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NOW AVAILABLE — Symphonic Destruction

I honestly don't get what all the fuss is over everyone using the same sounds. Aren't we all using the same or similar orchestral instruments, pianos, keyboards, acoustic guitars, basses, drums, etc... The same orchestras are used over and over again to record dozens of film scores, and nobody says, "Oh my God, how lazy of the composer to use the same orchestra that I heard in Star Wars!" Did Elton John use a different piano for every song he wrote?
It's not the same, as there are melodic loops there. Nobody cares if you use sampled instruments all over again. The same melodic content is going to be used.
 
It's not the same, as there are melodic loops there. Nobody cares if you use sampled instruments all over again. The same melodic content is going to be used.
From what I've seen in the walkthrus, the melodic loops make up only a fraction of the content. This library seems to have so much more to offer. Anyway, I guess I'll be finding out this weekend when I make my purchase!
 
From what I've seen in the walkthrus, the melodic loops make up only a fraction of the content. This library seems to have so much more to offer. Anyway, I guess I'll be finding out this weekend when I make my purchase!
It's pretty clear that the library is going to be a hit, so all these big out-of-the-box sounds that stand out will be in widespread use. I agree that there are many and varied sound sources.
 
To play devil's advocate, that's already been happening...for years. I think what will always make some composers, artists, producers, and musicians unique is their own ability to be creative with the tools that are available instead of just playing presets. I can think of a ton of ways this library can be useful to me because I'll always put my own spin on it. And besides, the more time you spending being concerned about other composers, the less time you're spending being creative. We live in amazing times with the type of tools we have at our disposal these days. I'm taking full advantage of it. Just my very worthless 2 cents.
Good points Ryst....and I agree with everything you say to a point. I agree we are blessed. I've been around since the days when all you could get was analogue synths....which the manufacturers told us could create ANY sound the mind could imagine (yeah right). I look at the samples we have today and I am thankful. But before we wax with joy too much, I need to throw a wet blanket over the celebration. If you just want to create your own music for your own enjoyment, you can celebrate. I disagree with you just a bit, that you can stand out using the samples we have today with your own unique creativity. That is true. But, it's not the full picture. The quality and cost of music equipment and samples are awesome right now. But, f you want to sell things or have a career as a composer, musicians are in the same place they have always been. It's not just skill and creativity that bring success. I used to work in a recording studio and I worked with some REALLY good bands...better than anything you heard on the radio (this was before the internet). They had a unique sound, amazing skill and plenty of angst...none of them went anywhere because they didn't have the right contacts or "luck". The most creative ones typically have no business sense and have to connect with people that do and find some way of keeping their demons in check to avoid self destruction. Success often boiled down to being in the right place at the right time and meeting the right people. Skill and creativity improve your chances...but we all know people without much of either who have achieved fame and fortune. Look at all the big name creative artists....do a careful look. How many of them are children of other famous creative artists? How many of them came from wealthy families with connections? Nick Cage just happens to have Francis Ford Coppola as an Uncle, Angelina Joli has John Voigt as a father, Ben Stiller came from a father and mother who were both famous comedians. Carly Simon is the daughter of one of the co-founders of Simon and Schuster (father) and a classical pianist (mother). If you spend some time doing research you will be astonished how many fit this picture. I'm not saying that these people aren't talented...I'm just saying that there are hundreds of thousands of other equally talented individuals who don't have the right connections who never make it. You can argue that performers have to have a "look" as well as a sound and composers are free of all that. But composers need luck and connections too. And now that composing is becoming so much easier there are more composers and more of a need to have connections to succeed. Some may say if you stick with it you eventually your skill will provide you with luck....sure, but what about those who have to work a job and have far fewer hours to devote to their art than those with wealthy parents? Still there are those like Hans Zimmer, who slipped in through the back door...but he got lucky with his contacts and he was also blessed with an outgoing, likable personality. What are the chances for an introverted genius from a small town today? I also write fiction...it's the same thing there. There are a gazillion talented writers, but only a few big publishers, and they all want name recognition BEFORE they make a contract with you. Talents and skill? Those are so common, they can always find those. Sure they need to work with agencies to sort out the junk, but after that there are many, many talented writers. Talent alone does not bring success. You can self publish of course, and some with the right tech skills can sometimes come up with a cool trick to rise to the top. But if you have the money and connections you can simply buy your way to best seller status. A San Diego firm called ResultSource will literally guarantee you a number one spot on the New York Times Best seller list if you have a quarter of a million dollars to invest. they know the stores the New York Times monitors and they do a massive buy up of books form these stores from hundreds of private accounts. Once you get #1 status the books start to sell on their own and you make your money back. Am I complaining? Not completely. Mozart was born into an ideal situation with parents who trained him and marketed his skill before he knew what was going on. Bach came from a musical family and had to apply for jobs at churches and do as he was told. It's never been easy or fair for musicians. So back to my original point. I love this new sound set from Heavyocity, and I love that you don't have to be trained at a conservatory and have access to an orchestra and a recoding studio to produce good music. But having things so good is going to increase the competition and will make it harder to stand out. It's a good thing and it's a bad thing at the same time.
 
