# Bespoke libraries, what are they and how do you get them?



## Juulu (Dec 17, 2021)

I was watching an old Blakus video the other day (the man hasn't uploaded in a year) when he said he had custom bespoke libraries that only a few people got access to. This made me very curious as it seems the sounds these libraries make are very good. In particular, I noticed how good the brass section is in Blakus's template (in the Star Wars main theme video and in his Game of Thrones mockup stream). Of course a lot of the quality is due to his skill as a composer. However, I was wondering how does someone even acquire a product like this and if there are any composers in this forum with access to these libraries can you vouch for the sample quality being superior to other more "accessible" libraries?


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## doctoremmet (Dec 17, 2021)

One either books a studio and a band of players and records one’s own samples. Or one is part of a slightly elitist and likely loaded elite group of composers who are invited to buy into such an initiative, as a sort of crowd funded thing.

Spitfire Audio started this way. It is said (maybe by the man himself although I don’t have any actual sources) that mister Hans Zimmer has his own collection of personal samples that has cost him over $1 million out of his own pocket.


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## doctoremmet (Dec 17, 2021)

Spitfire Bespoke private range libraries


Prior to the commercial success of the Percussion and Albion there was a lot of demos of the strings,brass and woodwinds on their site.I think without question those libraries are the best sounding samples Spitfire have made to date.I remember the price of each library being thousands of...




vi-control.net


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## quickbrownf0x (Dec 17, 2021)

Juulu said:


> I was watching an old Blakus video the other day (the man hasn't uploaded in a year) when he said he had custom bespoke libraries that only a few people got access to. This made me very curious as it seems the sounds these libraries make are very good. In particular, I noticed how good the brass section is in Blakus's template (in the Star Wars main theme video and in his Game of Thrones mockup stream). Of course a lot of the quality is due to his skill as a composer. However, I was wondering how does someone even acquire a product like this and if there are any composers in this forum with access to these libraries can you vouch for the sample quality being superior to other more "accessible" libraries?


A quick intro on how to do this yourself might also help;










As for the quality - that's also up to you re: recording, how many dynamic layers you decide to add, and so on. You can really go to town with Kontakt if you want. Happy sampling!


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## doctoremmet (Dec 17, 2021)

liquidlino said:


> If you haven't discovered it yet - Pianobook. Tons of community made unique instruments, free to download and use, royalty free, commons license. (run by spitfire).


I think OP does not mean this type of besproke libraries


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## José Herring (Dec 17, 2021)

Juulu said:


> I was watching an old Blakus video the other day (the man hasn't uploaded in a year) when he said he had custom bespoke libraries that only a few people got access to. This made me very curious as it seems the sounds these libraries make are very good. In particular, I noticed how good the brass section is in Blakus's template (in the Star Wars main theme video and in his Game of Thrones mockup stream). Of course a lot of the quality is due to his skill as a composer. However, I was wondering how does someone even acquire a product like this and if there are any composers in this forum with access to these libraries can you vouch for the sample quality being superior to other more "accessible" libraries?


Sometimes you can go in with a group of composers and build your own library. It's basically how this forum got started. But....there's very little in a bespoke library that isn't available commercially these days so the only real benefit is that you can craft samples that work for you specifically which isn't such a bad idea.


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## Juulu (Dec 17, 2021)

Wow, thanks for the replies everyone. I definitely don't have the finances to afford a whole orchestra, I don't even make music professionally haha. I was more so just curious how they compared to libraries that are sold commercially and José answered that perfectly. I guess having a library tailor made for you (or a small group) is a great way to make you stand out of the crowd, landing more gigs, because you have your own sound. I also imagine it's a pretty fun experience overall besides the whole "dropping a massive money investment" part.


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## antsteep (Dec 17, 2021)

I met someone who had the Spitfire Bespoke when they started. Price was $20,000


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## gst98 (Dec 17, 2021)

Juulu said:


> I was watching an old Blakus video the other day (the man hasn't uploaded in a year) when he said he had custom bespoke libraries that only a few people got access to. This made me very curious as it seems the sounds these libraries make are very good. In particular, I noticed how good the brass section is in Blakus's template (in the Star Wars main theme video and in his Game of Thrones mockup stream). Of course a lot of the quality is due to his skill as a composer. However, I was wondering how does someone even acquire a product like this and if there are any composers in this forum with access to these libraries can you vouch for the sample quality being superior to other more "accessible" libraries?


