Psst, Jay. Say, listen.
Hendrix eat all from Orchestral Tools??
It’s Hendrik, not Hendrix. And it’s ‘et al.’ and not ‘eat all’. There's a difference between the two. (Like there is between an AU and a VST.)
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I don’t understand this sentence.That pretend email of marketing ago as example, it was not nice, the actions are different to the words sometimes
I have a couple of additions to make if that is OK. What your post didn't mention is time. Making samples is not like making music because it needs extensive development time. Our work truly starts when the recording stops. So issues in something we released a few months ago wouldn't have been fixed had we not done this next Albion because we were recording that Albion a year ago. You can see how long for example the massive Hans Zimmer strings update took because I clearly logged the beginning of the "pickup" sessions well over a year ago in my vlog?
Names! I want names! Anonymus trash talking is a foul in my eyes ...IDK -- I think they do a great job, especially compared with a few other companies that come to mind.
Thanks Guy, whilst I know you wrote that for the community not in support of us, you make a very solid case for what is indeed the real life scenario for us.
I have a couple of additions to make if that is OK. What your post didn't mention is time. Making samples is not like making music because it needs extensive development time. Our work truly starts when the recording stops....
C.
Not that it really matters, but that's a list of your products, not your updates. The 'Updates' tab would be shaded white if you'd clicked on it to filter for updates.
Yes, I saw that just after posting and deleted my postThe "update" icon is visible under each product that has an update available
Yes Redlester, these are all features we're concentrating on. Ezzy wow, what a memory! It was meant as a bit of fun from us. As I think I said at the time, but reaction was bad which is why we haven't done it again.... that was maybe 3 years ago? We listen.
I actually don't see anything wrong with them adding a subscription for those who want it. That would be perfect in cases where you need a certain library for a single project and you don't wanna spend hundreds of $$. But again, how would they 'lock' the libraries once the subscription is canceled?! Sorry, I'm just thinking out loud.Some people are so obsessed with subscription models. Please NEVER make Spitfire libraries a Subscription service.
By transferring all of their libraries to a discreet sample player with web based license and copy protection system!But again, how would they 'lock' the libraries once the subscription is canceled?! Sorry, I'm just thinking out loud.
To hell with subscription services. I completely agree with you here Christian. What I rather want to see from developers are demo patches (The Kepler ones were quite cool and it's the only reason it's on my wishlist). I'd even pay for a stripped down version of a library with limited content being able to upgrade to a full version later (Embertone did it recently with their Joshua Bell violin. Also Audio Imperia with Nucleus yesterday. Soundiron did it with their string library etc.). It's a really good way to try out a library without paying hundreds of dollars (the stripped down versions I mentioned are all below $100 I think) and those who like it or need the additional content can upgrade while those who don't like it didn't spend a fortune, which in my view would stop buyer's remorse for the most parts. Sure, on the other hand you developers might lose some money from those who don't like this basic core version, but who would have bought the full version if this was the only option available to them (but that would most likely mean buyer's remorse). At the same time more people might buy this stripped down core version in contrary to the full fleshed out library. Also it's great to see you guys so active here engaging with the community. Please don't be discouraged by the criticism you guys are experiencing once in a while. I think in the end we all have the same goal, to have the best tools available to compose great music.I don't want to derail this thread but do we not fear subscription models as working composers. An example I would cite would be someone like Charlie Clouser who has been working on the SAW franchise for over a decade now. An editor finds a piece of temp from one of the older shows that in the director's mind fits perfectly that temp love is formed and she or he wants it peppered over the entire show. BUT the key sound that this cue uses is from a subscription service that has expired or been retired or repackaged and no longer is available. Is not actually OWNING a perpetual license to the sounds a risk to us? This is certainly what puts PT and I off the idea as composers.
Totally agree. I still use sounds released over a decade ago and it would be galling to still be paying for them.I don't want to derail this thread but do we not fear subscription models as working composers. An example I would cite would be someone like Charlie Clouser who has been working on the SAW franchise for over a decade now. An editor finds a piece of temp from one of the older shows that in the director's mind fits perfectly that temp love is formed and she or he wants it peppered over the entire show. BUT the key sound that this cue uses is from a subscription service that has expired or been retired or repackaged and no longer is available. Is not actually OWNING a perpetual license to the sounds a risk to us? This is certainly what puts PT and I off the idea as composers.
Not a fan of subscription software. How about a system that allows for timed licenses of your products so that people can demo your products? Companies like Flexera can facilitate that sort of thing by integrating with your application to manage licenses: https://www.flexera.com/products/spend-optimization/software-asset-management.htmlI don't want to derail this thread but do we not fear subscription models as working composers. An example I would cite would be someone like Charlie Clouser who has been working on the SAW franchise for over a decade now. An editor finds a piece of temp from one of the older shows that in the director's mind fits perfectly that temp love is formed and she or he wants it peppered over the entire show. BUT the key sound that this cue uses is from a subscription service that has expired or been retired or repackaged and no longer is available. Is not actually OWNING a perpetual license to the sounds a risk to us? This is certainly what puts PT and I off the idea as composers.
I don't want to derail this thread but do we not fear subscription models as working composers. An example I would cite would be someone like Charlie Clouser who has been working on the SAW franchise for over a decade now. An editor finds a piece of temp from one of the older shows that in the director's mind fits perfectly that temp love is formed and she or he wants it peppered over the entire show. BUT the key sound that this cue uses is from a subscription service that has expired or been retired or repackaged and no longer is available. Is not actually OWNING a perpetual license to the sounds a risk to us? This is certainly what puts PT and I off the idea as composers.
I think another thing we don't sing and dance about is that PT and I have committed to keeping Spitfire private. So no massive floatation no exit, which means we get to do stuff that companies with shareholders don't get to do, Composer Magazine, Pianobook, weird walks in parks and over bridges, SA Recordings, LABS