Comments

1. Tom Green says:

   October 15, 2012 at 05:57

   Indeed, these tools are basically “here’s the bits, put them in order and you’ve got a cue done” and for the first few months after release, they can be very effective (until everyone’s heard them on too many productions) No, it’s not exactly ‘writing music’ but we all know how it works these days. Budgets drop all the time but the demand for ‘authenticity’ and ‘real instruments’ goes up- our clients often assume that ‘these days you guys can do anything with computers’ and think that’s it’s a doddle to put together an entire orchestral sound and make it sound totally, utterly real. It’s not that easy, as we know- but when it comes down to getting a job, if the other guy has banged off something with this, chances are the initial ‘hit’ of the (near as dammit) ‘real’ orchestral sound made with this tool may win him the job over whatever it is we may have written (in the short time available, often) with more standard music libraries. How often do we really have the time to work our way through all those articulations, even with today’s key-switched versions ? Spend hours constructing the kind of ‘effects’ which are available here on one keypress ? OK, you can probably only get away it once or twice, but if it gets you the job or gets a cue done in hours when otherwise it might take days … well, people are going to use it. Including me. I’m just not that proud.

   God knows, Symphobia is all over all kinds of big profile scores, and this is the cheap version. It’ll get some traction for a year or so then, like Symphobia, it’ll become hackneyed and stale- and another one will take its place. And I bet quite a lot of you guys will use it. Yes, it’s cheating. But this isn’t a ‘nice’ business and any advantage, however short term, is going to be used …
2. Jon Adamich says:

   September 27, 2012 at 18:44

   This depresses me. Composing music should never come to this.
   1. Dmitri Golovko says:

      September 29, 2012 at 23:53

      Sadly, I agree with you. I like to consider myself a ‘music designer’ at times when clients ask me to think in cliches and monotonous ‘hollywood’ phrases, so having the right tools to deliver the right music quickly is always great. But this doesn’t seem like a tool to me at all, this is a stock music library. If all these different patches were broken up into specific individual instruments and short key phrases (so one could cut them up and mix and match) then it would make it much more useful IMO.
   2. James E. says:

      October 17, 2012 at 03:08

        I also agree with you Jon, although the library does sound great. But
      as Tom has stated above, the quality of a piece pitched to a
      director/producer will win every time, regardless of the
      experience/effort a composer has/does put in. But it wont be long before
      it becomes generic. Sonokinetic make briliant stuff. I would personally
      use Tutti and Vivace for effects (never the pre built cues). I build my
      own cues (if you want to call them that) with the likes of Cinesamples
      Hollywoodwinds and Orchestral string runs for example. I wonder if the players get royalties the same way the Spitfire audio players do.