Tapsa Kuusniemi

Well Red Room Audio just released a set: https://redroomaudio.com/product/traveler-series-bodhrans-bones/

In honor of getting the Top Pick from Sample Library Review the intro offer of 35€ (excluding VAT) will be continue for 10 days until the 10th of March! After that the full price will be 49€ (excluding VAT). ---- I’m proud to announce my first official release with Man Makes Noise's The Lobby Piano. As this will be the first thing I release I kept pondering what should it be. And so I had a thought no sample library developer has ever had: let’s make a piano library. I know, I know. The world really frigging doesn’t need another deep sampled piano library with a hundred microphones to choose from. So I didn’t make one. Instead I made you something very different. The Lobby Piano is an exploration into what a piano can be. A collection of sound design piano tones ranging from experimental playing styles to completely recharged sound explorations. The Lobby Piano is at home in pretty much everything you do. It’s not really a piano anymore. Really it isn’t. I recorded sounds from a single piano (located in a lobby, duh) with an assortment of orthodox and unorthodox methods and tools (a hammer and a keychain were involved among other items). Still this is not an effects piano nor a prepared piano. It’s a designed piano. The Lobby Piano contains 200 patches with 296 original soundsources. The patches are divided into 13 categories that are easily identifiable within Omnisphere. Today I tease you with the first official demo for the product composed by Stephan Baer using only sounds from the library: The second demo to tease the library is some post rock goodness from Posthouse Tuomi. Dressed and Naked version to show The Lobby Piano in context and the sounds as they are: Also more details about the contents on the The Lobby Piano: ALARMS - 7 -Scream type of sounds. ARPS - 22 - Tonal and rhythmic movements. ATMOSPHERES - 16 - Tonal long ambient sounds. BASIC PIANO SOUNDS - 10 - Single soundsource instruments displaying the variety of recorded sounds. BASSES - 10 - Low end stuff. DESIGNED - 8 - Piano + another sound combined into designed instruments. FX - 10 - Non tonal sounds go here. Most of the riser sounds are controlled by modwheel to allow you to create the length of riser as it suits you! HITS - 8 - Big hits. KEYS - 43 - Layered keyboard sounds. PADS - 35 - Long tonal pads. PERCUSSIONS - 20 - Percussive loops and instruments. PULSES - 6 -Rhythmic pulsing elements. SYNTHS - 5 - Here are sounds that started as a piano, but were transformed into synth sounds outside of Omnisphere and then brought back for further mangling. The Lobby Piano requires Omnisphere 2.5. The library will be released on Wednesday the 30th of January 2019. I have a free set of 10 patches available at: https://www.manmakesnoise.com/freebies

I'm quite interested in this as I can see so much potential for misuse of this thing...

No need to feel bad, Adagio in D Minor is one of most copied pieces of recent years (I believe yours was not intentional). One needs only to listen the score for Battle Los Angeles to hear pretty much a straight copy...

To my ear this has too much of John Murphy's "Adagio in D Minor" on the melody to feel comfortable. But looking past that: The percussion feels way bigger than the actual orchestra. The high strings particularly are pushed too much to the back. Also some of bigger percussion hits come about quite abruptly. The male choir could be more present, it would give much more backbone to the track. Structurewise I feel this didn't quite go to full on climax you'd expect.

But the MP3 would sound so much better on vinyl.

I think this really matter only when you work with sound design. When you change sounds heavily the more information you have to manipulate matters. For most other things 48khz is quite enough.

The point of the Bergersen track is the cohesion of elements and the full bandwith of material coming at you making everything sound very huge. Yes the percussion in "Final Frontier" is different but the scope and size of the track is simply massive. The synth you have chosen sounds very much like brass and as such is compared to real brass in the listeners mind. Maybe choose a different kind of sound? Maybe have grittier synth sounds? One thing that I find lacking (this is highlighted by the new mix with the heavier drums) is the bass. There's nothing there which makes everything feel quite unbalanced. Also the synths are loud compared to the percussion (and the percussion seems to be the think you are concentrating on).

Here's my two cents. The brass is way too loud compared to everything else and the drums are too silent and feel too small for trailer/epic style. Also the brass is way too dry and actually feel out of place as most of the other instruments are electronic. The sound in all together is too light and thin, it needs more mass and power. Just keep adding layers and layers until you think you can't anymore and add one more layer. Maybe take a listen to Ninja Tracks, they have some excellent orchestra free trailer tracks. Also maybe check out how Thomas Bergersen makes electronic and orchestral elements work together in "Final Frontier" (used in the campaing for Interstellar): With the epic / trailer style always shoot for overkill!

Ah, getting first demos in from composers for the full pack. And oh my. Can't wait to share them.

Well another one for tonight. Probably the best piece of swash buckling music ever made (and one of the best pieces of music composed by Hans Zimmer):

Also this that really should be something more serious than a Disney movie: Damn you Alan Menken.

I think he used his Schwartz.

This is the reason why my usage of Reaper is at a minimum. The setting up is just too much work, and I like to tweak my DAW and instruments...

Very nice ideas! Jumping on the colonial aspect I would take things a bit further still. I would take out the bigger orchestral instruments out of the beginning and focus on the woodwinds and percussion. Bring in the piccolo flute, I was waiting for that. And make the beginning a bit more subdued so that when the orchestra comes in you get a real burst of energy. (Dynamics, again :D) Also the middle part could be a bit quieter with the flute in the foreground and the strings down to a shimmer. And let them rise slowly towards the end of the middle part.

I personally love Hyperion Strings Micro for their sound. Crisp and clear and great for layering. The content is a little limited (duh) but I find it a great little instrument. I'm impatiently waiting for the elements and full versions of Hyperion Strings (SoundIron is taking way frigging long with those, damnit).

Reaper has gained quite a bit of professional ground, with quite a few game companies only use Reaper for both sound and music.

The browser is probably the worst part of Sonar/CbB. I never used it in Sonar/CbB but in every other DAW it is heavily in use.

Glad to hear that.

This has the potential of being a real booster for people. Project SAM makes quality stuff.

Hey there! In advance of me releasing my first commercial sound library I give you a chance to check out some of the patches as a freebie. 10 hand selected patches from the 200 of the full soundset. I spent quite a bit of time torturing a poor piano that sits alone in a lobby. These 10 patches contain 19 original soundsources so everything is unique. The full library will be released, well, not going to say a date but probably within a month. Enjoy! Man Makes Noise - The Free Lobby Piano Download

These are excellent. I prefer the declip in the Acon plugins more than the one in RX. For this price I would add these. No one tool for these tasks, some fare better at one kind of a job, another in a different.

I tend to use the full ReMatrix, but it might a bit overkill for most things. I've heard good things about Audiothing's Fog Convolver.

Very nicely structured and a fun journey! I have only one niggle and that is that before the beat comes in the compressing/limiting bite a little too hard on the track. There are spots that sound a little crushed (just very minutely). I would let the beginning go a bit more natural than it is now.

Sounds quite nice. You have developed quite well. Doesn't feel clunky in anyway. What I've been saying to you before and I'm going to say it again: Dynamics. The flute is so dominant that it needs to breathe more. Now it drowns much of the other instruments.