Good points Ryst....and I agree with everything you say to a point. I agree we are blessed. I've been around since the days when all you could get was analogue synths....which the manufacturers told us could create ANY sound the mind could imagine (yeah right). I look at the samples we have today and I am thankful. But before we wax with joy too much, I need to throw a wet blanket over the celebration. If you just want to create your own music for your own enjoyment, you can celebrate. I disagree with you just a bit, that you can stand out using the samples we have today with your own unique creativity. That is true. But, it's not the full picture. The quality and cost of music equipment and samples are awesome right now. But, f you want to sell things or have a career as a composer, musicians are in the same place they have always been. It's not just skill and creativity that bring success. I used to work in a recording studio and I worked with some REALLY good bands...better than anything you heard on the radio (this was before the internet). They had a unique sound, amazing skill and plenty of angst...none of them went anywhere because they didn't have the right contacts or "luck". The most creative ones typically have no business sense and have to connect with people that do and find some way of keeping their demons in check to avoid self destruction. Success often boiled down to being in the right place at the right time and meeting the right people. Skill and creativity improve your chances...but we all know people without much of either who have achieved fame and fortune. Look at all the big name creative artists....do a careful look. How many of them are children of other famous creative artists? How many of them came from wealthy families with connections? Nick Cage just happens to have Francis Ford Coppola as an Uncle, Angelina Joli has John Voigt as a father, Ben Stiller came from a father and mother who were both famous comedians. Carly Simon is the daughter of one of the co-founders of Simon and Schuster (father) and a classical pianist (mother). If you spend some time doing research you will be astonished how many fit this picture. I'm not saying that these people aren't talented...I'm just saying that there are hundreds of thousands of other equally talented individuals who don't have the right connections who never make it. You can argue that performers have to have a "look" as well as a sound and composers are free of all that. But composers need luck and connections too. And now that composing is becoming so much easier there are more composers and more of a need to have connections to succeed. Some may say if you stick with it you eventually your skill will provide you with luck....sure, but what about those who have to work a job and have far fewer hours to devote to their art than those with wealthy parents? Still there are those like Hans Zimmer, who slipped in through the back door...but he got lucky with his contacts and he was also blessed with an outgoing, likable personality. What are the chances for an introverted genius from a small town today? I also write fiction...it's the same thing there. There are a gazillion talented writers, but only a few big publishers, and they all want name recognition BEFORE they make a contract with you. Talents and skill? Those are so common, they can always find those. Sure they need to work with agencies to sort out the junk, but after that there are many, many talented writers. Talent alone does not bring success. You can self publish of course, and some with the right tech skills can sometimes come up with a cool trick to rise to the top. But if you have the money and connections you can simply buy your way to best seller status. A San Diego firm called ResultSource will literally guarantee you a number one spot on the New York Times Best seller list if you have a quarter of a million dollars to invest. they know the stores the New York Times monitors and they do a massive buy up of books form these stores from hundreds of private accounts. Once you get #1 status the books start to sell on their own and you make your money back. Am I complaining? Not completely. Mozart was born into an ideal situation with parents who trained him and marketed his skill before he knew what was going on. Bach came from a musical family and had to apply for jobs at churches and do as he was told. It's never been easy or fair for musicians. So back to my original point. I love this new sound set from Heavyocity, and I love that you don't have to be trained at a conservatory and have access to an orchestra and a recoding studio to produce good music. But having things so good is going to increase the competition and will make it harder to stand out. It's a good thing and it's a bad thing at the same time.
Are you trying to break some kind of paragraph length guinness world record?
 
