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What’s the best DAW software package for XP x64?

Monday, January 10th, 2011

Question by doofyee: What’s the best DAW software package for XP x64?
I was going to get SONAR 7, but I heard they don’t “officially” support XP x64, which really sucks because I just built myself a new 64-bit workstation, and I don’t plan on upgrading to Vista any time soon.

I’ve thought about installing SONAR 5 or 6.

Any suggestions?

Best answer:

Answer by Pat
Wow, I’m susprised that somebody on here doesn’t want to upgrade to Vista.

I’ve also heard that SONAR doesn’t support 64bit architecture.

There are a lot of options, but I’m not sure if they support Windows x64 or not, but I guess you can investigate!

Some alternatives:

- Tracktion
- Cubase
- FL Studio
- Orion (by Synapse Audio)
- ACID Pro (Sonic Foundry/Sony)

Personally, I think that Cubase is the most professional one if you know what you’re doing. It is very specific in allowing you to do what you want to do, in my opinion.

I hope this helps,
Pat.

Know better? Leave your own answer in the comments!

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Froot Loops & Apple Jacks Cereal, 52.5-Ounce Package

Tuesday, October 26th, 2010

Froot Loops & Apple Jacks Cereal, 52.5-Ounce Package

  • Net weight 52.5-ounces
  • Three grain cereal
  • Crunchy and sweetened
  • Good source of fiber
  • Kosher certified

Sometimes it isn’t easy to keep your kids on the right track with foods they love to eat. Fiber usually isn’t something that’s a part of a “fun” meal, and studies have shown that 9 out of 10 kids don’t get enough fiber in their diets. Now there’s a cereal that your kids already know and love that also provides 3 grams of fiber in every serving – Kellogg’s Froot Loops (R) and Apple Jacks cereals. So, when your kids are eating the fun breakfast they love, they’re also getting the added benefit o

List Price: $ 9.03

Price:

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Blade Dayton Standard

Thursday, September 9th, 2010

We’ve looked at the Japanese-made Dayton Custom in the past and, as befitted its high-end spec sheet, wide range of terrific tones and custom shop conception, it came with a hefty four-figure price tag.

Christian Hatstatt is second-in-command at Blade/Levinson Guitars, and he also had a hand in the inception of the original Dayton, so we asked him to remind us of the concept behind this Chinese version of the design.

“These pickups are designed in-house and are the result of many months of hard toil.”

“The idea was to create a new guitar shape based on a single cutaway in order to bring in the Telecaster-type influences and, as we also wanted to make it a very versatile instrument, we wanted to install two [types of] pickup.

“On the original Dayton Custom we used a neck singlecoil and bridge humbucker, because these were the two most evident choices. But, although this worked well, it did need a little more originality. So we created the Dayton Standard using a neck single-coil and a P-90-type bridge pickup.”

The pickups are designed in-house by Gary Levinson himself and are the result of many months of hard toil, with the aim of producing units specifically for the new Daytons.

The bridge pickup on this model is a humbucker-sized Alnico II loaded P-90 that really looks the part under its nickel-silver cover. Then at the neck, we have a vintage-voiced single-coil that’s based around Alnico V rod magnets. These are controlled by single volume and tone pots, as well as a standard three-position lever selector that boasts a Tele-style switch cap.

Current Blade guitars seem to sport a number of slightly different bridge designs. Here the unit in question is the M-54, a traditional Strat-inspired vibrato that comes out of the box set flush to the body, and one that’s furnished with ‘tone balance string spacing’… that’s a new one on us.

“The M-54 vibrato has a width of 54mm, which keeps the strings centred on the fretboard,” clarifies Hatstatt. “Furthermore, the saddles are slotted, which keeps the strings tight and ensures they remain in the same position on the saddles.”

We’d describe the saddles as notched, but it’s accurate to say that when bending any of their number, they don’t slide across the metal to any degree.

The neck is made from a single piece of Canadian hard rock maple that’s been subtly stained a vintage yellow, and the rosewood fingerboard demonstrates a distinctly modern 320mm (12.6-inches) radius: compare that to the 184mm (7.25-inches) radius of a ’52 Telecaster, for example.

