Kontakt Thread

Hey lines. A decade ago (wow, really? I guess so), I had an idea for creating a sample library where each buyer would get a unique copy, produced by software variations of a base sample library.

I never got around to finishing it, but I decided that it’s probably better to drop it out to the world in a much more limited form (only one of the variations on the theme) rather than letting it languish on my computer.

I’ve used these Kontakt patches in my own music and it’s got a place in my world of sound design that I have some affection for.

I think the main contribution is actually the Kontakt scripts, which require you to have Kontakt 3.5 or later (by now you must! :rofl:).


Sound very interesing! I definitely have to check it out!

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Does anyone have any encouraging or discouraging thoughts about Kontakt sample libraries and ‘ownership’ (for lack of a more resonant word) of your compositions produced with Kontakt libraries?

I wish I felt better when I make things that I love using a library. Why do I feel this way about a sample library but I don’t feel this way about sampling a song? Actually that’s not strictly true. I do sometimes feel this way if I sample something that is aesthetically similar to the work I am doing.

Please don’t goat skin drum meme me.

The context is that I made something tonight that I think might be one of the best things I’ve ever made, but I can’t fully love it because the character of the performances in the libraries is a key part of why it’s good. I did a fair amount of fx processing and creative midi stuff, but the performance of the players is an important element.


These are good questions! I mean, you could think of it like any composer who relies on others to play the things that they make: that the players’ contribution being essential to the work is something to be embraced and celebrated, ultimately, even though it can be hard to like, really feel that given the urge to feel like the sole author of the work and stuff.
Either way it does seem like a great opportunity to dig into that feeling and scope it out more closely, though. It’s vast and murky and weird in there!
(Also it helps to maybe think that the sounds in that sample pack were in fact played by real humans at some point! Even though the composer-player interaction is anonymous and not one-to-one).


Would your concern change if you credited the performers? So it is acknowledged as a collaboration.

If you had a string quartet (or whatever form of ensemble) perform the music for a recording project, you would surely credit them as the performers then… eg written by X performed by Y

Just a thought…


Those are both good thoughts.

I don’t know whether my particular hang up is about specifically individuating authorship or not. I am frequently working with midi fx and other technologically assisted compositional methods and I don’t worry about whether I made the notes or an algorithm created them. It’s more to do with a one to one aesthetic match. It feels like the path to getting what I want is too short in some way. Like I’ve bought the right shoes and the right haircut without having to do the hard work. To the extent that I can say I did the hard work it is more along the lines of having had the right idea and the means and vision to realize it.

I would definitely feel better about crediting specific performers if I had the ability to do so. It seems like sample library developers may, as a custom, exclude those kinds of credits from their documentation (unless it’s a marquee collaboration or something). Or maybe there is finer print I am missing somewhere. Maybe oddly, maybe not, I feel less comfortable with the idea of crediting the sample library developers than I do the performers.

It is weird to me that plenty of developers mention the hardware they used to record and process a performance, but (unless I am missing it somewhere) not the people who did the playing.

Just to bring things out of the abstract, I used Olafur Arnalds Chamber Evolutions, Olafur Arnalds Evoltuions, Spitfire Solstice, and Slate and Ash Landforms in this thing. What I made sounds like something I would make. But it also sounds like something made with those specific libraries.

Add to that, I also used Valhalla Vintage Verb, Eventide H3000 Factory, Output Portal, Soundtoys Decapitator and Devil-Loc, Unfiltered Audio’s Lo-fi-af, Spec-Ops, and Dent, and various Ableton plugins. It would never in a million years bother me not to consider shouting fx developers out.

I think the key for me is really that the performers are doing something like what I would tell ‘real’ performers to do, but I don’t have to be deal with all the complexities and expense that come with that. They are more than an oscillator, but less than a friend.

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