His brass was made by Jasper Blunk (Performance Samples). If you like the sound of his programming look out for his upcoming public releases Pacific and Voyage. 

IMO, the reason for bespoke is that the talent behind the development isn’t available publicly, or you want a product that isn’t available. Seeing as in todays market, almost everything has been sampled in every hall, so going bespoke today would be focused on the talent of dev doing it, and more depth compared to what’s commercially available.

If you look at jaspers previous private dev projects, some examples of them are people who wanted flutes with round robin legatos, or custom solo violins etc… 

As for how to get them, it’s just a case of contacts and knowing people. But some companies such as Strezov still do bespoke work too.


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## Marcus Millfield (Dec 17, 2021)

I hate that word. It's like a word someone would use who hasn't got a clue what they're talking about, but it sounds fancy.

"Oh my dear, that is just só bespoke of you."

🤦🏻‍♂️


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## MartinH. (Dec 17, 2021)

quickbrownf0x said:


> A quick intro on how to do this yourself might also help;
> 
> 
> 
> ...




Perfect timing! I was just about to listen to the deadspace soundtrack again. Looks super fun what he did there. Gotta try this too one day.


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## jcrosby (Dec 17, 2021)

Marcus Millfield said:


> I hate that word. It's like a word someone would use who hasn't got a clue what they're talking about, but it sounds fancy.
> 
> "Oh my dear, that is just só bespoke of you."
> 
> 🤦🏻‍♂️


Pretense aside, the word basically does mean _custom made_. At least they aren't referred to as _artisnal _sample libraries. 

That conjures up images of a guy with wax mustache (who incidentally has a tattoo of a guy with a wax mustache getting a tattoo also of a guy with a wax mustache).
Bike messenger by day, composer by night...
Feverishly writing music, fed only on a steady diet of cruelty-free kale chips. (Artisnal kale chips of course).


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## MusicIstheBest (Dec 17, 2021)

Marcus Millfield said:


> I hate that word. It's like a word someone would use who hasn't got a clue what they're talking about, but it sounds fancy.
> 
> "Oh my dear, that is just só bespoke of you."
> 
> 🤦🏻‍♂️


It's a strange word, not a fan either. I'd rather say "custom-made", makes it sound like real work and talent went into it. I also like flannels, wood working, and strong beer.


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## jcrosby (Dec 17, 2021)

MusicIstheBest said:


> It's a strange word, not a fan either. I'd rather say "custom-made", makes it sound like real work and talent went into it. I also like flannels, wood working, and strong beer.


As long as you have a tattoo of a guy in a flannel building a chair with an IPA at their disposal, in which case color me impressed!


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## Johnny (Dec 17, 2021)

José Herring said:


> Sometimes you can go in with a group of composers and build your own library. It's basically how this forum got started. But....there's very little in a bespoke library that isn't available commercially these days so the only real benefit is that you can craft samples that work for you specifically which isn't such a bad idea.


"The Peasant's Revolt Orchestra"


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## Trash Panda (Dec 17, 2021)

Artisanal bespoke libraries are turn key operations.


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## MusicIstheBest (Dec 17, 2021)

Trash Panda said:


> Artisanal bespoke libraries are turn key operations.


only if they're artisanal gourmet bespoke. huge difference.


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## davidnaroth (Dec 17, 2021)

Id be surprised if it was worth it nowadays to do a bespoke library. Im sure OT, SF, and anyone else creating a new library is trying to make it the best still, and I imagine there is a lot more $ to sell it to everyone vs. a select few. Maybe a few big composers could pool to create a library that only a few would have, so nobody else has the same sounds, but would it be better? Im just rambling thoughts haha. I guess one way is if they create a library with immense detail in the sample count. tons of RR with tons of velocity layers, but imagine the resources that would take on modern machines.