Sounds

The Gibson P-90 remains an underrated and misunderstood single-coil pickup – it can cover an impressive number of tonal bases. Blade’s LP-92 is hotter than, for example, Seymour Duncan’s humbucker-sized Phat Cat P-90 and does add a musical abrasion to amps set to break-up point. Hatstatt describes the guitar’s basic performance as the perfect mix of a Les Paul Junior and the twang of a Tele and, for the most part, he’s spot on.

The central position is closest in tone to Fender’s classic single-cut, although the brittle edge is backed up by fuller mids. Consider the imaginary ‘two-and-a-half’ position of a Strat’s five-way lever and you’ll be in the ballpark: it’s a unique tone, which is a real plus point in toady’s market.

From the P-90′s beautifully smooth classic rock rhythm tones all the way through to the neck pickup’s glassy clean options, the Dayton is a truly versatile guitar and, what’s more, it plays beautifully.

Blade has always been at the forefront of guitar innovation and if you’ve found yourself on the cusp of taking a punt with one, try the Dayton Standard on for size. It’s close enough in feel and vibe to both a Strat and Tele without ever stepping on the toes of either, and it also offers its fair share of Kalamazoo flavour in the package. The competitive price of this version further makes it a serious contender.

Listen to our audio demos to hear a few examples of the Dayton Standard’s sounds:

Bridge P-90 – fairly clean

Bridge P-90 – fairly dirty

Both together – fairly clean

Both together – fairly dirty

Neck single-coil – fairly clean

Neck single-coil – fairly dirty



Read the rest here:
Blade Dayton Standard

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Orange TH30 Combo

Friday, September 3rd, 2010

Something’s happening in the boardrooms of amp-builders everywhere. Years of chiropractic bills and hearing tests have taken their toll, spurring designers into coming up with smaller, quieter valve-driven amps that are still up to the rigours of today’s gigging circuit.

Small valve amps are nothing new, but Orange has helped revive this idea over the last couple of years with its Tiny/Dual Terror and Rocker 30 models. Its latest offering, the TH30 (available as a head or combo) has important tweaks.

“The TH30 fills a different space. It’d be a disservice to view this purely as a hard rock oriented amp.”

Orange’s Damon Waller gives us the juicy details: “The idea was to deliver something on a similar playing field to the Rocker 30, but also deliver some extra features. It’s got the same valve-driven effects loop as the Rockerverb 50 MKII, and a proper clean channel with EQ.”

Sounds good for clean players, but what’s in there for fans of Orange’s heavier artists, like Slipknot and Gallows?

“We’ve also added an extra gain stage into the Dirty channel,” says Damon, pleasing the gain freaks among us. “It’s the dirtiest channel on any amp we have.”

The amp is powered by four EL84 power valves and is switchable to 15 or seven watts for situations that require less headroom. The preamp contains four ECC83 valves, and there’s an ECC81 on the effects loop.

The clean channel has a single master volume with two-band EQ, while Dirty offers gain, Orange’s Shape tone control and a master volume. The combo’s 1×12-inch Celestion G12H speaker completes the package.

Start with the clean channel in full power mode and you give the EL84s maximum headroom for the cleanest sounds. By adjusting the volume and output power settings of the amp, combined with your guitar’s volume control, you’ll unlock an extremely versatile set of tones, from clean to slightly driven sounds that work for indie/Americana, blues and classic rock while delivering the characteristic chime of EL84s.

Onto the Dirty channel and Orange ain’t messing about. It’s awash with tons of gain, and the Shape control sweeps the tone from a wide open, mid-rich rock sound to a tight, scooped modern metal voicing.

There’s some blinding competition, granted, but the TH30, in its portable format, fills a different space. It would be a disservice to view it purely as a hard rock orientated amp; those EL84s provide sweet clean, crunch and distorted sounds. Some may be put off by the seemingly basic controls at first, but just wait ’til you plug in…



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Orange TH30 Combo

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An Ode to the CD by CD Baby; Could You Really Love Music Buyers This Much?

