# Cinesamples Artist Series: Apocalyptica Available Now - Exclusive Intro Offer!



## Cinesamples-SG (Nov 29, 2022)

Boy oh boy am I excited to share this one -- introducing our newest Artist Series library: Apocalyptica!

I've said before here recently that we're no longer doing introductory pricing for new products, and while we're not including this new release in the Black Friday sale, we wanted to give VI-Control not only the exclusive first announcement about this product launch, but also a special 10% discount! *Use the code VICAPOC10 at checkout to save* 

This was an incredibly fun collaboration for us, and we're thrilled to make this library available for composers and producers looking to add beautiful brutality to their tracks with these epic cello samples. With Rhythm and Solo patches containing a total of 31 articulations, plus a host of custom amp/cabinet Snapshots for each, plus a streamlined and intuitive build-your-own-keyswitch mapping, a sequencer, and FX controls, this library packs a mighty punch (while staying lightweight at 7GB!)

Apocalyptica is a world-famous Finnish metal group, and a lot of us on the team have been big fans for years before we had this opportunity to work with them. They're excellent players, composers, and producers, and we had a great time working with them to capture this library and build an instrument for creators everywhere to use this iconic sound.

Check out Shane's full walkthrough video here: 

This library is available now for Kontakt Player 6.7.1+ and Komplete Kontrol, and delivered through Native Access. We also still have two days left on our sitewide 65% Black Friday Sale!

We can't wait to hear what you make with this library! This exclusive intro offer will only be available through December 31st, so don't miss your chance -- enter *VICAPOC10* at checkout!


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## shanerr89 (Nov 29, 2022)

Hey Everyone! Shane here (from the video), feel free to ask all the questions you have and I'll do my best (@Cinesamples-SG will keep me honest) to respond to them all. Happy to clarify anything or just chat about the library


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## signalpath (Nov 29, 2022)

Have a listen to “The Unforgiven” on the Genelec Music Channel. The Metallica cover is from the quartet’s first album “Plays Metallica by Four Cellos” released in 1996.


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## Trash Panda (Nov 29, 2022)

*!*

This is something I've been seeking for years!

I'm stuck on work calls. Are the rhythm patches loops or articulations designed for rhythm purposes?


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## shanerr89 (Nov 29, 2022)

Trash Panda said:


> *!*
> 
> This is something I've been seeking for years!
> 
> I'm stuck on work calls. Are the rhythm patches loops or articulations designed for rhythm purposes?


Hey Trash Panda! There are no loops in Apocalyptica, the 'Rhythm' patch is a single cello with articulations geared towards a rhythm player, and the Solo patch is a single cello with articulations geared towards a lead player. The only 'triggerable' thing in this library is the sequencer, which is really awesome for phrase building.

Here is an articulation list breakdown:

Solo Articulations:
- Aggressive Legato
- Aggressive Sustain
- Aggressive Tenuto
- Aggressive Staccato
- Aggressive Tremolo
- Aggressive Long Slide
- Aggressive Short Slide

- Mellow Legato
- Mellow Sustain
- Mellow Tenuto
- Mellow Staccato
- Mellow Tremolo


Rhythm Articulations:
- Sustain
- Staccato
- Staccatissimo
- Sul Pont Sustain
- Sul Pont Tenuto
- Sul Pont Staccato
- Power Chord Sustain
- Power Chord Tenuto
- Power Chord Staccato
- Pizzicato Choke
- Pizzicato Resonant

- FX Growl Sustain
- FX Growl Tenuto
- FX Growl Staccato
- FX Harmonics
- FX Col Legno
- FX Sweep Ponticello Down
- FX Sweep Ponticello Up
- FX Babylon (like a sul pont tremolo, and it LOVES heavy FX)


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## Trash Panda (Nov 29, 2022)

shanerr89 said:


> Hey Trash Panda! There are no loops in Apocalyptica, the 'Rhythm' patch is a single cello with articulations geared towards a rhythm player, and the Solo patch is a single cello with articulations geared towards a lead player. The only 'triggerable' thing in this library is the sequencer, which is really awesome for phrase building.
> 
> Here is an articulation list breakdown:
> 
> ...


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## Alchemedia (Nov 29, 2022)

On the Edge of Total Annihilation.


