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Spitfire Bespoke private range libraries

rudi

Member
Fascinating insights into what makes sound libraries great: talent from the original musicians, the engineers capturing the performance / sound / atmosphere, the sample editors putting it all together.... and the musicianship and experience of those using the libraries.
Re the last one, I have a huge distance to go...
 

barteredbride

Hello and hola...a Brit in Spain
Pricey !

So do we know if these libraries we ever used on films?

Or were they still mainly used for mock-up purposes?

Spending nearly £30,000 on sample libraries just to get the cue past a director... Seems bonkers. But I can understand it was a private venture, with the assurance that it was only for an elite set of composers.

I'm sure I've heard Christian say in a recent video that they assured the composers they would NEVER make the samples public.

I'm sure there was some contract.
 
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valexnerfarious

valexnerfarious

Active Member
Pricey !

So do we know if these libraries we ever used on films?

Or were they still mainly used for mock-up purposes?

Spending nearly £30,000 on sample libraries just to get the cue past a director... Seems bonkers. But I can understand it was a private venture, with the assurance that it was only for an elite set of composers.

I'm sure I've heard Christian say in a recent video that they assured the composers they would NEVER make the samples public.

I'm sure there was some contract.
Do you have a link to that video?.I know that John Powell was one of the composers bought in to it. I dont understand he would not make them public and sell them.They really sound that good if I would have had the choice early one to pick those other string libraries it would hands down be the Bespoke range.
 
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valexnerfarious

valexnerfarious

Active Member
Whoa that man makes a lot of videos! Not sure.

Probably quicker to ask him... @christianhenson did you ever promise to never publicly release these libraries once the initial run had sold out?

And if not, are you planning to release some of them in the future?

:thumbsup:
I don't see how you can run out of a digital product. @christianhenson If someone today was willing to pay those prices today would you make commercially available?I personally know a ton of people who would drop the cash on them right now.
 

barteredbride

Hello and hola...a Brit in Spain
I don't see how you can run out of a digital product. @christianhenson If someone today was willing to pay those prices today would you make commercially available?I personally know a ton of people who would drop the cash on them right now.
As far as I understand it, it was more 'limited edition'. So not really running out of physical products. The idea was that only a few composers would have access to a certain sound, rather than thousands of composers.

It made it exclusive, hence the price.
 

rottoy

Plebeian
Just reading the list for the session players recruited for those Bespoke libraries should tip you off why the price is so high and kept to a limited number of composers.
The late, great Maurice Murphy of the LSO, 1st trumpet.
Richard Watkins, 1st horn. Nicholas Daniel on oboe.

I mean, holy fucking shit.
 

Raphioli

Active Member
I think you're chasing something that you'll never be able to get, IMHO. (Unless one of the very few original owners of the library were to violate the agreement)
 

miket

Senior Member
Just reading the list for the session players recruited for those Bespoke libraries should tip you off why the price is so high and kept to a limited number of composers.
The late, great Maurice Murphy of the LSO, 1st trumpet.
Richard Watkins, 1st horn. Nicholas Daniel on oboe.

I mean, holy fucking shit.
Seriously! Imagine having "them" in your computer....
 

The Darris

Senior Member
I'm a bit confused by this thread. I am not sure I understand what everyone's "problem" or question concerning Spitfire's "Bespoke" line is.

Before Spitfire was well...Spitfire. Paul and Christian got together and decided to try a go at creating some very specific sampled instruments at air. Having the connections they had, such as Harry Gregson Williams (whom Christian worked for either before or at that time doing a lot of drum programming) and other A-listers, they created a proof of concept library of chamber strings (IIRC). They shared them with a select few who wanted to invest in them.

At that time, these samples were very cutting edge compared to the commercial competition such as EWQLSO, VSL Cube, and even Sonic Implants. They were EXCLUSIVE to those who paid the massive costs. Because this wasn't commercial, they needed to make their money back but, exclusivity to A-listers as well as other working pros, Guy Michelmore of Thinkspace being one, they were able to come up with the core foundation of Spitfire Audio's commercial endeavor.

We, a collective hive mind of composers itching for that next sample library, tend to get overly sweaty when we hear the terms Bespoke and Exclusive like those samples MUST be the best thing out there. In fact, they have long since become something of the past. A relic from a transition into a new epoch of sampling history. The Bespoke series was far from perfect but for the time, it was something composers loved to use because it was THE sound of Air and those big film scores unlike anything available on the commercial market.

Yes, these samples were used in movies. Since Pirates of the Caribbean, most film scores are nearly 50/50 mixed with samples. Almost all scores rely on sampled Percussion entirely because it's just so expensive to record a full orchestra. Section sizes are smaller resulting in the need to layer them up with samples to get the sound required. The Bespoke line was one, among a few, of those libraries at the time that made this process easier for mixers and programmers to blend them into a score.

Personally, having tested out some of those bespoke samples at another composer's studio a while back. I wasn't impressed with them compared to the original Sable (now Chamber Strings). I certainly heard what was the sound of Spitfire but there were a lot of issues with them such as poorly edited sample starts and cuts that caused a lot of pops and clicks. Basically, you'd need to run a pass of your sequences through RX to de-noise and de-click some of those patches in order for them to be usable in an exposed nature. It felt like I was using a library from the early 2000's.

I don't mean to crap on those who are interested in it. The demos created, like Colin's, show exactly what is possible with those samples when you are a great programmer. I remember being blown away by the sound years ago when I was getting my first taste of midi sequencing and programming with samples. The price blew me away too. But, having finally gotten a change to test out this mythical creature of samples we've come to regard this series as, it was like expecting a Unicorn but finding a miniature horse named Dave. Dave was cute and a well fed horse but he wasn't a Unicorn.

Best,

Chris
 

miket

Senior Member
The myth around these things is definitely a big part of the interest. As another example, I'd love to hear more about that private library that a group of composers did with the Utah Symphony a number of years back, which was supposedly another "exclusive secret weapon." I think someone mentioned it on here recently.
 
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