Tuesday, August 10th, 2010

A tower of plastic, and a photographic reflection on the strange physical form music took at the height of the CD. Photo (CC-BY-SA) William Hook.

Can music as a physical object have value and meaning again? For many music enthusiasts, that affection has turned back to the vinyl record, not the CD. (How many artists have we seen lately offering vinyl as the “premium” package for listeners?) At an extreme, there’s Alessandro Cortini’s SuONOIO, an album that has its own accompanying custom synthesizer.

But while we ponder this question, the one that seems the perpetual topic for music conferences and industry pundits, I turn instead to this (tongue-in-cheek) description of CD shipping. Given the record sales for many independent artists, maybe this parody isn’t actually so far-fetched.

If you’ve never ordered a physical CD Baby CD, you may not have seen it before. I can tell you it amused and delighted the person who got it, though (it wasn’t me), so never underestimate the value of caring for your musical customer.

Your CDs have been gently taken from our CD Baby shelves with sterilized contamination-free gloves and placed onto a satin pillow.
A team of 50 employees inspected your CDs and polished them to make sure they were in the best possible condition before mailing.
Our packing specialist from Japan lit a candle and a hush fell over the crowd as he put your CDs into the finest gold-lined box that money can buy.
We all had a wonderful celebration afterwards and the whole party marched down the street to the post office where the entire town of Portland waved “Bon Voyage!” to your package, on its way to you, in our private CD Baby jet on this day, August 6, 2010.
We hope you had a wonderful time shopping at CD Baby. In commemoration, we have placed your picture on our wall as “Customer of the Year.” We’re all exhausted but can’t wait for you to come back to CDBABY.COM!!

Thank you, thank you, thank you!
Sigh…
We miss you already. We’ll be right here at http://cdbaby.com/, patiently awaiting your return.

Yes, it’s parody. Yes, I’m doing a brief fluff blog post. (Refunds available.) Yes, I’m thinking about how some of this (sadly, not the private jet) might actually be possible as part of the music retail experience.

And really, don’t your fans and listeners deserve as much?

http://www.cdbaby.com/

Updated – do some people care as much as the imaginary employees in this description?

Absolutely. See a line of handmade CD cases on Etsy, a a how-to on CD cases, limited-edition handmade CDs used as a fundraiser, and a whole mess of handmade CDs and merch found at this project site — including a special giveaway at MUM concerts.

http://www.northernowl.blogspot.com/

Doing a special ritual when someone buys one — optional.

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An Ode to the CD by CD Baby; Could You Really Love Music Buyers This Much?

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Learn how to use Logic 9: Groove3 Logic 9 explained

Friday, August 6th, 2010

I remember the excitement I felt the day I got Logic for the first time, back when it was owned by Emagic. I’d just got my first little bedroom studio sorted out, and Logic was the cornerstone. I also remember 5 days later, as I stood there; a complete studio novice tearing my hair out as I tried to figure out how to get sound out of the speakers, keyboards to register on the logic arrange page, and a multitude of other issues that my inexperienced brain couldn’t figure out.

If only Groove3 had been around then. Founded in Jan 2004 by Asa Doyle and Antony Livoti, Groove3 provides quality video tutorial training for many DAWs, software plugins, and virtual instruments around today, as well as videos of recording tips and techniques, and even music theory. There are different options for watching the videos; Buy the hard copy and download, Download only, or a streaming option, where the tutorials are available in your online account for 30 days, for you to watch as much as you like until the end of the month. As far as I could tell, the streaming option works on iphone/ipod/ipad too.

I got the download version of ‘Logic 9 Explained’; a package of 40 video tutorials totalling almost 5 hours, that walk you through setting up and using Logic 9. With the download option, you get a custom video player that works on both Mac and PC, that is easy to use, with all the basic player features, such as volume, easy access menu for all the chapters, full screen capability etc. The total download size of ‘Logic 9 Explained’ was 1gb.

