EXS 24 Logic Sampler Users Group

>Nick Batzdorf wrote:



>- Likewise, I don't understand the performance restrictions some
>companies impose. (I'm not talking about Spectrasonics, who just ask
>for credit on albums - that's perfectly reasonable.) But if you can
>use the factory sounds you paid for when you bought a hardware
>instrument any which way you choose, why are samples you bought any
>different?
>--

I wont let anyone pay for  performance rights of my sound or use them 
free either.

I am thinking of releasing a sample, well THE sample,  A SOUND like 
no other thing on earth or In the known Alien Universe.
Not only is it played upon an alien flute, but it is a subtle wind, 
from the breath of a dying Tibetan  master. AND, especially no one 
could imagine it or duplicate it.  In fact my description is crude. 
And I wont let any one perform it no matter what they pay, even if 
its a Mozart or  a GYpsy or a Punk.

  Well perhaps that is what they are aiming at? No? Technicians need 
to earn a living.
But I 'm not sure about this future...... musicians can share that 
work and the results, and make them available, just like the original 
instruments.  IT is 'highly technical' or plain involving, I 
agree.....However.....

  I pay nothing to perform on my guitar or saxaphone. And I don't 
credit the manufacturers on recordings.

Sascha Franck  wrote:
>With, say, a hardware synth things are totally different. If you created a
>song with it you simply would've to record its output to audio before
>selling it. In the end you wouldn't be able to modify that sound too much
>anymore.


 From a 'shaped'  conventional instrument' you can sample or modify 
the sound, in fact use it to make samples, and sell them on, and the 
instrumen aqs wellt. Steinway gets payed nothing for its pianos being 
sampled i imagine. Original samples may not be modified much, yet 
still used again even years later.


I do care about hard workin folk getting their bread, but no one 
really cares about my living too much. And why should they?  That's 
my job. I'd work for free more or less if the overheads were free. 
The main problem is the overheads one pays , not the making of music 
itself, or the instruments...so I do not care whether people go bust, 
if they do then the system will have to catch up, by dropping 
overheads on businesses, and everything become cheaper, people able 
to work for less, and people able to buy more instruments.  Until 
then, it is going to be confusing, and tough for many musical 
technicians who do their work out of a sense of purpose and enjoyment 
and expect a sure reward. This is a confused UK perspective, where 
overheads are five to six times the amount of anywhere else in Europe.

I sincerely hope the good work does get rewarded, for those who need 
it;  at least some whipped cream...

>teddybut:
>
>PS. if I throw some whipped cream in the trash and a homeless guy eats it,
>should I be mad that he didn't use my whip cream as I intended?


Yes, leave it in the bin for the cats who don't read the instructions.


jp




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