Musio Livestream - Ask Us Anything - June 13th, 2023

okay cool yay we are live okay awesome well hello everybody it is so wonderful to be here with you all and see you all and um this is the Museo cine samples team everybody wave hi to these wonderful people who've taken time out of their day to show up uh we're so excited to have this discussion to be here with you all um we we want to answer your questions we want to get into the nitty-gritty of it we want to give new exciting information overview all the stuff that we've done um but before we get into all that and we have lots of time to do that I just want to kick it over to Mike Patty our founder and CEO so that he can give kind of a quick overview of what musio is sort of where it came from and what what we're doing right now just in case there's any new people who aren't really sure about what the platform kind of entails so uh Mike take it away sure thanks Jane all right well hi everyone my name is Mike uh so I'm the founder of cine samples we've been in business for about 15 years and we've been making virtual instruments for professional composers throughout those years and it's been very successful but one of the things that we wanted to do was to try to get these instruments into the hands of more people and one of the challenges we had was trying to create instruments faster and delivering them faster and so that's why we created muzio musio allows us to build instruments really quickly and then deliver them instantly to your DAW and uh it's uh selfishly it's benefited us because we can just go into a studio and we can do the session and then within like a couple of days we can have the instrument delivered directly to everyone's Daw everyone that has Museo so uh we just launched it uh well we technically launched a public beta about a year ago to get feedback from all of you guys and then we did the official launch about three months ago and we're getting a lot of good feedback and uh yeah so it's it's going very well and the point of today is to kind of introduce you to this great team um when I had the idea for musio it was I should I should have brought it but it was just a sketch on a piece of paper and I talked to Harrison and Toby And I was like hey I got this crazy idea you guys want to help me build this thing and we started a few years ago just as a side project and now it's a solid piece of software and we've brought this incredible team and I thought you know it'd be great opportunity for you to ask questions to us directly um because as a company we consider ourselves to be very customer focused uh more so than product focused we want to make sure we're building stuff that you actually want rather than the things that we want so uh that's the point of today so yeah uh let's let's go around because since we've done this it's been about a year since we've done like a big live stream like this I want to introduce some of the key players that we've brought on to the team and introduce some of the background players that you might not have heard so much about but specifically I want to start with Harrison's team Harrison and Toby are kind of like the unsung heroes of Museo I know you see a lot of videos of you know the production team and the marketing guys and Mike and we play the instruments and show them off and stuff but we don't get to play instruments without sort of the genius and expertise of Harrison and Toby they're amazing developers and programmers and um they they help keep us grounded and they develop all the features for Museum and have built a platform from the ground up so I just want to give you guys a quick shout out and say thank you for all the super crazy hard work I know we're there you're going to get to hear from them more about upcoming features and kind of what we're implementing and what we're fixing in a bit um and then the other person who is who is here who we all dearly love and even though he's been uh only here for a little bit of time he seems like a core part of our team that we couldn't do this job without it's uh Doug provisor our CMO uh Doug you want to give a wave and um he's he's incredible I could go on and on about Doug but his marketing expertise his business Acumen and um his experience in this industry uh working with a ton of really amazing companies and bringing some really incredible products to the market has been um integral to to Our Success so far and just keeping our heads on straight and pointed in the right direction so thank you Doug um you want to give a little bit of a brief bio about yourself um I know that we're going to get into some techie stuff but I'd love it if you could just introduce yourself and yeah really really quickly um background started with uh Pro Tools before it was Avid so Digi design so really helping to Pioneer the whole Daw experience for folks and uh moved on to line six so pioneering uh digital technology for guitar players so have been in this space forever and super excited to be part of the team here awesome well that's kind of it uh so here we are This Is Us uh let's talk about sort of where we've where we've been um let me pull up the road map real quick and um I'm just really excited for this this is the this is what we sort of took a big risk on and said hey we're going to do all of these things and we put out the lifetime subscription model and so far we've been checking off boxes um if you go to museo.com and on the top bar click the coming soon you'll see sort of our road map for the year but I want to talk through what we've done and sort of where we're at and where we're going and um but before we get into that actually let's see do we have any questions Maddie we do um we just got a really great question from cheddar egg which I really love that that's uh that's an awesome name um and they say I've noticed that the Taylor Davis and Holly Woodwinds libraries are not included in the roadmap does this mean that they won't be coming to museum that's a great question uh let me answer that directly so uh Taylor Davis will be coming into Museum absolutely the delay on that is we just had to work out the details of her deal basically her contract so a lot of these libraries that we developed as cine samples had paperwork that went along with them and transferring all that over and making sure everything's legal and that artists are fairly compensated and are happy about that deal and everything all has to happen uh before we get those on so we weren't 100 sure about that when we posted all the roadmap but um we are sure about that we've talked to her and we're excited to not only include her library and Museum but work with her more in the future and get some more solo instruments she's a phenomenal musician if you don't know about Taylor Davis just Google her name she's everywhere go on YouTube watch her videos she's phenomenal so yes that will be included um Hollywood wins is an interesting one um one of them that a couple of them that weren't mentioned that I'll mention are the Deep percussion beds libraries one and two and the reason they're not on the road map is because there's a feature set that's not included in museum yet that will be coming in the future but it's it's time based effects so being able to artificially speed up and slow down samples is really important for any library that that requires that so cinestrings runs Hollywood wins deep percussion beds one and two uh the plan is to get them into Museo we just don't want to put something out there and promise something that could mislead our user base if we say hey we're going to put this out and everyone's like oh it's going to be exactly the same as the contact version and all the runs are going to be able to Tempo sync and all that stuff we just don't want to have someone give us money you know based on the idea of that and be very disappointed so we didn't include them in the roadmap but our plan is absolutely one to include them and get all the sample content in and two to develop features that will make them playable as you recognize them from the contact versions for sure you have another question that just came in from mandala man are the samples in musio instrument libraries the same as the samples that are sold in the individual libraries outside of Museum through contact great question let's kick this one to Santi and have him answer Santiago is our lead music developer he is the person that makes me look good at doing my job he's the man behind the curtain and um he deals with all of our sample content um from start to finish so yeah go ahead Santi yeah a lot of what uh what makes it into music also makes it into contact and part of uh why sometimes other libraries are a little delayed or something is because we have to make absolutely sure that it's the same samples that make it into both uh platforms and because of the different feature sets uh sometimes that's a little more difficult or you need extra scripting on one end uh so yeah to answer it short um it's the same set of samples um that are on those platforms and can you speak a little bit to the Legacy libraries as well because I've noticed some comments and even some feedback we've gotten where people say like oh hey uh X Library you know in uh cinebrass Pro doesn't sound the same in contact as it does in Museo uh is that because the wave samples are different quick answer no um yeah it's because of features and financing that is different in both platforms and um for a lot of these Legacy libraries we don't have a workflow uh so we've had to come up with an alternate workflow that allows us to get a load of the values that we already put into contact and apply them into music directly without having to do the work twice so we can have parity between both platforms exactly that means that you should see the same sort of tuning in the same sort of amplitude and all this different kind of stuff across one of the things that I was just thinking about late last night as I was reading some of those comments was I think we have some IRS uh specifically that we've used in cine samples for a long time pre-loaded into our into our contact libraries and that Reverb is actually turned on by default to kind of make it more robust so when people just load up contact and load up muzio and do an A B there's actually a different Reverb in muzio than there is to contact we're improving our Reverb and muzio and we've got a bunch of really awesome new algorithms that Ed helped develop and build and those are going to be implemented soon but they're not going to be identical so um one is not better or worse one's not higher or lower quality but they are different platforms um so I hope that answers the question but yeah we've got a great uh great question from Maestro Harmony um will you add features that are from the contact libraries like adaptive Legato double triple tonguing scripts for Cinnamon's incentive brass that's a that's a great question uh what was the last part of that question um double triple tonguing scripts for cinewins cinebrass uh I don't know about double triple tonguing scripts we'll have to talk about that internally but we've all been kind of aching for more uh Legato controls for sure um so that is on the that's on the road map where we're very aware of that need and we feel it ourselves uh one thing I will say about this team is there isn't a single one of us on here that doesn't make music and we all uh kind of get high on our own Supply we use musio we use our contact instruments this is part of our lives so if you're feeling a pain Point rest assured we're feeling that pain Point as well and we've got some plans to to mitigate that but Legato specifically um we're probably not going to add as complicated um in some cases you know our our contact instruments are here and there with what what kind of features they have for Legato but we are going to add speed controls and um adaptive controls and all that stuff in the future for