Are you trying to break some kind of paragraph length guinness world record?
James Joyce edges out @Markastellor with the final chapter of Ulysses, a forty-five page sentence (but who's counting?)
. . . now, back to your regularly scheduled thread: I have listened to several walk-throughs of Symphonic Destruction, and it's just killer (!)
I have only one other Heavyocity library; SD might double my inventory.
 
My wishes and what I am a "little" mad about ;)

1. What I dont understand since the release of the first NOVO Expansion or Elements-Version is why everything has to be a standalone and one instrument with its own pool of sources.

Even as a owner of "NOVO" I can not take advantage of the source material of "NOVO Essentials" which I also bought because of its a complete new source material. So there is no chance to mix the sources of both which would be such a great feature and so much more possibilities.

The engine and gui of the new instruments are all mostly the same - so I wish they would give us the possibility to browse through all sources of Novo, Forzo, Vento, Symphonic Destruction. their Expansions (which are also standalone instruments and not really expansions) and Element versions. Thats what the Designer and Loop-Designer are for - so why do they limit our possibilities?

Why not giving us a source-browser looking like that - where every newly owned instrument is automatically added to:

HEAVYOCITY_BROWSER.jpg

2. Why can we not edit the "Performer"-Snapshots and change maybe one or two of the used soundsources if we like the rest of the programming of the snapshot? Or am I missing a button or something?

3. For example I want to build a sustain like combination out of the sources: I click on "Traditional", then on "Sustain" in the category-browser and choose my source. Now I want a "Hybrid" sustain - I click on "Hybrid" and AGAIN have to change the sub-category to "Sustain". Why cant it stay at "Sustain" like in most other VST-Filter I own? At least give us an option which lets us choose how it will behave...

Soundwise a great new tool of course - next to all the other HC-Libraries I own :emoji_kissing_heart:
 
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So there is no chance to mix the sources of both which would be such a great feature and so much more possibilities.
You could add another expansion with same midi ch in kontakt as multi, mute one of the 3 sources and use another on top.

2. Why can we not edit the "Performer"-Snapshots and change maybe one or two of the used soundsources if we like the rest of the programming of the snapshot? Or am I missing a button or something?
If I understand you right, you can just edit every snapshot and then save it with a new name. This will be stored in a new User snapshot folder.
 
You could add another expansion with same midi ch in kontakt as multi, mute one of the 3 sources and use another on top.


If I understand you right, you can just edit every snapshot and then save it with a new name. This will be stored in a new User snapshot folder.
nope - a multi in kontakt is definitely not the solution or workaround for this. would be much to much work to edit all kontakt-instances/ instruments in the multi only to use a source from vento, a source from novo and one from forzo for example. and the performer-sounds are not handled like the normal design- or looper-snapshots - you can not get deep or to the sources in these special performances. maybe its because these are recorded performances with only one source. will check back on that tomorrow.

[EDIT] yes, the performer-presets are a different thing - so my second point is obsolete.
 
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and the performer-sounds are not handled like the normal design- or looper-snapshots - you can not get deep or to the sources in these special performance
I don't know what you mean with "not getting deep".

You can change and save snapshots in every nki from SD.
The performers are limited in mangling, cause they are what they are, based on traditional mainly orchestral (multi) samples.
The deep dive is in the Designer sections.
But you still can edit these with the Sequencer/Gate, Fx etc. sections.
 
Not to be a stickler or anything but...

"Also, note that Commercial Announcements are a “safe zone” for the companies who post. Negative comments or discussion about competing libraries are not allowed. Sample Talk and all other areas of the forum are free game, of course, but in this section, we ask that the companies not have to deal with any conflict."


I should be a mod...

Warm regards
 
I don't know what you mean with "not getting deep".

You can change and save snapshots in every nki from SD.
The performers are limited in mangling, cause they are what they are, based on traditional mainly orchestral (multi) samples.
The deep dive is in the Designer sections.
But you still can edit these with the Sequencer/Gate, Fx etc. sections.
its all fine with the performer-presets as I mentioned before with my [edit] above - we talk the same here ;) they are handled different because they are mapped samples as an multi-instrument - but its not the big point here. the big point is the first one in my original post. so you dont need to worry anymore.
 