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## Nando Florestan (Dec 17, 2021)

davidnaroth said:


> a library with immense detail in the sample count. tons of RR with tons of velocity layers


Too late for a bespoke -- you are describing Pacific.


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## FrozenIcicle (Dec 18, 2021)

Not saying about blakus, but some composers who share mockups that sound ridiculously good say they are using bespoke libraries to cover the fact it’s a real recording. Then this forum goes crazy on how they achieved the sound and call them mockup gods. Then they get hyped and their brand increases


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## Vik (Dec 18, 2021)

Also, see this (from another thread):


paulthomson said:


> Thanks for the kind comments and interest!
> 
> When we made the bespoke series - never originally intended to go beyond some Chamber Strings (its thanks to John Powell that the rest of the range exists - his gentle encouragement!) - and it was a non profit endeavour. Just a way to make some great tools and pay the costs associated. The Brass and WW were more limited in release than the Strings, that is the reason the per license cost was higher.
> 
> ...


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## re-peat (Dec 18, 2021)

I've condensed my two posts in that same thread from which Paul’s post quoted above was taken, into a single one here. It might help dispell the idea that you’re missing something “better than everything else” if you don’t have the (SF) Bespokes.



> Spitfire's Bespoke Strings is not "the mythical, super-deluxe elite library that sounds better than, or is superior to everything else". It is pretty good, unquestionably, and some of it is timbrally still more to my liking than what came later, but if they were to release these strings today — which would require some extra work because development of the library was abandonned before it was finished — I'm pretty sure that most people would be rather underwhelmed. As in: "Is that all it is?".
> 
> The Bespokes, when looked at today, are more of a portfolio of first, second and third drafts for greater things to come. A sort of laboratory if you like, which allowed the Spitfire team to fine-tune their craft, and experiment with various techniques regarding recording, editing, implementing legato and crossfading and such. Which is why these strings do indeed have their share of little annoyances and crudité. (And yes, the fact that the patches are locked is a bit of a downer as well, especially given the fact that most of the roughness would be very easy to correct if only one had access to the patches’ insides.)
> 
> ...



_


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## Juulu (Dec 18, 2021)

davidnaroth said:


> Id be surprised if it was worth it nowadays to do a bespoke library. Im sure OT, SF, and anyone else creating a new library is trying to make it the best still, and I imagine there is a lot more $ to sell it to everyone vs. a select few. Maybe a few big composers could pool to create a library that only a few would have, so nobody else has the same sounds, but would it be better? Im just rambling thoughts haha. I guess one way is if they create a library with immense detail in the sample count. tons of RR with tons of velocity layers, but imagine the resources that would take on modern machines.


This is initially what I thought as well. I was watching Blakus do a re-score of Game of Thrones and he mentioned this. Something like "There are so many round robins it won't sound repetitive"(I'm paraphrasing here). I also thought the amount of depth of his brass library was something I hadn't heard anywhere, but I wasn't directly comparing it to anything. Keep in mind this video was about a year ago and technology moves pretty rapidly, and it could've also just been his ability as a composer/mixer shining through (apparently he EQ's and automates most of the mics in each instrument, the madman).


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## gst98 (Dec 18, 2021)

Juulu said:


> This is initially what I thought as well. I was watching Blakus do a re-score of Game of Thrones and he mentioned this. Something like "There are so many round robins it won't sound repetitive"(I'm paraphrasing here). I also thought the amount of depth of his brass library was something I hadn't heard anywhere, but I wasn't directly comparing it to anything. Keep in mind this video was about a year ago and technology moves pretty rapidly, and it could've also just been his ability as a composer/mixer shining through (apparently he EQ's and automates most of the mics in each instrument, the madman).



Well, Zimmer's private strings that he did in the early 2000s were recorded with 6/7 dynamic layers with multiple attack styles, so in that sense, most commercial strings are yet to catch up. But SF, OT and VSL seem to have recorded way more variations of articulations than all the bespoke libraries I've seen. Not to mention they usually recorded several different sections sizes too.

