struggled with several traditional orchestral libraries which never really inspired me since I'm not classically trained and I prefer working with libraries that offer more "immediate" options. I still use the combination of Albion Legacy, Loegria, and Tundra as my primary source of orchestral sounds.


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## stevedeath (Jan 28, 2020)

The new slate and ash instrument Cycles has blown my mind. I love sound design and textures but struggle getting bogged down with too much technicality in a lot of synths. The workflow of that thing has just made it instant and fun to come up with all sorts of new sounds.

Also, that spitfire labs scary strings instrument. Seemed to open up the whole idea of evolving performance string textural patches which are nowa big part of my compositions.


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## Illico (Jan 28, 2020)

The actual game-changers (few years ago) is probably not software, but hardware... SSD


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## Mikro93 (Jan 28, 2020)

Usually, when I buy a sample library, it feels like a tiny game changer in its own way. I usually sit down and write something to celebrate, even if it's for somebody else.

But in order of appearance, it would be:
Ableton Live 9 Suite (including the orchestral samples, that was a whole new world for me)
Komplete 11 (including Kontakt, that opened doors to great free sample libraries).
Soaring Strings (my first real strings library)
Soundiron Apocalypse Percussion Elements and Olympus Elements
Angry Brass and the free Legato Solo Violin by Performance Samples
Waves Gold was a game changer for me, for a time
Medieval Era II
Izotope's Ozone 8
Recently, those extra 16GB of RAM.


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## Geomir (Jan 28, 2020)

I entered the world of virtual studio technologies and sample libraries about 8 months ago. After struggling with GPO 5 and Amadeus, then improving my sounds with EWQLSO and EWHO, the real game changer for me was (drums pounding):

*VSL Synchronized Special Edition (Vol. 1 & 2)*

My search for orchestral libraries that include everything and sound great has ended! Amazing woodwinds, brass, orchestral strings, chambers strings, solo strings with true legato and portamento, grand piano, harp, pipe organ, guitars, pitched and unpitched percussion, atmospheric pads, etc., this mini-monster library (about 120 GB) has everything I am going to need for many years to come! The modern easy-to-use interface, the lush natural reverb of the "Vienna Synchron Stage", and the ultra fast loading speed just make me even more exciting!

At last now I can focus on composing instead of searching for a "better sounding library" or "more variety on orchestral instruments"!


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## David Kudell (Jan 28, 2020)

Last year’s Logic 10.4.5 update that does‘t load the plugin until you click on the track was a game changer, allowing a 1000 track orchestral template that loads instantly.


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## kessel (Jan 28, 2020)

I don't know any VSTi that came out of nowhere and made me change the way I make music but rather the contrary. When I changed something in my music then I tried to find the right plugin or hardware piece for that change.

In my personal case I had never worked with vocals on my music and after a lot of years not being able to find a singer that is completely compatible with my work I took the step to start using vocaloid and effects on it (like VocalSynth or since last week Ovox) to be able to put voices on my music at my own pace. That is something I really see as a game change.

Also pieces of hardware like Maschine Mk3 or ROLI Seaboard have had some very interesting impact on the way I create music.


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## nathantboler (Jan 28, 2020)

Valhalla plugins.


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## dcoscina (Jan 28, 2020)

wwwm said:


> Noteperformer. I actually feel like I'm writing for instruments instead of negotiating with a sample library.


Me too. It’s revolutionary to me.


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## Pianolando (Jan 28, 2020)

Relab 480 was the first reverb I used that sounded close to what was in my head. Total game changer. Then came the Exponential reverbs, R2 and Phoenix, later R4 and Nimbus, that upped the game again and has been used on all my projects since. Also huge game changers for me.


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## Jaap (Jan 28, 2020)

From the "oldies" LA Scoring Strings (Divisi) and East West Symphonic Choirs (Worldbuilder) where really game changers for me.
From the newer libraries Cinematic Studio Strings (best legato). 
Other ones are for me Noteperformer, VPS Avenger, Vienna Ensemble Pro.


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## Alex Fraser (Jan 28, 2020)

*Honourable mention:* SF Albion ONE. The first "all in the box" I brought. Sped up a lot of productions.

*Winner:* MOTU Mach 5. Yes, this beauty, complete with fake metal and plasma pipes.






Previously, I'd been loading my samples via Zip drive into an Akai S5000 because I was a purist and it was how my nineties "midi brain" was hardwired. 

Mach 5 showed me the benefits of working in the 'box. A hardware purge of 90's romplers followed soon after.


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## pawelmorytko (Jan 28, 2020)

For me it's libraries that made me stop thinking about getting another one of the same kind.

E.g.

CSS put a stop to my never ending string dilemma whether to get CSS, SSS, Century Strings or Berlin Strings because I'm just so happy with it.
Same with Noire ending my piano collection addiction because it just works and sounds great.
And also the Valhalla Room and Shimmer reverbs because I don't even care if there's a $4000 hardware reverb that might sound better, it sounds more than good enough for me already with Valhalla


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## SupremeFist (Jan 28, 2020)

Miroslav Vitous on an E-mu ESI-4000.


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## Gerbil (Jan 28, 2020)

I don't think any developer has topped VSL's announcement of legato in their libraries. Barely anybody believed them. I mean, it was literally unbelievable. When was that? 2002?

Then EWQLSO with the mic choices and baked-in hall sound around the same time was very exciting. I remember both developers being...competitive.

Everything since then has built on their foundations. Things have got more sophisticated thanks to Kontakt and clever developers with keen ears like the Orchestral Tools team. But there isn't much you can do now that you couldn't do a decade ago with libraries like the Hollywood Orchestra or LASS. There's just much, much more choice.

