OT: IK Virtual Instrument plug-in for only $199.99 each!!!

[HapHazzard]

Here's what they sent me and with MWS it's hard to pass up.

Product
List Price
Promo Price
Savings
Miroslav Philharmonik (http://iknewsletter.com/ikmailer/lists/lt.php?id=fkUEUAVdBwQCA0QBVgVJBQ4FVgI%3D)
$599.99
$199.99 now
$400.00 save
SampleTank 2.5 XL (http://iknewsletter.com/ikmailer/lists/lt.php?id=fkUEUAVdBwQCAEQBVgVJBQ4FVgI%3D)
$499.99
$199.99 now
$300.00 save
Sonik Synth 2 (http://iknewsletter.com/ikmailer/lists/lt.php?id=fkUEUAVdBwQCAUQBVgVJBQ4FVgI%3D)
$399.99
$199.99 now
$200.00 save
SampleMoog (http://iknewsletter.com/ikmailer/lists/lt.php?id=fkUEUAVdBwQCDkQBVgVJBQ4FVgI%3D)
$229.99
$199.99 now
$130.00 save
SampleTron (http://iknewsletter.com/ikmailer/lists/lt.php?id=fkUEUAVdBwQCD0QBVgVJBQ4FVgI%3D)
$229.99
$199.99 now
$130.00 save

Having Lots-o-fun as it is now.

Hap

[MMP]

I can't see a way to get these prices following the links....any idea?


Regards,

MM

[HapHazzard]

It might be for registered users:confused: Or is it one of those "Offer valid only for North, Central, South American and Canadian users"

Somebody try this link. http://www.ikmultimedia.com/Main.html?viextra/index.php

Tell me if you can see the promo

Hap

[MikeDee]

It might be for registered users:confused:

Somebody try this link. http://www.ikmultimedia.com/Main.html?viextra/index.php

Tell me if you can see the promo

Hap

I sent for the coupon via the link. Thanks, Hap! Lessee what they send me.... :)

Best regards,

[mako]

Yes Hap - the promo's there but:-

"Offer valid only for North, Central, South American and Canadian users"

Oh well

mako

[HapHazzard]

Yes Hap - the promo's there but:-

"Offer valid only for North, Central, South American and Canadian users"

Oh well

mako
Have someone buy it here and mail it to you.

You never know.:)

Hap

[HapHazzard]

Got it! And now I'm broke again!
http://www.philharmonik.com/Picts/product/MP_Interface.jpg
Hap

[Dave Labrecque]

Got it! And now I'm broke again!


Hap


How'd you get around the geography issue?

[HapHazzard]

How'd you get around the geography issue?

http://farm1.static.flickr.com/30/38286805_3b17e10675.jpg?v=0 (http://maps.google.com/maps?f=q&hl=en&geocode=&q=Fresno,+CA+93704&sll=36.777117,-119.806252&sspn=0.139146,0.2211&g=Fresno,+CA+93704&ie=UTF8&ll=36.785092,-119.798355&spn=0.139131,0.2211&t=h&z=12)
Cause I lives in da middle of Fresno Cowafornia
Mooooooo'a! :D

Hap

[MMP]

I also was able to get the coupons.

I think I'll get at least one of the instruments.

Thanks for thinking of us!

Regards,

MM

[Dave Labrecque]

http://farm1.static.flickr.com/30/38286805_3b17e10675.jpg?v=0 (http://maps.google.com/maps?f=q&hl=en&geocode=&q=Fresno,+CA+93704&sll=36.777117,-119.806252&sspn=0.139146,0.2211&g=Fresno,+CA+93704&ie=UTF8&ll=36.785092,-119.798355&spn=0.139131,0.2211&t=h&z=12)
Cause I lives in da middle of Fresno Cowafornia
Mooooooo'a! :D

Hap

Oh -- North America. Duh. :o

[Warren]

http://farm1.static.flickr.com/30/38286805_3b17e10675.jpg?v=0 (http://maps.google.com/maps?f=q&hl=en&geocode=&q=Fresno,+CA+93704&sll=36.777117,-119.806252&sspn=0.139146,0.2211&g=Fresno,+CA+93704&ie=UTF8&ll=36.785092,-119.798355&spn=0.139131,0.2211&t=h&z=12)
Cause I lives in da middle of Fresno Cowafornia
Mooooooo'a! :D

Hap

Hey Hap I was just by there monday went to Medera (Spell Check) at the Childrens Hosp, sick kids and all.

[Sean McCoy]

Oh -- North America. Duh. :o
Understandable. California often does seem like its own continent. And someday it could actually be one!

I've never been a fan of Sampletank, but I do have some of the old Miroslav stuff, some of which is extremely nice even by today's standards. $199 for that entire library integrated into a plugin is pretty tempting....

