realised I can type here
so, you've seen my bank account then
so, you've seen my bank account then
Excuse my ignorance SSE?Make a Kontakt Multi
Step 1: load BDT
Step 2: load SSE in Kontakt slot 2 (same midi channel). Adjust volume 1/2 of BDT
Step 3: load your favorite piano.Again same midi channel. (Preferebly, Galaxy Vintage D with the Taj Mahal IR)
Step 4: rout the first 2 to QL spaces2 default program.
step 5: score the next 500 years of “Midsummer Murder Mysteries” -the show that you can’t watch all of in a lifetime yet they managed to film in the last 20 years. The great BBC paradox is your to control!
Seriously, a great and inspirational library IMO.
This is spot on. More than most libraries you have to play to these samples (Craig's suggestion of not playing to a click is also spot on - and less frustrating.) Think evo series with more flexibility. It is a bit of a one trick pony BUT what it does - it does very well. The $150 for THAT is quite fair IMHO. If you can keep your expectations measured in this regard, I think most will get wonderful use out of this one. Especially those under tight deadlines.If I have one criticism of BDT (and I don't own it yet, this is based around demo videos), it's that you very much have to write to the samples (you could make this argument for almost any sample library). As CH says in his contextual video he listens to the bowing and works to that rather than say having complete control over what happens and when. However, nobody ever said it was anything different to that and it was quite apparent to me from the start. I still like it and this is as much based on the actual sound of the thing. It's wonderfully intimate and seems to have some lovely textures. For $150 you're unlikely to get that sort of complete control in the current market.
I agree. If this same library was released as Heavyocity's latest NOVO exp pack ("now with woodwinds!") the reaction would be different.This is spot on. More than most libraries you have to play to these samples (Craig's suggestion of not playing to a click is also spot on - and less frustrating.) Think evo series with more flexibility. It is a bit of a one trick pony BUT what it does - it does very well. The $150 for THAT is quite fair IMHO. If you can keep your expectations measured in this regard, I think most will get wonderful use out of this one. Especially those under tight deadlines.
Would it be fair to say you could get the same BDT string texture and soft sounds from Olafur's Chamber Evolutions? I'm just thinking I might want to save up for that instead.Here's another quick track I threw together last night just as an experiment to find out what BDT is good for (and also to find out what it might not be quite so good for). This piece is in the Americana-ish vein (don't know if that's taboo, since it's a *British* Drama Toolkit ). Piano is from the Olafur Arnalds Toolkit. Everything else is BDT.
What I like about BDT in this context is the gentleness, fragility and vulnerability. The character is right. It's not so adept and controllable, though, for playing faster lines (which probably should be expected). BDT is most likely best suited for more ethereal or dramatic things moving and evolving at a slower pace. I think I'd choose different sampled instruments if I was doing the piece below for real. BDT might be useful for pads, though. Of all the instruments in BDT, I think the clarinet is the most agile (especially in the chalumeau Register).
It would be different, because BDT uses solo instruments (stacked in some presets), whereas Olafur's Chamber Evolutions are a section playing together.Would it be fair to say you could get the same BDT string texture and soft sounds from Olafur's Chamber Evolutions? I'm just thinking I might want to save up for that instead.
Completely agree about being able to adjust velocity transitions between layers. Maybe that will come in an update? (If you’re listening Spitfire).Having watched several non-SF walk-throughs of BDT now, I'm sort of wondering why SF didn't design the patches with slots, where you could choose which sample set(s) you wanted for the texture layer, the soft layer, and the loud layer and also have control over which velocity range triggered each layer and where you could also designate which layer(s) the modwheel controlled. I mean it looks like you could do this by loading individual articulations and writing a Kontakt multiscript (or use some third party multiscript designed to do this sort of thing) but it would have been nice if this flexibility had been built into the instrument. (And it doesn't seem like it would have been overly complicated to build such flexibility into the instrument.)
Personally, I think I'm holding out until this happens. I really like the library, and it very much suits the type of music I write, but I've noticed in many of the non-Spitfire videos, the top velocity sounds poking out too much; if I can control the velocity threads and amplitude of each, that would be perfect.Completely agree about being able to adjust velocity transitions between layers. Maybe that will come in an update? (If you’re listening Spitfire).
As for the “slots” idea, that would be very handy but can you not achieve bespoke combinations from the single instrument patches? You were hinting at this but seems you want some additional flexibility in there.