Does traditional sampling have a future?

[asnor]

Considering what we have seen done with the WIVI Brass from Wallander Instruments, do you think traditional sampling and samplers have a future?

I think not, except maybe for percussion libraries, but then again, I don't see why the same technology used for WIVI can't be used successfully for drums.

[shamann]

How do you define traditional sampling? Because I don't think my idea of traditional sampling is the same as what you are suggesting.

Also, how does WIVI eliminate traditional sampling? Is there really new technology going on there? Looks to me like it is perhaps a refinement on the way Wizoo instruments like Darbuka and Latigo were presented, and a refinement on something like Kontakt 2's convolution engine.

All nice looking things, but I'm not sure what the new thing is that I'm missing that isn't in line with traditional sampling.

[asnor]

I mean traditional in the sense that you have an instrument sample library made up of thousands of sampled bits and pieces of notes and articulations that you have to piece together to get a realistic performance, where WIVI takes the essence of an instrument and synthesizes it creating an expressive, playable instrument that is capable of the same, or better results, while requiring less resources and time to do so.

VSL just released their special brass library for $1000 and I'm wondering why I, or anyone, might want it when I can get WIVI for 40% less. I can't imagine there is anything I could do with VSL, or any other brass library, that I couldn't do, just as well, and more quickly, with WIVI Brass.

True it's old technology, but it's made the latest greatest offerings in sampled brass instruments seem like a big step backward, as far as I'm concerned, and I'm betting we will see developers transitioning to this old technology, or something that can achieve similar, or better results, just as fast as they can figure out how. Those who don't won't last much longer as commercial entities.

[zircon]

Physical modeling is probably going to be the future, but I imagine convolution as well as a limited degree of traditional sampling will be used. For example, as I understand it, TruePianos is mostly physical modeling based on a small amount of real samples. Synful Orchestra is PM based on a small amount of sampled phrases.

[mbncp]

I find that both truepiano (which I tried the demo) and WiVI (just listened the mp3) sound awfully synthetic.
I would love to see physical modeling getting close to good samples, as working with samplers can be very time consuming (articulations, alternates, scripting,..), but we are still far from even getting close.

[zircon]

I agree, the TruePiano demo is a little thin, and unrealistic in some spots. But "awfully synthetic"? I don't think that's a reasonable statement. It sounds as good as many samplesets I have that are 1GB or more.

As for WIVI, it is easily the most realistic brass instrument I've ever seen in software. Listen to some of the solo stuff. It's really incredible.

[shamann]

See I knew I was missing something, didn't realize WIVI was doing a similar hybrid thing that 4Front has done.

Personally, traditional sampling is about recording something and playing it back, which WIVI or Truepiano won't ever replace. All the ad infinitum instrument libraries never much defined the concept of sampling for me in the first place.

That said WIVI looks sensible compared to spending $1000+ on more than 20 DVDs full of samples. But maybe that's just me.

[Mokafix]

Physical modeling is probably going to be the future, but I imagine convolution as well as a limited degree of traditional sampling will be used. For example, as I understand it, TruePianos is mostly physical modeling based on a small amount of real samples. Synful Orchestra is PM based on a small amount of sampled phrases.

Why does people believe Synful is PM? You're not the first one to say that.
I just checked back on the site:
RPM reconstructive phrase modeling
nothing to do with PM.
It has samples, but dedicated ones, with probably calculations made for those samples only, to make them all fit together well. No PM here.

But otherwise, PM sure is the future. not only because it get rid of that waste of HD space, or because it' expressive, but simply because it let you do things that are not possible withh samples. For example, the bass/guitar engine I work on let you slide. Something that seems trivial, but is impossible do correctly with samples; you can tune it like you wish, and play lapsteel with it.


But as synful uses samples too, I think it proves samples are not dead if coupled with other technologies. I'd call it intelligent sampling...

[mbncp]

@zircon
I would love to agree, but, listening to the demos makes me really nervous and I find them very unpleasant.
It's probably time for me to get some help from a specialist

[93143]

Brass? Drums?

Try physically modeling a pipe organ. Some things are still better sampled than synthesized...

[liars&ashes]

----Not legally.

Jeff

[Bernard Quatermass]

No, it has NO future whatsoever. It's time for ALL of us to stop using our samplers.

Please dispose of ALL samplers, at EXACTLY 12:35 PM tomorrow, Eastern Standard Time.

Over and out!

[Bernard Quatermass]

But otherwise, PM sure is the future. not only because it get rid of that waste of HD space, or because it' expressive, but simply because it let you do things that are not possible withh samples.

Errr... what about sound FX? Which probably accounts for the vast majority of my sampling needs.

[afreshcupofjoe]

What kind of douchbags use multi-sampled instrument libraries? Traditional sampling = sample cool shit from the world around you and mess with it to create new sounds, sequence, repeat. Use samplers to SAMPLE, not to load bloated stupid fake orchestra sounds. And YES "traditional sampling" has a future, but multisampled instruments have no future because they SUCK and they always will! j/k

[LBN]

Use samplers to SAMPLE, not to load bloated stupid fake orchestra sounds.

ORCH5 weeps silently and crawls off into a corner to die.