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## HarmonKard (Nov 29, 2022)

Alchemedia said:


> On the Edge of Total Annihilation.


But far from silent.


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## shanerr89 (Nov 29, 2022)

Alchemedia said:


> On the Edge of Total Annihilation.


Love it. Our Marketing Director Brian says "It's Beautiful and Brutal all at once". Other people on our team just say "Great sound...pretty unsettling"


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## Alchemedia (Nov 29, 2022)

@KEM Right up your alley!


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## KEM (Nov 29, 2022)

Alchemedia said:


> @KEM Right up your alley!



Definitely gotta get this!! Apocalyptica did an amazing song with Corey Taylor that my older brothers showed me when I was a little kid, used to listen to it all the time and it was a huge influence on me!!


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## Trash Panda (Nov 29, 2022)

You know this is gonna be the first thing attempted. 



Followed by:


And then:


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## Reznov981 (Nov 29, 2022)

I don't think this is a particular niche for me right now, but I'm feeling the love with the exclusive announcement and discount code <3 just wanted to say thanks @Cinesamples-SG


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## shanerr89 (Nov 29, 2022)

Reznov981 said:


> I don't think this is a particular niche for me right now, but I'm feeling the love with the exclusive announcement and discount code <3 just wanted to say thanks @Cinesamples-SG


We definitely love our VIC friends a lot. We read everything you guys post and it really does help shape what we build and how we build it. Keep that feedback coming: good, bad and ugly is all welcome. 

To your comment specifically: this is definitely a library that is geared towards the more "aggressive" side in all of us, but I do want to highlight 2 things that are not immediately discussed in the walkthrough:

1) The "Solo" patch includes a set of mellow articulations, including a legato which, when set to acoustic with a touch of reverb, sounds downright heavenly. 

2) The "mic" sample set of this library represents a beautiful sounding solo cello across all included articulations. A single close-mic cello, yes, but a well captured one nonetheless 👍


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## Nashi_VI (Nov 30, 2022)




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## shanerr89 (Nov 30, 2022)

Have you guys watched "Wednesday" yet on Netflix? Apocalyptica did their cover of 'Nothing Else Matters" and its really really cool. Lots of great Cello work in this show as a whole with Wednesday being a player herself.









See Metallica Cello Cover Featured in Tim Burton's 'Wednesday'


Netflix series tapped Apocalyptica's take on "Nothing Else Matters"




www.revolvermag.com





We made sure to include all the pizzicato, sweep, legato, chugs and sustain articulations you would need to recreate a piece like this!


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## ChrisSiuMusic (Nov 30, 2022)

Huge congrats guys!! That legato's sick.


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## shanerr89 (Nov 30, 2022)

ChrisSiuMusic said:


> Huge congrats guys!! That legato's sick.


Thanks Chris! I personally find it very expressive, and this round of cutting/programming was fun.

We ran into some legato questions during development, and it's honestly been a long time since we've asked our users, so what better time than now right?

1) How important is adaptive legato to your workflow?
2) do you use/need the SPEED adjustment, or do you just like it to "work" as the samples were recorded?
3) which is more valuable to you:
A - "true to life" sound
B - timing consistency

I know opinions on legato are many and varied, but I'd love your feedback here, and maybe we can have a live chat/QnA about the methods we use and why?


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## portego (Nov 30, 2022)

Jesus, I looooooooved Apocalyptica in my youth 😍. The idea of "playing" them, is really really tempting 🤗

Thanks for trying something different


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## Soundbed (Nov 30, 2022)

shanerr89 said:


> 1) How important is adaptive legato to your workflow?
> 2) do you use/need the SPEED adjustment, or do you just like it to "work" as the samples were recorded?
> 3) which is more valuable to you:
> A - "true to life" sound
> B - timing consistency


1) very
2) prefer “just work” with the option to adjust if it doesn’t 
3) A, but with a lookahead option like MSS and TSS, where I can set 500-1000ms predelay for on-the-grid playback after quantization. 

I might have to grab this without hearing it, based on my sensibilities, even though I just spent a couple hundo on the Cinesamples store earlier tonight.