Personally, the Wivi library was a bit of a game changer for me as I could finally use my breath controller properly. It was just nice to be able to play a library and not think about keyswitches or articulations. I use it for inspiration while composing rather than in the end product. It's nice to see its legacy lives on in Noteperformer, which is the other big jump for me. No need to mockup a concert music with sample libraries anymore as it does the job fine. Its only to give performers a rough impression.


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## Reid Rosefelt (Jan 28, 2020)

My Korg M1 was my first game-changer. I put it in a flight case and wrote music in hotel rooms around the world.

Logic was a game-changer because it had everything I needed in one place. ACID and Ableton were truly new ways to think about creating music, beyond the traditional DAW approach.

Some virtual instruments are game-changers because they are ecosystems, like Omnisphere, Kontakt, and UVI Workstation/Falcon. They include a lot in the basic package but open up the doors to the world of libraries and expansions that are created for them. If I played a different kind of music, then Massive or Serum might be game-changers for the same reasons.

Bohemian Violin was a game-changer for me because it didn't work like any virtual instrument I had ever played before--it plays you as much as you play it. That's the reason many people prefer other virtual violins but it's why I love it. I enjoy writing music for this performer.

I have a ton of EQs and my impression is that they all apply coloration. That's what the whole nostalgic "analog" plugin business is about, I think. The Sonible EQs were a game-changer for me because I feel like they take me to a flat place--a starting point from which I can make _my _coloration on my tracks. I use them on everything now. I'm starting to feel the same way about the Sonible compressor.


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## Max Bonsi (Jan 28, 2020)

Mike Verta


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## synkrotron (Jan 28, 2020)

Adaptiverb.

I overuse it on everything I do.


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## ManicMiner (Jan 28, 2020)

I'm not so focused on the Cinematic, mine are more EDM focused, ... for me, I would say Izotope Ozone 8, Gullfoss and VPS Avenger synth.
Gullfoss allows me to tame bad frequencies quickly which would have taken longer to find with a traditional EQ, and Ozone gets me to a good sounding master in a short space of time.


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## jononotbono (Jan 28, 2020)

ProfoundSilence said:


> berlin strings. The ability to crossfade between articulations works stupidly well on strings, and wish I could set it up on SCS+SSO but they're locked libraries
> 
> you can do the same with other kontakt libraries that don't have scripting that overwrite the functionality, but newer libraries tend to do that



Yeah I’m new to BST but I love it. I only wish they had a performance legato that includes a short Spicc or Stacc (for writing) and I wish there a X Fade Vib version. The way it’s set up is basically on/off using a different patch. It’s more of a luxury to be able to get ideas down before having to play musical jigsaw puzzles with different arts. Perhaps Expression maps make this easier but that’s a whole different conversation.


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## ProfoundSilence (Jan 28, 2020)

jononotbono said:


> Yeah I’m new to BST but I love it. I only wish they had a performance legato that includes a short Spicc or Stacc (for writing) and I wish there a X Fade Vib version. The way it’s set up is basically on/off using a different patch. It’s more of a luxury to be able to get ideas down before having to play musical jigsaw puzzles with different arts. Perhaps Expression maps make this easier but that’s a whole different conversation.




well if you check out my tutorial you can see how I set it up in a very quick fashion - since it's a combination of keyswitches and channels


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## jononotbono (Jan 28, 2020)

ProfoundSilence said:


> well if you check out my tutorial you can see how I set it up in a very quick fashion - since it's a combination of keyswitches and channels



Interesting. Shall check it out soon.


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## Wally Garten (Jan 28, 2020)

Saxer said:


> Windcontroller and Breathcontroller combined with VSL Dimenstion Strings, Samplemodeling, Audiomodeling and Wallander Instruments. Made the change for me between sketching and producing music.



Yeah, getting a breath controller and Respiro was pretty eye-opening for me in terms of creating more expressive sounds. I also recently picked up an Expressive E Touche, for which there are some incredible presets for the Arturia and NI synths. So for me, this year at least, the game change has been mostly about the interface between body and software, trying to modulate multiple parameters at once and create a more complex sound. To bring it back to the software, though, Respiro was a big part of that. It makes playing with the BC very intuitive and it sounds really nice. (I'm now very interested in the SM Trumpet, too!)


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## wbacer (Jan 28, 2020)

Yes the focus of this thread is VI's and plugins but the real game changers...
The Mac and PC and with their GUI's, the Internet, cell phones / smart phones.
With each of these innovations the world clearly took a left turn and for better or worse, will never been the same.


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## ProfoundSilence (Jan 28, 2020)

jononotbono said:


> Interesting. Shall check it out soon.



whenever youtube gets around to processing it, that's a short demonstration of how quick the workflow can be - between flex router and KS router there are pro's and cons to both.

edit, no audio I'll try again tomorrow haha


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## WaverunnerAudio (Jan 28, 2020)

IdealSequenceG said:


> Melodyne
> Izotope RX
> SpectraLayers
> Gullfoss
> ...



Ah yeah iZotope's RX. Mind-blowing sonic tools. Pretty sure it's all based on black magic. Once found a secret image of their code book, think that's why they had to change logos:






Melodyne also black magic. And Gulfoss, black magic. 

Huge shout-out to VSL's VEP. Crazy to have a piece of software work so seamlessly between Mac and PC via ethernet, allowing for such seamless sharing of resources between hardware. And of course hardware... SSD's and memory now so cheap! Also to the coders writing brilliant scripts and of course Big Bob and Nils Liberg.

