Laptops vs. Tablets

A recent study I came about suggested that in the last two years or so desktops and laptops have lost significant ground to tablets when it comes to everyday use. So what does this mean regarding to music-making?

A lot depends on how mobile music-making tools develop in the near future. Apple’s inter-app-audio (IAA) is one major step toward a more integrated system in making music by using several apps simultaneously. Were there a VST instruments and FX standard for iOS at some point, the scales would keep turning even faster.

One important viewpoint is the supply and quality of apps. The ‘deep sample it to death’-strategy familiar from workstation libraries won’t work in tablet environment because of the limited storage space.

So instead of sample playback software, the app world users favor physical modeling software, since it requires less resources. There are only so many 500 Mb sample-based instruments that can be installed on a tablet without jamming it completely.

Some major library players like 8DIO and Sonokinetic have recently indicated that they have interest in dwelling deeper into the world of tablets. This is interesting since both of them have so far relied heavily on mainly large, deep-sampled libraries.

Making ‘light’ versions of those libraries for tablet use would probably not lead to success. Instead the interface and overall playability should step forward in the production process. Just think for example about ThumbJam, one of the first iOS apps in music making, which is still very much relevant because of its flexibility.

As a bonus, it would really interesting if there were iCloud or iTunes specifically for sample content. Nowadays sample libraries are sold in chunks, but as in the case of iTunes, people prefer buying specific files instead of ready-made packs.

Thus instead of IK Multimedia SampleTank for iOS there would be a light player software with an ’empty tank’, however with the possibility for buying individualized in-app sample content. In a way the Alchemy iOS version has done that already, but still the content in it is sold in prepacked form instead of individual sample files.

Ultimately the desktop/laptop world and tablet environment are probably set to merge also in music production. There are relatively big bucks in the game so it is nice to see which competitors play their hand most wisely.

VST: The Division Bell

Want to be in VST business also in the future? Here’s what you have to consider.

During the summer weeks there were – and still is – some sales worth noting. The Native Instruments summer sale was a big disappointment as is their app release update frequency, but I shall return to this subject later. Here are some random pieces of sample libraries and instruments I picked up from the sales:

1. Smokers Relight Deux was 20 percent off on Loopmasters. Excellent groove tool pack.

2. Lost Tapes Vol. 1 on Time + Space. To be exact, this marvelous vintage pack was not on sale but worth every dime.

3. Some Samplephonics libraries from their 50 percent off-campaign (Vintage Keys/Slice Machine, Funk and Soul Guitar, Brushed Grooves).

I also installed the Trial version of Waves Abbey Road REDD console plugin, which was indeed interesting, but under my current financial situation it was too expensive even with discount. Then again, this plugin used to cost 349 dollars: now the offer is 99 dollars. The real market price for a plugin like this would in my opinion be more like 29 dollars.

As for the coming releases, I have indeed interest in the IK Multimedia iLoud speaker since I lack a well-crafted mobile reference speaker. The speaker in question is now in pre-order, but before my own finances settle or I go temporarily insane, I have decided to pass. Had they a 10-percent off pre-order discount, I would be in however.

Also, I found the new High Heelz Vocals 4 pack by Diginoiz quite intriguing, perhaps against my preconception (think about Jaws 4). For 15 euros it offers in my opinion quite a bit, and the singer sounded actually quite good.

But the topic says Division Bell, doesn’t it? By this I refer to the current situation on the VST market. With the tablet work environment kicking in, companies like Native Instruments are now re-evaluating their strategies for the coming year. My prediction is that those remaining in the old scheme of releasing semi-expensive, 8DIO-style libraries for workstations will see their strategy fail. Those who put out quality app instruments and well-produced, mid-price sample libraries for Maschine and other hardware groove platforms will in contrast see their business take off.

The key here is in the end simple: deeper integration between the software and the hardware. Why should I want to play a mandolin strummer on my keyboard when I can control strumming on my iPad on the go?

Also, one cannot put aside the question on piracy in all this. It is only realistic to argue that for those who really want a certain sample library or virtual instrument, chances are that they can get a copy of it without paying. This phenomenon has only increased during the last year or so to the extent where even the largest vendors have basically their whole back catalogue online as torrents for taking.

This is again one more reason why hardware is the key here instead of any iLok. If a user purchases certain hardware, he or she is bound to invest in the respected software also – preferrably original software with all features.

In contrast, overpriced symphony library vendors and plugin makers will continue to experience increasing fall of revenue since the hobbyists go for more cost-efficient solutions. I call this phenomenon the Waves factor. Waves waited for ages before they finally noticed that their product prices for 30 megabytes of code are simply mindless. Today they are more reasonable but still way too high. Hence the tendency for people to turn to alternative means for obtaining the products in question.

The Division Bell will start ringing soon. My bet is that the app version of the instrument with in-app purchases will be a hit, and the 12-gigabyte deep-sampled 399-dollar boxset will be on discount before Thanksgiving.

IK Multimedia: an important lesson

When a company switches its focus from VST instruments and effects to iPad accessories, you know there’s something going on. There is arguably also a hidden message included for those still remaining in the old path.