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## shanerr89 (Nov 30, 2022)

portego said:


> Jesus, I looooooooved Apocalyptica in my youth 😍. The idea of "playing" them, is really really tempting 🤗
> 
> Thanks for trying something different


You got it! All of us here at CS are feeling pretty lucky to have worked with them, glad to know the community loves their sound as much as we do 🤘


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## shanerr89 (Nov 30, 2022)

Soundbed said:


> 1) very
> 2) prefer “just work” with the option to adjust if it doesn’t
> 3) A, but with a lookahead option like MSS and TSS, where I can set 500-1000ms predelay for on-the-grid playback after quantization.
> 
> I might have to grab this without hearing it, based on my sensibilities, even though I just spent a couple hundo on the Cinesamples store earlier tonight.


Thanks so much for the feedback! We are going to be trying out a sample cutting method in our next library that should (fingers crossed) give us some very accurate timing for on-grid delayed playback. 

The Musio version of this library is currently in beta, looking to release it on that platform by end of the week if all goes well, you can try it out (without the Kontakt fx) there before you buy!

I am a guitar player myself, and have purchased a number of amp/cab emulators over the years. I am really loving how these samples sound through 3rd party plugins as well as the Kontakt amps we've included. (NI really stepped their game up with amps/cabs in the last couple years).


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## Soundbed (Nov 30, 2022)

shanerr89 said:


> Thanks so much for the feedback! We are going to be trying out a sample cutting method in our next library that should (fingers crossed) give us some very accurate timing for on-grid delayed playback.
> 
> The Musio version of this library is currently in beta, looking to release it on that platform by end of the week if all goes well, you can try it out (without the Kontakt fx) there before you buy!
> 
> I am a guitar player myself, and have purchased a number of amp/cab emulators over the years. I am really loving how these samples sound through 3rd party plugins as well as the Kontakt amps we've included. (NI really stepped their game up with amps/cabs in the last couple years).


Yeah, the reason “on the grid” playback works for me is that I’ve been getting into writing to picture. Occasionally (usually) it’s helpful to adjust tempo slightly to match the edit. So, all tracks in the sequence align to the grid. The grid adjusts to suit the picture/the edit. (Explaining this more for the forum than for the Cinesamples team. Because “Cine”.)

Haven’t used Musio yet, but will take a look. https://www.musio.com/ Funny, I thought I’d checked it out but … I guess I haven’t yet. 🧐😆

I have several guitars and played guitar for 30 yrs. My fav in the box amp sim right now is Rhino (or Mammoth for bass) by Aurora DSP. Have you tried it? Audio examples in the vid sound great so far (at low volume, from a phone, late at night, lol).


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## shanerr89 (Nov 30, 2022)

Soundbed said:


> Yeah, the reason “on the grid” playback works for me is that I’ve been getting into writing to picture. Occasionally (usually) it’s helpful to adjust tempo slightly to match the edit. So, all tracks in the sequence align to the grid. The grid adjusts to suit the picture/the edit. (Explaining this more for the forum than for the Cinesamples team. Because “Cine”.)
> 
> Haven’t used Musio yet, but will take a look. https://www.musio.com/ Funny, I thought I’d checked it out but … I guess I haven’t yet. 🧐😆
> 
> I have several guitars and played guitar for 30 yrs. My fav in the box amp sim right now is Rhino (or Mammoth for bass) by Aurora DSP. Have you tried it? Audio examples in the vid sound great so far (at low volume, from a phone, late at night, lol).


We like to hear the workflow examples, and it's definitely good for this whole forum to see how/why people compose a certain way 👍

Musio has a pretty long free trial period, and is incredibly inexpensive for what you get. It is quickly becoming my personal go-to for composing. Would love to hear your thoughts. We are constantly developing it and adding new content every couple weeks, but this next year is gonna be a BIG phase 2 push to add features based on all the feedback we've received. Not trying to plug another product here so I'll stop 😅

I've never tried Rhino, I'll check it out though. Right now I've been really really impressed by the Neural DSP archetype rigs from Rabea Massad, Tosin Abasi and Cory Wong. They might still be running their BF/CM sale? It's like 50% off or something.