[MMP]

Yeah, the Miroslav...that's the one I ended up buying. Downloading the 7 gigs now.....

Regards,

MM

[Bob L]

I uninstalled my Miroslav after listening close to sustained strings... they had an incredible wratcheting gritty sound that was just not acceptable.

Check this out and make sure that has been fixed in your version... although, I have a funny feeling it was the sample processing itself that created the artifacts... which means it is probably still there.

Bob L

[Dave Labrecque]

I listened to the Miroslav demos, and I could really hear the samples. They didn't have an authentic sound (like a real orchestra) to my ear. Is this just poor MIDI programming, or is that pretty much the limitations of Miroslav -- or of orchestral MIDI/samples in general?

[Tim Miskimon]

I have several string packages including Garritan & Miroslav.
I love them all.
I really don't hear the grainy sound in Miroslav several have mentioned here and I am quite critical when it comes to string sounds.
Real strings do have a grit to them which makes them cut - it all depends on how closely they are mic'd.
I mean the coolest thing about strings on rock records such as I Am The Walrus is the grit and attack.
I understand that you might not want that in a mellow classical piece.

I'm wondering if the grain you are hearing are the converters you are listening to them back on?
I don't hear it through my Apogees.
What converters are you listening to them on?
I believe several here are using the Behringers which frankly sound grainy to me anyway.
Also the demos on their website are stinking MP3 files.
I wouldn't make a critical judgement by listening to an MP3 file through computer speakers.

[MMP]

There is no doubt in my mind that the Miroslav collection is getting surpassed these days in terms of realism. But, in the whole collection there is certainly enough stuff I can see using to justify a $200.00 purchase.

I still use Mellotron strings from time to time.

IMO every tone of every instrument can be right in some context (even bad tone). It may be the gritty strings would work well in a score that is meant to irritate, or reinforce a scene's depiction of mental unrest.

But, I actually haven't played with the collection yet, so I have yet to really form an opinion about it's overall usefulness.


Regards,


MM

[MMP]

I tend to write themes for each character. ;)

Regards,

MM



For example, if scoring a film made about this newsgroup:o

mark

[HapHazzard]

I uninstalled my Miroslav after listening close to sustained strings... they had an incredible wratcheting gritty sound that was just not acceptable.

Check this out and make sure that has been fixed in your version... although, I have a funny feeling it was the sample processing itself that created the artifacts... which means it is probably still there.

Bob LI'm working on a writer's song where a string section will be used. After the arrangement is done I'll bounce out the individual sections and a few solos strings from each section to layer on top of the whole orch. No effects on the bounce but if I can afford it (if I can get a day job soon:() I'll use a IR program to place the players behind and about the image. By that time it should calm down the grit (might not be there. You never know).

As someone who is still very fresh with midi VSTi, the IK is a great deal for me. I don't thing I could find a full blown orch for $200 these days. Then later if I get a hit (Ha) I'll look into the big stuff.

Hey I found a conductor here in Fresburg :D
http://www.humboldtmusic.com/panache/images/BrianKenneyFresnoPic.jpg (http://www.bonghitrecords.com/mp3***37;27s/Too%20Much%20Coffee.mp3)
Man he stinks!

[Bob L]

The grit I experienced is like a very bad intermodulation distortion when playing chords with any of the string patches... single notes sounded ok... a little harsh for my taste, but no distortion... chords... horribly unacceptable.

Bob L

[HapHazzard]

The grit I experienced is like a very bad intermodulation distortion when playing chords with any of the string patches... single notes sounded ok... a little harsh for my taste, but no distortion... chords... horribly unacceptable.

Bob LI'll be checkin' that out.
Cheers and on with the madness!

Hap

[Dave Labrecque]

I have several string packages including Garritan & Miroslav.
I love them all.
I really don't hear the grainy sound in Miroslav several have mentioned here and I am quite critical when it comes to string sounds.
Real strings do have a grit to them which makes them cut - it all depends on how closely they are mic'd.
I mean the coolest thing about strings on rock records such as I Am The Walrus is the grit and attack.
I understand that you might not want that in a mellow classical piece.

I'm wondering if the grain you are hearing are the converters you are listening to them back on?
I don't hear it through my Apogees.
What converters are you listening to them on?
I believe several here are using the Behringers which frankly sound grainy to me anyway.
Also the demos on their website are stinking MP3 files.
I wouldn't make a critical judgement by listening to an MP3 file through computer speakers.

So far, I think Bob's the only one commenting on "graininess" or the like on Miroslav. My criticism of the demos was that they sounded like MIDI-sequenced samples, rather than a real orchestra. Not sure how to specify that. But you know when you can tell something is sampled and not real? That's it. It's in the articulations.

