Este es un blog dedicado a la ayuda de músicos que utilizan recursos como KONTAKT y a poner a su disposición de manera GRATUITA los mejores instrumentos musicales para Kontakt.
Emotional Cello is a new kind of virtual instrument, created by Harmonic Subtones, a Munich based developer team, to be used with Native Instrument’s Kontakt 5 Player. Because of its powerful and simultaneously exceptional emotional sound, it opens up previously unknown verbal dimensions for the work with samples.
Emotional Cello is the perfect instrument for film-scoring, pop-production, song-writing, classic and modern avant-garde cello compositions. This unique virtual instrument shines by its impressive number of articulations, its direct uncolored sound quality, unusual play techniques and innovative rebowing.
Emotional Cello has been continuously recorded in a musical context to capture the natural bowing and the individual expressions of real instrumentalists. Thanks to intelligent scripting, 16 play-styles and true legato, this library offers immense versatile possible applications. Emotional Cello offers all typical play-styles and articulations as well as unusual techniques such as
sul ponticello legato and
flageolet legato,
morbid sustain,
ricochet and even
renaissance sounds.
the so called Spilegno, a harder edged Spiccato with bow-noise,
Power 5th Spiccato,
Plectrum Pizz,
Rota Spiccato
and a lot more.
Added are technical refinements, such as the rebowing-function which allows controlled directional change of the bow within a note using a key switch – uttermost useful with long sustains. Likewise, the vibrato-crossfade allows creating rhythmically perfect transitions from non-vibrato to vibrato-patches.
Cinesamples is proud to present our new pianos library for Kontakt (Player), Abbey Road Classic Upright Pianos. Recorded at the world famous Abbey Road Studio Two in London, and mixed by our very own Tim Starnes, the Abbey Road Pianos library brings the most of the record industry’s most iconic upright pianos – and the legendary studio where they reside – right to your fingertips.
When we chose to create piano Instruments, we carefully chose which upright piano to start from. When facing grand codas, the choice is rather limited, but upright pianos are a totally different world. We wanted a piano capable of producing both a full sound and the shallow on the edge of being out-of-tune tone characteristic of so many historical recordings. We sampled a beautifully made italian upright piano built by Steinbach in Torino and placed it in a mid-size roomy studio surrounded by a plethora of microphones.
Macro-phones
We didn’t settle for a single pair or a limited selection of microphones from the start, we wanted to make sure that the piano, after the sampling and editing process had the best chances to preserve its soul, something which can be hard to achieve. For this very reason, we used many more microphones than the ones we ended up with.
Choice of Microphones
These are the Mics we carefully selected after multiple playing and listening sessions on the edited samples:
a Royer R121 matched-pair in a coincident Blumlein configuration
another Royer R121 mathced.pair in a spaced configuration
a single Neumann M149 tube mic picking up sound from a very particular position
a pair of matched Oktava MK101 capsules to pick up the lively room sound
These microphones, by themselves or combined, give you the widest possible gamut of tonal colors you might imagine in an upright piano. To preserve tonal balance, we even carefully phase-aligned all of the microphones.
Mixing a-la-carte
One might think that having four different choices and combinations of mics plus the reverb would make finding the perfect balance impossible.
It is not.
This Instrument, we believe, easily opens up many different sonic worlds by using its on-board mixer. This tool is focused on easy-to-get results with a few tailored controls:
•Volume
•Panpot, places the sound in a specific direction
•Mute and Solo
•Width, controls the width of the stereo signals
•Reverb Send, amount of signal for each microphone that gets processed by the on-board IR Reverb
•Master effects are a 3-band EQ with cherry-picked frequency centers, a Preset Compressor & Tape Emulation and the IR Reverb
•On each single channel you might use a simple but very effective 3-band EQ
Optimal resources management
Dealing with a piano Instrument featuring four microphones at the same time can bring an heavy load on system resources. The amount of playback voices for the CPU and Disk Streaming, preload in RAM and load times could suffer.
