Interest in Fairlight for Kontakt? (completed)

[ghettosynth]

...

[LBN]

if you look up the thread on vintagesynth.com, you'll see that the floppies/samples are freely available from & hosted by fairlightus.com

of course, it may (didn't notice any EULA yet) not be legal to re-distribute - free or otherwise - but certainly as an end-user it seems kosher to download them and use them.

I'm 99.9% sure it's legal to point you to the fairlightus.com files, but don't want to post any direct links in case it rubs the mods up the wrong way.

There is more than one relevant thread on the vintagesynth.com forums. You are probably referring to this thread. That details the samples from the fairlightus.com site.

This thread contains the samples the OP is most likely working with. These are the ones taken from the "Digital Domain" CD. They're usable but require a lot of work. No offense to the creator of the DD CD but it is a mess too. I own the CD and to get anything useful out of it takes a lot of time and patience.

I included links because unless you're a complete retard you can figure it out anyway.

[hollowsun]

Do you think Zero-G, Best Service, Wusik and Hollow Sun licensed the useage of the samples also?

And contrary to the implication in another post (which I know wasn't ill-intentioned), I did not receive a C&D order over this - that was from another manufacturer well known for such things, the irony being I was working with them at the time!

I knew that might be taken incorrectly, so I'll just apologize for any confusion before I say anything else. I simply meant that it might have been the product that you were talking about in the other post, and, I went on to say, that if it (the fairlight library) was a current product, then that was unlikely.

No problem. Understood.

Cheers,


Stephen

[LBN]

I do not have permission to use these specific sounds and I'm not even sure where they came from.

I don't think Fairlight did either, given some of the sources that may have been used. Many big name hardware makers also "borrowed" samples from these sources for their own hardware. So it's kind of funny reading some of the comments about copyright given the history. Was there a hardware maker who didn't "borrow" the Fairlight orchestral hit?

Very true. Among the factory sample set there are plenty of samples of sampled drum machines. I really wonder if, in 1981/2, they said, "Hey, do you think we should clear the sample of that Linn drum machine?"

[DubFox]

There is more than one relevant thread on the vintagesynth.com forums. You are probably referring to this thread. That details the samples from the fairlightus.com site.

I don't remember

[PAK]

Very true. Among the factory sample set there are plenty of samples of sampled drum machines. I really wonder if, in 1981/2, they said, "Hey, do you think we should clear the sample of that Linn drum machine?"

Clearly not. Attitudes about sampling were still forming back then, and there was little regard paid to what people call "copyright" today. Take this 1985 interview with Martin Rushent. At about 5mins 30 secs in he discusses the trend of taking sounds from other peoples records and freely admits to it himself - even providing an example where he took one from a David Bowie song http://www.youtube.com/watch?v=B18h7zRmBhY

Of course, just 2 years later, PWL went to court to get MARRS' "Pump Up the Volume" withdrawn from sale. The irony there being the sound was barely recognizable, and PWL probably wouldn't have been any the wiser - except that attitudes were so Blas'e about the whole thing that MARRS went on the radio and said where they took the sound from. Oops. Double irony that it allowed PWL's Rick Astley track ("Never Gonna Give You Up") to stay at #1 that week, especially when (some would say) Astley's track appears to contain a rather blatant rip off of the bassline from Colonel Abrams "Trapped".

[breakmixer]

This is also quite ironic -

Orch5 sample was sampled(stolen) from a record! someone with more knowledge should know what record?

[Gucky]

I am very interested in fairlight sounds for Kontakt!

[jbraner]

If I were you I'd just use the default filter and call it good. I imagine someone with some DSP background might be able to do a much better job of emulating the 2044 but for that you'd need either to create a DSP or target an environment like Reaktor or Max.

Or maybe an IR to start?

[matt1314]

Definitely interested in that Fairlight plug-in. Would be great to have some Rendez-Vous 3 Fairlight Choirs Mr. Jarre used in that composition. I hope you get the agreement from Fairlight to use the samples for your project.

[Gosh]

haven't read the whole thread but the complete fairlight library is already available for kontakt by patrick fridh
http://bitley.laconicsounds.net/kontakt/
he also has the official permission from fairlight to use and sell these samples. i can only comment on the reason refill which is absolutely stunning and based on that great experience i'm also planning of purchasing the kontakt version.
cheers

[synaesthesia]

The Orch5 hit comes from Stravinsky's music for the ballet 'Rite of Spring'.

There you go pop-pickers!

I vaguely remember there being a YouTube video that showed you exactly at which point in the music it appeared.

[tropicalontour]

This is also quite ironic -

Orch5 sample was sampled(stolen) from a record! someone with more knowledge should know what record?

I have a vague recollection that it was an ABC Orchestra recording of Stavinsky's Firebird Suite.

[hollowsun]

The Orch5 hit comes from Stravinsky's music for the ballet 'Rite of Spring'.

There you go pop-pickers!

I vaguely remember there being a YouTube video that showed you exactly at which point in the music it appeared.

It's actually the opening strike to the 'Infernal Dance of Kastchei' from Stravinsky's 'Firebird Suite'.

Ironically, one of the punchiest and best versions of that is Isao Tomita's electronic interpretation of the work.

Feel free to use that information FOR YOUR OWN PRIVATE USE ONLY but you must seek permission from (and possibly pay) the copyright holders of the recording you use for any commercial exploitation or even free distribution.

Cheers,


Stephen

[hollowsun]

Clearly not. Attitudes about sampling were still forming back then, and there was little regard paid to what people call "copyright" today.

Absolutely correct.

Although copyright laws were the same then as they are now, people paid little attention to this new technique called 'sampling' thinking it to be a harmless, passing fad.

Not just that but there were very few avenues for distribution AND you had to own expensive hardware to do it. Therefore, Roland (for example - who, incidentally, saw no future in sampling) weren't too bothered if someone sampled something from their £1,400 D50 because...

- You needed a £2,500 sampler to use it

- Floppies were the only convenient way to distribute samples. However, larger samples of sounds like 'Digital Native Dance', whatever, wouldn't fit onto a single floppy and with no way to split a single sample across several floppies, you had to use expensive and unreliable Syquest removable disk cartridges in a drive that cost almost as much as a D50.

- The market was FAR more bouyant then and people were queueing round the block to buy D50s or M1s and DXs so their sales weren't affected by samples of their gear floating around.

It was all fairly relaxed. I remember it well and I was working on the Akai stand at a trade show back then with samples from a D50 ... right next to the Roland stand! There just wasn't a problem.

But things changed when cheaper software samplers came about at around the same time the internet was taking off and getting faster and now it was possible to distribute samples relatively easily to use in these inexpensive software samplers. And the advent of software samplers and software synths started impacting on hardware sales so the manufacturers started looking up copyright laws and took things FAR more seriously to protect their IP.

And this came about at the same time that hip-hop and other sample-based musical genres stopped being some small underground scene in little clubs but a massive global phenomenon and people were having MAJOR hit records and earning serious money using samples of other peoples' works so the record companies and writers who previously might have seen a sample of their work being used as a charming gimmick in a fad that would be short lived had to tighten their game to protect their IP being exploited.

Some might argue that things are too tight now but not much has actually changed since the 1500s when composers Thomas Tallis and William Byrd saw the potential dangers of the newly invented printing press to easily reproduce copies of their works and distribute them widely without recompense to the composers and so copyright law was born when Queen Elizabeth 1 granted them rights to protect their IP.

In the early days of digital audio and the net, etc., I don't think anyone realised the full implications of audio as 1s and 0s but they have woken up to that reality now.

Cheers,


Stephen