Eduard Telik

46 minutes ago, Solidos said:

@Eduard Telik Just a heads up, bedroomproducersblog posted an article about your ETI Roads so there's probably coming a bit of a traffic increase your way. It's a pretty big blog, especially when it comes to free stuff. You might be lucky that many of the users don't have Full Kontakt, but they'll probably download it anyways 😉

Thanks for your work!

Ah yes, time to crash both my google drive and my dropbox again.

2 hours ago, Lionel said:

Has anyone successfully downloaded this? I’ve tried about 4 times downloading via direct download in my browser. And I’ve tried multiple times using a download manager. All attempts have been unsuccessful for me. I’m able to get around 4 or 5 GB downloaded… but then the download just ends abruptly and I’m unable to resume. I’ve been trying to dl this since this post was originally posted =/ I’ve got a pretty reliable broadband connection too.

Anyone else having trouble downloading?

This sounds like a problem on your end. I have set up links for both the Dropbox and Google Drive download now, but if a link wont work, it won't let you download at all. Check if you have enough space left to download the files, that your internet connection doesn't have problems or try another browser.

5 hours ago, satya said:

Can we use them for commercial purposes 

You can use the sample library for commercial and non-commercial music and a/v productions. 

What you are not allowed to do is "repack" the sample library and e.g. make another sample library out of it... (and then maybe even sell it).
 

2 hours ago, MusicMan said:

Yes, he did comment on that to confirm 🙂

I would imagine the samples / sounds can't be resold (and shouldn't be anyway really IMO), but the instrument should be fine to use in any of your commercially released tracks, or productions.

Exactly :)

1 minute ago, antler said:

Thanks for sharing your hard work so openly. If this project was recorded using your university's equipment (and as such you're forbidden from profiting from it), does it also mean that this library cannot be used for commercial purposes by others?

In my case, this is a hypothetical question (as nobody would be wanting to buy my music), even if I got around to finishing my projects.

I do not see why not. I do not think that there was ever such a case in the entire history of our university of "2nd hand" usage of recorded material for commercial purposes... We are talking about a sample library after all.
This clause is mainly to not take jobs away from other studios, by offering high quality recordings basically for free. Other studios have to pay for their equipment ect... us students don't.
Use it freely

4 minutes ago, antler said:

Well, let's hope it impresses/impressed Eduard's course examiners, as that's what it was originally created for.

It was impressive enough for them to give me the highest grade for it, soo.....

11 hours ago, BTP said:

Google has already temporarily blocked downloads but it seems to reset every 24 hours so you can probably leave the files there.

I have noticed that. I should sooner or later wrap my hand around the most cost efficient method of hosting those files, as this library seemingly is gaining tracktion right now.
 

8 hours ago, Peter Hintze said:

Hi Eduard,

thank you so much. It looks promising. I will try it our as sson as the download has finished. Viele Grüße aus Berlin.

Peter

Grüße zurück and a lot of fun with the thing.

 

8 hours ago, Niky Serrano said:

According part of you comments, and if it is interesting for your thesis, I am very curious about the flow you followed and how to do that from the concept/idea until to put all in value with the instrument finally done

Other people that create libraries, hide part of the process or tell it a little, but not in dept. For me, the part about recording, de-noising and editing of samples is the most interesting

If you decide to put this in your thesis or you publish it, let me know to learn how could I do this in a future if I take some of time in my life

I wanted to tell you, that the link to the thesis is on the webpage, but after checking, it seems that I have forgotten to add it. Sorry for that, now there is a link in the "History" section of the webpage, unforunately it's all in a strange and peculiar langauge called "german".
The thesis basically deals with the exact issue that you are putting out here: What information do we get from sample library creators, and how do we deal with aspects of the production of a sample library, that are not mentioned anywhere. If for whatever reason the information detailed in the thesis are not enough for you, feel free to ask me! After all, the purpose of research is also to enrich public knowledge.
 

1 hour ago, kitekrazy said:

96KHz is not going to impress anyone except those in storage sales. 

I have the 8dio VIP versions of their libraries.  I switched back to their lower bitrate versions because I would delude myself thinking there was a difference.

Storage sales are not my thing really. As you may have noticed, I have not earned any money from this product (even though I had opportunities to do so), nor am I planning to.

Your argument is of course valid: The difference between 96kHz and lower samplerates could be called marginal, mostly when you record with microphones that do barely reach over 20kHz, listen to speakers with barely a range above 20kHz and, of course, listen with ears that in young age only percieve frequencies in that range. However, you should ask yourself another question: Why do a lot of plugins and DAW features work with internal oversampling?
Nyquist is of course right, but we cannot forget that aliasing and imaging artifacts still exist in recording, even more so if you use cheaper A/Ds and D/As. The same goes for digital processing.

I do not have really much time right now to go through that process, but would you be willing to download it, once I have a 44.1/48k - 16 Bit version ready for distribution?

Developer here! Quickly made an account to join the discussion.
First of, it is really nice to see the resonance this library is getting right now. I already had to switch from hosting the files on Dropbox to hosting them on Google Drive, as Dropbox had at one point locked my account because of too much traffic. I hope that Google won't do that too.

I also appreciate all the feedback that I am getting from different sides, and would like to adress some of the issues regarding the ETI ROADS.

File Size and File Format: When I started the recordings for this project, I had to make decisions real quick. One of them was choosing the sample rate for recording. I wanted to leave myself open regarding if I want to use a higher sample rate or not. I could go and downsample everything at a later point, but during the rest of the production it escaped my mind, as there were other, more serious issues. The reason for that would be that the production for the first release candidate had to be done in 3 months, from the conception, preparation of the instrument, recording, de-noising and editing of samples, Kontakt integration, scripting, GUI design, ect ect... as this was part of a bachelors thesis, which leads to the next issue that was brought up:

7 hours ago, PavlovsCat said:

For those who want a smaller library, I would suggest contacting the developer and offering him something to make a smaller size version. If he could set up a way to donate, I think it would be worth a donation. I don't think something like $5 USD or $10 USD for a library like this would be much to pay.  

Budget and Payment: As this was created with recording equipment from my university, I am not allowed to use the recorded samples for any commercial purposes. That is why this sample library is free and always will be. I will not take any dontations for this project either.

This doesn't mean that I won't might take my time and work on an "Ordinary Mortals-Res" version of the ETI ROADS in the future, it just might take a while. The sample rate conversion itself isn't a huge issue, but because I want this library to work down to a Kontakt 5 version, I cannot use the Kontakt Developer Tools, which would allow me to replace samples automaticaly in a few minutes. Instead, I have to drag and drop sets of the samples into Kontakt, then MANUALLY enter the pitch and gain correction values that I need. And this will be hours of hours of entering numbers for each samples. I have already done that once, to make this available for Kontakt 5 users.

I am really looking forward to more of your feedback, suggestions and general resonance. It makes me really glad that this won't be another project, that just disappears onto some university archive computer and will never see the light of the day again, as has happened with other projects from my uni.

Cheers,

Eduard