Presented by Apple Logic Certified Pro Eli Krantzberg, each of the 40 Chapters are bite-sized chunks of between 5 and 10 minutes long. They are screen video captures of Logic 9 in action, with Eli’s voiceover explaining what’s happening on-screen. I was curious as to whether I’d get fed up with listening to Krantzberg’s voice, as there’s only so much time you can spend listening to one voice. But no, it was fine. The Chapters start right at the very beginning (assuming you’re capable of installing the software off the discs…), walking the viewer through starting up the program, setting up your hardware so that you can get sound, and a basic description of the files, regions, and different windows that you see when you first get stuck in to Logic. The assumption with this package is that the viewer is opening Logic for the very first time, and doesn’t have much of an idea what anything is. From there, Krantzberg takes you deeper into the software in a careful and concise way. All the main elements of Logic are covered: how to record audio, record midi, to edit, to mix, to use plugins, and to bounce audio. Once all these basics are covered (very comprehensively), the video tutorials step up to more of an intermediate level, with chapters covering some recording and editing tips, tricks and techniques. For example, one chapter is about setting up a headphone mix, another is tips on recording a vocalist live, quick-swipe comping, or how to stutter edit. Some of the new software elements that were introduced with Logic 9 have their own chapters; Specifically Flex time has two chapters devoted to it. Flex time is a powerful algorithm that enables the user to stretch or compress audio files right in the arrange window, with excellent sonic results. This tool can speed up the work process exponentially, as you don’t have to process audio in a different window, or program. The tutorials provide a great explanation of how flex time works, and how to use it efficiently.

I enjoyed the tutorial training thoroughly. I really enjoyed the fact that each chapter is in bite-sized chunks – you can watch one or two 5-minute videos and learn some really useful stuff, but not feel like you’ve been sitting through a lecture. This enables you to learn easily at your own pace. The menu system on the video player (and I assume on the online stream too) is very clearly laid out, with a short synopsis of what’s contained within each chapter. The hard copy and the download one come also with Logic session files (they can be found in the “Extras” folder), so that users can try to reproduce everything they’re learning on their own computer.

Conclusion

If you are just starting out with Logic, this training package covers all the ground you need to become very proficient at using Logic as a production tool, and will save you hours and hours of frustrated time-wasting. I would highly recommend this to anyone I knew who had just bought logic. I have to say, that even though I’ve been using Logic for over a decade, the software is so deep and flexible, there’s always more to learn, and I learned quite a few things from watching the tutorials, including some tips that will definitely speed up my music making process.

Here’s a screenshot of a video tutorial. You can see the menu on the right hand side, with some of the different chapters listed.

Price

Buy the disc, and download, for $54.99
Download only $49.99
Stream online for 30 days for $17.99

This product covers all the bases if you’re starting off with Logic 9

Product page

PROS

  • Excellent reference and training for beginners
  • Relatively short chapters keep the attention
  • Session files
  • Great quality audio/visual

LOVE IT OR HATE IT

  • This product covers all the bases if you’re starting off with Logic 9. If you’ve had it a while, and consider yourself an intermediate, or power user, you’ll probably already know most of the information in this package. There are more in depth and specific logic training tutorials available!

CONS

  • None really at this price – does what it says on the box

By Andy Dollerson

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Learn how to use Logic 9: Groove3 Logic 9 explained

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BR Distribution Mic Holders

Tuesday, August 3rd, 2010

In our experience, miking your on stage gear reveals much about the pecking order in a band, with mics invariably being distributed in favour of the other musicians. And don’t get us started on monitor allocation…

Investing in your own set of mics is no guarantee as mics require stands and, oddly enough, these tend to be in short supply as well. A solution to such mic provision strife comes in the form of BR Distribution’s Mic Holders.

Launched at this year’s NAMM, Mic Holders is a range of clamps that make a low cost and highly-portable alternative to full size mic stands. While many drum mic sets now come with clip-on holders, all too often these can be flimsy affairs.

Mic Holders have more in common with regular drum hardware; made from chrome-plated steel, they resemble the sort of mini stands and clamps used to mount splashes and percussive effects.

The four models that are available so far are Tom/Snare, Conga, Hi-hat and Cymbal/Snare.

Hands On

All of the mounts clamp securely into place. The Tom/Snare and Conga models feature brackets that slot into the tension rod assembly of the drum. Tightening down the rod locks each bracket – they have been designed to stay permanently attached to the drum.