Good points Ryst....and I agree with everything you say to a point. I agree we are blessed. I've been around since the days when all you could get was analogue synths....which the manufacturers told us could create ANY sound the mind could imagine (yeah right). I look at the samples we have today and I am thankful. But before we wax with joy too much, I need to throw a wet blanket over the celebration. If you just want to create your own music for your own enjoyment, you can celebrate. I disagree with you just a bit, that you can stand out using the samples we have today with your own unique creativity. That is true. But, it's not the full picture. The quality and cost of music equipment and samples are awesome right now. But, f you want to sell things or have a career as a composer, musicians are in the same place they have always been. It's not just skill and creativity that bring success. I used to work in a recording studio and I worked with some REALLY good bands...better than anything you heard on the radio (this was before the internet). They had a unique sound, amazing skill and plenty of angst...none of them went anywhere because they didn't have the right contacts or "luck". The most creative ones typically have no business sense and have to connect with people that do and find some way of keeping their demons in check to avoid self destruction. Success often boiled down to being in the right place at the right time and meeting the right people. Skill and creativity improve your chances...but we all know people without much of either who have achieved fame and fortune. Look at all the big name creative artists....do a careful look. How many of them are children of other famous creative artists? How many of them came from wealthy families with connections? Nick Cage just happens to have Francis Ford Coppola as an Uncle, Angelina Joli has John Voigt as a father, Ben Stiller came from a father and mother who were both famous comedians. Carly Simon is the daughter of one of the co-founders of Simon and Schuster (father) and a classical pianist (mother). If you spend some time doing research you will be astonished how many fit this picture. I'm not saying that these people aren't talented...I'm just saying that there are hundreds of thousands of other equally talented individuals who don't have the right connections who never make it. You can argue that performers have to have a "look" as well as a sound and composers are free of all that. But composers need luck and connections too. And now that composing is becoming so much easier there are more composers and more of a need to have connections to succeed. Some may say if you stick with it you eventually your skill will provide you with luck....sure, but what about those who have to work a job and have far fewer hours to devote to their art than those with wealthy parents? Still there are those like Hans Zimmer, who slipped in through the back door...but he got lucky with his contacts and he was also blessed with an outgoing, likable personality. What are the chances for an introverted genius from a small town today? I also write fiction...it's the same thing there. There are a gazillion talented writers, but only a few big publishers, and they all want name recognition BEFORE they make a contract with you. Talents and skill? Those are so common, they can always find those. Sure they need to work with agencies to sort out the junk, but after that there are many, many talented writers. Talent alone does not bring success. You can self publish of course, and some with the right tech skills can sometimes come up with a cool trick to rise to the top. But if you have the money and connections you can simply buy your way to best seller status. A San Diego firm called ResultSource will literally guarantee you a number one spot on the New York Times Best seller list if you have a quarter of a million dollars to invest. they know the stores the New York Times monitors and they do a massive buy up of books form these stores from hundreds of private accounts. Once you get #1 status the books start to sell on their own and you make your money back. Am I complaining? Not completely. Mozart was born into an ideal situation with parents who trained him and marketed his skill before he knew what was going on. Bach came from a musical family and had to apply for jobs at churches and do as he was told. It's never been easy or fair for musicians. So back to my original point. I love this new sound set from Heavyocity, and I love that you don't have to be trained at a conservatory and have access to an orchestra and a recoding studio to produce good music. But having things so good is going to increase the competition and will make it harder to stand out. It's a good thing and it's a bad thing at the same time.
As it's been for years. I don't think Symphonic Destruction is the tipping point or the last straw. But I certainly understand your POV. I've thought about all the things you wrote for years. We all just have our different perspectives and feelings about it.
 
its all fine with the performer-presets as I mentioned before with my [edit] above - we talk the same here ;) they are handled different because they are mapped samples as an multi-instrument - but its not the big point here. the big point is the first one in my original post. so you dont need to worry anymore.

Well, I don't worry. Just wanna help. All good. 🙂
 
Hey - does anyone know if Daniel James did work for HY here? Some of the sounds in the 'Motifs' cat sound eerily similiar to sounds in the 'Haze' cat from Proj Chaos. Could just be coincidence, but, maybe not.
 
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