Eduard Telik

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

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.

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). Exactly :)

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

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. Grüße zurück and a lot of fun with the thing. 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. 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: 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