I wonder if that's just Miroslav (and perhaps others), or if it's an inescapable aspect with today's state of the art of MIDI and sampling.

BTW, I'm listening on my DA7 console's converters through HR824's. But it's not a subtle thing like 'graininess'.

BTW, in Geoff Emerick's autobiography he talks about making the choice to close-mic the strings for 'Eleanor Rigby' in his ongoing quest for new and different sounds. He wanted the bite of the strings, he says. All against the EMI policies at the time, he's quick to add. My hero. :rolleyes:

[Ian Alexander]

Oh -- North America. Duh. :o
I can see why you might wonder, though. Canada is in North America, too, but it's listed on its own.

[Grekim]

BTW, in Geoff Emerick's autobiography he talks about making the choice to close-mic the strings for 'Eleanor Rigby' in his ongoing quest for new and different sounds. He wanted the bite of the strings, he says. All against the EMI policies at the time, he's quick to add. My hero. :rolleyes:

Man, the sound of a bowed acoustic bass part on, I think track 4, of McCartney's Chaos and Creation in the Backyard release a couple years ago is just plain goose-bump inspiring. Been listening to that this week.

[Sean McCoy]

My criticism of the demos was that they sounded like MIDI-sequenced samples, rather than a real orchestra. Not sure how to specify that. But you know when you can tell something is sampled and not real? That's it. It's in the articulations.

I wonder if that's just Miroslav (and perhaps others), or if it's an inescapable aspect with today's state of the art of MIDI and sampling.
Even the very best sample libraries have limitations to their perceived realism. I have the VSL Special Edition, which, though not their multi-thousand-dollar-top-of-the-line, includes multiple, key-switchable articulations for every instrument and beautiful sound. If programmed and mixed with great care it can create some stunning simulations. But I still have to avoid attempting certain arranging techniques that expose the weaknesses of the library. Knowing these weaknesses and taking lots of time to tweak the sequences is key to getting the most out of all sample libraries.

Over at Northernsounds.com there are some absolutely amazing library-based mockups of actual classical pieces by Debussy and others. But in addition to the ridiculous amounts of time necessary to get these results, the trained ear can still pick up hints of sampledom. We've come a long way since the Ensoniq Mirage, but ain't nothin' like the real thing, baby!

[Dave Labrecque]

Man, the sound of a bowed acoustic bass part on, I think track 4, of McCartney's Chaos and Creation in the Backyard release a couple years ago is just plain goose-bump inspiring. Been listening to that this week.

I should listen to that disc again. I remember having a real love affair with it when it first came out. I loved the overall moodiness of it. It was a nice contrast to McCartney's typical stuff (which I often love just the same), though perhaps he's been doing less of that ('typical stuff') in the last decade or two.

[Dave Labrecque]

Even the very best sample libraries have limitations to their perceived realism. I have the VSL Special Edition, which, though not their multi-thousand-dollar-top-of-the-line, includes multiple, key-switchable articulations for every instrument and beautiful sound. If programmed and mixed with great care it can create some stunning simulations. But I still have to avoid attempting certain arranging techniques that expose the weaknesses of the library. Knowing these weaknesses and taking lots of time to tweak the sequences is key to getting the most out of all sample libraries.

Over at Northernsounds.com there are some absolutely amazing library-based mockups of actual classical pieces by Debussy and others. But in addition to the ridiculous amounts of time necessary to get these results, the trained ear can still pick up hints of sampledom. We've come a long way since the Ensoniq Mirage, but ain't nothin' like the real thing, baby!

Thanks for your expert take, Sean. The odd thing is that I'd expect the company demos to be arranged and tweaked so as to downplay such limitations. That doesn't seem to be the case.

I guess I'm looking for someone to talk me into buying the Miroslav. Is it regarded at a good value, as some have indicated, at $200?

[Sean McCoy]

Thanks for your expert take, Sean. The odd thing is that I'd expect the company demos to be arranged and tweaked so as to downplay such limitations. That doesn't seem to be the case.

I guess I'm looking for someone to talk me into buying the Miroslav. Is it regarded at a good value, as some have indicated, at $200?
If the old library is well-integrated into an intuitive player engine that allows for instant access to multiple articulations, then I think the quality of the original samples would make $200 a good value. Some of the woodwinds, in particular, sounded very nice. If your current orchestral library is weak and you find yourself doing that kind of arranging regularly, I'd go for it. What are you using now?

[Dave Labrecque]

If the old library is well-integrated into an intuitive player engine that allows for instant access to multiple articulations, then I think the quality of the original samples would make $200 a good value. Some of the woodwinds, in particular, sounded very nice. If your current orchestral library is weak and you find yourself doing that kind of arranging regularly, I'd go for it. What are you using now?