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## Soundbed (Nov 30, 2022)

shanerr89 said:


> We like to hear the workflow examples, and it's definitely good for this whole forum to see how/why people compose a certain way



On this topic, I’m still on the entry level film scoring tier, where picture isn’t necessarily locked when the composer is engaged. (Sure, it will be mostly locked, but. Not really.)

So, you write some stuff to picture. And if you’ve aligned the grid to the dramatic beats, you naively believe you’re set. But then they send a new edit. Slightly different.

The last thing you want is to “reperform” any MIDI while dealing with the other notes from the music director. Of course you will. If needed. But if you simply adjust the tempo map and the playing adjusts seamlessly. That’s ideal. Because, budget.


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## shanerr89 (Nov 30, 2022)

Soundbed said:


> On this topic, I’m still on the entry level film scoring tier, where picture isn’t necessarily locked when the composer is engaged. (Sure, it will be mostly locked, but. Not really.)
> 
> So, you write some stuff to picture. And if you’ve aligned the grid to the dramatic beats, you naively believe you’re set. But then they send a new edit. Slightly different.
> 
> The last thing you want is to “reperform” any MIDI while dealing with the other notes from the music director. Of course you will. If needed. But if you simply adjust the tempo map and the playing adjusts seamlessly. That’s ideal. Because, budget.


Yeah, this is huge when scoring to picture. And I think, if FORCED to choose, the best route to go. 

Unfortunately, if we cut everything uniform across the board, there is a trade-off that happens with the true sound of the instrument. As much as we would all love for notes/transitions etc. to be truly consistent, they just aren't. When we cut with timing as the priority, sometimes those subtle "human" and "natural" elements get lost. They don't disappear completely, but it certainly changes the feel of a legato.

At the end of the day, we want to make TOOLS, that make it easy for people who have jobs to get done, so we are always trying to craft each tool for the job we think it will be used for most.

For Apocalyptica specifically, I think it is important for the true performance of the cello to shine through, so we made the call to get full legato transitions in their entirety presented here, which does sacrifice a tad on timing/consistency, but we guitar players know that the real magic is in the slight push and pull in the tempo of a soloist, and it makes a huge difference in the inspiring lilt and feel of this legato.

If you do end up trying out Musio, I would love to hear your thoughts on the differences in legato playback between the Kontakt and Musio versions


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## Trash Panda (Nov 30, 2022)

shanerr89 said:


> 1) How important is adaptive legato to your workflow?
> 2) do you use/need the SPEED adjustment, or do you just like it to "work" as the samples were recorded?
> 3) which is more valuable to you:
> A - "true to life" sound
> B - timing consistency


1) Very. The easier to use an instrument and get desired results quickly, the more likely it is to get continued usage.
2) Would love adaptive with an option to adjust speed if/when needed.
3) Dependent on context. Sometimes getting the timing right for the phrase makes it sound more "real" or more convincing than the "true to life" sound.


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## shanerr89 (Nov 30, 2022)

Trash Panda said:


> 1) Very. The easier to use an instrument and get desired results quickly, the more likely it is to get continued usage.
> 2) Would love adaptive with an option to adjust speed if/when needed.
> 3) Dependent on context. Sometimes getting the timing right for the phrase makes it sound more "real" or more convincing than the "true to life" sound.


Thanks for the feedback! It's great to know which features are vital, I really only know my own workflow, so this is great to read. For the record, I think my answers would be the same as yours. 

Apocalyptica has adaptive legatos with a manual "speed" control when needed, so I think it's got what you need 👍


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## ChrisSiuMusic (Dec 1, 2022)

shanerr89 said:


> Thanks Chris! I personally find it very expressive, and this round of cutting/programming was fun.
> 
> We ran into some legato questions during development, and it's honestly been a long time since we've asked our users, so what better time than now right?
> 
> ...


Hey Shane! I do enjoy adaptive legato, although I'm fine with using regular legato if needed. It feels like a nice bonus to have it, if that makes sense. I also prioritize good sound over timing consistency, because I can always edit the timing in post.


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## shanerr89 (Dec 1, 2022)

ChrisSiuMusic said:


> Hey Shane! I do enjoy adaptive legato, although I'm fine with using regular legato if needed. It feels like a nice bonus to have it, if that makes sense. I also prioritize good sound over timing consistency, because I can always edit the timing in post.