Also @EvilDragon for his advice given on forums over the years and @d.healey for not only his Kontakt and now HISE courses that will help you learn all you need to know for creating your own libraries, but also generous sharing of code. Not sure if they run on black magic though, maybe coffee.


----------



## Per Boysen (Jan 28, 2020)

Back in the days when productions were carried out on Atari computers driving Akai samplers and ADAT VHS digital tape recorders the switch from Cubase to Creator/Logic was a game-changer for me. For the first time, I could monitor my work in progress with accurate timing.  

Another revelation happened recently when I purchased Cubase 10 and could start working with DAW integrated alterations. LASS was also a mind opener for me. 

A very important step stage was to pick up the SWAM based instrument plugins, by
 https://audiomodeling.com, 
, to perform live with my EWI. Saves me hours, compared to programming and editing samples. And brings a lot more fun  I especially find the saxophones and double-reeds useful.


----------



## PaulBrimstone (Jan 28, 2020)

Anything from Pendle at Sound Dust.


----------



## Vdub (Jan 29, 2020)

Man, first of all great topic... 

*Symphobia 1* was a HUGE Game changer for me.. Those strings were sooooo lush and big i was in love. Still am actually. That's a sound that you'll always love no matter how many libraries come after with bigger better equipment or sampling techniques, the sound of S1 strings set the tone for me. They literally introduced me to a whole new world of virtual instruments i didn't know i could have.

*Heavyocity Damage* definitely melted my F#$% face off like they said it would
All the evolve libraries, i've never heard anything like them before that. 

*Omnisphere* OMG... Just the ability to apply paramaters from one preset to another was a game changer for me, on top of the FX engine (i wish they'd come out with an fx version) and the huge sound is just amazing. Bro they sampled a lightbulb and made it an instrument.. come on... I want to play with it just thinking about it lol... 

*Serum* i looooooove that heavy a$$ plugin lol... especially for EDM/pop tracks. I can load up my own one-shot samples and the LFO and FX are so easy to use. I get the sound i want instantly vs other soft synths.

*Acustica Audio* - their plugins made me fall in love with Eq.... As soon as i turned one knob i was instantly ready to buy. Such a big sound with so much going on under the hood. I've never used analog gear but i can definitely tell a difference when i use Acustica modeling vs other software plugs. HUGE

As for a new plugin 
*Accusonus Regroover* is amazing - Being able to take a loop and break it down to up to 6 different stems without using EQ.. IDK what kind of voodoo that plugin has but it's very underrated IMO. I'll grab a hans zimmer 4 bar percussion loop, or whatever pop song is out and snatch that snare/clap/hat/bongo/kick so quick lol and no one would ever know lol

*Melodyne* - being able to load in stacked melodic phrases and tweak them individually without having the stems, and to move notes around and it still sound realistic... come on 

What an amazing time to be in music people. There's literally nothing we can't achieve.


----------



## Vin (Jan 29, 2020)

Agreed on Symphobia and Omnisphere - Symphobia is still the best sounding ensemble library to me and Omnisphere is the most powerful synth, hardware or software.

To add a few more:

• SSDs - not a library/plugin, but while CPUs and RAM are important, SSDs and HDDs are miles apart. Older CPUs still hold up pretty well, not much improvement in that area, but SSD completely changed my workflow with sample libraries

• Spot on hardware emulations - u-he and Relab in particular, which allowed me to replace the hardware units they emulate (even though I still use them from time to time)

• Sonarworks calibration - essential for imperfect listening environment

• Metagrid - Lemur and TouchOSC existed before, but Metagrid is so easy and nicely designed and it just works


----------



## Cinebient (Feb 2, 2020)

Things like this to perform with waveforms and in a (for me) very interesting, fun and innovative way are what amaze me. This wonderful app just got an update after long time and it again amaze me. 
For ambient and experimental pure bliss....


----------



## andrzejmakal (Feb 2, 2020)

NotePerformer


----------



## purple (Feb 2, 2020)

MaxOctane said:


> We always joke about marketing fluff, but it made me wonder:
> 
> _* Has any library/plugin truly *_*changed the game *_*for you guys?*_
> 
> ...


CSS and CSB have changed the game for me... I prefer to write on paper and often find myself coming up with the best material during lectures at school which I have to scribble down on my notebook. The CS libraries are the first ones where I don't feel I have to edit my writing _to_ the library. I can write something, then sit down to program it as MIDI and have it _just work_. It doesn't matter the key I wrote it in, and if I need to change the key I don't have to edit the midi like I would have with say East West HO for example.


----------



## barteredbride (Feb 3, 2020)

VI Control... ! 

They way we gladly share knowledge and info with (nearly) complete strangers, has I'm sure been a big game changer for the whole composer community.

Keep it up people! What would i do if VI Control wasn't here?!!

(probably a lot more music!)


----------



## AndyP (Feb 3, 2020)

Macintosh Quadra 800 with Digidesign Session 8 System. My first hard disk recording system. It was the switch from analog to digital with the possibility to edit audio tracks in the system.
And the Ensoniq Mirage, my first sampler. Since then the possibilities in terms of operation, performance and sound have changed, but the basic principle has remained the same.


----------



## Monkberry (Feb 4, 2020)

Kontact and Audio Modeling SWAM Woodwinds. Although I started on DP's Mach 5, when I bought my 1st NI Komplete (version 2) with Kontact, I never looked back. I was one those who used Peter Siedlaczek's Advanced Orchestra with an Akai S3000XL sampler. Trust me when I say this, life is pretty good in the current state of technology. I should probably include the Roland VS880 as a game changer. Ahh, the good ole days.