sure about the scripts let me answer this kind of in a general sense a lot of different libraries are very unique and they require um different approaches different scripting right now we've been trying to keep Museum as simple as possible but as we get into more of the complex situations and features of libraries we are looking at developing more custom scripts uh for those so that they can play back as as close as possible we're just going to weigh them on a one-to-one basis and say is this really worth it you know profit loss kind of a thing is that like if people are really asking for a feature we'll do it if it's kind of a feature that was just there because we thought it was fun but doesn't really help the instrument we're not going to do it so um be vocal ask us submit feedback say you want those things it definitely weighs into the conversation we all pay attention to your feedback uh we have a channel in our business uh communication app and it constantly pops up and pings us when you guys talk to us so yeah please keep that up uh worth mentioning oh sorry Maddie I think it's worth mentioning that actually Museum we have our own custom scripting language right that's based in Lua that we haven't actually Taken full advantage of yet uh everything in museum is pretty much just native all around Robin's all the Legato uh for efficiency purposes but there's this whole language that we could be leveraging pretty soon I'm sure Harrison could speak to that real briefly yeah yeah let me jump in uh real quick um yeah we've got a full Lua scripting stack that when we were developing it we were really looking at what are the needs and features of contact scripting or KSP um uh Toby is uh between the three devs here he's our KSP expert so we were kind of leaning on him to pull a lot of ideas there um the I would say the reason we're hesitant to really leverage the scripting is we really take a strong stance on user experience as well as making sure it is a unified user experience if you look at the contact libraries that cine samples is produced kind of following up with Shane said it's really disparate between the libraries some of the features were championed by different product developers different scripters things like that we're keeping things very vertically integrated so when we do adaptive Legato it's rolled out to every instrument and at the end of the day there's probably a subset of you know maybe 80 percent of adaptive Legato can Target all our instruments our Legato instruments without requiring script level detailing the other big difference um we have the powerful Lua engine that lets us do lots of cool stuff around the hood but our user interface again if we're staying ux Focus we want to maintain that Simplicity and I think a lot of features that are great in the contact world of cine samples instruments really rely on having this super customizable UI with image features and things like that musio definitely strives to keep a little bit of the Purity Simplicity on like uh knobs buttons switches um nothing too crazy like that yeah and I think we argue a lot about how to keep things simple and it's actually really hard to stay simple like the easiest thing to do is just add everything you can imagine into musio yeah but if we do that then it's just a mess it's complicated it's hard to use and there's other sample platforms that are kind of moving in that direction and we're like no let's do the opposite so we we argue heavily about what should actually be in musio what is actually usable you know okay three people want this but 50 people want this so you know let's or or if we add that thing for the three people maybe a hundred people will be confused by that could be yeah right so like we deliberate a little too obsessively about this and it's good um Maddie can you talk about kind of the design approach I know we've had a lot of people recently just asking for more robust features and obviously that's something that we want as well but you and I designing the app you know and getting our fingers into it I think we've hit some of the those walls where we're just like okay how do we do this well we want those features to um can you just kind of go over sort of our problem space and Define that and talk about some of the challenges and successes and failures we've had yeah I think um back when we really started diving into the design and how to implement this well from basically scratch back in 2021 um I think it was it was interesting just with the flow of taking each new idea and problem as we came and kind of taking the the building blocks from there and going and now I think we have a much broader picture of what musio is and it requires stepping back into um kind of those first basic blocks of what we did with Museo and really looking very honestly at what we designed from the very little information that we had or the few ideas that we had at first and saying does that still apply now after all that we've grown in and all of all that we've done so far and all that our new users are are asking for so um it's a really fun and interesting challenge to be faced with and I think um right now we're just trying to figure out how to implement as many like like you guys said keep it simple and usable with a really healthy flow but also Implement more and more things where it becomes usable to a wider range of users so I don't know if that answers the question I think so yeah the only thing I'd add is that when we get inundated with feature requests we tend to get really excited internally about them and the whole team kind of you know we pick sides and we fight each other and we say with this or this is more important or that's less important or whatever but really the challenge comes down to how do we add all of these things um in a in an elegant way that doesn't destroy the Simplicity the ease of use and the straightforward approach that muzio I think for me has has really been its its key feature I've I have I've written more music in the last year and a half of my life uh than any year and a half before because musio is so simple and I'm a person who gets option paralysis I'm a knob tweaker and a button Pusher I think a lot of our team art we just we think that way we're techies it's been a very difficult challenge but a really encouraging and exciting one to say okay what do I actually need to make music and the way that it streamlines our workflow and helps us create music is is really been been a an amazing thing so it's valuable to us we're going to maintain that Simplicity we're going to maintain that very very basic very very bare kind of a look but we're also going to elegantly add some of these features that are that are truly key to you know any producer's workflow and it's worth mentioning the obvious which is that in Museo there's actually a feedback button and the team reads every single thing that's admitted So within muzio like on the top top right you can just click submit feedback and then there's actually per instrument you could submit feedback per instrument if you notice something or you have a specific thing that you'd like to see within that instrument so everything is red and then prioritized uh on our end all right let's prove it oh go ahead oh just just while we're on the movement yeah of design and features in the app um we have a question from aquashi music he says uh will there be a download all button for each Library available okay so let me let me reorganize here I'm going to get to that question just a second but I want to take this over to Steve uh let's prove that we actually listen to your feedback Steve without looking at your computer off the top of your head if you want to close your eyes you can what are like the three to five top pieces of feedback that we have heard and we are going to deal with about instruments or about features or whatever like I know he can do this it's so easy uh well the first one is a download all button so yeah nice timing on that one yeah download all per collection uh mic positions and additional features uh key switching articulation switching what about instrument bugs it's true oh okay I mean there's well there's a bunch that we that we have recently uh pushed a bunch of fixes for so uh yeah over the I want to pull up that list and like read it through that one that Santi posted I think oh yeah because this will actually clear up a bunch of different stuff oh boy yeah here's are we sure yeah okay cool this it's in Museo releases Channel yeah it is all right so so let's see I think these are live by now right these are all these all should be in there so recently fixed we have uh I don't know Santi are they all live yeah yeah before before I yeah but they're coming uh live very soon next next release cycle yep you're right uh okay cool so uh biggest one is cinepiano this is a pretty commonly reported one there's a there's a hinky note in there that that uh snuck its way into the wrong mapping that one's gonna be fixed uh Dynamic curve is get is getting fixed uh the uh let's see Reverb defaults uh oh yeah this is an exciting one the drum kits for the uh the hi-hats for the sunset drum kit are gonna are gonna respond to choke function finally yeah it's gonna be a good one uh clarinet whole step trills the uh Dynamics uh it's gonna respond to the Dynamics uh replace some uh some missing samples in Drums of War II Metals uh fix the velocity curve for all the shorts and cinestrings solo uh bass flute stuck atissimo was missing Reverb and expression controls and I think we get the point now it goes on and on just so you guys know we are we hear your minute feedback and your macro feedback all of the stuff is very much considered and even though none of us have any extra time in our day because we're trying to develop all this stuff uh Santiago and Kirsten are our two wonderful Museum developers took their time and pushed extra hours and all these different things to get these fixes in so that you guys lives could be better so um let's move on to that question specifically about um the download all button yes yes we're gonna have a download all button coming to you um it's actually going to come with a couple of different features one of the things that we realized is after adding so much content and let's just put an like a general number on it I think in the last three four months we've tripled the size of the Museum library worry that's with Legacy content and new content it's a lot of stuff and right now if you're a Museo user you know that when you click into a collection you get this massive list of single articulations and instruments that you can load and for larger collections like cinestrings or cinebrass or Gina Luciani flutes it's just a lot it's a lot to scroll through it's a lot to kind of you know comb through so what we're going to implement is one more layer of organization where when you click let's use Gene Luciani flutes for example which is a phenomenal Library if you guys haven't heard that if you guys don't follow Gina Luciani please go do that she's a fantastic human and a brilliant flute player but she recorded a concert flute an alto flute a bass flute and a contrabass flute and right now there's about 140 articulations and effects across all those flutes so when you click into her collection you get this massive list and might be difficult to scroll through what we're going to do is we're going to implement a instrument level of organization so that when you click on the collection you get a choice between those four instruments so it's just a little bit more navigable and once you're in the single instrument we'll give you a download all button so if you want to download the entire Alto flute you can do that uh yeah it's it's basically been a tool that we've had implemented for our Dev team for a while because they have to download these things constantly and constantly but we just want to fine tune it and make sure one it's