Hey Chris! Thanks for the feedback, it's great to hear. Does a specific library come to mind for you that strikes a good balance between great sound and great timing? 

I think there are lots of libraries out there with very solid legato, but the big white whale is one that does it so well, we don't notice the trade off.


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## Trash Panda (Dec 1, 2022)

shanerr89 said:


> Hey Chris! Thanks for the feedback, it's great to hear. Does a specific library come to mind for you that strikes a good balance between great sound and great timing?
> 
> I think there are lots of libraries out there with very solid legato, but the big white whale is one that does it so well, we don't notice the trade off.


For being quantized to the grid and staying on time during playback and capturing the "true to life" full transition of the legato, the lookahead features of ISW Tokyo Scoring Strings and AudioBro Modern Scoring Strings are currently the gold standards.

They both also offer low latency modes for accurate playing it in live, but the lookahead is what keeps it sounding great once you're at the editing phase or a draw-it-in person.


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## Soundbed (Dec 1, 2022)

shanerr89 said:


> Right now I've been really really impressed by the Neural DSP archetype rigs from Rabea Massad, Tosin Abasi and Cory Wong. They might still be running their BF/CM sale? It's like 50% off or something.


Eventually I’ll graduate to Neural DSP.


shanerr89 said:


> Yeah, this is huge when scoring to picture. And I think, if FORCED to choose, the best route to go.
> 
> Unfortunately, if we cut everything uniform across the board, there is a trade-off that happens with the true sound of the instrument. As much as we would all love for notes/transitions etc. to be truly consistent, they just aren't. When we cut with timing as the priority, sometimes those subtle "human" and "natural" elements get lost. They don't disappear completely, but it certainly changes the feel of a legato.
> 
> ...


I could be misunderstanding what you're saying here, so I apologize if that's the case.

But, I'm imagining there are a few variables to juggle when you're saying "cutting" the samples.

And my use case is primarily when there are more than one instrument that needs to stay on time and in the pocket with others, on a deadline.

So, what I dislike are having packages where I write for four instruments — let's say, flute, oboe, clarinet and bassoon — and I have them all doing a legato transition and the note starts are all quantized on the grid. But, during playback they sound "messy" and out of time with each other.

(This happens with a particular woodwinds package I own, and I avoid it for that reason.)

So, the elements I expect that need to be juggled by a sample dev include the time to begin the transition, which is dictated by the way the performer played that transition for that interval and might change from sample to sample — more the "preparation for the transition," I guess ... then there's a time when the new note "establishes" or feels like it's landed in the pocket, which is when we want it to feel like it's "on the grid" and in time.

I wouldn't want every sample to have the same preparation time and get "cut" in a static way (e.g., all of them are exactly 100ms earlier) that interfered with the performer's expression ... but, of course I'm not a commercial dev, so I might be imagining an impossible workload to undertake while still making the product affordable.

(Other variables of course, include the "crossfade" out from the previous note and any possible "phase coherency" attempts, which I know aren't actually phase issues but I forget the actual name for not sounding like two instrument sample files playing together.)

All this is said with an appreciation and understanding for playing early and late as a true soloist, which pushes or pulls against the groove like the greats do. But, if I'm doing that, I want my fingers to play when I want to hear the new note, and have the "prep for the new note" to have already happened ... which is why I still want to flip back and forth from an instant playback style while entering notes to a lookahead style performance when I hit the spacebar. At least, that's my ideal scenario.


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## Soundbed (Dec 1, 2022)

Trash Panda said:


> the lookahead features of ISW Tokyo Scoring Strings and AudioBro Modern Scoring Strings are currently the gold standards


this


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## shanerr89 (Dec 1, 2022)

Trash Panda said:


> For being quantized to the grid and staying on time during playback and capturing the "true to life" full transition of the legato, the lookahead features of ISW Tokyo Scoring Strings and AudioBro Modern Scoring Strings are currently the gold standards.
> 
> They both also offer low latency modes for accurate playing it in live, but the lookahead is what keeps it sounding great once you're at the editing phase or a draw-it-in person.


That look ahead feature is certainly a great tool for that workflow, and incredibly valuable on a time crunch, or when working for clients that have lots of changes. My personal preference, even though it can take a bit more time and investment is using my legato libraries as often as possible to get a feel for how they play, and perform that in directly. 