----------



## Uiroo (Feb 4, 2020)

FabFilter Saturn, seriously. I put it on almost everything when I'm doing sounddesign. Works really well if you put RBass before it.
I had saturation plugins before, but only really started using saturation with Saturn.


----------



## Will Wilson (Feb 4, 2020)

For the all the hate they get here:

Spitfire Audio Olafur Arnalds Chamber Evolutions


----------



## Loïc D (Feb 4, 2020)

The VST technology in Cubase. (yes I'm old, I know...)


----------



## holywilly (Feb 4, 2020)

Cubase’s expression map, no doubt!


----------



## Mike Fox (Feb 4, 2020)

Will Wilson said:


> For the all the hate they get here:
> 
> Spitfire Audio Olafur Arnalds Chamber Evolutions


Those EVOs are definite game changers, and I'd argue it's Spitfire's best work.


----------



## Virtuoso (Feb 4, 2020)

Symphobia 1&2 absolutely blew me away the first time I heard them. I still love them YEARS later! The sound quality, playability/ease of use and fast inspirational value make them indispensable for me. I paid top dollar for the first three before the price drops, but I don't begrudge a penny of it - I've used them on SO much stuff they've paid for themselves many times over.

Honorable mention to Joshua Bell Violin and Sample Modeling Sax/Trumpet for the scripting wizardry - all very playable and inspirational instruments.


----------



## 2chris (Feb 4, 2020)

Propellerheads Reason 1.0 was my first DAW as a kid. I will never forget how much time I spent learning music in that program. I’m on version 10 for nostalgia but it’s great for sound design still. I think it’s an under appreciated gem.
Ableton Live 4 was next when I heard about VSTi’s and fx. Version 10 is my main daw with Cubase now. I love having a session and performance mode with warping, great sampler, instruments, and the best fx of any daw. The workflow is so fast, but it’s missing features geared toward media composers and recording.
NI Komplete is an amazing collection of instruments, sample libraries, and FX. In more recent years this is my biggest game changer, and they have some great sample libraries. Massive X was panned because it was released too soon. The new updates are great. I could live without many of the things included, but there is a lot to like.
Joshua Bell Violin is just so beyond amazing. I’ve played other VI violins by bigger companies that sound good, and this so playable and amazing sounding that it’s shocking. It’s so good that I used to not really ever do solo violin parts, and now I add them in places I would never think to before. It’s so good for writing melodies that sometimes I use this instead of a piano. Honorable mention to Tina Guou by cinesamples.
Uhe diva and Synapse Audio Dune 3 cover opposite ranges for me but are game changers for different reasons IMO - retro versus modern synthesis. As I work more with Pigments 2 this could get this status because it has such a great range of synthesis technology, but I can’t say yet.
CSS... that legato and sound stage.
The Olafur Arnalds libraries by spitfire just sound so amazing and relaxing. I once spent a whole night playing an ensemble patch I made using the toolkit and chamber evos because I needed to escape. It worked and it’s wonderful.
OT inspire 2 for quick sketching of ideas.
It depends on the day, but you can make an argument for keyscape with such great overall keyboard and piano samples, or Omnisphere for the great textures, synthesis, and never ending presets. Both aren’t cheap, yet both are excellent values.
I haven’t said any FX, so I have to say Fabfilter Total Bundle is amazing. Honorable mention to Vulfcompressor, Retrocolor, and Soundtoys decapitator.
Honorable mention for utilities: Scaler for quick chord inversions and suggestions if I don’t have a keyboard handy. XLN Audio XO for taking all my old drum samples and sorting them for me by type. It’s very useful!
Herman Miller Embody chair. If you sit for you’re job get a great chair to save your back.


----------



## SupremeFist (Feb 4, 2020)

Propellerheads ReBirth! First VI I ever used, back when I was doing TV documentary scores with nothing more than a Proteus 2000 and E-mu ESI4K. Blew my mind that you could have a drum machine in the computer.


----------



## AdamKmusic (Feb 4, 2020)

For me ZebraHZ, I use it on all projects!


----------



## 2chris (Feb 5, 2020)

holywilly said:


> Cubase’s expression map, no doubt!


Could you explain how this is so helpful to you? I'm still pretty new to Cubase.


----------



## jonnelson1988 (Feb 9, 2020)

Dex said:


> Gullfoss. The polish it adds to things is unreal. I've used it easily over a hundred times now, and I always A/B it with my eyes closed, and every single time I've preferred the sound with it on.


What is the best way to learn how to use it? I must admit, I watched the videos on Youtube and it was kind of fast and a lot to take in. Im willing to spend that type of money IF I can understand how to use it.


----------



## wst3 (Feb 9, 2020)

it is tough to identify game changers, at least in part because I'm not sure I remember them all...

GigaStudio - and Garritan Orchestral Strings and Seyer Acoustic Bass - I never imagined a sampler could do that. Man was I wrong<G>!

Omnisphere, for the sheer breadth of the sounds it can make.

Camel Audio Alchemy - man I miss that one (windoze guy here). That was the first time I realized that a software synthesizer could make magic.

Roger Powell's Texture - one of my two favorite sequencers, the other being Bars & Pipes Pro, which broke new ground too, but not quite as dramatically.

UA Ocean Way Studios and Capital Chambers - never thought I'd hear anything like these. Which says a lot, since there are a lot of UA plugins that set the bar pretty high.

The Ensoniq Mirage - who knew back in the early 1980s that I would be able to afford a sampler?