designed well and it's not you know all hanky and stuff but we also want it to work perfectly every single time for for users we don't want to mess anything up so that's taking a bit of time but we're getting closer and absolutely developing it we have a question from Michael Johnson about uh the subscription models um and they're asking if uh if obtaining a Perpetual license is going to be something that's consistently available or if it's only available for a limited period of time uh Doug Mike you want to take that yeah I'll sure so first of all I wish we had a crystal ball to see the future it's definitely something that people want still there's there's a vast amount of folks that still want to pay Perpetual licenses but there's also an equal number of folks probably a lot more that prefer the you know whatever 10 bucks a month uh to get everything so for now we are we are providing that in terms of it being so when we did it uh was it three months ago now we did this lifetime offer for a really low price and it was kind of just sort of like the people that participated in that were kind of like early investors early adopters it was to kind of help us out to help us commit to this road map that we developed and um and we're on track for that so yeah I guess to answer your question we are for at least for this year for sure we're going to continue offering these three things Perpetual you know the annual and the monthly just to make it so everyone has options um I think we get into trouble if we say no it's only going to be this way or that way uh people yell at us so uh and also frankly we when we do this when you launch a product you don't know what the price is until you put it out there and then you adjust uh based on feedback we pretend that like we have all these meetings and we discuss what we think is going to be the right thing but it's not until you actually put it out there that you discover oh we got that wrong or we got that right so and I'd also like to say that you know that's a constant ongoing discussion um some of the price decreases that we just recently lowered the price of muzio um that's not because musio wasn't selling it's not because it wasn't doing well in fact it was doing phenomenally at the prices what we put it out but um we are really committed as a group I think I can speak for everyone here we're we're students and we're producers as well and we're committed to access for this community we don't want to put something you know way out of the reach of regular people making music we don't we didn't set out to be an exclusive club and I don't think we ever will be you know we have people all across the socioeconomic Spectrum in this company we have people from all walks of life in different stages of life you know new new married people and newly graduated people and all those different things and we all have different amounts of money to spend on gear and we all are gear heads you know you'll notice in the back of our of our cameras studio equipment of some kind you know and um we just wanted access for everybody when we think about the Museo customer it's not just the people who are recording in these massive Studios and working on these famous projects it's about people who are just want music in their life so that's the impetus behind it and when we get enough people on it'll be really an amazing and amazing community yeah any other questions pressing or should we move on with the agenda as it is uh we have one specific uh feature question from Justin Crosby asking about sample delay unified sample delay um as it's becoming a pretty widely accepted feature um among like orchestral instrument developers um is this something that we've discussed and considered as a feature briefly kind of enclosed door meetings I know that Harrison Toby and I and Santiago have kind of picked that can a little bit around but um mostly as just like a a dream of a wish of a thought we're focusing so much right now on just content acquisition getting all the stuff that we've recorded in and getting the key features on that we don't want to fill the plate too much and then choke on it so uh right now just so you guys know we you know we spent the last year and a half recording just a massive amount of content we've got cinestrings Pro coming to Museo very soon we're going through the final key maps and exporting those right now we've got a big session from vachus 8 if you don't know vachus 8 they're this amazing vocal group from England we're we're beta testing those right now um well internal I guess it's an alpha test we've got the entire world Adventure series if you follow any of our social media or cine samples or Museum we went to Scotland and Ireland and South Africa and Iceland and we recorded choirs and percussion internal instruments that are unique to those uh places and it's just been a massive backlog so right now we are committed to getting all of the cine samples Legacy content in and all of the stuff that we have in the can that's brand new and will be Museum exclusive and stuff and before we talk about extended Pro Museo features I want key switching before I get sample delay you know I want multi-mic positions before I get a lot of those stuff so uh one encouraging thing that you might all want to know it's a little bit of a curtain reveal thing is at the beginning we developed hundreds of user stories about what we wanted music to be and what we wanted it to include and the overwhelming positivity of that is that as we get feedback it's basically just checking the boxes on our user stories so what we imagined usually to be is essentially what you're asking for we're just trying to prioritize and focus on the key features before we get into all the little things we do actually have a specific question about the World Series is it a good time or premature why not okay um so Runar asks uh could you provide any info on what instruments were sampled from the Icelandic Library yes I actually have it pulled up because I knew somebody was going to ask um and with that as well um for those of you that were physically there sampling would love to hear from the two of you Kirsten and Santiago let me give uh let me give a brief list because I have it pulled up and then uh Santiago and Kirsten can jump in and just talk about it so uh we have a Shetland goo a taggle harpa a base taggle harpa a lurehorn a liar a long spill a Symphonia which is like a medieval hurty Gertie kind of an instrument uh we've got medieval drums all sorts of different kinds we've got Shaman drums uh some with like goat skin some from Germany some with like hexagonal shapes and stuff uh we've got a Inuit drum made from from like a Greenland reindeer skin I think Canadian hand drums a bunch of shakers seed pods and goat feet and all sorts of stuff we have a Shaker that has Inuit Buffalo testicle Shaker it's written down you guys are gonna have to deal with it we're probably not going to name it that amusio but you've got the inside track we've got ankle rattles a Deboer large and a small and a nickel Harper drones um also this is not going to be included in the initial set because it's going to take us some time to go through but we recorded a absolutely gorgeous women's choir um and it's kind of the follow-up to voices of war men of the north this is going to be women of the north but um they they did a phenomenal job but Santi and Kirsten go ahead and talk about it what was it like being there and um all right so we started with the choir actually that was really really great um we recorded at searland studios in in Iceland in Reykjavik where um it's where Bjork has done a lot of her job and I nerded out about that massively and took pictures of everything New York related and was asking me your questions to everyone but regardless uh the choir went amazing um we're recording an all women choir and then a solo soprano um on the first day and then the next couple of days we recorded all the uh traditional Icelandic strings uh Nordic strings that Shane mentioned um and we got some and some fantastic percussion we prioritize it uh trying to get a lot of Timbers instead of multiple articulations so different types of bidders different types of drums um and yeah uh interesting anything you want to add yeah I feel like listening to that list of instruments I had forgotten that we've recorded so many different things like it felt like a complete Whirlwind because we were there like they were quite long days to try and pack as many things in and um like we worked with these musicians and they just came with bundles of instruments and they were like oh I have this and then we talked about where they got this instrument and uh we heard about all the stories of all the different things that they had and how they got to where they were and um I can't remember if we included some of that content on social media yet or not but we have a lot of interviews with all the musicians from all of these different countries that will eventually release and um yeah hopefully it should give a good background to how you would use these instruments and that was something that we definitely kept in mind as well we wanted to record each instrument in a way where you would actually play it like this rather than or we could make it do this or we could make it do that it's like no what does this do this is what we're going to record um I definitely learned a lot while we were recording it was preparing the ad to speak to that uh that you were just saying Kirsten I think um it was really great to go to the sessions expecting something for a lot of these instruments and then getting there and realizing that the instrument cannot play a certain way or that the resonance is different like something that didn't work and we were very quick to change all of our plans and recording sheets to accommodate for what the instrument actually did um and I think that's after going through the editing the noising mixing and all of that um I think we're hearing very good results from that did either of you have a favorite instrument that you sampled by either for me I I loved working with the choir like um I was doing the conducting and as a singer myself like the tone that they had is so pure and they were saying things things in Icelandic and it would just sound oh it just sounds amazing so very excited yeah same for me it was the same the first thing we recorded on that World Series and it blew my mind instantly can you speak a little bit Santiago about some of the um more non-traditional instruments that were like bizarrely tuned and handmade so a lot of the strings uh a lot of the replanting happen with the strings um because I particularly went like from my experience with recording orchestral strings so they stay in tune very well and you know they are classically trained musicians so they hear piano or Forte or whatever and they know exactly what to do but we were dealing um with like full instruments that have been recreated from texts uh that use gut strings and you know all sorts of things that give tuning problems um so yeah we we had to change it from more of like a individual node playable instrument to more of a performance approach which is not to say that you cannot play every single note because we did record every single note every single articulation we're more focusing on the on the performance um of how this instrument is traditionally played than on giving you the options to play every kind of music with that instrument yeah and also I'd like to kind of bring up with a lot of these World Series instruments they're from different places in the world where 440 tuning is not necessarily the standard or the norm and they're played in in folk music and taverns and they're played in villages and all these things so it's not supposed to be perfect and if you listen to um you know the show Vikings that score or the northmen where you just have a drum and one kind of string