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NEW - ORBIS - THE WORLD SYNTHESIZER

ironbut

Active Member
I'm kinda gravitating toward instruments like this right now.
This one looks pretty darn nice but I'll probably have to wait for Black Friday sales to pick it up though.
 

colony nofi

Senior Member
I have the original Earth Encounters library - and have found myself conflicted enough to not use it.
I don't feel comfortable not knowing where the profits for these libraries are going / what thoughts have gone into the people who originally created these musical performances / sounds.

I'm aware some (?) of the profit will go back to David Fanshawe's estate - indeed he was the person who collected these recordings. Are any of the profits going to the cultural groups whose recordings make this product possible in the same way they do for other spitfire recordings? As far as I'm aware, the original exchange was purely cultural. Am I right in saying David convinced these people to play for him without any knowledge that one day the recordings would be used for a commercial product?

I really love how reflexive and supportive Paul & Christian & co are of and about the music industry. But without further information, this feels a little wrong to me. I'd love to hear their comments on the usage of the sounds. I have my own opinions / thoughts, but I don't feel like its my place to share them / engage before we hear from them.

Of course - they may have addressed this - I just haven't seen it. In which case, I'd love to be pointed to more information.

Cheers!
 

gyprock

Member
I have the original Earth Encounters library - and have found myself conflicted enough to not use it.
I don't feel comfortable not knowing where the profits for these libraries are going / what thoughts have gone into the people who originally created these musical performances / sounds.

I'm aware some (?) of the profit will go back to David Fanshawe's estate - indeed he was the person who collected these recordings. Are any of the profits going to the cultural groups whose recordings make this product possible in the same way they do for other spitfire recordings? As far as I'm aware, the original exchange was purely cultural. Am I right in saying David convinced these people to play for him without any knowledge that one day the recordings would be used for a commercial product?

I really love how reflexive and supportive Paul & Christian & co are of and about the music industry. But without further information, this feels a little wrong to me. I'd love to hear their comments on the usage of the sounds. I have my own opinions / thoughts, but I don't feel like its my place to share them / engage before we hear from them.

Of course - they may have addressed this - I just haven't seen it. In which case, I'd love to be pointed to more information.

Cheers!
Here's an interesting article ...

 

colony nofi

Senior Member
Oh I really like that you linked to that. I’ve referred to it quite a bit having recently done a project using indigenous language and voice!
 

Ruchir

New Member
Notwithstanding the cultural reuse concerns above, I purchased the library as it’s my kind of thing, and was initially disappointed. The presets didn’t really grab me.

However, after a bit of a play, it started to click, the real magic here is the combination of some unique top class recordings with high production quality with the eDNA engine. I really think this is a library where you need to tweak each of the sounds rather then rely on the presets. But the extraction, looping, organisation etc, is where the value shines through.

Still exploring. Interested in others view on this.
 
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