Don't get me wrong, I love Tokyo Scoring Strings, I just feel like I can always tell when someone uses it because it feels so quantized, and that is not a sound I prefer, especially in an ensemble. I want to feel that push and pull that a large group of musicians inherently has, and lean into it for inspiration and the true "Human" sound. 
I also don't like introducing delay compensator plugins  but there is no doubt that TSS is beautifully executed, and the legatos are gorgeous.


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## shanerr89 (Dec 1, 2022)

Soundbed said:


> Eventually I’ll graduate to Neural DSP.
> 
> I could be misunderstanding what you're saying here, so I apologize if that's the case.
> 
> ...


There are a ton of variable to consider here when chopping samples, you've mentioned some of the main ones absolutely, but at the end of the day, its more of a creative decision than a technical one. There are many subtle factors to address as well: The performer, the instrument, the room, the mics, unique mic positions, style, velocity/vibrato transitions etc. It all gets very involved, very quickly.

The lookahead feature is one method to mitigate some of the tension created between these factors, and in my opinion, its a really good option. It does require a great deal of time and investment both in and out of the recording studio, and is made infinitely more meticulous and difficult when handling solo instruments. I'm glad there are companies out there with the resources to dedicate there, but it's certainly not accessible to everyone, and not everyone can afford to pay for that investment after the fact either. For a project like Apocalyptica, it wouldn't be right to ask for $400+ because we spent 6 months dialing in a legato that is only one articulation of many. We not only want to make great instruments, we want them accessible to EVERYONE. Not just for good business, but for a good music-makers community. 

It would be really interesting to look into a sample processing method that is replicable enough to get a base engine coded, and a performance method employed in the studio where it essentially matches every time. We are always learning and looking into things like that! I think everyone who produces instruments in this industry is just trying their best to make the most useful tools for ourselves and our users. I feel very lucky to count myself as a part of this entire community.


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## Greyscale (Dec 2, 2022)

@shanerr89 Is Apocalyptica coming to Musio? Did I read that correctly?


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## Cinesamples-SG (Dec 2, 2022)

Greyscale said:


> @shanerr89 Is Apocalyptica coming to Musio? Did I read that correctly?


It sure is! We're Beta testing the instruments now, and hope to publish the collection to the Production service soon


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## shanerr89 (Dec 2, 2022)

Greyscale said:


> @shanerr89 Is Apocalyptica coming to Musio? Did I read that correctly?


Yep! we are currently beta testing it all now, should be up really soon  A little bit of insight to our beta/QA process for those interested:

With Musio, once we are finished with the sample content, it takes about 1-2 days of one person's time and focus to upload and give the content a quick test before beta, then about an hour to run previews and get the details uploaded to the app. 

We then publish it to our beta team and they kick tires as we do the same internally, and once we feel confident in writing music with a collection, we push it live. Usually takes about 2 weeks. 

With such a streamlined workflow, we are able to deliver new content on the Musio app every two weeks! its an awesome and agile app for getting instruments into users hands. We love developing for it.


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## Braveheart (Dec 2, 2022)

Does Musio will get all the content from the Kontakt library. Any differences?


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## Cinesamples-SG (Dec 2, 2022)

Braveheart said:


> Does Musio will get all the content from the Kontakt library. Any differences?


A couple key differences -- the Musio collection separates the articulations that are available into their own Instruments, so you can use them on separate MIDI tracks or create a custom Articulation Set/Expression Map in your DAW. In the Kontakt version there is a Mapping tab with a build-your-own Keyswitch mode, allowing you to select which articulations you want in the patch and assigns them to ascending natural keys at the bottom of the keyboard; you can then save the .nki file with your configuration as you see fit.

The other key difference is the Musio collection is only clean cello tones -- the Kontakt library includes the onboard FX that NI has built into Kontakt 6+ which are the best DSP algorithms from their plugin collections in Guitar Rig etc., so you can design your own amp/cab/distortion/fx combos, or run them through your favorite 3rd-party plugins; in Musio, you get the separate articulations for clean tones that you can manipulate with all the plugins you want in your DAW.