I have recently purchased numerous products from IK Multimedia related to iPad (and iPhone for that matter). It all started when I noticed a picture in Twitter showing their iRig MIC Cast, a small microphone designed for iPhone podcasts. While testing the microphone it occurred to me that also making music on mobile platform can be achieved, so I also grabbed the iRig MIC, which works in sync with Vocalive, an app by IK Multimedia.

In this blog I have already described what happened after this: I began browsing through different music-making apps for iPad. What I have realized since is the macro level, so to speak. This phenomenon is perfectly represented by the IK Multimedia group buy, where everyone purchasing their new iRig KEYS mini keyboard made for iPad gets a free VST instrument for one’s ‘traditional’ workstation.

So what the company is basically doing is that they are giving away a PC/Mac software product – actually several if enough people grab the offer- in exchange for selling new iPad hardware. Then again, the IK Multimedia catalog nowadays mainly consists of products meant for mobile music-making.

Meanwhile, new VST instrument libraries – extensive and deep-sampled – from other vendors keep popping up. In my opinion, there is however a major shift going on when it comes to their customers. For most hobbyists, the mobile devices offer enough capabilities and features for their needs: they are not after fourteen different legato violins.

If this line of development continues, more and more VST vendors will have to make the decision of whether to keep making gigantic – and expensive – libraries for pros or new kind of products for larger focus groups.

IK Multimedia is the first company to seriously invest in the mobile path. Personally I am a bit confused by what for example Native Instruments is doing right now when it comes to mobile products. Granted, they have an impressive DJ lineup of products as well as Maschine sound packs, but for mobile hobbyists their catalogue is nonexistent: NI has a total number of zero apps designed for iPad. What they recently put out instead was Monark, a 30-megabyte VST synth costing 99 euros.

I sincerely believe there is a lesson to be learned from what IK Multimedia is doing. It is interesting to see who’s taking the same path in the near future. I already know where I’ll be.

VST Electric Guitars: Overview

Perhaps the most sought-after sounds in VST world – besides orchestral instruments – are guitars. The idea of making a guitar track with keyboard is probably blasphemy when guitarists are asked, but then again guitars have been used for ages for controlling other stuff. And as Matt Bellamy has showed with his KAOSS Pad guitar, the line between ‘traditional’ and computer instruments is sometimes thin and even nonexistent.

Naturally I am not in possession of every VST guitar or guitar-related product released, but the following entry includes some of my experiences on the field. I shall limit my focus on different electric guitars only. For those unfamiliar with them, the VST guitars presented are basically unamped, although they do have a limited set of amplifiers of their own. In order to fully use them however, a VST amplifier like Native Instruments Guitar Rig or IK Multimedia Amplitube comes in very handy (yes, it is ok connect a VST guitar with a virtual amplifier). Also, all guitars I am about to talk about require Native Instruments Kontakt as platform (there is a special NI blog post in the burner).

By far the most impressive libraries when it comes to playing a VST guitar instrument are in my opinion made by Mark Belbin and Wavelore Instruments. Especially their two latest guitars, the Glide and Glide II slide guitars are breathtakingly good renditions of dobro and the kind of whiny blues guitar familiar from for example Chris Rea’s albums. A word of warning though: the company is known of being volatile when it comes to orders. Glide II was released several months overdue after a period of discontent and threats of legal measures by for example the author of this post. But when it comes to product quality, Wavelore delivers it like no one else.

The traditional electric guitar has been put in VST form numerous times. The problem with most of them is always the same: they do not have anything that could be called an intuitive interface (Wavelore shares this problem). Rather they are like a programmer’s wet dream: dozens of empty slots to be filled with numbers between 0 and 128.

I bet a Boeing cockpit has less variables than an average VST electric guitar. This pretty much takes the playing out of the instruments and replaces it with a number game. Added to this, the keyswitch jungle – often some two dozen switches – makes it basically impossible to ‘just play’ the instrument.

Having said that, the best electric guitar I have come across is probably the Strawberry Evolution Electric Guitar by Orange Tree Samples. Yes, the keyswitch jungle is there as well as all sorts of numerical adjustments, but overall the result is quite pleasing to one’s ear. With some extra time spent on setting the controls, the Strawberry Guitar comes pretty close to being an actual instrument instead of mere library.

Another approach is to pre-record guitar phrases and use them as sort of ‘loop instruments’. 8DIO has some interesting products in this category, including Songwriting Guitar, Progressive Metal Guitar, and Post-Apocalyptic Guitar. The two latter offer the possibility to use only selected layers from the pre-recorded riff so they are pretty versatile in forming guitar tracks.

But then again this is not you playing a VST guitar but more like arranging recorded music played by someone else. 8DIO is about to release their first actual playable guitar, Deep-Sampled Steel Guitar, but since there is little information on it available, I won’t say one word or the other about it yet.

All in all, VST electric guitars have taken several steps forward in the last few years. The sound and sampling part quality is not a problem anymore. The challenge for any future releases is definitely playability: the idea of actually inventing a new keyboard VST instrument based on traditional electric guitar. Whoever comes around with a go-to solution first may expect the profits to pour in.