The Hi-hat and Cymbal/Snare models are bigger and have more components. Clamping onto the central tube of either the hi-hat or snare stand, they reach out from under and then above the instruments courtesy of a pair of deft right angles.

Each mount culminates in a standard 16mm thread ready to fit a mic clip. Sandwiched between this threaded crown and the tubing of the mount is a rubber dampener to soak up vibrations from the drum or cymbal.

Fitting the Mic Holders was simplicity itself. Although the Tom/Snare model required a tension rod to be removed and then refitted, this was accomplished in a few minutes (a Tight Screw tension rod is included in the package).

The larger mounts offered more flexibility in positioning, with a fair degree of adjustment achievable to ensure the mics didn’t intrude into the playing area.

Though a little more restricted, the simpler Tom/Snare mount still offered enough movement to place the mic comfortably. Once in place, nothing wandered over the course of a gig and packing them up at the end of the night was as swift as the initial set-up.

At some point you’ll probably have to consider buying a set of mics for your drums. Whether you are freelance or a member of a band it makes sense to take responsibility for this important area of your sound. On top of all the gear that you are already carting around, a set of full length mic stands is hardly desirable.

Mic Holders are compact, practical and affordable. While they don’t cover every kit component (you’ll still need overhead and bass drum mic stands) the sheer bulk and cost that they save makes them a thoroughly worthwhile investment.



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BR Distribution Mic Holders

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Ludwig Element Laquer Series Power drum kit

Wednesday, July 14th, 2010

Ludwig celebrated last year’s centennial with loads of new products. The previously intermediate level Accent name transferred to the starter range, while the new Element took over, with the Epic on the upper-intermediate slopes.

Ludwig also introduced its ’6/4/5 Program’, with an extra ‘free’ tom thrown in with kits in the Epic, Element Lacquer and Element Standard series. The very good news is, Ludwig is keeping up this offer for 2010.

There are three Elements – PVC (Standard, with plastic wrap finishes), Lacquer and SE (Special Edition). Here we have a Power kit, one of four set-up configurations in the Lacquer series, the others being Fusion, Power Fusion and Emo.

“It’s impressive that Ludwig, with its illustrious history, has honed details which turn a good kit into a brilliant one.”

Build

The Power kit has larger sizes: 22″x18″, 12″x9″, 13″x10″, 16″x16″ and 14″x6.5″ snare drum, plus an extra free 10″x8″ tom. The review kit came in Black-Grey Burst (which has a blue tinge), one of four gloss lacquered finishes.

The shells are a hybrid of Marbled Birch with a Poplar core – an outer and inner hard layer sandwiching a slightly softer middle. The Marbled Birch has a subtle, wavy, watermark-like grain and the lacquered finish is glassily smooth. Bearing edges are a sharp 45 degrees with a single-ply 45 degree turn-over. They’re accurate and well finished.

Our measurements confirmed the shells were round to within 1-3mm, which is fine at this level. Inside they look neat, although we noticed a slight gap at the inner join of the snare shell, with the inner ply not quite sitting flush. Nothing serious, but a warning to keep an eye on quality control.

Ludwig element laquer series power drum kit

Ludwig calls its new lugs Classic Keystones, based on the vintage Classic lug, but incorporating a low mass bridge design. A smaller version graces the toms, a bigger version the bass drum, while there’s a double-ended version on the snare.

Along with all the hardware – bass drum spurs, tom mounts and snare mechanism – the lugs are finished in a thick black powder coat. So thick the metal hardware could almost be mistaken for bullet-hard plastic. The 14″x6.5″ snare has an uncomplicated side-lever strainer which also allows snare tensioning with a drum key.

The new badge is a jolly banner-style affair. It’s a proper badge, but lacks the gravitas of earlier Ludwig badges. We’re probably being old grouches here, though.

The three small toms all have Ludwig’s heavy steel Vibra-Band isolation mounts. Two toms mount off the central bass drum post while the third is bracketed off a cymbal stand. Stands are not included in the package.