instrument drone it doesn't need to be in tune it's meant to sound gritty and gross and stuff like that so we're gonna we're gonna maintain the heart of that and make it playable as possible but yeah this is a really really exciting kind of a session so all that to say to wrap it back up we've been doing a lot of that stuff Iceland is one country that we visited out of four and um yeah I mean any other and there's like right there's like a huge benefit to going to the actual country going to the studio go and working with musicians who live in the area using instruments that were made in the area you know it's a it's something you don't really no offense to LA but you know it's not something you can really get um I remember at the end of was it like day three of one of the sessions we were sampling one of the Viking instruments it was a long day and at the end of the day we stepped out into the uh the parking lot and we looked up and there was like all these northern lights going and it was like well you don't get that in La either you know so it was it was amazing yeah yeah I mean we're let's just say this out loud this is a little bit of a plug for Museo incentive samples but you can't model that you can't you can't recreate that digitally you can't replace those sounds with a synthesizer um you have to go to the source you have to record it really well and you have to produce it excellently to get a good result and um we're committed to doing that that's why what we're passionate about that's what we love we want to make real instruments we want to capture those real sounds from the real places and it's going really well so far um anything else Maddie uh yeah that actually does tie in really great to a question that we have from Frozen who says um it's just asking about the balance between quantity and quality and how do we strike that and ride that fine line with what we're developing yeah that's a really good question that's actually one of the reasons why we decided to jump in so aggressively to the creation of musio we can maintain quantity and quality outside of a contact interface because it takes drastically less time to script and design and Implement working with a third party like Mike said at the very beginning we can record something like we did with um we we had a test with like a Kalimba we recorded it that morning and we had it in that evening you know that's obviously a very very simple instrument but um it speaks to the implementation process and how we've kept Museo so low-key in its in its features and stuff like that it actually really helps you can play a you know a solo cello like Tina guo solo cello or the apocalyptic acellos that are absolutely phenomenal without all the bells and whistles and get a phenomenal sound and that took I think two three days to get into Museum after we chopped it and everything like that so uh we're definitely not gonna sacrifice quality for quantity if that's what is being asked uh quality is is King if we put if musio becomes an instrument that has just like a ton of filler and all the instruments are kind of like all right that's I guess that's an instrument it's fine I guess I could use it for this and you have to keep on tucking it back in your mix because it doesn't sound excellent and stuff that's just gonna be a failure on our part so quality 100 is the is the absolute goal uh quantity has been solved by the platform and by the tools that we've developed for us internally but um you know we have all this stuff in the can it's taking us a long time to get it through because we do require quality in fact let's I'll talk about maybe some of the the things that we've missed so um on our roadmap on museo.com we have a couple of these uh World Series slotted for June and it's the 13th right now I promise you we're not going to get some of that stuff in for June and the reason is um and I'll kick this one over to Amanda to talk about but it's because we've been hung up on vachus 8 um these singers I'm going to say this out front these singers are some of the best singers in the world and that's not hyperbole they are absolutely phenomenal but it just takes a long time to produce vocals Amanda you want to talk about some of those challenges and how you asked me for like an extra month yeah you get it all right yeah so basically watches eight we've been working on since January so it's been about six months from starting to chop to now which is half of them are are finally exported but yeah when you're working with a vocal Library it's totally different than obviously something like sin they have the notes that you know they have the fingering positions that they need to transition to for legatos it's it's just different they know exactly where the note is whereas with vocals um it's way trickier so uh we had to go back in and I had to do a couple passes on the tuning and the finalizing um for this Library specifically and um yeah it is just a little bit more tricky and um everything I think was a little bit new new territory for us in terms of of figuring out how to solve yeah yeah to solve some of these and um uh mapping some stuff that may have been missed by the singers in the session and yeah so it's just been taking a little bit longer just because because we value that Quant uh quality over quantity and that's actually a conversation that I've had many times with Shane because of this so we want to get the tuning right and we want to get you know quality is King as king absolutely like that so yeah it's it's almost there but it's gonna be worth it we just want to make sure that when you're pressing through round Robins they all have the same Timbre they all have the same length they all have the same start they all have the same tuning like it's really important for these things to be usable and about a month and a half ago Amanda we're we're just getting ready to start to export and stuff and she's like look I'm finalizing some of these and I need more time like these are gonna be fine and we can put it out but is it going to be great is it going to be really good and she asked for that and the answer for me is always going to be yes yes when someone is dedicated to Excellence as we are as a team we always chase that and um you know we have we have more stuff coming out it's not like that's the only thing that's holding us up but um we we are dedicated to that 100 percent any other um any other from different departments that could speak on their experience of taking care of Museum and and the users yeah I'll speak a little bit about the so I have the enormous pleasure of working with Andrew and Colette who uh are the ones really going through the nitty-gritty of every support ticket and categorizing them organizing them working with our customers to go back and forth and gather whatever whatever other information we need to make sure that we're talking about the right issue making sure that we're understanding what is happening that that whatever you think should be happening differently if there's something that's not working properly and and we're making sure we understand exactly what it is uh that's uh that's always a fun uh detective work challenge sometimes because everyone's computer system is different everyone's uh everyone has files in different places everyone has different uh organizations of things and it's one of the advantages of Museo is keeping everything simple and streamlined and and having just what you need when you need it and and uh avoids a lot of that multiple drives having different libraries in different locations and all those all those fun things that anyone who's ever done software troubleshooting gets to gets to reminisce about um but yeah one of the things that gives us uh enormous confidence is knowing that the production team has such a dedication to Quality and knowing that any issues that get reported that that we can do something about we're gonna do something about it so the as Mike mentioned earlier there's the in-app submit feedback uh options which come directly to our customer service portal they come directly through to through Us in zendesk and we'll respond back uh via email so whatever uh whatever you have that you'd like to see whatever features you'd like to to request we're keeping track Colette has a has a spreadsheet with all of the all the uh feature requests and the the accounts of uh people who have reported it so uh we make it's it's very encouraging knowing how focused Shane is and Harrison are on user experience and how people want to work and how people want to uh work with these tools and and that they listen when we tell them this is how people are telling us they would like to work with these tools so if I can follow up on that um just to peel back the curtain a little bit um as a team we meet once a week to actually go through uh the the support tickets that aren't an immediate answer or you know have a have a quick solution um and I want to shout out to my team member Ed he's uh he's our liaison and sort of front line of investigating uh more the system or Plug-In or music connect issues um and uh the topic here is quality over quantity um I think in a lot of support cases you could probably just say works on my machine which is you know that might as well be tattooed on every Dev but we definitely take the time to pay attention to the details that come through um I'll take a second here to reiterate use the in-app feedback and the per instrument feedback because muzio will slip in the exact information about what OS what version or if it's an instrument which release of that instrument all this um uh just streamlines everything if we for instance let's talk about instrument quality if we get uh you know an issue with you know cinepiano the issue of the day when that ticket ticket comes through and you submit it through the per instrument feedback we know exactly which uh version was the problem especially as we roll out updates there will be multiple versions so it'll be critical to be like um oh yeah it's a new version that we released oh maybe there's still a bug we didn't catch or maybe a user is actually submitting a ticket on the old version we can immediately turn that around and say Hey try updating to version 1.1 that should be a fix there um the quality of feed feedback we want to give is as high as possible and that means that this weekly meeting Santiago and Kirsten are there to represent the product team and myself the whole Dev team is there to sort of suss through the issues you guys encounter and really dive into what could be the best solution there are definitely some head scratchers out there which have led to a little backlog of tickets so things that we can't solve right away we keep that evidence or those reports Brash logs are amazing on Mac OS X all these things we use to produce high quality responses awesome Maddie can we do a rapid fire session of just answering yes or no questions from the chat yeah let's do that because I know there's a bunch of little minutia and stuff here but um I think we have a question that could be answered yes or no um regarding it's a future question regarding um any plans to open the platform to third parties oh gosh that's a that's a big discussion I don't know if that can be answered yesterday it's not a yes or no we've we've volleyballed that and spiked it at each other back and forth for a long time um there's a lot of minutia there I don't think now is the time to get into it it would be really cool if we could find the right kind of vibe but mostly we want to work with artists and producers right now to develop instruments um you know but it's complicated let's just say that's our Facebook status it's complicated I mean I'll I'll say yeah there's currently no plans right uh I think because it allows us to have control over the quality of the stuff we're doing I think also selfishly we like to be in the studio and do it all ourselves and because we can