MeldaProduction continues to push the boundaries of orchestral virtual instruments with PowerWoodwinds, the latest premium release for their MSoundFactory platform. Known for developing some of the most flexible and performance-efficient sound design tools in the industry, the Prague-based company now expands deeper into cinematic territory.

Following the success of PowerBrass and PowerStrings, PowerWoodwinds brings a full ensemble of detailed articulations and modulation options—designed not only for realism but for creative reinterpretation.

At the center of this release is Vojtech “Melda” Meluzin, founder of MeldaProduction (pictured above). We spoke with him about what makes a woodwind library stand out in 2025, how sampling is still harder than most players expect, and why AI is both exciting and deeply concerning for the future of music creation.

What makes a great orchestral woodwind library in 2025—and how has that changed in the last five years?

I think it’s all about details. You can make a small orchestral library with a few samples for EDM, but once you get into soundtracks, classical music, or metal, it needs to be as realistic as possible. Not much has changed in terms of how we record, but we’re trying to implement new technologies that make triggering smoother and sample switching more seamless. We also focus on keeping the library lightweight—even though that’s less of a concern for most users now.

How do you prioritize between advanced features for pros vs. accessibility for people new to orchestration?

Both have the same priority. We aim to make the interface and features as intuitive as possible while still allowing users to dig deep. MSoundFactory gives people the option to fully explore and tweak instruments at the lowest level, but that’s really just for the hardcore users. Most people will stick with the simplified UI and still get excellent results.

When you’re sampling woodwinds, what matters most—player consistency, room tone, or mic setup?

Mic setup is critical. Scheduling a studio for over a month of recording creates challenges—we have to get everything back in exactly the same position after each break. If we don’t, stereo imaging can get messed up permanently. Player consistency is also crucial. Symphonic musicians are often great performers, but they’re not used to playing to a metronome or dealing with the extreme detail required in sampling. Many musicians are surprised at how much harder sampling is than live performance. Every tiny detail matters, and there’s nowhere to hide.

Are there any books, albums, or reference materials you recommend for someone trying to get better at using orchestral tools?

Honestly, no specific resources. For me and most people I know, it’s all about experience. The more you work with these tools, the more you realize how much there is to learn.

What’s your take on the subscription model for plugins—do you see it as sustainable long-term?

It makes sense. You don’t have to pay much up front, and you can stop at any time if you’re not using the software. Ours is a rent-to-own model, so users aren’t throwing money away—they’re working toward ownership. The only downside is that your computer needs to occasionally verify the license with our servers.

What’s one thing that excites you about where this space is heading—and one thing that concerns you?

AI—both the promise and the danger. We’re already seeing new tools that can emulate sounds, create stems, and more. But when it comes to generating music, I’m more concerned. I fear that some producers might just click buttons until something sounds good and call it their own. Music should be emotional.

AI risks turning it into a pattern-based process with no soul. Still, we’ll always have the option to make music for ourselves—that can’t be automated.

The post MeldaProduction’s Vojtech Meluzin Talks Sampling Realism and the Future of Orchestral Plugins appeared first on Magnetic Magazine.