I don't think Blakus's samples have huge numbers of RR's because most of Performance Samples' libraries usually do 7RR - which is nothing crazy. There are some shorts in Berlin Strings that have 21 RRs and IMO add nothing to the realism. Those same patches could have benefitted from a lot more dynamic layers though!

The really big thing I hear in the brass Blakus uses (and also several other forum users have) is they reach a top dynamic layer most libraries don't have and the crossfades are incredibly smooth (probably cause they were made for a bunch of trailer composers). Doesn't look like they did a very extensive set of articulations though, missing mutes, harmonics, sul pont and legatos on the basses, no 2nd violins (most forum members seem to freak out at this suggestion!) and so on...

Like I said though, go check out the guy who makes them. He has several free bits you can download and try for yourself. Some of his upcoming projects have 15 dynamic layers, if that is the thing you're after. Anyway, I think the reason Blakus's samples sound so good is the guy who makes them just spends way longer on the details then SF and OT... Same way Sarah Mancuso took the time to go through 8dios Adagio samples and made them into a way better product with Adachi.






Performance Samples – Not for purists







www.performancesamples.com


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## Project Anvil (Dec 18, 2021)

davidnaroth said:


> Id be surprised if it was worth it nowadays to do a bespoke library. Im sure OT, SF, and anyone else creating a new library is trying to make it the best still, and I imagine there is a lot more $ to sell it to everyone vs. a select few. Maybe a few big composers could pool to create a library that only a few would have, so nobody else has the same sounds, but would it be better? Im just rambling thoughts haha. I guess one way is if they create a library with immense detail in the sample count. tons of RR with tons of velocity layers, but imagine the resources that would take on modern machines.


I don't think of it that way. A custom, private library doesn't have to have more RRs or dynamic layers than whatever is already out there, it just needs to be something that's tailored specifically to my needs.

I've toyed with the idea of doing my own library and my motivation to do them is to plug holes. One of those holes is a variety of different length detache bowings for strings, or something that could do loure-like phrasing (one of the performance sample freebies can actually sort of do this). I'm also, perhaps bizarrely, dissatisfied with most renditions of string spiccato. Some libraries have too much the attack trimmed, others aren't bouncy enough for my tastes... it's a whole thing lol.


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## Vik (Dec 18, 2021)

Project Anvil said:


> I don't think of it that way. A custom, private library doesn't have to have more RRs or dynamic layers than whatever is already out there, it just needs to be something that's tailored specifically to my needs.
> 
> I've toyed with the idea of doing my own library and my motivation to do them is to plug holes. One of those holes is a variety of different length detache bowings for strings, or something that could do loure-like phrasing (one of the performance sample freebies can actually sort of do this). I'm also, perhaps bizarrely, dissatisfied with most renditions of string spiccato. Some libraries have too much the attack trimmed, others aren't bouncy enough for my tastes... it's a whole thing lol.


Instead of having commercial libraries and bespoke libraries, wouldn't it be a much better idea to record both a 'normal' library and the missing stuff at the same time? If most people are happy with 3-4 dynamic layers (I think that will change to 5), and some wants 7, they could all be recorded within the same session, only that regular users would get fewer dynamic layers than those who paid for the 'bespoke' libraries, which btw. also could be sold commercially.

I agree with the lack of offering enough detache/loure lengths, Berlin Strings have their portatos, but more length variations are needed. Several libraries have three attack types, but IMO the minimum should IMO be 4, and 'ultra pro' versions could have more of everything.

Btw, which of the PS freebies can 'sort of' do loure-like phrasing?


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## Project Anvil (Dec 18, 2021)

Vik said:


> Instead of having commercial libraries and bespoke libraries, wouldn't it be a much better idea to record both a 'normal' library and the missing stuff at the same time? If most people are happy with 3-4 dynamic layers (I think that will change to 5), and some wants 7, they could all be recorded within the same session, only that regular users would get fewer dynamic layers than those who paid for the 'bespoke' libraries, which btw. also could be sold commercially.



Maybe, but for me that would still be missing the point a little bit. I don't really feel like I'm missing dynamic layers that much. I'm missing a whole slew of different attacks and releases, I'm missing the flexibility of note lengths, I'm missing character.