(2 pages; go to page: 2)



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Ludwig Element Laquer Series Power drum kit

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Native Instruments Abbey Road 60s Drums

Thursday, June 3rd, 2010

Abbey Road 60s Drums offers two drum kits recorded at Studio Two with the mics of the day tracked through two EMI mixing consoles: the valve amplified late ’50s/early ’60s REDD.17 and the late-60s all transistor TG MkII.

The drum kits have been selected as representative of their eras with the Early 60s model being a four-piece Jasper shell Gretsch with two Ludwig snares and the Late 60s kit an original five-piece 1967 Ludwig Hollywood with Ludwig and Slingerland snares. These kits are completed with a set of ’60s Zildjian cymbals.

In detail

The GUI design uses the distinctive knob and fader designs from the REDD and TG series consoles and the mixer page features a set of individual drum mic channels and three kit channels: mono overhead, stereo overhead and stereo room.

Both drum kits come in three instrument flavours: Full, Lite and Vintage. The Vintage version of each kit only loads the channels that were standard to the Abbey Road mic setup of the day: mono overhead and kick drum for the Early 60s and mono overhead, kick, bottom snare and tom mics for Late 60s. The snare and kick channels are a mixture of top/bottom and inside/outside mic positions respectively, with sliders on the main GUI page adjusting their balance.

The Options page features basic response controls (velocity, key range, randomisation, etc) as well as a Snare Mic Bleed slider to set the level of the other drums picked up by the bottom snare mic, helping enhance realism when only a few channels are used.

This package focuses on excellent sound quality and realism and is uncluttered by the usual plethora of secondary controls. It doesn’t try to slavishly recreate The Beatles’ drum sound and instead makes full use of the unchanged acoustics of Studio Two.

“This package focuses on excellent sound quality and realism and is uncluttered by the usual plethora of secondary controls.”

Both kits sound superb straight off the bat with a great balance of clarity, depth, transient precision and old school ‘body’ (especially the Early 60s kit). Though the direct mic channels sound great and allow for a pleasing dry sound on their own, it is with the overheads and room mics that the sound really sings.

Studio Two is a large room (200m/2 floor with an 8.5m ceiling) and makes for a powerful sound, but the depth quality of the velocity layering enables you to get excellent results in subtler Jazz styles. The quality of the ambience is such that we kept tending to use only the room mics, the mono overhead and the kick drum channel, which, when combined, create a beautifully open and natural tone.

At the other end of the scale, the Late 60s kit also features a selection of Ringo-esque teatowel covered sounds for the snare and toms which, when biased towards the direct mics, creates a lovely dry, tubby, funky tonality.

Summary

Abbey Road 60s Drums’ historic element does not limit its applications, though it can’t do tight, dead, highly processed drums of the sort that you’d use in jazz funk and metal, for example. However, the trend for old school, big studio drum sounds makes this collection as ‘now’ as it is ‘then’. Yes you can sound a bit Beatles, or even like the Shadows, but it allows so much more as it is a well-crafted slice of the tonal character that Abbey Road is famous for.

As for value, this may seem expensive for just two drum kits, but it is a classic and distinctive sound set could see a lot of action in many setups. If classy real drums are your bag then this is definitely a good investment.

Get a taste of what Abbey Road 60s Drums is capable of

Early 60s close
The Early 60s kit utilising the kick drum mic channel (‘out’ position) and mono overhead, which was the standard setup at Abbey Road during the early ’60s.

Late 60s classic
The Late 60s kit using the classic Abbey Road mic setup of the late ’60s: mono overhead, kick mic (‘out’ position), bottom snare mic and individual tom mics.



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Native Instruments Abbey Road 60s Drums

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Cinematique Instruments review

Wednesday, June 2nd, 2010

Cinematique Instruments is one of the latest releases by Best Service. It’s a 2GB samples library focused on “weird, odd and rare instruments which adds a subtle and individual character to your music production.”
The library uses ENGINE, a Best Service player, based on Yellow Tools’ Independence
Pro. The software is available as standalone and plug-in for Mac OS X and Windows (AU, VST, RTAS). The good news is that you don’t need to have an up-to-date powerful CPU to run it. It supports also older PPC machines (talking of Macs, of course).