A click on Purge Muted simply removes from memory all muted channels, not anymore weighing on RAM, CPU and streaming resources.
Simplicity, with depth
Our approach to sampled Instruments is to let the musician in you fly free of any technical burden. Fast, full satisfaction is guaranteed: you just need to play, the fastest possible learning-curve is always kept as a reference when designing our Instruments. At the same time, when there’s that techie-need to tweak and fine-tune, our multi-layer user interfaces allow for it, giving you the best of both worlds.
Advanced sampling and scripting
We believe the real break-through in these ages is creating advanced, high-quality Instruments which don’t require you to earn a master in computer programming before you start making music with them. Making matters easy for the musician always means introducing more and more layers of complication for us developers. First of all we are musicians, and we don’t want you to end up putting our products on a virtual shelf and forget about them because they are too hard to learn and use.
Preset-galore
Our effects section doesn’t require a degree in audio-engineering to make the best out of it.
The C. Bechstein Digital Grand has been developed to meet the high expectations of composers & musicians as well as comprehensive requirements in a daily recording practice at a high level.
This applies both to the sonic aspects, as well as to the usability, which remains intuitive at all times. Every control element has been constantly challenged by our product developers and extensively tested in DAW environments, but also in virtuoso live performances with different genres.
Capturing that C. Bechstein Sound
The acoustic role model for the Digital Grand is a carefully selected C. Bechstein D 282 concert grand.
The C. Bechstein Digital Grand for Native Instrument’s KONTAKT and KONTAKT-Player follows the high standards we set for our acoustical instrument´s development and production: sound and manufacturing at the highest level, made for connoisseurs and people with passion.
26 velocity layer & great attention to detail
For this purpose, the controller ranges of the innovative GUI were programmed in a way that possible sound modulations always value “the original” – the unique character of a C. Bechstein concert grand piano remaining recognizable at all times.
3 LEGATO MODES Three legato modes were sampled – slurred, bowed and portamento. These are easily switchable during use via keyswitches, and one exceptionally useful feature, which we are shocked to say we rarely see in string libraries, is the ability to change bow on the same note. Simply hold the note you want to change bow on, and press the low G keyswitch.
STACCATO AND TRILLS Staccato and whole tone trills are also included, with the staccatos having 24 variations per note so as to never sound repetitive – also switchable via keyswitch. Another feature included is the ability to alter the release sound when the final note is played and released. A soft release is a normal removal of the bow from the string, but through keyswitching, you can also select hard release, which triggers a hard release. This is the sound of a player ending the note with a sharp crescendo and quick accented lift of the bow.
Adam Monroe’s Austrian Grand piano is a virtual instrument and sample library of the Bruder Mikula Wien antique piano, recorded with a pair of stereo tape microphones AEA R84. Reverb or frequency variation can be added to form the tone of the instrument. The instrument has a lively, warm, vintage tone. For realism, an elusive key sound was added to the library. Version : 1.2 Developer : Adam Monroe Music Developer’s website : adammonroemusic.com/amaustriangrandpiano.html Format : VSTi Digit : 32bit, 64bit Tabletka : Cured System requirements : VST version is based on VST 2.4, and should work in almost any version of 32 or 64 bit version of Windows.
Hola, soy Leonardo Javier y les doy cordialmente la bienvenida a este blog de recursos e instrumentos KONTAKT para músicos.
Este blog ha sido creado con la finalidad de poner a disposición de manera GRATUITA todos los recursos que aquí se publiquen para la descarga libre de los mismos por parte de los usuarios que deseen hacer uso de ellos.
Cabe señalar que los archivos de descarga son TORRENTS para que los músicos y demás usuarios utilicen aplicaciones adecuadas (tal como UTORRENT o BITTORRENT, etc) para la descarga de los archivos completos.
Espero sea de mucha utilidad para los usuarios de los cuales se ponen a disposición todos estos recursos.