do it so quickly I don't think we need to rely on other third parties there's also like technical challenges that have to Port other instruments from other other developers over into musio and uh you know I think porting cine sample stuff is hard enough so we're gonna get that done and then uh you know also none of our titles say accountant next to it and we don't like to deal with all the the monetary Financial minutia of that it actually gets really complicated really fast so yeah we've got lots of great questions I know I I couldn't get to every one of uh one of you guys's questions um but they're really not yes or no's um so I see a couple here like is there plans to add amp envelope controls adsr cut off mod envelopes lfos uh yes they're already in there in many cases uh check out Vision synths check out any of our new synth content for sure um here's one from Maestro Harmony will you continue adding to the studio guitars Studio bass yeah absolutely um these are all going to go in at some point I got a Les Paul I've got a Telecaster I've got a couple of different Acoustics mandolin I've got a strat on that wall and a semi-hollow on this wall I've recorded two of them already so yes and um Santiago's got some more um instruments as well we're both guitar players and we're we're definitely very very excited about adding to that studio bases as well I've got a bass guitar that I'm building in my garage and painting in the next couple months I'll be putting that into musio so yeah we've got big plans for that there's things we can sample ourselves and then there's like oh if we need a string orchestra at you know 20th Century Fox well we'll do that right or if if one of us is really good at the harmonica we'll just sample it in our living room like we'll we'll do whatever it takes uh to to get the instrument done in a high quality way yeah yeah in addition to Industry brass will there be any other industry series like strings wins Etc I mean that's that's the dream that's the goal we definitely want to tackle those big stages uh my my dream scenario for musio is that it has two significant studios in it I think that puts it heads and tails above a lot of competitors and a lot of other offerings out there so if we had the Sony you know cine series and we had the industry Fox series that would be phenomenal so we have designs for that but right now we're just more focused on what we have already recorded in the can to that end though industry brass from Fox uh is going into beta and live in the next couple weeks yeah uh will there be a Legato type feature for those guitars uh yeah actually let's talk about guitars for like 30 seconds um Santiago and I had a really awesome meeting a couple weeks ago about because we're guitar players and it's really hard to like Tran why would I ever want to play guitar on a keyboard it doesn't make any sense to me um and I also think guitar is kind of easy you know in in comparison to like a flute or a violin or a cello where there's No Frets and you should be terrified if you're a player of that instrument so I'm like how do we really approach this in a usable way what does a producer sitting in the producer's chair want of a guitar player so we have this idea on a new layout for the guitar on how to Chunk Up the guitar in in sections that makes sense to producers who don't play guitar as a producer who doesn't play guitar I think the questions you're going to be asking or asking of a guitar player is like hey play something kind of higher on the strings and kind of up on the neck like give me something brighter give me something darker give me something in the middle just really basic stuff and we have a plan to not only do Legato but absolutely yes that's going to be a part of it but to make sure that the guitar is actually expressed the way that a guitar is expressed and not like a cheap Casio version of guitar which I think a lot of guitar instruments sort of are today it's either that or you don't have the control and they're just performances that you trigger so as guitar players we're very excited to implement some of that stuff and we've already done some tests and they've gone really well so yeah look up look out for that content coming we've we've got to handle uh any new info for my position slash key switch updates let's let's talk about yeah let's pivot into features uh Harrison well first of all I'm gonna give Harrison and out here we're not promising dates on this development dates are we have internal dates and we have internal goals that we're working very hard to hit but we don't want to piss anyone off and we don't want to give anyone false hope we know that they're very integral to your workflow so um we're not going to give Hardline dates like that but we are working on it but Harrison why don't you give us the Deets cool yeah hey everyone um yeah uh so the museum.com roadmap uh kind of covers uh trying to remember in the order um first thing we calling internally our instrument panel um right now Museum users are used to a little drop down control in the rack we want to make that a more Premiere uh look instead of a little drop down rack with a bunch of Sliders we want a a large graphic with um macro knobs if applicable individual effects as chosen by uh the production team what they feel is right including uh bypass switches so you can turn off an effect and save a little performance on your CPU we are in full production on that um just kind of uh every feature has two critical stages the dev team my team has to build the feature and then we'll ship it to the production team and then they will go through and update the instruments uh to take advantage of those features as much as we have that vertically aligned approach about hey if we produce a feature it's for all instruments it doesn't necessarily mean all instruments automatically opt into it we we definitely want to make sure that uh this streamline approach to an instrument says like hey let's not paralyze a user with an excessive amount of controls unless it's appropriate for the instrument um so instrument panel is our first task here articulation key switching um uh just again to talk a little bit about what happens behind the curtains start of this year we we had a off-site meeting where we all met in person and had some amazing discussions and I remember we just like broke off into a little group and all of a sudden more and more people start coming in and we had like a full whiteboard of designs and full Pepe Silva Vibes um about what you know oh what would key switching where does this fit in and it immediately became evident that like this is actually going to be a critical feature and maybe it wasn't on our radar this year it's now one of our um it's the most requested I would say the loudest issue and it really does make a lot of sense uh for I would say every every uh competitor sample Library there has some form of key switching in one way or another um you want me to show it yeah why don't we showcase this um if you want to bring it up I'll just talk really briefly uh I I want to re-emphasize that we are ux focused here um everything we're all sample users we're all composers at some point I know maybe like five seven years ago I used to nerd out about getting the mic positions in every articulation laid out and fully integrated in my Daw so we've all seen that but when you take the ux really seriously and and and try to get something that's unified that covers a whole company's range of instruments it's a very fascinating Challenge and um you know there's there's we'll go back to that arguing um when Shane and Maddie meet with Toby and myself about this kind of design looking in figma laying out what it's going to look like it's it's probably two or three meetings at least an hour each saying this looks good no you can't do that I don't know how we'll implement it what about this idea I'm gonna need every hover State please can you build out a matrix it's it's detailed yeah and and Toby is a is an integral part of that as well he is our he is our reality Checker which is great but let's let's look at this and I'm going to answer some of these questions that have come up uh about this so um for Planned key switching would you be able to this is from Daniel for playing keep switching would you be able to load a single instrument maps to a single Channel or you still need separate articulation spread across multiple midi channels this is a single instrument loaded on a single channel it's important so we're going to actually design and develop these um this was a big collaboration process between Dev and production and Steve and his uh and his team we all talked about what you guys would want and what we would want and basically what we're going to do is we're are going to have like multiple key switch patches that are essentially key switch presets as you would see them in our contact Library versions so we'll have light sketch key switch patches we'll have full key switch patches the thing about it is we don't want somebody who just wants to load a couple of things to sketch really quickly to have to download absolutely everything in a whole instrument if they don't want to and sort of be inundated with all this content and hard drive space stuff so this is a example of a industry brass six horns key switch patch and I'm going to zoom really far in here because I don't know if it's going to be showing up well but we sort of reimagined what a key switching layout would look like and what sort of frustrations that we have and stuff and in this new instrument section on the right side we've given a little bit more space graphically to to kind of display these things and what we want to do is we want to develop these just with like a white glove kind of a kind of an approach so this would be a full full key switches and you'll see little tags here and all sorts of information that lets you know what you're playing and where it's mapped and all these kinds of things and if if it's too big you know because there's a ton of articulations in an instrument we're going to add pagination here like you see to make sure that you can just see everything and it's very clear it's very straightforward when you download that key switch patch it will download all the articulations included in that key switch patch so if you just want to sketch and you have like sustains and shorts done like we got you but that's going to be curated at on a one one by one basis uh per instrument so yes it's coming it's designed we're very very excited about this and it's a feature that we all are going to love and it will not require multiple channels cool um do you want to keep uh speaking on this or can we direct other questions or let's actually do a couple of these Harrison you want to talk about that yeah so so yeah I got through those two features uh key switching is our next goal once we get these uh as you can see at the bottom this effect that's our instrument panel goal um I guess I want to talk about mic positions um again to pull the curtain aside and reveal what's a museum we had mic positions in musio prior to launch um and you know it was a proof uh that the system could do it we had designed and paid careful attention to what is a mic position and even taking a Step Beyond your traditional orchestral scoring stage what does it look like when you you have a parallel compression um you know those aren't mic positions but it is a blend of two you know uh phase aligned things if we want to just think of it very generically technical probably so we we stripped it back and thought about these are multiple channels playing together how do you want to work with that um we did our initial internal Alpha about how does this work and we saw immediately that uh it was a major drop in ux because the mic positions were all bundled together if you wanted to download um you know we had a version of Cinemark with all seven mic positions in yeah