These workflow differences are pretty representative of the key differences between the Musio versions and most of our Kontakt libraries in general, and illustrate how both are meant to be used together, and neither is necessarily meant to replace the other. Musio is a way to get access to an expanding collection of new, high-quality sounds that fit smoothly into a workflow with 3rd-party plugins and DAW features. Almost all the DAWs have really cool things like customizable articulation switching, MIDI FX (arpeggiators, chord triggers, randomizers, etc), and things like Drummer in Logic, to say nothing of the myriad 3rd-party FX plugins and amazing tools available today. Musio can be used with any of these to provide high-quality sounds on demand, and will continue to get more content from both the existing Cinesamples catalog as well as new original instruments. 

Kontakt provides a more self-contained workflow, with each library having its own comprehensive set of controls and tools for various purposes. When you want to design a specific amp sound, set of keyswitches, and custom arpeggiation, you'd probably reach for the Kontakt version to do all of that in one place; if you want to quickly and simply add some great cello sounds to a track, you can get that done in Musio within seconds, and manipulate it later as much as you want.


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## shanerr89 (Dec 2, 2022)

Braveheart said:


> Does Musio will get all the content from the Kontakt library. Any differences?


Thats a great question, and the simple answer is no, and yes. Musio only include mic samples, not DI, and does not include the onboard amp/cab, FX or sequencer.

Content:
Currently, Musio runs off of a single full mix. We are working on implementing multi-mic positions and should have that ready early in the new year. What that means for Apocalyptica, is that Musio currently only has the 'Mic' sample set. Not the DI sample set, but that will be added in later. The Mic sample set is what I would use 99% of the time anyway, so its not that big of an omission in my humble opinion.

Differences:
Kontakt allows us to script custom built-in features like a sequencer, amps, cabs etc. We are in development for Reverbs and distortions and all that good stuff with Musio, but those features are not available currently. Kontakt does an ok job with those things, but free plugins from IK Multimedia, or paid plugins like Neural DSP do a much much better job of re-creating amps and cabs than Kontakt does, so when I write with this library, unless I need the sequencer, I will be just as happy running the clean mic samples through 3rd party plugins from either Kontakt or Musio.

**Also, what @Cinesamples-SG said**


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## Fleer (Dec 6, 2022)

Apocalyptica sounds pretty amazing. That legato!


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## gussunkri (Dec 6, 2022)

This is a long shot but are there plans to release this for StaffPad? I would love to write for this in StaffPad.


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## Cinesamples-SG (Dec 6, 2022)

gussunkri said:


> This is a long shot but are there plans to release this for StaffPad? I would love to write for this in StaffPad.


Not as of now -- (semi-unrelated) I will say, I've been having a blast and a half using the Musio version in Dorico, using Expression Maps to switch MIDI channels and follow articulations as notated. Apocalyptica is still in Beta on Musio but will be on the public server as soon as we're done putting it through its paces!

StaffPad development is not something we do in-house; all the sounds for that platform are made by the developer. Still good for us to know what people want!


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## Fleer (Dec 6, 2022)

This full on sounding legato brings back some fine memories indeed. Kudos to the team at Cinesamples. With this library and the Tina Guo bundle they surely continue to lead the sampled cello devs pack.


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## shanerr89 (Dec 6, 2022)

Fleer said:


> Apocalyptica sounds pretty amazing. That legato!


Thanks so much! We really enjoy the expression on it, and the feel of a real human vibrato. They did a GREAT job playing during the recording session. Super fun to write with! We are planning to add a set of portamento legato articulations sometime in the future as well, that gets it even MORE Fluid and emphasizes the human performance 👌


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## shanerr89 (Dec 6, 2022)

Fleer said:


> This full on sounding legato brings back some fine memories indeed. Kudos to the team at Cinesamples. With this library and the Tina Guo bundle they surely continue to lead the sampled cello devs pack.


