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What's Sonuscore up to Monday?

jazzman7 said:
Let me guess....Subscription?
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The email two days before the one you quote from says, "this coming Monday, we're launching a special offer for composers who want ..." I think a subscription to The Score is a pretty good guess. But it might just be a discount on permanent licenses.
 
My guess is it may be cut down version…so The Score Essentials maybe?

A subscription model wasn’t really my takeaway from the emails, and their catalog isn’t really big enough for that yet.
Also it feels a bit too soon to put The Score on a big discount already since it’s only been out a few months
 
I recall the email refers to "shorten the composing process", so I guess it's an AIO of an AIO with an AIO incorporated managed by an AI. Oh, well.
 
AMBi said:
My guess is it may be cut down version…so The Score Essentials maybe?

A subscription model wasn’t really my takeaway from the emails, and their catalog isn’t really big enough for that yet.
Also it feels a bit too soon to put The Score on a big discount already since it’s only been out a few months
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I suspect it’s Score related. Essentials is a good bet, maybe just the Ensembles part. (Which imho is the only really useful part of the library.) If it is indeed a reworking of the Score, I’ll be interested to see if Sonuscore has made any changes, especially in terms of making it easier to create and manage one’s own presets and “stories.” There’s potential for an excellent sketching tool in the Ensemble portion of The Score but as it currently stands it’s very hard to get at. But it would also take real new conceptual work to unlock and I doubt very much that Sonuscore has had the time (or the inclination) to work a substantive revision. It’s most likely just a cut down version and repackaging.

Still if it’s priced right it could be a step forward toward this better sketching tool since good pricing will mean more people will get it, and that might in turn make it a platform for further development…
 
jbuhler said:
I suspect it’s Score related. Essentials is a good bet, maybe just the Ensembles part. (Which imho is the only really useful part of the library.) If it is indeed a reworking of the Score, I’ll be interested to see if Sonuscore has made any changes, especially in terms of making it easier to create and manage one’s own presets and “stories.” There’s potential for an excellent sketching tool in the Ensemble portion of The Score but as it currently stands it’s very hard to get at. But it would also take real new conceptual work to unlock and I doubt very much that Sonuscore has had the time (or the inclination) to work a substantive revision. It’s most likely just a cut down version and repackaging.

Still if it’s priced right it could be a step forward toward this better sketching tool since good pricing will mean more people will get it, and that might in turn make it a platform for further development…
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I think you guys are on to the right idea. (Which is why I asked the forum!)

In looking at the details when the Score came out, all the separate modules or portions made me kinda wince. It's not as if I don't already have 100 new instruments to learn a LOT better than I know now. Gas-aholic that I am.

I also have the latest full version of The Orchestra and I felt the upgrade price was out of line considering what I had already invested. Especially given that the samples are retreads of what I already have. TBH I'm not really in love with the string tone.

I'll venture another guess that I was not alone in choosing to not make the jump... and Sonuscore is responding to those numbers...

or lack of them
 
jazzman7 said:
I also have the latest full version of The Orchestra and I felt the upgrade price was out of line considering what I had already invested. Especially given that the samples are retreads of what I already have. TBH I'm not really in love with the string tone.
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Honestly, the samples aren't all that great in any part of The Score (and even The Orchestra is mostly only decent sounding considering the small RAM footprint). That's where the marketing of the library as delivering production quality material is really on the verge of passing from marketing fluff to being dishonest.

But I would also say the samples don't need to be great sounding in that sense for what The Score as sketching tool requires. They need to be adapted to the needs of the engine: sounding ok in an arpeggiator, sounding ok being modulated with a volume envelope, being small enough in RAM and number of samples that you can load lots of instruments into a single instance of Kontakt so the engine can work on them. Mostly the samples for the ensembles succeed at this task. Some of the samples they delivered for the melody part of library though are hair-raisingly poor, so bad you can't really even use them to make a guide track. And the legato is often simply atrocious, maybe the worst I've encountered in a commercial library.

The problem with the ensembles part of the library is that it is also not set up well to be used. It really expects you to use their presets, which would be fine if they were good, varied, and there were a lot of them, but none of those things is especially true. There are a few good useful presets, but not enough of them, and too many of them sound more or less the same. Ultimately there isn't all that much there despite the boast of however many presets, and rolling your own presets is not simple because the interface isn't set up very well to do that kind of work. Then if you actually do it, the browser doesn't really allow you to organize your presets very well. With luck—if this is indeed an essentials version of the score—they have managed to put some thought into organizing user content, since at least that is relatively easy low hanging fruit.
 