A commercial sample library will record a middle-of-the-road spiccato sample because it needs to cater to all kinds of scenarios. I'd much rather have a selection of spiccatos with a different attitude, and I'd also combine single-note recordings with repetition recordings to get the best of both worlds. I'd try to record some that are more feathered and suitable for really light playing, some that have more bounce, some that have more bow, some that are a bit more edgy, etc. I could go on. I don't even know if this is commercially viable because I really don't know that many people who are as nuts as I am about rifling through their samples.

Another example: I have a billion pizzicato samples, but still not the one I want. 90% of them are, again, middle-f-the-road, jack-of-all-trades recordings that kind of work in any context. The one I want is lightly plucked (so not too much snap) and rings out for longer. Something a bit more stately.



Vik said:


> Btw, which of the PS freebies can 'sort of' do loure-like phrasing?


The one mentioned here: https://vi-control.net/community/threads/performance-samples-voyage-discussion.103960/post-4760580

It's the pre-alpha voyage violas poco espressivo con sordino (a whole mouthful). I actually don't see it on the site anymore, but I have it.



Jasper Blunk said:


> this is PRE-ALPHA, not much patch finesse yet at all, so the releases aren't all consistent, and things aren't evened out and balanced. The dynamic xfades are temp as well.
> 
> I ultimately re-recorded this patch for couple reasons (mainly to improve on loure flexibility -- see below), but this is the original.
> 
> ...


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## Trash Panda (Dec 18, 2021)

TSS has multiple spicatto styles, as does Areia. TSS also has pizzicato along the lines you are describing. 👍🏻


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## Tralen (Dec 18, 2021)

Vik said:


> If most people are happy with 3-4 dynamic layers (I think that will change to 5), and some wants 7, they could all be recorded within the same session.


This wouldn't work. If the dynamics are split over 5 layers, each layer would represent 20% of the dynamic range. If split over 7 layers, each layer would represent just ~14%. Getting 5 layers out of 5 is very different of getting 5 out of 7; you would be missing a quarter of the dynamics.


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## Lionel Schmitt (Dec 18, 2021)

FrozenIcicle said:


> Not saying about blakus, but some composers who share mockups that sound ridiculously good say they are using bespoke libraries to cover the fact it’s a real recording. Then this forum goes crazy on how they achieved the sound and call them mockup gods. Then they get hyped and their brand increases


Example?


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## Vartio (Dec 18, 2021)

Yes, bespoke (or custom) libraries are still worth it and, yes over time they often polish up better than anything out there (you dont even need huge ammounts of rr/mics/dynamics etc, just careful work) . Mainly because you're not reliant on developers who take 10 years to fix bugs (if they don't abandon products all together before that) and then try to nickle and dime you for shit that should have worked out of the box.

Worst of all now that developers are really going for their own players or lock things down otherwise, you can't even go and bugfix or modify the libraries to suit your own needs, like you can most of the time do in kontakt. You're completely reliant on their shitty quality assurance and financial incentives to not fix that stuff, but instead make a new and shiny shitty library.
There are exceptions ofc. And the developers who do the proper work and quality assurance know who they are. And even the shitty libraries end up having gems in them here and there that end up in the templates.

When you do things yourself, you're in control of everything and you get to enjoy the benefits of that.
Every penny and hour that I've put into sampling has paid itself off hundred fold. Unlike the complete waste of time and money that so many commercial libraries are.

just my 2c


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## re-peat (Dec 18, 2021)

Project Anvil said:


> I have a billion pizzicato samples, but still not the one I want.


Found *this* on an HD with old files. I did this in May 2011, soon after I got the Bespokes, to check what the pizzicati were like. (It being so old, please allow for a bit of roughness.)

_


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## Vik (Dec 18, 2021)

Tralen said:


> his wouldn't work. If the dynamics are split over 5 layers, each layer would represent 20% of the dynamic range. If split over 7 layers, each layer would represent just ~14%. Getting 5 layers out of 5 is very different of getting 5 out of 7; you would be missing a quarter of the dynamics.


