Spitfire Bespoke private range libraries

Discussion in 'SAMPLE Talk' started by valexnerfarious, May 2, 2019.

  1. prodigalson

    prodigalson Senior Member

    Nov 14, 2013
    I find it hard to believe that ANYONE would pay 12 grand in todays market for any library, let alone one from 8 years ago. That is just absolutely bonkers. What exactly is the Bespoke Chamber Strings going to give you that is different from Spitfire Chamber Strings recorded with more experience in the same hall by the same people and available at a fraction of the price.

    This whole thread is loony tunes bonkers. You have people who actually own the libraries saying theyre not much to write home about compared to the current market and you still think they should make them available for 12K and ANYONE would buy them????
  2. JohnG

    JohnG Senior Member

    Nov 13, 2007
    I agree. It's a mix of fantasy and hearsay.

    Nothing today is stopping anyone with a few thousand dollars from writing really great-sounding music -- definitely not the absence of this library.

    [edit: the sound of the bespoke library is excellent; not taking anything away from it. Paul was kind enough to give me a demo when it was still available and it definitely offered an engaging, musical sound.]
    Last edited: May 8, 2019
    jononotbono and richardt4520 like this.
  3. erica-grace

    erica-grace Senior Member

    Sep 7, 2015
    It's not the product that they would have run out of. It's the NI licenses.
  4. givemenoughrope

    givemenoughrope Senior Member

    Aug 11, 2009
    Los Angeles
    Didn’t re-peat do some examples with these a while back? It sounded BML-esque with some clicks and pops. I think I remember the consensus being something along the lines of: if you have Sable, etc. youre not missing much.
    rottoy likes this.
  5. Simon Ravn

    Simon Ravn Senior Member

    That one didnt turn out so good. I Think only some of the effects and the trombone staccs still have a chance of getting pulled out here.
  6. Simon Ravn

    Simon Ravn Senior Member

    How about a silky smooth sound. Probably the best sordino strings recorded, the best pizzicatos and some very nice, intimate 1st violins vibrato. And there are some cool effects too, although limited in variation. It sounds nothing like the commercial Chamber Strings library, as already mentioned. Section sizes more like a big, full size divisi.

    It has a lot of limitations of course. No legato recorded etc. so it falls short in many departments. But the sound of some of it (I only own the strings so can't comment on the woods/brass) is still in many ways better than most commercial offerings.
    Last edited: May 4, 2019
    valexnerfarious likes this.
  7. barteredbride

    barteredbride New Member

    Oct 19, 2018
    I'm sure it was fantastic for the time, no doubt.

    But by what people are saying, it sounds like this whole discussion is like chasing the end of a rainbow.
    Henu likes this.
  8. Guffy

    Guffy Fugdup

    Sep 13, 2013
    I had a dream once.

    T'was the night before christmas. I'd wandered off into snooze-land after a tad too much malbec, but quickly came to consciousness after hearing this loud and odd rattle downstairs.
    I jumped out of bed and made my way down to investigate. I encountered this foul stench of urine and spilled beer. I was certain it must had been one of those hoboes down the street by the bridge.
    As nothing unusual could be seen (other than the smell) i made sure everything was locked before i found my way back to bed. A few hours go by before i hear the exact same sound. Slighly longer, slightly louder.
    This time i'm not joking around, i grab my baseball bat from under the bed and sneak downstairs again. The same stench, but stronger, is yet again present.
    This time, i see a large window left open. Whoever was there must have fled the scene.
    The stench was fading, slowly turning into what can only be described as a heavenly delicious scent of coffee.
    I slowly turn around towards the kitchen.
    I see a large golden cup with steamy hot delicious coffee, surrounded by a small, gold-plated present looking like it's been delivered by the gods themselves.