The Yamaha FB-01 - FM for those of us that could not afford a DX7!

The Sequential Circuits Drumtracks and Multitracks - my first MIDI gear, and I still have both of them, but they don't get a lot of use these days. Back then I used a cartridge from SCI that plugged into a Commodore C64 as my sequencer, and that's being generous, except it worked!

These are the products I could afford that spring to mind as game changers. There were others that were out of my reach - the Synclavier, the Fairlight, the Kurzweil 250 (still have that demo cassette), and the Symbolic Sound Capybara to name just a few.

Lastly (also way out of my league) moving faders automation, long since made less of a game changer by computer audio editing, but when the first working moving faders system hit the market jaws dropped!


----------



## Peter Stallo (Feb 9, 2020)

Max Bonsi said:


> Mike Verta



I agree with you. Mike's lessons taught me that the struggle to figure something out on your own IS the lesson.


----------



## mburellmusic (Feb 19, 2020)

I'm not sure many sample libraries have been "game changes" for me. They all have distinct sounds.

- Sample Modelling's Trumpet and Trombone. Couldn't write (passable) convincing jazz without it.
https://www.samplemodeling.com/en/products_trumpet.php
- VSL's woodwinds for the uniform sound and blend. Also great for writing jazzy/broadway stuff. No gigantic hall.





WOODWINDS I - Vienna Symphonic Library


The Woodwinds I Collection contains the four main wind instruments, flute, oboe, clarinet, and bassoon – each recorded as a solo instrument and in three-player ensembles. First-rate musicians of leading European orchestras provide the sound and character as soloists and ensemble leaders.




www.vsl.co.at





- LASS. I just love the sound. Sometimes kinda buggy.





LA Scoring Strings 1.5







audiobro.com





- Fablesounds Broadway Big Band. Possibly the buggiest, most inconsistently recorded library ever made, lol. Still can't beat some of those articulations, shakes, slurs, bends, etc. I honestly don't know how I could write big-band/broadway mock ups without it.





Revolutionizing Virtual Instruments – Fable Sounds


Innovative sample libraries and virtual instruments - makers of the Broadway Big Band



fablesounds.com





- Cubase, lol. 








Creativity First — Our Passion for Music Inspires


With millions of users worldwide, Steinberg is one of the world's largest manufacturers of audio software and hardware. Enter now the world of creativity!




www.steinberg.net





- Also should mention Lemur. Can't live without it.





Liine







liine.net





- Also should mention Composer Tools Pro (for Lemur).








Composer Tools Pro - MIDI Kinetics


Composer Tools Pro The ultimate virtual instrument controller for Lemur The days of bulky, inflexible hardware controllers are over. Composer Tools Pro gives you everything you need to control your virtual instruments. With a touch of a button, recall a track's settings-- directly from your DAW...




www.midikinetics.com


----------



## Stringtree (Feb 19, 2020)

2chris said:


> Herman Miller Embody chair. If you sit for you’re job get a great chair to save your back.



2chris makes a good point. If the zone where you create your stuff is painful, it can make you averse to sitting there. You might see where this is going. Fewer musickings.

My problem was looking through the lower portion of the bifocals to see the screen from a chair that was too low, then mostly looking up all the time. Ow. 

Look for "used office furniture." Here in Akron, Ohio, there were piles of fantastic Herman Miller chairs on offer for a tenth of their retail cost. 

Getcha self a good chair. Now it's a pleasure to glide around and make more music. 


Greg


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## Gingerbread (Feb 19, 2020)

I discovered Gullfoss thanks to this thread, and it is truly wonderful! So...thank you!

For those who find CSS's tone too dark, a little Gullfoss brightens them wonderfully. I do stress "a _little_," because I'm finding that a _little_ Gullfoss goes a long way. Both on individual patches, and on full mix.


----------



## Guy Rowland (Feb 19, 2020)

Gingerbread said:


> I discovered Gullfoss thanks to this thread, and it is truly wonderful! So...thank you!
> 
> For those who find CSS's tone too dark, a little Gullfoss brightens them wonderfully. I do stress "a _little_," because I'm finding that a _little_ Gullfoss goes a long way. Both on individual patches, and on full mix.



Unfortunately I ran out of my demo time with Gulfoss before I could really evaluate it properly. I found it was far from foolproof - I'm a fool after all, and I managed to fairly easily muck things up with it. The big problem which I was mid-investigating was that if you apply it to a track, I found it might try and do extreme things on simple material. On one track I had with some vocals, it did a great job on the mix as a whole except a solo vocal section where suddenly it whooshed the extreme low end up massively (because there was hardly any at this point in the track), which made it sound like Concorde was flying over the studio.

I've found this with other supposedly very smart plugins like Soothe too, you can get weird side effects in places where you least expect them - with Soothe I found it producing some low frequency distortion on less than stellar source material. It's kind of keeping me away from them all at the moment to be honest, but I would like to have another extended play with Gulfoss some time.


----------



## Gingerbread (Feb 19, 2020)

Guy Rowland said:


> Unfortunately I ran out of my demo time with Gulfoss before I could really evaluate it properly. I found it was far from foolproof - I'm a fool after all, and I managed to fairly easily muck things up with it. The big problem which I was mid-investigating was that if you apply it to a track, I found it might try and do extreme things on simple material. On one track I had with some vocals, it did a great job on the mix as a whole except a solo vocal section where suddenly it whooshed the extreme low end up massively (because there was hardly any at this point in the track), which made it sound like Concorde was flying over the studio.
> 
> I've found this with other supposedly very smart plugins like Soothe too, you can get weird side effects in places where you least expect them - with Soothe I found it producing some low frequency distortion on less than stellar source material. It's kind of keeping me away from them all at the moment to be honest, but I would like to have another extended play with Gulfoss some time.


