This minimalism, from sound selections to interface, almost demands experimentation. You know, there’s a reason so many keyboards have pianos at patch 00 – we’re all often imagining a piano sound or string sound in our heads. It’s just rare you get one you’d want to return to, which is what this is. And I suspect for more adventurous producers and electronic work, the perfectly-recorded, back-to-basics nature of these selections will be perfect for transformation. (So you can weave them into electronic textures, and reverse and chop them up and re-pitch them and so on – all with good source material.)
And, of course, the price is right.
LABS is part of a larger project, with more sounds coming, also for free, monthly. Spitfire promises both more of these basic starting points for new producers or musicians wanting to cover their basic ingredients (like the samples you’ll want on your internal SSD and not just the big external drive), plus a testing bed for experiments in sound design and projects they want feedback on. (It’s not a freemium model, then – it’s more like a free laboratory, rather like what I was discussing yesterday around modules in VCV Rack, but for soundware. I wonder if we’ll see this elsewhere.)
There’s also a content plan around the sounds, a notebook of projects and ideas to go with the LABS sound downloads.
It’s also nice to see soundware companies pushing to increase the value of live musicians and composers/sound designers, rather than engage in a race to the bottom. I’ve heard some real concerns around the industry about the subscription model for sounds, and whether it will do to sound designers and recording artists what Spotify and iTunes Music streaming have done to record labels – but it seems the players in this industry really are committed to finding models that do something different. (Getting into this is obviously a matter for another day.)