What's new

Is Auddict a thing? (long post incoming, sorry) *edited


Membery Member
Auddict is one of the more recognizable companies in my experience. I've seen them talked about often and I haven't been a member that long. In fact I have a tab open with their Drums of the Deep II sale loaded, quite tempted to buy it.

One thing I'd like to add about companies / treasured community member developers / whatever, is that I think "try the demos and you'll find out if you like it or not" isn't entirely accurate. I don't think I've ever had a library where I really knew what I was getting before I bought it. A purchase is always a bit of a surprise, sometimes it comes with a realization you don't really want it after all. Walkthroughs and demos often show "impressions" of the instrument that are cherry-picked to seem most desirable. Shocks often arrive with purchase like the discovery of out of tune notes, articulation mismatches, etc.

I think the field of sampled instruments could evolve greatly in the direction of having free trial periods / return policies. Until then, regardless of company size, it's always somewhat of a crap shoot.

Paul Owen

Active Member
I think what the OP is saying is..."I haven't done enough research and I'm angry with myself".

There's a shit tonne of YT vids, forum talk (not just here), SoundCloud demo's for most, if not all of the companies mentioned.

Just dig a little down the rabbit hole and you'll find it. That's half the fun. 😉

Land of Missing Parts

Grumpy Monkey
My question is more about the existence of Auddict's userbase and updates.
Auddict's PercX pops up in posts, some people mentioned it as a standout of 2019. Angel Strings pops up as well, since it seems to be on flash sale every few months or so. United Strings of Europe and the winds, less so, though occasionally. Opinions are mixed on those. You can try doing some searches in Sample Talk, and in Member's Compositions.


Cyan Sounds
Thread starter
  • Thread Starter
  • Thread Starter
  • #53
I think what the OP is saying is..."I haven't done enough research and I'm angry with myself".

There's a shit tonne of YT vids, forum talk (not just here), SoundCloud demo's for most, if not all of the companies mentioned.

Just dig a little down the rabbit hole and you'll find it. That's half the fun. 😉
I think what OP is saying is "I've done a butt-ton of research; came to find some more recommendations to broaden what I'm looking at on a daily basis, and got obliterated with 'Can't believe you came to that conclusion over a library I don't use.'"


Bunker Samples
Yeah, the software company I work for is considered "very small" compared to, for example, a giant like Salesforce. But 50 staff doesn't even cover a quarter of just our sales team. The VI world is small!

Funny enough, we have competitors with 20-50 full staff who kick us hard in some place
I'm a one person company and I do ok. Only just, but still ok...the VI world is indeed small!

Aaron Sapp

Senior Member
I think different developers have different reasons for running certain promotions. For the smart ones, it's less about quick/cheap cash infusions and more about reinvigorating presence. It's definitely not really about picking up slack if a product didn't do as well as they had hoped initially. If a product wasn't desirable to begin with, no amount of bullshit marketing or price-cutting is really going to salvage anything.

We're all doing our best to compete in an increasingly-brutal market that requires an absurd number of creative disciplines - typically managed by very lean teams (<4). For us, promotions or product releases are carefully-planned to support our interests and to protect our composers' interest. Definitely not a reactionary measure.

As far as lack of reviews for our products - I'm not sure I follow as there is a lot of literature on both YouTube and library review websites.


Winter <3
It depends on what you mean by "a thing"

but if you were able to spy on the working templates of a great number of working composers (who happen to do lots of orchestral music) I suspect you would find out 7 things.

1. They have lots of their own private samples & rely on them pretty often

2. They will HAPPILY use a library from 2005 if it has a unique sound that just gets the job done

3. Many composers do not go for the "big room big ensemble" sound and may have hardly any Spitfire in their template at all. If they do go for that sound then they'll have an eye popping amount of Spitfire bought back when it was 3x more expensive than it is now...

4. There are FEW working composers who rely on hyper-dry instruments, fewer still when you take out Sample Modeling Brass.

5. Doesn't matter if the composer has eight string libraries placed in their template, there's always one they will gravitate to and try to do 80%+ of a project with just that library ;)

6. Composers buy libraries rarely - they are TOO BUSY. A "template update" means asking "what came out in the last 5 years that sounds good"

7. They don't worry too much about the cost of sample libraries because the amount they pay for computers (and rent) is insanely higher

This is just based on my assistant experience btw, but you can learn the same thing by observing what composers like Junkie XL, John Powell, Jason Graves, Christian Henson and several others have posted.
Last edited:

Wally Garten

Senior Member
I have some Auddict libraries and like them. I think until Mike's Sunset Strings came out, Auddict's Angel Strings was one of the best sources for weird bends and stuff. And the violin is fussy to program, but quite competent.

There have been some complaints about Auddict over the years (I think primarily Master Brass), so do your research and keep your eyes open. But IMO you really can't tell much about a company by their internet presence or their pricing strategies. For example, I would never buy 8dio at full price, but I don't think anyone would deny that 8dio is a very successful VI company.
Top Bottom