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There are two ways around it though - either you don't use it at all, or you use it until it's a natural part of your workflow and it doesn't get in your way. If the latter is what you can truly say about yourself and computers, good for you. That was not my experience. Not because I could not do ...

It's become more and more clear to me that we mean different things when we say "composer". I automatically assumed you need to deliver finished audio. Perhaps because in my world of pop music "producer" and "composer" are often used interchangeably. If you're old school and just deliver score that ...

"A few years" is kind of a stretch though. It is, indeed. I wish I had realized what I realize now, about computers, much sooner. I would have used the time I wasted in far more profitable ways. To me it's been mostly a waste of time. Again, there's nothing, musically speaking, that I can't do ...

Oh, and by the way: I truly believe that instead of splashing out on Eastwest libraries, it's a FAR better idea to spend the money on Greenberg's courses. I promise, whoever does that, will never be a half-baked musician again. I am not of course referring to anybody here. But many of us worry too ...

here's an interesting article by someone whose lectures I learn a lot from, and he's a top notch composer too. He's what I define a 'real composer' rather than a 'working composer'. Not that a 'working composer' isn't a real composer. And I am a bit of that too. But to me is the 'real composer' that ...

SanderXpander wrote:virtually all of those processes are so much easier on the computer

Jesus Christ, not again. It's like a recurring nightmare. Someone please kill me now



No, seriously...I respect your opinion too. We'll just agree to disagree.

Epictetus, am I understanding correctly then that you mix and master everything on your workstation? That you score to video using a workstation? That you write your parts by hand for your performers to play? Yep! :) I don't understand why you find it so strange. That's what composers were doing ...

If you don't like Play, you can always use VSL, LASS/Kontakt, Garritan, etc. No thanks :lol: Besides, I already tried most of everything. If I had to choose, I'd choose Kontakt and what is available for it. But overall: I am no longer interested in computers. For me it's been a huge waste of time ...

ok, thanks. So it means that sf2 has no particular advantage compared to WAV, except for the additional data about basic keymapping having already been done, etc.

I respect your opinion, however I would say you're by far in the minority. I would also like to know how you handle things like spiccato, slurs, runs, accents and legato playing on a workstation. I do it on the computer and while it is true you need to "learn" some key switches you don't actually ...

The programming/mapping data that goes into an SF2 is pretty minimal compared to the audio data. It's basically a text file that says which sample goes where. I'd be surprised if it'd be over 1kb even but maybe that's too optimistic. Your HD/SSD cluster size is probably at least 4kb anyway and it's ...

and I will also add that Eastwest values their customers as much as someone who works in a supermarket values the cans he's stacking on the shelf. Their demos are impressive, I'll admit that. But so is the picture of a BigMac hamburger....and a good picture, good food does not makes :) Composers who ...

thanks for your input.

based exclusively on Musicians fingers and controllers that they are used to work with ! [/b]. Right on, Anthony. The artificiality and weirdness offered by most software intended for musicians is completely ineffective, because again, it's made by computer nerds. And so many people get caught in ...

also, the Play VST from Eastwest is a right piece of crap. Incredibly rough, basic and primitive. Can't do a damn thing with it, all you can do is load the sound and pan it and raise or lower the volume. 30 dollars a month? I would not pay 30 dollars a year for Eastwest :lol: I don't like computers ...