Gullfoss does have filters to prevent just that sort of thing (over-affecting parts of the frequency span where there is little or no signal), although I haven't yet explored to see if they are CC programmable, which I would think is essential.


----------



## JohnG (Feb 19, 2020)

my game changers, honestly, were scores I bought, not really libraries. John Williams (ET, Superman, others), Jerry Goldsmith's "Total Recall," and Alan Silvestri's "Back to the Future." Plus R. Strauss, Debussy, Ravel, Wagner, and others.

Scores by guys like that remind one that 'epic' libraries only get a composer so far. 

Besides, you can only hit that 'epic boom' so many times before people say, 'Ok, we heard that. What else do you have?'


----------



## Guy Rowland (Feb 19, 2020)

Gingerbread said:


> Gullfoss does have filters to prevent just that sort of thing (over-affecting parts of the frequency span where there is little or no signal), although I haven't yet explored to see if they are CC programmable, which I would think is essential.



Yes, I found out about the filters right after my last session with it! Its definitely a "use with great care" plugin, not a one-click fix-all. Now a one-click fix-all really would be a game-changer...


----------



## Dietz (Feb 19, 2020)

Gerbil said:


> I don't think any developer has topped VSL's announcement of legato in their libraries. Barely anybody believed them. I mean, it was literally unbelievable. When was that? 2002?


-> http://www.northernsounds.com/forum/archive/index.php/t-13183.html

An example for the typical reaction back then, by user Hasen:

_"I don't know, can anyone actually use a library with so many samples? You'd need 100 computers just to load them up! How much is this gonna cost anyway? A million pounds? *wink*

I look at the calendar but it doesn't say April the 1st....maybe its different in Austria?"_

Or a guy by the name of Marten Spruijt :

_"This sounds very suspicious to me too, actually.

I mean, 100 years ago we never thought we would be landing on the moon... but this.

No one wants to handle a million samples. Not even a sampler based system. You would have to make very, very rough selections and load or use like 0,01% of the complete library. Which would then still make a normal AO or Vitous collection. So it's useless...

Another point, your project would have to be some (multi-)million-dollar project, and you would NEVER earn this back with sales.

Sample libraries will never become this big. Not in ten years. Things will probably tend more towards phyical models of orchestral instruments.

So too bad, but nice try."_


----------



## Dietz (Feb 19, 2020)

wst3 said:


> Roger Powell's Texture - one of my two favorite sequencers [...]


Yay! I thought that I have been the only person who used that, back in the 80ies. Sequencing in ASCII-signs, no graphics. 8-)


----------



## Geocranium (Feb 19, 2020)

Dietz said:


> -> http://www.northernsounds.com/forum/archive/index.php/t-13183.html
> 
> An example for the typical reaction back then, by user Hasen:
> 
> ...




I think the more mind blowing part of this for me is seeing recognizable names from this forum/industry having sample library forum discussions that are almost as old as I am. People were having their sample library arguments when I couldn't even walk.


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## purple (Feb 20, 2020)

the new a-la-carte system for orchestral tools will be a game changer for my wallet


----------



## Pianolando (Feb 21, 2020)

Dietz said:


> -> http://www.northernsounds.com/forum/archive/index.php/t-13183.html
> 
> An example for the typical reaction back then, by user Hasen:
> 
> ...


Haha, thanks for digging those up! Definitely makes you think about how hard it is to grasp the future or even what is happening at the moment in tech. VSL legato was a true game changer if there ever was one.


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## Akarin (Feb 21, 2020)

Steinberg Iconica was the real game changer for me. Even though I'm not using it much in final projects, having a full orchestra, entirely balanced, removed the need for matching and balancing libraries. This is how I could finally concentrate on learning how to write rather than fiddle with technical stuff.


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## Theodor Andrews (Feb 21, 2020)

Gullfoss. It's simply amazing! No mix goes out without it any more. (by the way, I had the BIG LUCK to win a free license as I was follower number 2000 on their Facebook page 😀😀😀)

Also, sonible stuff is pretty good and in heavy use.


----------



## Lindon (Feb 21, 2020)

Game changer? - HISE


----------



## lastmessiah (Feb 21, 2020)

Only ones I can think of are Audio Modeling Strings and various MPE-capable synths.


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## jmauz (Feb 21, 2020)

Making my own samples. Directors want unique sounding stuff; no better way than to roll your own.


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## Soundlex (Feb 21, 2020)

jmauz said:


> Making my own samples. Directors want unique sounding stuff; no better way than to roll your own.


I have to second that. And give a big shoutout to Serum who helped me a lot with that...


----------



## lastmessiah (Feb 21, 2020)

jmauz said:


> Making my own samples. Directors want unique sounding stuff; no better way than to roll your own.



Are you recording your own samples and then processing/mangling them? 

I'm just a hobbyist but I really enjoy doing this myself.


----------



## jmauz (Feb 21, 2020)

lastmessiah said:


> Are you recording your own samples and then processing/mangling them?
> 
> I'm just a hobbyist but I really enjoy doing this myself.




If needed.


----------



## JT (Feb 21, 2020)

Finale. Up to that point, I did everything by hand. I tried a few other early notation programs. But this one really worked and changed my life.


----------



## Cinebient (Feb 22, 2020)

SWAM engine 3 on iPad soon. I guess that is the next step to leave my mac in the future. Same instruments on a powerful mobile device where most things costs 1/10 of their desktop counterparts.
Keep them coming.....
Another gamechanger after StaffPad.


