When it comes to cinematic percussion I usually recommend things like Strikeforce and Apocalypse Percussion. You can check out my recommendations page on my site and see if you like the look of anything there:You're the first to point out some of the cons of this programNice review! What would you consider as an alternative, with the same kind of features and sound quality?
When it comes to cinematic percussion I usually recommend things like Strikeforce and Apocalypse Percussion. You can check out my recommendations page on my site and see if you like the look of anything there:
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RECOMMENDED LIBRARIES
This is the gallery for Kontakt instruments I recommend to composers. Only libraries featuring a specific style of instruments are featured here, not all-in-one collections or eclectic packages. ...www.solonoidstudio.com
The closest thing will probably be Heavyocity's Master Sessions libraries (not much instrument content though), Sonuscore's Action Strikes, Audiobro's LA Drama Drums and my personal favourite, Damage (which nearly everyone uses).
I doubt Auddict would even consider improving on the shortcomings, considering it would require a whole new set of sampling sessions. Thus the limitations of using loops for sample sources.Thanks for the review. Wonder if @Auddict would be willing to hop in to this thread and address some of the shortcomings you mention here.
Thank you for covering this PercX library, Cory. I appreciate your thorough no-nonsense and honest input that really empowers consumers and hobbyists with real facts and information so that they can make informed decisions. It's getting harder to find actual coverage and real honest reviews that don't try to hide or leave out things (intentional or not). I applaud you for that and you have much of my respect. I for one don't have the kind of money to plunk down on just any library that may sound "good" and look innovative. Your coverage and detailed reviews are very helpful in this regard and I personally feel you are a great asset to the VI community here. So many devs market their product as being the best or groundbreaking upon release and only show you or talk about the highlights of the library and even edit their videos in such a way to circumnavigate you from seeing or hearing any shortcomings.
I did buy it, but just the $100 version and picked the Traditional volume for the expansion you get with the core version. If you don't mind spending an extra 50 bucks though I'd say go for it. There are some neat sounds in the other expansions.Would you buy it, at the reduced price for the moment, just for the sounds? Are they worth the $150?
You can tighten the note by dragging the little 'skip' rectangle to the left of the velocity images up for instruments that have pre-transients.Except that one of the patches has a sluggish round robin, a note that always comes in a little bit too late - especially apparent when layering it with other tighter drums.
Oh great, thanks for the info!You can tighten the note by dragging the little 'skip' rectangle to the left of the velocity images up for instruments that have pre-transients.
Yeah some developers hit a point where they settle with "just good enough" to cover themselves if the library doesn't sell as well as they thought. There are some developers who'll go the extra mile just because they can and because they want the library to stand up to their own discrimination - some good examples are Julien Tauban from Loops de la Creme, Alex Wallbank from Cinematic Studio Series and James and Dan from Soniccouture just to name a few.Thanks for the solid review. I wasn’t interested in this and your review didn’t hurt it, but it certainly didn’t help it. I don’t understand developers on drum samples cutting corners on round robins. It’s simply the easiest type of instrument to get them for. It seems lazy to cut corners there.
If I’m using a loop rather than programming my own rhythm, I really like Regroover Pro. If allows you to pull sounds out almost like the loop is multitimbral. I’d imagine this library would benefit from its use.
I don’t know Loops de la Creme, but I’m a huge fan of Soniccouture and Cinematic Studio. We need people to be honest like you because as libraries become more expensive and so many devs are making them, many have no demo system or honest reviews. I can tell the review copy folks that play nice because they usually don’t have a consistent method of review, they don’t talk about how they use it in their work, and instead do quick play throughs focussing on positives. Even in being real, nothing you said is in any way offensive, but is instead a verifiable fact.Yeah some developers hit a point where they settle with "just good enough" to cover themselves if the library doesn't sell as well as they thought. There are some developers who'll go the extra mile just because they can and because they want the library to stand up to their own discrimination - some good examples are Julien Tauban from Loops de la Creme, Alex Wallbank from Cinematic Studio Series and James and Dan from Soniccouture just to name a few.
The faults you mention are precisely why companies like 8Dio and Spitfire don't give me or content creators like me NFRs... They bank on pre-release marketing rather than practical reference and criticism. It's a general rule to rely on marketing and curated quotes rather than uncontrolled opinion and example when it comes to being a "company" that has "consumers" rather than a developer that has tools.I don’t know Loops de la Creme, but I’m a huge fan of Soniccouture and Cinematic Studio. We need people to be honest like you because as libraries become more expensive and so many devs are making them, many have no demo system or honest reviews. I can tell the review copy folks that play nice because they usually don’t have a consistent method of review, they don’t talk about how they use it in their work, and instead do quick play throughs focussing on positives. Even in being real, nothing you said is in any way offensive, but is instead a verifiable fact.
I think 8dio and Spitfire are the perfect examples of a company needing more reviews like yours. They make great stuff, and they make some meh stuff. It’s so hard to tell which will be which, or if where it’s a let down is only trivial to the point it’s hardly material. Soundiron is a company getting better and better, and I think the allure with them is how cheap many of their small libraries are. I kind of hope spitfire and orchestral tools goes down that route where we can get smaller $30-$200 type libraries that are excellent.
Thx, best explanation I`ve heard so far!It's where "customers" become "consumers" to the devs and/or marketing team and it's straight up capitalism and I'm not afraid to say it. Which makes me all the more grateful for respectable devs who put out composer tools with no strings or hype attached.
I think you're correct, this is beyond passion projects - these are large businesses embracing consumerism and the dream of being a creative as a job. We do need devs like Spitfire, OT, Heavyocity, 8DIO, etc because they are the ones really pushing the envelope. There aren't a line of Alex Wallbank type people that can take on huge companies by hitting above their weight.The faults you mention are precisely why companies like 8Dio and Spitfire don't give me or content creators like me NFRs... They bank on pre-release marketing rather than practical reference and criticism. It's a general rule to rely on marketing and curated quotes rather than uncontrolled opinion and example when it comes to being a "company" that has "consumers" rather than a developer that has tools.
I'm not very vocal about this particular subject (right now... but I have a video planned) but I am 100% dead against pre-orders for sample libraries and I don't tolerate it in the slightest. It's where "customers" become "consumers" to the devs and/or marketing team and it's straight up capitalism and I'm not afraid to say it. Which makes me all the more grateful for respectable devs who put out composer tools with no strings or hype attached.