mhog wrote:cryophonik wrote:zvenx wrote:not sure what is neuro-wipe.
It's these people
I can read "Jordan Rudess". Wow!
Ha, missed this. This is known in sales psychology as the 'Higher Authority' play.
When all other arguments fail, find someone they look up to and point out they use it, because subconsciously, we want to be like them. Don't you?
Really shows more of the weakness of a product than it's strength.
I actually delayed myself from buying Zebra because people were throwing Zimmer at me as a reason to buy it. What got me to finally make the buy was the filters. I have an inkling that could be the same for Omnisph.
Motif's? I have some specific uses for them, especially in playing jam sessions/gigs where the esoteric sounds of Omni and Alchemy are not well received by the rockstars in their own mind that don't want or need them. Generally all you need is some pianos and organs and a couple of synth leads for them. Motif's are great for that, regardless of the band's individual tone. I love my Motif's, but I wouldn't call them favorites I couldn't live without.
Back to topic (sort of):The rep believed that Omnisph is only for cinematic and Alchemy was for only EDM. Well, I knew he wasn't listening to the Omni users and which specific sound sets he had listened to in Alchemy by that statement. Both are used in many more ways. Cheap sales ploys rarely work on me ('Urgency Plays' at the right price can do it sometimes though).
Another thing we hear often on KVR... "Each VST has it's own character and layering them together often gives more variance in sound that can make it yours". What seems to be more true in Omniland though is the idea you don't need different characters in tone or engines, just a lot of samples in eight layers.
That belief does sound rather thin.
(Btw, I only list the instruments I program, not all the ones I use or own.)