    As my tastebuds rejoiced while enjoying the angelic coffee, i slowly unwrap the present.
    I peek inside before fully unwrapping it and i can hear angels sing quietly from the distance.
    Eager to find out more, i TEAR open the box.
    I feel a strange, powerful force running through my veins.
    It's an external SSD - 2TB. :eek:
    I RUN to my studio to fire up the computer. *Come on, come on! Boot damnit!*
    Finally, I gently insert the SSD into my favourite USB port.
    Breath gets heavier..
    I'm staring at the most beautiful folder structure i've ever seen.

    One folder says Spitfire Bespoke Range..
    Another says Project Prague One and Two
    .. VI-Pro o
    n another.
    And, Hans Zimmer's Personal Library
    Finally..Thomas Bergersen's entire catalogue of private samples

    I'm absolutely floored by excitement, and suddenly pass out as a result.

    Suddenly i find myself awake in my bed. Of course it was all a dream. It was too good to be true.
    There was no piss-reeking-gift-bearing barista after all.
    Oh well. Guess i'll have to make do with my "shitty" commercial samples :)
    WindcryMusic, Alex Fraser and rudi like this.
  9. OP

    valexnerfarious Active Member

    Nov 15, 2011
    This is what I have been saying lol
  10. prodigalson

    prodigalson Senior Member

    Nov 14, 2013
    My point is for the price? Should a human being pay 12k for this in today's market?

    The sound of SOME of A LOT of libraries is in many ways better than MOST commercial offerings.
  11. OP

    valexnerfarious Active Member

    Nov 15, 2011
    Judging in comparison the articulations between all 4 volumes of Sable and the Bespoke strings,Sable has more articulations and content.I know there were alot of better players in those private samples but other than than Im just curious how the price is so different.Not dissing intended just overall curious.
  12. Simon Ravn

    Simon Ravn Senior Member

    The price was higher because it was only sold in a limited number. And probably the musicians got a higher "buyout fee". Not sure about the latter, but the first part makes total sense. I only bought the strings - so "only" 4.500 quid total. I still consider that money well spent. Would I buy into something like this today? Depends, it would surely have to offer something the 400-pound libraries don't.
    valexnerfarious likes this.
  13. OP

    valexnerfarious Active Member

    Nov 15, 2011
    Just sent you a PM Sir
  14. re-peat

    re-peat Senior Member

    Dec 12, 2004
    I always considered part of the price to be a gesture of support, a vote of confidence for what was, at the time, a fairly young company who were doing remarkable, unique things in the field of orchestral sampling.

    I don’t regret one penny of the purchase either, even if (1) I no longer use the symphonic half of the library all that much and (2) I always felt that the price ought to have granted us a bit more input in how the library was taking shape and being improved. And (3) it being abandonned in the unfinished state that it was, had me raise my eyebrows too, I must confess.

    Still, I like to think that our purchase helped, indirectly, in the creation of three or four orchestral libraries which I consider wither-proof classics and for the existence of which I am eternally grateful.

    I’d do it again today. In a heartbeat. If some people told me they we were working on, say, a woodwinds library AND I was convinced they were doing it in a way I think it should be done, I’d happily pay a Bespoke-sized price for just two or three instruments. But it would have to be impeccable work from the first recording to the final line of code in the software, and I would have to have a say in all user-related aspects of the development.

    Last edited: May 4, 2019
  15. OP

    valexnerfarious Active Member

    Nov 15, 2011
    Shoot me a PM.
  16. artinro

    artinro Active Member

    Apr 19, 2007
    As someone who has the whole bespoke range plus Spitfire’s later, commercial releases, this is 100% perfectly articulated. There are some absolute gems which remain in my template (thought not a huge number any longer), but Spitfire used the vast knowledge they acquired from creating this range to hone and develop their skills and talents and push forward with future releases. I'd say that's worked out quite well for them. On another note, it's highly unlikely the bespokes will be made available commercially. That was the understanding we all had at the time and was part of the reason we justified the large investment. Frankly, I think many people lusting after this range today would be somewhat disappointed even if they were able to purchase right now. They wouldn't have been when the libraries were first out, but given what’s available today, I think many things have been surpassed in tangible ways (save for a few gems mostly having to do with, as Piet says, personal preference for tone). Spitfire learned a tremendous amount from their work on this and went on to really stellar things. I respect the hell out of them.
    Last edited: May 4, 2019
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  17. thereus

    thereus Active Member

    Jan 18, 2017
    Is there still a big market for private samples? Are these companies doing lots of private jobs behind the scenes or has the quality of the commercial libraries killed that business?
  18. paulthomson

    paulthomson New Member

    Feb 28, 2019
    Thanks for the kind comments and interest!