it's like I just want a snare drum and it's like sorry that's three gigs and uh it it just absolutely ground Museum to a halt so we made some hard startup decisions and said we're going to stick to our well-mixed main mic position and the challenge with mic positions going forward uh it when we tackled this feature um in the in the very soon future is how does downloading and the general user experience of mic positions we want to make sure it uh mesio stays Nimble when you want to download a new instrument but then if you're ready to um you know put together a massive template because you've got the horsepower you've got the disk space and you have the need for a really custom mix whether you want to bring that dry or wide depending on genre film score or whatever you're working on all those check boxes have to be hit and I think what we're looking at really is the you know covers the details we need from the development side and also features a super slick user experience I'll pass it to Shane to talk about it yeah so let's just uh just highlight a couple of key features when you you know when we implement this when you load in a new instrument it's still going to load in just the full mix and you're going to have these buttons where you can either download or activate the extra mixes so at from a performance side Museo will still be very streamlined and very quick we're not going to throw more content at you than you decide so that's going to be really nice um also just to take a look at the production side of it Santiago is including in all of his ports well I should take one step back Amanda and I are chopping all mic positions across all of our sessions so we are dealing with tens Channel and 12 Channel and six Channel instruments all the time and they are being produced so there's no extra work on the back end and when we Port them in Santiago is actually porting in all of these things so there's no like mountain to climb once we get this feature in it's a little bit more of a flick of a switch and we'll have a bunch of this stuff implemented so um we're doing a lot of work in the background on this even though it's not the main focus before key switching and stuff so uh we're working on it this is the design I think it gives pretty much everything you need and um yeah that's that alrighty uh let's take a brief look at some of the really quick things that are coming up here this is this is my massive figma document just so you guys know this is all of Maddie's in my designs and posters and our try oh sassy clock I forgot over there we knew that was gonna happen for that oh we're gonna pivot and this is the new kind of setup so this is our tb303 synth base we're adding all of the expression and cut off stuff over here instead of in the rack we're just trying to increase user experience and ease of use across the board here are some of the designs for the effects and bypass buttons I know a lot of people have been requesting bypasses so that you don't have to turn down knobs all the way to zero every single time so um we are listening we're developing these things and these are in in the works they're being designed currently yeah I think that's pretty much all I'll say about that anything else here should I stop sharing I think I was going to say we touched briefly on that um uh in the catalog we want to be instrument grouping below a collection uh especially with Gina Luciano and I think there's a demo really close here yeah yeah right here okay so this is yeah we talked about this but this is essentially what it's going to look like uh previously you would click a collection and you just see a big long list of individual you know and you'd scroll City at that point it's not a great experience at this point you'll be able to click into a collection and in this case you'll see all these and then you'll get the Alta flute and hey for everyone waiting there's your download all button ta-da and the crowd went wild silently on YouTube we're gonna have a download all button it's gonna make all of our lives a lot easier um and a little bit more organized as you can see you can just see the alto flute and as we get key switching patches in there you'll see them added on the top so yeah where so we have some we have some new sassy clock fans already oh yay time stamped Forever on YouTube history cool all right let's uh let's move on to another agenda item unless we have other questions yeah we've still got some really great questions coming in um I know I'm not able to to get to all of them but um let's see what else is being asked uh we have a question from Nathan asking um if it's possible to run multiple mini tracks into musio to play different sequences on different instruments then route those out different mixer tracks only with a flux capacitor installed um no I think yes yeah that's is that just are you asking about multi-output like just having different instruments in Iraq on different midi channels and and different output channels coming through yeah that's multi-output support you can that's a default feature that you can turn on in museum connect in settings you can turn on auto increment midi Channel and auto increment output bus that will make each new instrument that you load in the rec add midi Channel 2 midi channel three and output three and four output etc etc you can turn those on and off at will and depending if you're setting up if you're we do we've talked a lot about key switching uh and and Mike did a video recently showing about articulation switching in the DAW and how that is a uh an opportunity for those of you using a doll like logic Cubase DP uh uh Studio one has their sound variations a lot of dogs have uh ways of setting up articulation switching by midi Channel which allows you to have one instance of muzio for example I have a I have my my Giga template and logic that is mostly for uh mostly for when I need to download everything in the collection on on a new computer uh it's got every every instrument in the in musio loaded in it that I have uh I think it's what a 536 tracks at this point um and so I've got one track for violins one Longs with all the the Legato and sustain and tremolo Etc violence one shorts all of the different short types and then I have an articulation map in logic that is assigning different midi Channel performance to each each note and then as you player uh record notes in you can go into the piano roll and assign them to play back those articulations so Mike did a great video recently showing how that works in in digital performer so check that on check that out on YouTube but as far as routing goes yes yes cool yes sorry yeah to answer the question that was asked yes yeah you're making Godzilla template is very cool uh any plans to bring muzio to iPad even if it's yours from now oh that would be fun right yeah I mean we're definitely not going to say no to iOS I mean that's obviously a massive Hill to climb in a totally different industry um but we want Museum on every single device and I think the streamlined capacity of Museum makes it really really nice for that application um if you just want to play a little something I mean we had those iPad bands years ago that got famous they needed Museo at the time to have stuff like this single articulation shorts of bells and whistles and all sorts of things so yeah I mean the sky's the limit um as the catalog continues to expand uh is there going to be a feature to be able to download the whole catalog with different drives instead of just one location uh you Toby you want to answer this one um it's certainly something we're aware of and we know that it's going to be needed especially as the library gets bigger it's not on our short-term roadmap just because we've decided that the other features we've already looked at are more important but um we know that we won't be able to put that one off for too long because like I said eventually the library is going to be so big that it's going to be necessary I don't remember someone did ask in the chat what the total size of a while back someone asked what the total size of his library now obviously that's now and things change but it's not absolutely huge so you should be able to get away with it in a single drive for now but yeah we know we need to do that at some point soon but I don't know if you happen to have that that number um Steve might have that number but keep in mind keep in mind that buying it right now hang on once we flip the switch well first of all we're adding so much new content so fast this number is going to be outdated in about a week but once we split the switch for multi-mic positions that number is going to get blown out of the water it's gonna yeah right exponentially rise so right now weighing it in just under 200 gigs 197.6 so manageable yeah but once we you know quadruple the size of the library with the extra mixes and stuff it's going to be necessary to so it's less less than the size of one uh Flagship seven mic string lights it's about twice the size of the Cineport contact Library yeah nice uh if I may just take a second um uh so one thing I wanted to address it's it's not really pressing but uh some people have asked about when we're when they're upgrading versions of a particular instrument let's say the cinepiano 1.0 versus 1.1 um downloading those two instruments does not mean that there are duplicates of those samples um if any of our Museo users here have explored their sample directory they'll see um you know a gibberish of hexadecimal characters and and the idea there is we are trying to use a content-based hash that says hey when we upload version 1.1 of cinepiano it will look through the samples and say okay well I'll make a unique hash for each of the samples and uh what will happen is only the unique samples that were new in that 1.1 will be added to your sample directory anything else there may be additional duplicate downloads but they will be discarded immediately our goal is to keep that usage very low it was actually one of the first things we noticed with um some contact instruments that we saw from third parties even internally going through Legacy you know if you try to do a mesio to contact Thrive comparison I'll tell you right away the contact versions have duplicates of samples that maybe had a slight rename but it never had that content analysis to say like yo these these three samples are the same let's mush it down into an ID and Associate it that way um one of the of the sort of streamlined validation and uploading method of muzio is the content team never has to stress about wait do I need to clean up uh vestigial samples the system will go through squash those duplicates and anything that's not referenced even if it's in your sample directory that you were building against it's not referenced in the instrument it does not get uploaded can we take a second uh with you and Toby just back and forth can we talk about the the need or lack thereof of purging with the current uh setup of Museo we get a lot of talk and a lot of chatter online about we have to have purging and stuff like that it seems to be a pretty common problem in other players and some of our competitors um even some of the platforms and apps that we really like and we really like using so what sets Museum apart how is that handled and why is it an issue or not an issue for us um I guess I'll dive into that I mean I in my composing career um I always used uh two computer rigs so I had like a a wealth of ram at my disposal um and I get the need I understand where purging comes from in the history of let's say contact I think contacts the main uh plugin we talk about when we say memory purging um and it I think it comes out of the need of building these Giga Godzilla templates especially if you're using all articulations loaded all mic positions right you're firing all cannons and uh it turns out it's expensive to have every Cannon loaded at all times um from