The sounds

Well, it’s “only” 2Gb but there’s lots of stuff in this package. The developers claim that “they nearly recorded everything they could get their hands on!”, and it’s not far from the truth!

Cinematique Instruments contains:

  • string instruments such as an autoharp, a kantele, a wooden celtic nylon harp, a bowed psaltery, a muted ukulele
  • a nice collection of basic percussion sounds (bongo, chimes, etc.)
  • keyboard instruments such as the low-price, garbage Super-Sound EK-470 e-piano, a Magnus Harmonica Organ, an upright Zeitter & Winkelmann Piano, a Rhodes MKI
  • a glockenspiel and a spieluhr
  • some special sound packs called Glass, Metallic Objects, Experimental Box and Downbeat Box.

Some of the programs are simply wonderful and truly inspiring. The string instruments, for example, have some really great patches. Of course playing the original ones may give you better expression and dynamics possibilities, but if you don’t own such beautiful instruments, well, this is a quick and cheap way to have them on your keyboard. Even some of the simpler patches, like the muted Ukulele, can provide some interesting new textures to your tracks.

Talking of the keyboard instruments, I would have probably not added the Rhodes and the Upright Piano in this collection. There are much better, dedicated libraries out there, and we all know that these are demanding instruments when it comes to sampling. The pump organ, the xylophone and the toy e-piano fit much better in this context, since they provide a quite unique tone. If you like low-fi productions, these are for you!

The Experimental and Downbeat packs feature some of the most original and interesting patches. You’ll get lots of textures, pads, mallets and percussions instruments, from very different sources: doors, staircases, kitchen tools, lids, train stations, glasses, paper crumpling, acoustic and electronic noise, pneumatic doors, crown cap shaking, glitches, noise, hiss, hum and other weirdness. Some of these sounds are dry while some are heavily processed: I’ve loved, for example, the ambient patches featured in the the Downbeat box.
To be fair, there’s some unexpected and probably unneeded stuff here too, like the MS20 patches. I mean, I love the unique tone of the MS20, but these loops and sounds look more like a filler here. A nice add-on is the Outta Space, a lovely sounding theremin-like patch. Too bad it’s not programmed as a monophonic/legato style patch (it seems not possible to achieve that in the Engine’s interface, I’ll ask the developers).

The Engine

In many Cinematique Instruments patches the Mod-wheel can be used to tweak the dynamics of the sound, and the printed manual clearly shows where it can be used (checking the manual is also recommended to know more about the patches that use keyswitching, etc.).
On most of the patches you will find also some useful variations/presets (reamped, tremolo, room, reverb sound), and the Engine interface gives you a complete control over each patch’s parameter (including automation, etc.), with its Pro-Edit window.
There’s also a Quick Edit window, that lets you tweak only the few parameters that the developer has choosen for that particular patch.
Engine worked as expected in my test. The install/authorization method could be easier though. Definitely read the instructions before going on. Especially less expert users could easily get confused with this multi-step process. Also, I’d like to see a more readable/bigger font in Engine’s GUI. It’s not a problem on big displays, but maybe on smaller laptops it could help.

Conclusion

Cinematique Instruments definitely lives up to my expectations (and to its name). It provides plenty of unique and inspiring patches. I’ve already started using some of them on a track I was working on in these days. If you’re a sound-designer, or even if you’re a producer who needs to add some new spices to a song, I’d recommend getting it.
Being a sampled library, there’s no trial version available. But you can listen to some audio demos on the official website. The price-tag can look at first a bit expensive (199 euro incl. VAT), but considering the huge amount of carefully crafted sounds you get, and the fact some of these instruments are quite rare, I’d say it’s fair (and if you’re a pro, it will easily pay for itself).

Price: 199 euro (VAT incl.)

It definitely lives up to its name

Product page

PROS

  • Unique and truly inspiring sounds
  • The sample player it’s not CPU-hungry

LOVE-IT OR HATE-IT

  • Some fillers here and there (but maybe you’ll find them useful, who knows?)

CONS

  • The install and authorization process could be easier

Read the original here:
Cinematique Instruments review

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