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hello,
i was wondering what is the general opinion here in using mainly sound libraries (loops and what else) to produce – and i stress produce – RF tracks for music libraries.
sound libraries have improved dramatically in recent years. with performing royalties going down and the RF business paying so little and demanding such a high rate output i wonder if using libraries to assemble good quality tracks quickly, is going to be inevitable.
Not sure what you mean #tag by “sound libraries” …..samples vs live musicians, or loops vs. samples?
The danger in “assembling” tracks vs. composing is that you are one step closer to being no different than the next guy…no matter the quality.
Composing with samples, on the other hand, gives one a very broad palette, and it’s not too hard to carve out a unique sound.
If you’re thinking that RF libraries are the only place where sound libraries and loops get used go here and search the genre Dance /Electronica
http://www.dewolfemusic.co.uk/musicsearch
#tag, I think I see what you’re getting at. There will most definitely be a certain group of composers who will paste together cues in assembly-line fashion. Whether that will prove profitable is another question, because there will be little reason to buy their music instead of other composers, who do that same thing. Certainly that music will be good enough for some buyers, not all.
On the other hand, samples, by that I mean individual instrument sounds, are an industry standard. I’ve been using samples for 25 years, starting with the original emulator. The quality of sample instruments today is, for me, a dream come true. It would be difficult to find even a major feature film today that doesn’t involve samples on some level (even if it’s just in the mock-up stage)
As far as low back end and small sync fees go, that’s the nature of the business. It requires a composer to be efficient and prolific. You need hundreds, maybe thousands of cues. It’s a long term prospect.
As far as fingerprint technology goes, it’s not that hard to beat. It takes very little to create a unique fingerprint, even if two composers, for example , use the same loop. Once they put different layers on top, they’ve created a different fingerprint. If they use something like Kontakt’s Time Machine to change the tempo of a loop, or Melodyne to change the key, they’ve created a different fingerprint.
As far as midi loops go there are many ways to be unique. For example, take the midi loops from Session Horns and use them with Broadway Big Band horns or Chris Hein Horns instead…or layer all three. Same with midid drum loops. Put in whatever sounds you want.
These things are just tools. Like any other tool, the skill of the individual comes into play.
Hmmm, I used a drumloop which happened to be very popular amongst TV composers. Added layers on top, my own bassline and melodies. However, TuneSat detected more than 20 times, other ppl’s works on TV. These days, when I use a sample drumloop, I’l modify it by chopping & pitching it differently first.
AxD
tunesat isn’t foolproof. Was there any portion of the loop in your cue before you added layers and your own bass line and melodies…even a few seconds?
@Rob…FB now MLR! What next VI control?
Back to work with you lad!!!
@AxD, why I ask is because tunesat picks up clips as short as 3 seconds, so basically every inch of a loop needs to be altered.
Although, tunesat told me that the system was sophisticated enough to differentiate between performances of the same work, i.e., Beethoven’s 5th by the LA Philharmonic v. the London Symphony.
With so many people using loops and perhaps basing cues on the same well known source, e.g. a TV theme, I’m sure it creates a “feedback loop” of sorts.
I wonder what the false detection rate is?
_MichaelL
“Was there any portion of the loop in your cue before you added layers and your own bass line and melodies…even a few seconds?”
No MichaelL, but there were abt 2 bars of that drumloop with bass, not on it’s own.
Although, listening to the TuneSat detected clips. The other composers’ pieces had a lot more stuff going on ie. orchestral hits and lots of syn parts etc. Their pieces were pretty full on.