    When we made the bespoke series - never originally intended to go beyond some Chamber Strings (its thanks to John Powell that the rest of the range exists - his gentle encouragement!) - and it was a non profit endeavour. Just a way to make some great tools and pay the costs associated. The Brass and WW were more limited in release than the Strings, that is the reason the per license cost was higher.

    The samples will never be commercially released - that was the agreement with the players and with the licensees.

    We did a lot of experimental stuff beyond the 'vanilla' patches. I designed some playable fx as I was sick of hearing the same old orch fx in every TV show! We really went deep into things like measured trems and found ways to make them playable.

    Some things didn't work out so well. But as a whole the library is still pretty amazing sounding. I used it extensively in LBP2 - quite a lot of which has been uploaded to Youtube - if you are interested enough to chase some stuff down to listen to. Quite a few composers I know still use it in their templates.

    We fell into becoming a commercial endeavour totally by accident when we had spent a lot of money making a percussion library (Joby) and discovered that all our A listers weren't interested as they preferred to use their own private percussion! Joby was up for it and we crept into the world of commercial sample development hoping to make back our costs.

    I often refer to the creation of the bespoke line as the most extraordinary (and expensive) private orchestration tutorial ever - I learnt an incredible amount recording and talking to all those incredible musicians over days and days of focussed listening!

    The one thing that I'd like to pick up is the 'unfinished' thing.. The libraries were finished (in terms of everything we promised to deliver). Some things didn't quite work as planned, and some areas of the library wouldn't stand up as commercial releases, but you can work around them as private projects. We were obviously restricted budget wise so we couldn't go on forever without going bankrupt.

    We actually added a ton of material that had never been planned. Legato patches for the Symphonic Strings, and areas of the Brass and WW. We re-edited the multitracks for some of the Brass to create early 'multi mic' versions of some of the instruments. Added extra solo instruments to the Brass.

    We created a whole 'massive low trombones' addition to the Brass library called 'Monster Bones' that was obviously .. ahem .. "influential"... haha

    But yes - the library as planned and sold had no legatos (this was back in 2008-2011 ish) and was very carefully spec'd and planned out, programmed (by myself) and delivered. We made a load of additional material above and beyond the initial spec which Andy B and Blake came on board to help program, at no additional charge to the bespoke licensees, in fact it was paid for by our income from selling the commercial libraries. There obviously came a point at which we had to close the cash hose. Remember, it was entirely not for profit.

    I do believe we've surpassed the bespoke libs with commercial libraries we've done since, obviously the more you do something the better you get at it ;) but of course we still love some of the great sounds in the old libraries. And for its time - there was nothing that sounded as good, I'm fairly confident to be able to say that having heard what people did with it beyond just our team!!

    Happy days. And of course - grateful for the group of composers who believed in us enough to buy a license. We always 'leapt before we looked' and paid for sessions with the belief that we were doing something great and the audience would appear.

    Anyway I've rambled enough!


  19. AllanH

    AllanH Senior Member

    Oct 11, 2015
    Central Coast California
    Thank you to @paulthomson for taking the time to share the history of the "bespoke" start to Spitfire. That's a great inspiring story.
  20. OP

    valexnerfarious Active Member

    Nov 15, 2011
    How did your approach change from Bespoke to the Albion sessions as far as recording and editing the samples? The bespoke stuff seemed to have a lot more energy and life than Albion.(Bespoke sounded like it was less edited and less noise reduced why I feel made it better because of the imperfections that were left in it

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