There are already libraries that allow you to disable layers in a way that the others autmatically are spread over the whole dynamic range, crossfadeable.

Today's libraries with only 3 or 4 layers are also missing representation of every imaginable layer between the existing three layers.
If you imagine someone planning to both make a bespoke library with, say, 6 layers, and also a commercial library with 3 layers, 3 of these layers could be used in both libraries. The cheapest library would therefore miss the loudest, the most quiet and one more layer – but that's no worse than buying a library that has only three layers anyway, so I don't see the problem.


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## davidnaroth (Dec 18, 2021)

Project Anvil said:


> I don't think of it that way. A custom, private library doesn't have to have more RRs or dynamic layers than whatever is already out there, it just needs to be something that's tailored specifically to my needs.
> 
> I've toyed with the idea of doing my own library and my motivation to do them is to plug holes. One of those holes is a variety of different length detache bowings for strings, or something that could do loure-like phrasing (one of the performance sample freebies can actually sort of do this). I'm also, perhaps bizarrely, dissatisfied with most renditions of string spiccato. Some libraries have too much the attack trimmed, others aren't bouncy enough for my tastes... it's a whole thing lol.


@Project Anvil Ah yeah I agree. There are definitely a ton of holes in what we have for sampling. The hard part about having tons of string libraries too, is they may as a whole encompass everything, but then you have a variety of tones that wont always blend together and sound natural. but then tones also a preference as well.


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## Tralen (Dec 18, 2021)

Vik said:


> There are already libraries that allow you to disable layers in a way that the others autmatically are spread over the whole dynamic range, crossfadeable.
> 
> Today's libraries with only 3 or 4 layers are also missing representation of every imaginable layer between the existing three layers.
> If you imagine someone planning to both make a bespoke library with, say, 6 layers, and also a commercial library with 3 layers, 3 of these layers could be used in both libraries. The cheapest library would therefore miss the loudest, the most quiet and one more layer – but that's no worse than buying a library that has only three layers anyway, so I don't see the problem.


I see. I didn't know there were libraries built in this manner.

It would be interesting to see a developer allow us to select which layers we would want to purchase, in fact.


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## Vik (Dec 18, 2021)

Project Anvil said:


> Maybe, but for me that would still be missing the point a little bit. I don't really feel like I'm missing dynamic layers that much. I'm missing a whole slew of different attacks and releases, I'm missing the flexibility of note lengths, I'm missing character.


I agree in all of that, and I'd also like to see long notes and legatos with not only different character, but also with different degrees of 'bloom', 'swell' (crescendo/decrescendo) so on. SSS, for instance is different than Mural was, and more generally usable – but it's also important with access to the long notes/legatos with aren't 'linear', but which gradually increase intensity in after the note start (and decrease it before the next legato transition) –because that's how real players often play.

Sure, but dyn. layers was only an example – I could have used number of attacks, releases or anything else. I agree in all of that, and I'd laso like to see long notes and



Project Anvil said:


> Another example: I have a billion pizzicato samples, but still not the one I want. 90% of them are, again, middle-f-the-road, jack-of-all-trades recordings that kind of work in any context. The one I want is lightly plucked (so not too much snap) and rings out for longer.


I totally get you, I also don't support the idea that pizzicatos should ring more out than they usually do. Bass pizzicatos in the real world are sometimes long notes, and good, long pizzicatos are hard to find.


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## Vik (Dec 18, 2021)

Project Anvil said:


> I'd also combine single-note recordings with repetition recordings to get the best of both worlds. I'd try to record some that are more feathered and suitable for really light playing, some that have more bounce, some that have more bow, some that are a bit more edgy, etc. I could go on. I don't even know if this is commercially viable because I really don't know that many people who are as nuts as I am


Please go on, because the current situation is kind of ridiculous. We have maybe 150 string libraries, of which most of them try to be best at finding a good, 'average', middle-of-the road solution, and very few libraries that offer many/enough variations of all these things we both would like to see more of.