----------



## mburellmusic (Feb 24, 2020)

erica-grace said:


> *East West Quantum Leap Symphony Orchestra*
> 
> Of course, that was awhile back, but if Guy gets to claim older libraries like Symphobia, so do I!



Ah yeah. This still is super useful. But, I think the OP is right-- historically speaking, this was indeed an actual game changer. Same with VSL's original clarinet. Apparently it stunned people with its legato sound.


----------



## Rob Elliott (Jul 16, 2020)

Gingerbread said:


> I discovered Gullfoss thanks to this thread, and it is truly wonderful! So...thank you!
> 
> For those who find CSS's tone too dark, a little Gullfoss brightens them wonderfully. I do stress "a _little_," because I'm finding that a _little_ Gullfoss goes a long way. Both on individual patches, and on full mix.


I like gullfoss on just about everything BUT CSS. For me no matter what I do it 'brings out' that dreaded 3k-4k harseness found in ALL String Sample libraries. :( Because of this I am running Gullfoss on group busses now and NOT the master bus. Which is overall better anyway IMHO (gives more specific dialed in control on any one group buss.)


----------



## EvgenyEmelyanov (Jul 16, 2020)

For me, it's Reaper DAW and Fazioli piano by Imperfect Samples in 2010.


----------



## PeterN (Aug 31, 2020)

Gamechanger?

Came across this thread by searching Gullfoss. Is it really that good EQ? On virtual instruments too? Or vocals? 

Game changer? I could maybe throw my vote for Mastering the Mix plugins - thats maybe - or maybe the sound in BBC strings. Maybe. Or maybe Joshua Bell violin. 

How about a vote for this VI forum as game changer, even Ive been banned twice. Haha. Ive bought so much stuff finding it here, it changed the game, big time!


----------



## Rob Elliott (Aug 31, 2020)

Personally I wouldn't call Gullfoss an 'eq' (even though it could be considered that)- at least for me. The task of eq'ing is done by FF - for me. Gullfoss shines when using sparingly - as a 'finisher' (on group or master buss.) For that purpose - I'd pay twice the asking price - IMHO. Hope that makes sense.


----------



## Ashermusic (Aug 31, 2020)

For me, the game changer was the UAD Multiband. The preset named Punch and Clarity made and continues to make a big difference.

Runner up would be Kush Clariphonic.


----------



## Ashermusic (Aug 31, 2020)

For me, the game changer was the UAD Precision Multiband. The preset named Punch and Clarity made and continues to make a big difference.

Runner up would be Kush Clariphonic.


----------



## PeterN (Aug 31, 2020)

Rob Elliott said:


> Personally I wouldn't call Gullfoss an 'eq' (even though it could be considered that)- at least for me. The task of eq'ing is done by FF - for me. Gullfoss shines when using sparingly - as a 'finisher' (on group or master buss.) For that purpose - I'd pay twice the asking price - IMHO. Hope that makes sense.



I see. Youd pay twice the asking price. Thats 360 then. Interesting.

I got FF ProQ3 as well, and I use it as well as Mastering the Mix (Bassroom and Mixroom). So that makes it 3 EQ:s already. Thats the reason I didnt buy Gullfoss last week, although I emailed them and asked about VAT. So it was a close call. And now you say this, that you can throw it there as well after Fabfilter. OK, will get the demo i demoed Soothe2 and there was not effect at all that would have "changed the game" - so to say. But this Gullfoss might have some secret sauce, maybe. Thanks for reply.


----------



## Marterro (Aug 31, 2020)

Instruments:
- Noire Piano is definitely a game changer for the whole industry in terms of pianos
- Albion One - nothing has beaten it for me yet, I'll probably be using it even when I get old
- Products by Keepforest have changed the game multiple times for me ❤

Effects:
- Soothe/Soothe2 by Oeksound definitely did the game changing thing
- Gullfoss unsurprisingly
- Fabfilter Pro-Q3 thanks to dynamic eq combined with their UI


----------



## dylanmixer (Aug 31, 2020)

To me, PercX is a game changer and a totally fresh and original way of composing cinematic drum parts.


----------



## dylanmixer (Aug 31, 2020)

Also I'll second Symphobia 2 as it was the first orchestral library I owned, and didn't even think it was possible to get that realistic at the time. And I still use the sustains patch for sketching or layering to this day.


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## jononotbono (Aug 31, 2020)

Marterro said:


> Noire Piano is definitely a game changer for the whole industry in terms of pianos



Why? I’m not familiar with it. I’ll check out some videos.


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## Rob Elliott (Aug 31, 2020)

Marterro said:


> Instruments:
> - Noire Piano is definitely a game changer for the whole industry in terms of pianos
> - Albion One - nothing has beaten it for me yet, I'll probably be using it even when I get old
> - Products by Keepforest have changed the game multiple times for me ❤
> ...


Be sure to search online of how 'others' are using Gullfoss. There are some very instructive approaches that may be useful. Worth the 30 mins to search and watch. It's been a while since I did it and didn't bookmark them but you'll be able to find them I am sure.

(sorry attached was meant for PeterN)


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## Marterro (Aug 31, 2020)

jononotbono said:


> Why? I’m not familiar with it. I’ll check out some videos.



Check out their particles engine. Maybe for people who are great at playing piano this might not be a big deal, but I think this has to become a new standard for the piano libraries' manufacturers, thus "changing the game".


