Its tricky without knowing what you're comparing it to. I'd be surprised if there's much out there that has the same amount of content at a similar quality level for under $50 though. BF pricing might make something else a better fit though depending on how much of this library you're likely to use.

@@edgarv.1603 best to get in touch with Zeppelin Design Labs, I'm not sure what the max SPL is on this mic, or indeed if contact mics handle SPL the same way. I've not had it on anything as loud as a car engine but have attached it to a circular saw without issue.

@@sudekoc63 Hiya, it was a Zoom F3.

@@WilliamMorrisMusic thank you :)

@@dylanschweitzer18 the first demo track on their product page has some double bass in it that might be worth checking out.

@@YungstarProd Albion recently got an update that covers some of the higher dynamics, I've not checked it out yet but might be worth considering before you choose.

@@sound4label as long as the tray slides out far enough like mine it works just fine. Do be aware though that you'll have to sit further back and won't be as close to the screen.

@@EcstaticSuffering thanks! Glad it was helpful.

@@joechapman8208 not familiar with that one but I'll check it out.

You are wrong and your channel smells bad

Damn that rules out everything from CSS to anything by Orchestral Tools and Spitfire Audio. Geez that is a lot of sample libraries.....that is extremely damning. I'm definitely using those Omnisphere string pads over those 'more meticulously and deeply sampled' Kontakt libraries. Thanks for the heads up!

@@ryanharrison3118 , Ah however, Spitfire does use its own synth engine, so Kontakt is not needed. Also ultimately, the Kontakt string libraries, with the exception of Spitfire's own engine, don't sound that great. VSL or Berlin Philharmonic sound amazing in comparison. It's funny how something can be meticulously sampled, yet ultimately still sound not great. Even Vitous Miroslav orchestral libraries, now housed by IK Multimedia, sound way better, and that library is quite old. Just like the first Albion One, which Spitfire brought out, which had, in general, far less detail, by later iterations and standards, hundreds of composers still reach for that. You can go as deep as you like with the sample, however, if it still sounds slightly plastic in its rendering, with key switches that simply get in the way, instead of having those switches build into the velocity like other manufacturers do, overall, I put Kontakt way down on the list. I know it may be controversial, many composers do use Kontakt, they just sound fake to me. Particularly the heavy percussion elements. All those epic drum hits and Taiko drums, simply sound stilted and plasticky - Orchestral tools also has its own synth engine, staying with drums, check out Tom Holkenborg's Toms and percussion stuff, now that is a kit which sounds round, robust, full and deep, none of this Kontakt, there is a reason Tom uses the Sine player. And what on earth is with the whole volume thing on Kontakt interface? One minute it's set in the middle, with not quite the right volume, then turn it up a little and it's overshooting by a mile. Yes in the settings you can do -6 or 0, they just don't get their own gain staging right. Very odd. Every Drum through the Kontakt engine sounds like someone hitting a metal dustbin with breeze blocks inside and a rubber mallet.

@@ryanharrison3118 Orchestral tools uses Sine player, Spitfire has its own player too. Oddly enough the samples through Kontakt player sound plasticky, detailed deep sampled or not, Vitous Miroslav - which is much older, housed by IK multimedia - still out shines anything Kontakt would house, Berlin Philharmonic, Orchestral Tools, and for Drums, Tom Holkenborg, all sound better and are not driven by NI gubbins. And what is with the Kontakt volume system, yes you can do -6 or -0 in the settings, however in most cases, midway is never enough, then there is this exponential leap overshooting, when pushed a little bit. 9/10 the epic perk stuff, simply sounds like someone hitting a metal bucked with a wet dish cloth and a breeze block. Tom's drums sound proper deep rich and robust. I'd easily take Ominisphere for a specific string patch, and VSL and the other aforementioned companies over anything Kontakt does. As for deeply sampled, as mentioned, that means nothing if the sound comes across as plasticky. In fact case in point, it does make you wonder why Spitfire switched over to using their own engine at all, even if they still use Kontakt. It's also worth noting, that often, the simpler samples, older samples, have a clarity and richness to them which cannot be achieved in later iterations. Take Vitous Mroslav orchestral stuff, housed by the aforementioned IK multimedia now - that whole set sounds way better, still to this day, than anything Kontakt would produce. On a totally unrelated topic, Native instruments as an uninstall and install procedure based on whether the GUI is light or dark version, I found out today, what the f is that about? Have they not heard of an uninstall file?