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## jcrosby (Dec 18, 2021)

Vik said:


> Also, see this (from another thread):



I'm actually not surprised by this at all. With a commercial ROI option the developer is able to book more time and players, hire coders (who now have years of experience doing this)...

It seems kind of inevitable that at some point some (if not most) commercial libraries would surpass the _early days_ versions. Not only were there less people available as resources, Kontakt's scripts were probably reasonably more limited 12+ years ago than they are today.

It's kind of hilarious hearing that a lot of these early private libraries had no mic mixes and/or no legato, etc. I personally find it puts every library I own in perspective, and makes me appreciate the ones I love even more than I already do...


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## dzilizzi (Dec 18, 2021)

I think a lot of the big composers have access to the original recordings for soundtracks they wrote. I'm assuming they can reuse samples made from these libraries, such as a run or an unusual technique. I don't know if these would technically be bespoke recordings, but they wouldn't be generally available because the studios would probably own the actual recording performance.


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## Light and Sound (Dec 19, 2021)

Im seeing a lot of comments mentioning bespoke being more deeply sampled, but I would like to note that often bespoke (not always) is more than its NOT appropriate for commercial release. Often because a composer just needs one specific thing or has a style or working with styles that doesn't suit the masses, or has an idea and just wants to try it out and see how it goes. I know I certainly have a few libraries that are bespoke (that I've made) that if released publicly really wouldn't do well, since they're just so niche is unbelievable!


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## FrozenIcicle (Dec 19, 2021)

Light and Sound said:


> Im seeing a lot of comments mentioning bespoke being more deeply sampled, but I would like to note that often bespoke (not always) is more than its NOT appropriate for commercial release. Often because a composer just needs one specific thing or has a style or working with styles that doesn't suit the masses, or has an idea and just wants to try it out and see how it goes. I know I certainly have a few libraries that are bespoke (that I've made) that if released publicly really wouldn't do well, since they're just so niche is unbelievable!


Just release the cowbell library man, it’s gonna sell


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## dzilizzi (Dec 19, 2021)

FrozenIcicle said:


> Just release the cowbell library man, it’s gonna sell


This is true, we all need more cowbell!


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## Living Fossil (Dec 19, 2021)

dzilizzi said:


> This is true, we all need more cowbell!


If it comes to cowbells, (in my opinion) this one is as good as it gets:


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## ism (Dec 19, 2021)

Project Anvil said:


> A custom, private library doesn't have to have more RRs or dynamic layers than whatever is already out there, it just needs to be something that's tailored specifically to my needs.


I seem to recall that the word "bespoke" originates in tailoring - ie a bespoke suit vs an off the shelf suit. So perhaps keeping the tailoring sense of the word in mind might be clarifying.

Of course, clearly, when applied to samples, this meaning blurs slightly, and there's a certain inevitable abuse of the metaphor. ie. even if you could get a hold of Hans Zimmer's bespoke library, it's not besoke for you (in the original sense), it's bespoke for Hans.


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## dzilizzi (Dec 19, 2021)

ism said:


> I seem to recall that the word "bespoke" originates in tailoring - ie a bespoke suit vs an off the shelf suit. So perhaps keeping the tailoring sense of the word in mind might be clarifying.
> 
> Of course, clearly, when applied to samples, this meaning blurs slightly, and there's a certain inevitable abuse of the metaphor. ie. even if you could get a hold of Hans Zimmer's bespoke library, it's not besoke for you (in the original sense), it's bespoke for Hans.


Hans library is tailored to his needs. This makes sense.


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## Nando Florestan (Dec 20, 2021)

dzilizzi said:


> Hans library is tailored to his needs. This makes sense.


Yeah, but does Hans need a tailor to go to the library? That part is very unclear.


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## Syncopator (Dec 21, 2021)

MusicIstheBest said:


> It's a strange word, not a fan either. I'd rather say "custom-made", makes it sound like real work and talent went into it. I also like flannels, wood working, and strong beer.


It's British. Simple as that. 😊 If you'd grown up there, that word would sound "normal" to you. If you grow up in America (for example), it sounds odd simply because it hasn't been used here until recently, by British developers like Spitfire (for example). It's not a big deal. Just a localism.


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