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## Crowe (Aug 31, 2020)

This is incredibly specific to myself, but there's two things that were actual gamechangers to me:

1. Maschine, which helped me remember that making music can be insanely fun.

2. Bashing stuff together, recording the result and sorting it out in Cubase. Then making new sounds out of it.

No sample library has done for me what these two 'processes' have.


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## GMT (Aug 31, 2020)

Composer Cloud by East West - Just to have that many libraries at my disposal gave me so many more options.
Heavyocity Products - Simply because they showed me that sound design was as much about experimenting and having fun as it was about actually knowing what I was doing.
Izotope Ozone 8 - What can I say. Instantly puts my masters into the ballpark I want with the presets.


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## Billy Palmer (Aug 31, 2020)

-Discovering how satisfying it is to make the most of free/stock VSTs or even loops alongside expensive sample libraries.
-Getting to know more experienced composers.
-Enabling the magic capture record button in Logic.


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## NekujaK (Aug 31, 2020)

In the virtual instrument realm, it's libraries and instruments that enhance my creativity and help me make music in new ways:
- Omnisphere
- EZbass
- EZdrummer (when it originally came out)
- The Steel (finally, great sounding and extremely playable steel guitar in a VI)
- Mercuriall and NeuralDSP amp sims

In the mixing/mastering realm, there have been a cadre of innovative and highly useful plugins that enhance what we do:
- Gullfoss
- Soothe
- Greg Wells MixCentric
- FabFilter ProQ


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## lettucehat (Aug 31, 2020)

VIs:

- Cinebrass - surprised not to see this here unless I missed it. I remember this is when I stopped struggling to get brass to sound like actual brass and get realistic parts with minimal effort. A huge leap in terms of usability and, mostly, sound.
- Agitato (hon. mention Adagietto) - this is when I found my real bread and butter strings. Not all at the same time. First, Adagietto was a great affordable way to get nearly everything I needed, sounded great out of the box, and honestly was the best I'd come across at pulling off moderately fast, arpeggiated ostinati (read: Philip Glass), which I needed badly at the time. Then Agitato was, to me, *the* legato. Though it's only got one function, I think it still holds its own against almost any expressive legato out there, including libraries that are similarly dedicated to just legato. I've acquired other libraries since then, many more comprehensive and nicer sounding out of the box, but boy did they nail this. For a lyrical piece without much variation in articulation, I still think I'd turn to this.
- CineStrings Runs - incredible utility, even if I don't have the rest of their strings
- SM brass / SWAM Winds - mind blowing, people have already covered these though.
- EW composer cloud - a life-saving stopgap solution for occasional projects requiring sounds I wouldn't already have. I plan on weaning myself off of this, but it's a great way to be ready for almost anything without breaking the bank. It's probably the only reason I got HS diamond too, I got to play with Gold versions of their stuff for years (already owned Brass).
- Cineharp v1 - extremely useful! Now I have the Cineharps library but this was a neat little trick to have up the sleeve.
- Piano in Blue - the first time I settled on a single piano for a long time. Gorgeous sound that they then built on for CinePiano. And then..
- Spitfire Labs Felt piano - finnicky on its own, but layered with Piano in Blue, helped me to create a fantastic 'intimate' piano I used successfully for years.
- the Unfinished's u-he preset collections - more usable stuff than I was used to from stock collections

Plugins:

- QL Spaces 1/2! Oh my god! First great reverb I owned and I really didn't go beyond this until relatively recently. I honestly can't remember what I used before. This is when I started getting questions like "could you send me your exact reverb settings??"
-L2. Don't use it much anymore but this was like a cheat code during my early years learning about production.
- RBass
- Decapitator/Radiator
- Trackspacer
- Logic's match EQ
- Acustica - acquas *and* nebula (TimP, EAR reverbs)


Seconding the capture record button! Saved me many times in the short time I've had it.

Along those lines - Logic Pro X and its autosaving! I lost so much time to crashes in Logic 9 and earlier.


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## el-bo (Aug 31, 2020)

A third vote for Logic's capture-record. I tend to avoid the big red REC button. But being able to grab all that no-pressure noodling makes a huge difference, for me.

My other votes go to :

Zynaptiq's Adaptiverb: Not had more than a couple of hours with this, but despite it being quite old news at this point, it definitely feels like 'The Future!'.

Sonible Entropy and Proximity EQ plugs (Also ncluded in the Frei:raum, all-in-one bundle). On their own, or with Izotope's RX (Another game-changer), they can either really help save field-recordings, or steer those same recordings towards the realms of sound-design. Looking forward to combining the mw ith Adaptiverb


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## JonS (Aug 31, 2020)

When it comes to games changers VSL’s Orchestral Cube really changed things decades ago. Since then there has been a steady stream of improvements from VIs to effects to DAW releases. 

Synchron Bosendorfer Imperial
Synchron Yamaha CFX
Vienna Ensemble Pro
Synchron Percussion I & II
Damage 2
SCS Pro
SStO Pro
SSO
Eric Whitacre Choir
Symphonic Motions
Spitfire Evos
HZ Strings
JXL Brass
CSS
UAD Manley, LA-2A, RMX16, Lexicon, Neve
PA elysia, Dangerous, Maag, Ampeg, Fuchs
FabFilter 
R4, Nimbus, Symphony, Stratus
Seventh Heaven, Cinematic Rooms
Lexicon Native


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## jonathanparham (Aug 31, 2020)

jononotbono said:


> Why? I’m not familiar with it. I’ll check out some videos.


What! Stop the presses. Hell has frozen over. Jesus is returning. Jono does not own this library. I repeat Jono does not own this library lol


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