I've been using the stuff that game with Gigastudio and GVI (mostly from the Vienna Symphonic Library). I don't have the need all too often. But when it comes up next, it would be nice not to have to spend a thousand bucks. :)

[HapHazzard]

I've been using the stuff that game with Gigastudio and GVI (mostly from the Vienna Symphonic Library). I don't have the need all too often. But when it comes up next, it would be nice not to have to spend a thousand bucks. :)Wasn't there a IK demo? (http://www.philharmonik.com/Main.html?Download.php) Hmmmm

[Dave Labrecque]

Wasn't there a IK demo? (http://www.philharmonik.com/Main.html?Download.php) Hmmmm

Hey, thanks. I was wondering about that.

Do we know how long the sale goes?

[Sean McCoy]

I've been using the stuff that game with Gigastudio and GVI (mostly from the Vienna Symphonic Library). I don't have the need all too often. But when it comes up next, it would be nice not to have to spend a thousand bucks. :)
Vienna Instruments versions are a major improvement over the sampler-based versions, but if you've got a full "lite" set of VSL orchestral samples for Giga I'd be surprised if the Sampletank Miroslav set was much of an improvement (if any).

[Dave Labrecque]

Vienna Instruments versions are a major improvement over the sampler-based versions...

What's the difference? I mean... what do you mean by Vienna Instruments versions vs. sampler-based versions? Are you saying the former has it's own interface and the latter is like how Gigastudio implements it? And that the former is better?

[Sean McCoy]

What's the difference? I mean... what do you mean by Vienna Instruments versions vs. sampler-based versions? Are you saying the former has it's own interface and the latter is like how Gigastudio implements it? And that the former is better?
Yes, the Vienna Instruments versions have a dedicated interface with a very well implemented matrix for combining various articulations and their control. In addition to simply placing all the articulations you will need into single programs (including the legato patches, which in the sampler versions couldn't be combined with other articulations), they seem to have tweaked the patches for much better performance. After upgrading, I was sorry I had waited so long.

Keep in mind I upgraded from the Opus and other Horizon libraries (for EXS24), so in terms of actual sample content it was more of a crossgrade for me. If you've only been using the patches that came free with Giga (which I also got with Kontakt 2), moving up to Vienna Instruments Special Edition would be a major upgrade. The sample quality will be the same, but you'll get many more samples and articulations for much greater dynamics and playability.

Hmm, sorry if I sound like a salesman.

[Dave Labrecque]

Yes, the Vienna Instruments versions have a dedicated interface with a very well implemented matrix for combining various articulations and their control. In addition to simply placing all the articulations you will need into single programs (including the legato patches, which in the sampler versions couldn't be combined with other articulations), they seem to have tweaked the patches for much better performance. After upgrading, I was sorry I had waited so long.

Keep in mind I upgraded from the Opus and other Horizon libraries (for EXS24), so in terms of actual sample content it was more of a crossgrade for me. If you've only been using the patches that came free with Giga (which I also got with Kontakt 2), moving up to Vienna Instruments Special Edition would be a major upgrade. The sample quality will be the same, but you'll get many more samples and articulations for much greater dynamics and playability.

Hmm, sorry if I sound like a salesman.

No need to apologize! I know very little about the ins/outs of this stuff. Would you recommend the Vienna library, then, as a good 'anchor' over others? Or are there other orchestral libraries/interfaces that I should look at?

[Sean McCoy]

No need to apologize! I know very little about the ins/outs of this stuff. Would you recommend the Vienna library, then, as a good 'anchor' over others? Or are there other orchestral libraries/interfaces that I should look at?
I believe all the major libraries come in "players" now, including several that use a Kontakt derivative. The Vienna stuff is great, but has a reputation—even with the latest versions—of not being as playable out of the box as, say, the East-West libraries. I haven't used them, but they are extremely popular with film composers in particular. They also have a hierarchy that includes the "Silver" version, which would probably be worth your checking out as a very inexpensive all-encompassing orchestral library. Used in conjunction with your current VSL stuff, that might give you enough flexibility to cover what you need. Soundsonline is always having some big sale or another.

[Dave Labrecque]

I believe all the major libraries come in "players" now, including several that use a Kontakt derivative. The Vienna stuff is great, but has a reputation—even with the latest versions—of not being as playable out of the box as, say, the East-West libraries. I haven't used them, but they are extremely popular with film composers in particular. They also have a hierarchy that includes the "Silver" version, which would probably be worth your checking out as a very inexpensive all-encompassing orchestral library. Used in conjunction with your current VSL stuff, that might give you enough flexibility to cover what you need. Soundsonline is always having some big sale or another.

Thanks for the info, Sean!