@@ryanharrison3118 Orchestral tools uses Sine player, Spitfire has its own player too. Oddly enough the samples through Kontakt player sound plasticky, detailed deep sampled or not, Vitous Miroslav - which is much older, housed by IK multimedia - still out shines anything Kontakt would house, Berlin Philharmonic, Orchestral Tools, and for Drums, Tom Holkenborg, all sound better and are not driven by NI gubbins. And what is with the Kontakt volume system, yes you can do -6 or -0 in the settings, however in most cases, midway is never enough, then there is this exponential leap overshooting, when pushed a little bit. 9/10 the epic perk stuff, simply sounds like someone hitting a metal bucked with a wet dish cloth and a breeze block. Tom's drums sound proper deep rich and robust. I'd easily take Ominisphere for a specific string patch, and VSL and the other aforementioned companies over anything Kontakt does. As for deeply sampled, as mentioned, that means nothing if the sound comes across as plasticky. In fact case in point, it does make you wonder why Spitfire switched over to using their own engine at all, even if they still use Kontakt. It's also worth noting, that often, the simpler samples, older samples, have a clarity and richness to them which cannot be achieved in later iterations. Take Vitous Mroslav orchestral stuff, housed by the aforementioned IK multimedia now - that whole set sounds way better, still to this day, than anything Kontakt would produce. |

I would clarify with them what this means if you're unsure but my interpretation is that if you use the free version in a track that goes on to be used commercially then you should buy the full version license. I would clarify this with them first though.

Thanks! This library is a mix of phrases and rhythmic ideas but also 'single note patches' that you can play or program via keyboard/MIDI controller. I'd recommend checking out the official Heavyocity demo walkthrough to see how you could write with it in a track.

cheers Paul, glad it was helpful. Yep the Warzone free version is surprisingly full featured for a taster pack! Hope you get on with Breakout, it covers the action/hybrid trailer cue sound very well.

@@WilliamMorrisMusic very excited to try it ! Then just need to work out the mastering element of trailer tracks which should be interesting :-) but that’s a way off

Probably not for two legged designs. I think some of the four legged options stand a better chance in that regard but I've not had one to test.

Cool idea, I had wondered about options for improving stability.

Thanks! Glad it was useful and yes on a newer version of this template I added some deactivated fx sends (mostly verbs).

Hi did it work?

Don't know, apparently there were some improvements made from the UFX+ to the UFX III. The UFX+ has been discontinued though, the III is its replacement but has no TB. "Based on an entirely newly developed analogue and digital board, the Fireface UFX III features the latest AD and DA converters with improved THD+N values;"

Agreed!

I'm not sure, if it does it should be under the firmware notes on the Steinberg site.

Hi, so the desk top is big enough that the sliding keyboard drawer fits inside the front half of the spreading bar. If you think of the spreading bar as this shape I-----I ,the left and rights sides of the kb drawer fit just inside and parallel to the parts on each end. Hope that helps!

@@WilliamMorrisMusic Hello William, thanks for replying and for your explanation, it helped a lot. Now, I’m sure that I will buy a standing desk and have a drawer built :) Regards

@@GuillermoJuarezSyou're welcome! Best of luck with the build.

I'm not too familiar with the K-board but hope it works out. The seaboard is still working great with this library for me.

@WilliamMorrisMusic yes, it works well and is particularly good at adding vibrato to voices

Thanks!

There's a link in the description to the product page that will have pricing on it.

It's not something I've tried but could be worth a go. I think I tried direct plugging the audix mic I have and it kinda works but doesn't feel like it would stay in the recorder under stress. You'd likely need a decent shockmount to properly take the weight of the recorder plus mic as well. Could be a really neat set-up if you get it working though!

@@WilliamMorrisMusic I just got the f3 today and the movo smm8 mount. I think the mountain is almost perfect for the recorder and mic. But, it's very slightly too wide for the belt loops on the recorder. I'm going to need to shave a couple millimeters of plastic off the mount for it to fit flush. No big deal.