Thanks for the kind words, we try really hard 🙏


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## Cinesamples-SG (Dec 6, 2022)

Check out the Making Of video for the library here to find out what the band themselves have to say about the project


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## charlieclouser (Dec 7, 2022)

I just bought Apocalyptica, and for maybe the third time in my life I was buying a library because I actually had a concrete need for exactly that thing at exactly that time! The tenth (!!!) movie in the SAW franchise is coming in the door soon, and I need to do a big main titles cue that references the strident string quartet used in the "Hello Zepp" cue that appears in all of the movies - but I need to flip the sound and freak things out a bit, almost getting into trailer music territory. Big + bold + braaams + blasts, you know the deal, and Apocalyptica will help me get there.

There's definitely stuff in there that is different to the 4 terabytes of strings already on deck in my rig, like the power chords and super-tight staccatissimo samples, and having the D.I. signal and the mono-mode helps when using Apocalyptica to basically do "power metal guitar chugs" with cellos. Just what the doctor ordered.

It's not cheap for what is kind of a specialized library, but for hybrid or trailer composers it could fill a niche in your palette. It does for me, and comes with an impeccable pedigree. Nice one!


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## Trash Panda (Dec 7, 2022)

TIL there is another Saw movie coming and the soundtrack will again be helmed by @charlieclouser. Today is a good day.


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## shanerr89 (Dec 8, 2022)

charlieclouser said:


> I just bought Apocalyptica, and for maybe the third time in my life I was buying a library because I actually had a concrete need for exactly that thing at exactly that time! The tenth (!!!) movie in the SAW franchise is coming in the door soon, and I need to do a big main titles cue that references the strident string quartet used in the "Hello Zepp" cue that appears in all of the movies - but I need to flip the sound and freak things out a bit, almost getting into trailer music territory. Big + bold + braaams + blasts, you know the deal, and Apocalyptica will help me get there.
> 
> There's definitely stuff in there that is different to the 4 terabytes of strings already on deck in my rig, like the power chords and super-tight staccatissimo samples, and having the D.I. signal and the mono-mode helps when using Apocalyptica to basically do "power metal guitar chugs" with cellos. Just what the doctor ordered.
> 
> It's not cheap for what is kind of a specialized library, but for hybrid or trailer composers it could fill a niche in your palette. It does for me, and comes with an impeccable pedigree. Nice one!


That's great to hear Charlie, I am sure I speak for everyone in the world (possibly everyone in the universe) when I say we all can't wait to hear your work on this score. It makes me very very happy that we were able to help out with tools/sounds in some small way 🙏


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## charlieclouser (Dec 9, 2022)

shanerr89 said:


> That's great to hear Charlie, I am sure I speak for everyone in the world (possibly everyone in the universe) when I say we all can't wait to hear your work on this score. It makes me very very happy that we were able to help out with tools/sounds in some small way 🙏


Thank you very much for your kind compliments. As a footnote, I recently had an excellent experience dealing with CineSamples customer support. I had a bunch of libraries going waaayyyy back (pre-NKS serial number era) that weren't showing up in my customer account on the website, and somehow I did not have the email / order number / whatever for a couple of them. (This never happens, I am a data + serial number hoarder!) But somehow Collette was able to find some info on her end that confirmed the purchase from like 15 years ago, and add them to my account so I could receive updates etc. 

So, thank you to CineSamples and Collette!


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## shanerr89 (Dec 9, 2022)

charlieclouser said:


> Thank you very much for your kind compliments. As a footnote, I recently had an excellent experience dealing with CineSamples customer support. I had a bunch of libraries going waaayyyy back (pre-NKS serial number era) that weren't showing up in my customer account on the website, and somehow I did not have the email / order number / whatever for a couple of them. (This never happens, I am a data + serial number hoarder!) But somehow Collette was able to find some info on her end that confirmed the purchase from like 15 years ago, and add them to my account so I could receive updates etc.
> 
> So, thank you to CineSamples and Collette!


Collette is amazing, she's a very gifted composer as well as kind and helpful. She writes demo scores for our products and I have always been really moved by her work.

Not sure if many people get visibility on this since talking about new products is a bit more fun, but our customer service team (led by Steve) are all very talented, and work ridiculously hard over weekends and holidays to make sure our customers are not only taken care of, but HEARD. 

Production team does not make decisions without consulting Steve and his team to see what our users are saying/requesting 👍


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## Cinesamples-SG (Dec 10, 2022)

shanerr89 said:


> and work ridiculously hard over weekends and holidays


No matter how many times I tell them not to


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