our experience on our own platform muzio um and loading the Giga templates we have for testing purposes I you know I have a an M1 MacBook and it seems to just fly through a giga template in terms of memory footprint for those who want to tweak check out the music connect settings you can adjust your preload sample size I think it's it's fixed to quantities of eight kilobytes um and you know if you want to if you're confident you've got a fast SSD or an nvme and like your disk streaming is not an issue um definitely feel free to lower that preload size and see what you can get away with for reducing your memory footprint our goal is really optimize the heck out of Museum rather than um you know throw in the I'll say it kind of feels like a stop Gap to have purging but um uh honestly also give us feedback if we need more information and data points to say where Pershing lands in your workflow I think we hear a lot about we want purging um but you know uh take some time submit in-app feedback and really sell it yeah yeah anything to add Toby uh no not really um okay so approaching come in and I mean hurricane is a word a lot um associations with it and purging can mean different things to different people there's a lot of features that sort of fall under the purging umbrella for example being able to load an instrument and not have any sample data loaded until you play a key for example which is um something that usually is done on a on a lead or a machine just to save resources we've tried to address resource issues in other ways so we've decided that that kind of feature isn't super necessary but um you can tell us if you feel otherwise and if enough people say that that they do then we'll think about it again but right now that kind of control isn't really on the roadmap yeah if I may jump right on the back end of that um your Daw is actually probably doing this already for you uh I know in a lot of our testing of Dawes uh usually we have to account for fact uh I I mostly work in logic and I do a lot of my first you know it's the first die test when I'm making new builds of mesio um logic if you don't have any midi in the track it's essentially unloaded non-existent I could take uh Steve's Giga template and if there's no midi information I'll open it it'll load instantly I can verify Museo connect that there are no instances trying to connect um so definitely take a second look at what your dog can provide um and uh and then just work with it um at the end of the day uh the Daw itself is trying to accommodate um your memory and processing Footprints um alongside us as the plug-in developer for what it's worth when I look at museo's reported memory footprint in my Giga template with all instruments loaded uh 4.4 gigabytes that's what it says it takes it's exceptionally low and awesome okay um this is wonderful I don't think we have any pressing questions Maddie if not I can go into talking about new content stuff that's coming up exciting what what the future holds yeah if if any of you had any um questions or feature requests that weren't um touched on please submit them to us we read everything we want to hear uh your questions concerns and hopes and desires so so keep doing that please thank you we have that meeting after this uh let's look at some of the coming soon stuff just to give you a brief look at the roadmap we've got cinewins monster low winds going in uh cinebra sonore from the Legacy uh cine samples libraries we've got from the new set of content coming up uh slotted for June but like we explained we're just trying to dial it in and get it right so these are going to be a little bit late we've got a lot of stuff coming in early though from the later months like in August so uh and July so don't worry about that we're still going to be pushing out you know brand new content every couple weeks but we've got vachus 8 coming up very very close to being with that cinestrings Pro which is really an amazing collection um Africa and Iceland are both slotted for the first sets of uh World Series content and let me pause there just real quick so I can read you the massive list of instruments that we got in South Africa uh we got in a michingo pipe flute in uhati um in ambira Kalimba anjunga nyunga a bunch of different shakers probably like six or seven shakers um a water bucket where we filled a water it's like this instrument that this group of people made this really amazing band that we hired to record a bunch of these traditional instruments but they created it by filling a bucket with some water and then having like a plastic rod in the middle that they would then vibrate to make these really weird water sounds um grass shakers a bunch of Mallet instruments we've got four different um marimbas we've got Alto tenor base and I think uh well maybe just three three marimbas Alto tenor and based marimbas uh we've got African drums Zulu bass drums we've got almond indas a couple of gembes we recorded a talking drum which is going to be a really really interesting challenge to cut and produce but we got a lot of different articulations with the talking drum ankle shakers and um different sizes of kudu horns which is a kind of type of an antelope oh um bass drums African Harps and we recorded two choirs we recorded a basin tenor choir an alto soprano choir and then a full choir with them all together and let me tell you this is different than any other choir library that I am aware of um it's a traditional South African choir and instead of doing the Legato approach with these beautiful sort of like Western Styles uh we did all these different um vowel sounds and not only and consonant sounds to really bring to life the the African traditional style um and we consulted with some really amazing composers before we went out and did this and we spoke to them personally and got through a lot of content to make sure that we're really nailing the vibe so that's very very exciting um we've got soundscapes coming up and I'll I'll talk a little bit about soundscapes uh soundscapes is a very very script heavy instrument um it deals with granular synthesis inside of contact and has all sorts of bizarre stuff going on um it's kind of an unsung hero in my opinion of the cine samples Library I love this instrument it's really really wonderful and if you want the full control go buy the contact version and full control with granular synthesis I'm not going to say never but we have zero plans to adding a granular synthesizer to mesio and um it really does have some cool benefits but what we've done is uh We've hired Kaz Rodriguez who's a phenomenal drummer for Josh Groban and all these other different Chaka Khan and all these people and he's a brilliant composer in his own right and he basically took soundscapes and he reproduced all of the presets from that library and he is currently developing like 20 new presets that we're going to get all into musio so that's going to be a really exciting set of content and then I know people have been asking like what more keys and pianos are coming into Museo um we have a Wurlitzer coming up um we've got a cinema which is being cut and produced right now um we've got a Santa harpsichord coming in very very soon and we have a upright piano that we recorded in Sonic fuel in LA and then um last from the Legacy series for this month that we have slotted as voices of war men of the north and we're going to do our best to get that Iceland women's Choir in as soon as possible but it's a lot of work uh to get vocals in and we want to make sure that we get it right so that's kind of what's coming up in the near future and if you want more information you can go to museum.com and look at the coming soon I think we've already touched on all the features anything else we want to highlight Harrison there we we good on feature updates I think we're good for now I'm sure we'll do another live stream and I'm sure we'll have a new list then killer uh awesome then yeah I think then to wrap this up I just want to talk about and I'll have this like kind of open to the team and this can be Colette and Andrew I know we haven't really heard from you a lot thank you for being there and hearing our customers and everything like that but I just want to open this up to the team we talk a a lot about what muzio could be and what it can be and what we want it to be and what we want it to include and all this stuff and I've got my own ideas and I know the production team myself are constantly looking for new content to create and all this stuff but um let's just talk about with the things that we're excited about the things that we're passionate about anything that we want to see in Museo going forward no promises but this is kind of I just want our customers and our users to get an idea of where our heads are at what we're thinking what gets us excited and anyone can go feel free to just unmute yourself and jump in uh I'll I'll kick it off here um before working with Mike and Toby um I used to have a side hustle doing a lot of um there's a company I ran with a friend called composer Tech and I got a lot of experiencing a lot of Studios be it a small home studio to some of the A-list film composers in LA and it was really fascinating to actually look back at my experience on what are some of the common technical problems um or just the hardships of working with a sample Library um you know one of one of the biggest Explorations I did in Tech early on when I was assisting a film composer was we had one rig that would be you know eight hours a day writing and then I'd sneak in after hours and start printing stems and it led me down a journey of why why can't we have two Rigs and you know the technology and Licensing at the time would be was really restrictive um you know if anyone's familiar with ve Pro you start working around ve pro at the time to make isolated networks so that way it's not trying to cross connect between the rigs and you know you're working with your sample instrument distributor see if you get a 50 off side license because you need a duplicate set and next thing you know you've picked up another TV show and you need a third rig and it's the same ordeal again um so when I think about Museo and I know when we were initially laying down some groundwork it was uh I just kept going back to this cheat sheet of like what were the most common like things I ran into on like how can we empower you know a TV composer someone has to you know write multiple minutes a day and have a team that is in sync to print stems mix arrange whatever it is have a unified set of samples even getting someone uh you know someone to co-compose with now how do you synchronize two composers and I think musio has an amazing you know we don't we I think we started uh uh advertising a bit I know Mike made a great video um of Mike Patty and Jason Hayes talking about the collaboration feature um and just keeping that barrier to entry just of why must there be so many blows doors that I have to get through before I can just push keys on my keyboard and get it done um it's something I'm passionate about and it's really the driving aspect of Museum it should be fun it should be easy it should be no question about but what else do I need to get ready before I can make some music um so I will always be passionate for everyone should yes we talked about pricing and accessibility everyone should have access to Museo and but everyone should have fun with Museo and it should always be a delight to pop it open and be like oh yeah I'm not I'm not confused about installation I instantly get what this feature is about um yeah so there's my little friend very deeply passionate about making sure it is smooth to use yeah yeah and that everybody has the opportunity to do it whether they have the cash in their pocket or not I love that you know Mike could collaborate with a friend of his and they're I mean they're they're famous at least in my book they did Starcraft too