I bet it will be The Music Stand. A new automatic composing tool and orchestral library, including sounds from the extra-planetary probes recording. Compatible with Apple Vision Pro. No upgrade path available from The Score or The Orchestra.
 
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jbuhler said:
Honestly, the samples aren't all that great in any part of The Score (and even The Orchestra is mostly only decent sounding considering the small RAM footprint). That's where the marketing of the library as delivering production quality material is really on the verge of passing from marketing fluff to being dishonest.

But I would also say the samples don't need to be great sounding in that sense for what The Score as sketching tool requires. They need to be adapted to the needs of the engine: sounding ok in an arpeggiator, sounding ok being modulated with a volume envelope, being small enough in RAM and number of samples that you can load lots of instruments into a single instance of Kontakt so the engine can work on them. Mostly the samples for the ensembles succeed at this task. Some of the samples they delivered for the melody part of library though are hair-raisingly poor, so bad you can't really even use them to make a guide track. And the legato is often simply atrocious, maybe the worst I've encountered in a commercial library.

The problem with the ensembles part of the library is that it is also not set up well to be used. It really expects you to use their presets, which would be fine if they were good, varied, and there were a lot of them, but none of those things is especially true. There are a few good useful presets, but not enough of them, and too many of them sound more or less the same. Ultimately there isn't all that much there despite the boast of however many presets, and rolling your own presets is not simple because the interface isn't set up very well to do that kind of work. Then if you actually do it, the browser doesn't really allow you to organize your presets very well. With luck—if this is indeed an essentials version of the score—they have managed to put some thought into organizing user content, since at least that is relatively easy low hanging fruit.
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This pretty much tells you all you need to know about why The Score looked so much like a $200+ sideways move from The Orchestra into what looked to me like a mess.

I think they are a talented crew over there and can address a lot of the failures with the Score, but unless they can put together some much better functionality and better samples it will probably be just another vaguely interesting car wreck I'll watch from a safe distance
 
ptram said:
I bet it will be The Music Stand. A new automatic composing tool and orchestral library, including sounds from the extra-planetary probes recording. Compatible with Apple Vision Pro. No upgrade path available from The Score or The Orchestra.
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With catchy titles like Voyager 1, Voyager 2, etc
 
Is anyone else getting tired of Sonuscore's melodramatic, over-the-top marketing as of late? All of their recent products have all been (supposedly) going to "revolutionize" and "redefine" the way we compose music. It is all marketing and no substance, it feels.
 
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jazzman7 said:
This pretty much tells you all you need to know about why The Score looked so much like a $200+ sideways move from The Orchestra into what looked to me like a mess.

I think they are a talented crew over there and can address a lot of the failures with the Score, but unless they can put together some much better functionality and better samples it will probably be just another vaguely interesting car wreck I'll watch from a safe distance
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I don't think it needs better samples. Or rather there's little chance they can compete with what they already did with East West with the orchestrator on the sample side of things.

Any benefits of The Score will come from making it easier to develop effective presets for quickly sketching out moods and scenes. That’s not necessarily better samples for final production but rather samples that are optimized for use in the engine. They need to be good enough to be indicative of the mood but the point I think would be they are there to help assess the midi but the samples serve only an initial render and will be replaced. So the point is to make samples that are versatile in the engine not polished for final production (I would make an analogy to the quality of the instruments in the Note Performer library, where the function is similar.)
 
jbuhler said:
I don't think it needs better samples. Or rather there's little chance they can compete with what they already did with East West with the orchestrator on the sample side of things.

Any benefits of The Score will come from making it easier to develop effective presets for quickly sketching out moods and scenes. That’s not necessarily better samples for final production but rather samples that are optimized for use in the engine. They need to be good enough to be indicative of the mood but the point I think would be they are there to help assess the midi but the samples serve only an initial render and will be replaced. So the point is to make samples that are versatile in the engine not polished for final production (I would make an analogy to the quality of the instruments in the Note Performer library, where the function is similar.)
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The Orchestra and H'Wood Orchestrator has usefulness that way now, but if they can make some streamlined version of The Score interesting for a decent crossgrade price, I could see myself kicking the tires!
 
Ethan Toavs said:
Is anyone else getting tired of Sonuscore's melodramatic, over-the-top marketing as of late? All of their recent products have all been (supposedly) going to "revolutionize" and "redefine" the way we compose music. It is all marketing and no substance, it feels.
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If they could come through with the goods, then I can handle a little marketing excitability. If not, those of us in the user base might "redefine" them downward ourselves... fast
 
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