like yeah so this is the amazing thing but Mike could have collaborated with anyone uh in the same level they would have access to the same instruments for the same price there's no tiered system right now it's not you pay two thousand dollars if you want the gold Platinum Series that has all the features and all the content if you really are a professional it's kind of like no know we want people to work with each other and create beautiful music together and and this is really a unique feature of Museum that I personally um think is is just wonderful to make it explicit in case no one uh said it said it aloud the feature is if I have a logic session and all the virtual instruments are musio and you are a logic user with a Museo subscription I can send you my logic project and you can open it and all of the Museo instruments that I have used in this session will automatically download to your system load up you can hit play and you will get an identical one as long as all that is is you know musio and logic stock plugins or plugins we both own but there's no there's no uh oh do we have the same version of this installed and is it in the same place and do I have to relocate that samples and oh you don't have this plug-in oh oh it's it it it drastically simplifies that and opens up a lot of opportunity uh for in in other ways for students and teachers for faculty who are creating projects for their students to do hey write a piece using these instruments here's the project file turn it in in a week with what you've done with it and then and then you can open it up so I'd love to hear from oh sorry no go ahead I'd love to hear from Amanda and Kirsten um just you guys are content creators and really excellent composers and musicians in your own right I'd love to see what you are imagining and dreaming for the future of what we could record and capture and design and create you want to start Amanda they're both introverts yeah I'm sorry um you mean in terms of instruments sure yeah anything libraries um well I'm first really really excited about uh cinestrings Pro and our world series specifically um and we didn't get to list off a couple of the Ireland and Scotland instruments um I'll mention a couple here I actually have a list um yeah so I was part of the Scotland and Ireland like and um really cool we got some really awesome instruments in Scotland we got bagpipes um both solo and an ensemble we got a pipe Band drum line which I'm super nerding out about because I'm a drumline person and we got Scottish harp really really beautiful and dulcer tone yeah and in Ireland recorded at the famous Windmill Lane Studios we got an accordion and alien pipes which both are those both of those are going to be interesting to chop up and map but we're excited about that new territory new challenges yeah new challenges it's gonna be awesome and the Balon drum and an Irish whistle so all really cool instruments really authentic to these cultures that was the whole goal with the World Series um was just to keep all this really authentic um and that's that's what makes me passionate about Museo is how authentic we try to keep it um and uh yeah anything to add Kirsten uh yeah I think I think the thing about museum for me is like I remember to the timer I was starting to learn about soccer libraries and just didn't really know what they were and was like what is this world of stuff happening in front of me and the fact that you can have all of these instruments in one place and we are keeping it so simple to me it's just it's I'm looking forward to the challenge of putting all of these new instruments in trying to keep them as simple as possible trying out these new Lua script things but also making them applicable to as many things as possible like it's going to be a big challenge but I'm really excited to make everything as easy to use as possible it's that same same idea absolutely anyone else yeah Colette Andrew let's have you guys jump in Brian if you want to talk about anything Brian's our marketing coordinator so and again great musician and everything and composer so let's hear from you guys um I just personally love this like the accessibility and the collaborative nature I know me and Colette just both graduated from um USC and we actually had like a project together where we had to collaborate and it was just we got it done but it with the museum it would have just been more seamless like I think my session ended up being like like 10 gigs just because we were just sending so much stuff back and forth but with the museum like um it would have just seamlessly uh got the project done yeah jumping on the hills of that and it kind of goes along with what Kirsten was seeing the most exciting thing to me about Museo is not only the collaborative uh aspect of it but that you have all of these instruments right your fingertips and there's so much in there right now and it's only going to get better there's only going to be more stuff that's going to be coming and just having that all in one place being able to open up a session like anything that my mind can think of anything that I can imagine it's possible to do there's so many instruments there's so many sounds to experiment with and have fun with and um I know I just I get a rush whenever I get to you know create a big session with so many sounds and and that's just one of the things I'm really really excited for about Museo and um that's that's not just limited to what we um are create well I guess what I'm trying to say is that um we have lots of ideas for what we want to add into Tunisia and we also want to hear all the ideas that are uh that all of you have um and so it's we've already said this before but please write into support and let us know what you're thinking like what features would help you be a better composer what instruments would help you um in your projects like we want to hear that so that we can make that happen for you guys yeah and from the content side um you know we're we're coming to the end of this mountain climb of getting all of the cine samples Library ported over in just in the next couple months which is just amazing seeing the light at the end of the tunnel being so bright and um also coming to the end of you know this massive set of instruments that we've you know gone all over the world to record and once we're done with that you know it's not like we're not doing more sessions we've got other stuff in the works right now but we're going to be sat here with this massive library of recorded instruments both synthetic and acoustic and all of this different stuff and you know as we as we watch more movies and consume more media and we follow you know modern production Trends we realize that there's a lot of um overlap between synthesis and acoustic samples now there's a lot of overlap and a lot of really exciting design techniques and things like that well we have all of them on to do these kinds of things we have such a massive Library that includes all sorts of things across the Spectrum I'm not only looking forward to getting back in the studio and recording some some new exciting instruments but also sitting with the content that we've already recorded really well and presenting it in a way that you guys have not seen before and have not even imagined before really getting some amazing low end bass trombones and monster low winds mixed with some vintage synthesizer stuff that's just really useful patches that are going to be you know bounced down really really low drag on the sample side so you don't have to recreate these things that are just good offerings and I think you know at this point we can start talking to some of our designer friends and composer friends who know what they need and who know what they use on these TV shows and films and stuff and video games and stuff and we're going to start developing in that way as well so I'm excited for just like the the possibilities of our current library and how we can expand it and how we can make that even more useful than it already is on its own so I think across the board just excited um and I think we're kind of coming to the end of this I say we actually could I just share some final thoughts um before you do Harrison raised his hand because I want you to be the end yeah I just sorry I I saw some chat questions and oh yeah or comments and it reminded me actually just an experience I had last night just the following up on Andrew and Colette's college experience um something that I'm passionate about is getting muzio into the hands of students and faculty there's some work that we're slowly rolling out we've got some really good offers for students um and uh institutions and teachers license codes and things like that so if you or anyone you know is a student or a faculty or runs a music lab please reach out to support we don't have any uh public advertising on it yet as we roll it out but it's something that I I I was just cleaning out something and I found some original scores where I was hand orchestrating stuff because I didn't have enough RAM in my computer to run I think I had East-West Platinum Orchestra I had just gotten in it's like oh if I had musio I could have ran it on my MacBook and gotten all the sounds I needed ready to go so very passionate about empowering the next generation of composers at one point I was a fresh composer on the scene and yeah Tech it turned out it's like yeah you can write music but can you run the tech was like the big dividing line in the class yeah cool all right take us take us home Mike yeah sure so you know when you look at the website uh Museo we have the subtitle it says the infinite instrument which is kind of it's aspirational uh and the idea is that we will if if we accomplish our total vision it's to sample every instrument on earth right and get it into muzio that's if we had infinite budget and infinite money um and so the more people that sign up that gives us the more more chance to to sample more instruments get them into musio but that's the goal you should be able to load this thing up and just search for anything you could possibly imagine uh and have it load up and be able to make music with it uh and so I think we're we're heading in the right direction um it's an ambitious goal these are the right people I can't believe that this is the team that we get to work with these are awesome folks they've come we've come a long way in everything that we've done and uh yeah but keep the questions coming and there's a lot we didn't answer here so we'll have to yeah they'll have to email us well we'll have to go back we can also reply to some of these things directly we'll take some time and go back and answer some questions for sure I also think we should do this more often now that we're a lot more established and we've got a really smooth workflow going on our end uh we can do this more frequently so I know we said that last time but this time we're better at keeping our promises so we're gonna we're gonna do it even if it's on a smaller scale you know I don't want to bug you know devs and Doug and all these people with all this stuff but maybe just smaller um prod team and customer service team and stuff can we can jump on this every once in a while and do a little short half hour half hour Blitz versions of it all right uh this is wonderful guys thank you so much everyone who logged on and watched and who likes musio and who has questions please keep that uh info coming in all the submitted questions we love it uh we really appreciate your time today and we appreciate your subscription and all that stuff uh we couldn't do this without you we literally couldn't do this without you so um we're excited for the future hope you are too and we will see you next time have a good one bye love you

Channel: Musio

Views: 3,162

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Id: 40JT4s4h00Y

Length: 99min 17sec (5957 seconds)

Published: Wed Jun 14 2023