vandit
11-27-2013, 05:25 PM
Kontakt Pack Vol 5
http://i60.fastpic.ru/big/2013/1126/b7/e33f07bdf50a9681169f68702ac322b7.jpg
Kontakt Pack Vol 5
Appz/misc
Size 20.002 GB
Presenting
for Ni Kontakt
Cinsamples Piano in Blue
We were provided a unique opportunity to preserve an important piece of musical history in its final days. Word had come to us that the historic Clinton Recording Studios in midtown Manhattan was forever closing its doors, destined to be transformed into a modern condominium complex.
One of the many treasures contained therein was this particular Steinway Model D Concert Grand which used to live in the Columbia Records 30th Street Studios. The CBS 30th Street Studio, The Church was perhaps the most influential recording studio of the 50s and 60s producing dozens of legendary albums in various genres.
Of those recordings this piano played a critical role in two albums which are still considered among the finest recordings of all time. First being the original Glenn Gould Goldberg Variations, the most critically received classical album of all time. Four years later came Miles Davis Kind of Blue which forever altered music.
In 1981 Columbia closed its doors and this piano was brought to Clinton. In addition to the grand two of the original Columbia Nuemann U49 microphones made the journey also. These were two of the five (or six) microphones originally used on the Kind of Blue date. We were fortunate enough to sample this special grand using these two original microphones.
A friend of ours, John Davis, did a scoring session at Clinton and let us know about the closing as this day was to be the final date. As the conversation drifted from the saddening state of affairs for large stages we came to talk about why this particular stage was a special place. Although I had previously worked at the this studio I was never aware that the grand in the corner was the one piano used in so many of my favorite recordings.
At the time we were in Seattle conducting some non-cinesamples recordings. Mike and I walked over to secure a copy of Ashley Kahns paperback Kind of Blue: The Making of the Miles Davis Masterpiece. This book pushed us across the threshold and the vision for this session started to become a reality.
As Patti headed back home to put the finishing touches on the Seattle project Barry caught a red-eye that night for Manhattan. We had arranged to extend the closing date of Clinton by one day, just ensuring us enough time to sample this extraordinary instrument. Much of the gear being used was already up on Ebay. It was the last session ever recorded at Clinton.
With a mind to the handful of historic pictures from the recording Kind of Blue our engineer Tim Starnes (Drums of War, HollywoodWinds, Cinesnares, Cinetoms 2, CineCrash) set up three sets of microphones. The first pair the U49s from old Columbia set up in historical position (note that the original was in mono), the two other pairs each set back a touch further from the other.
We recorded two signal chains for each mic, a clean signal going through the Neve board and one going through a historic tape machine and finally into pro tools. We highly suggest exploring the charming colorization of the tape signal but both are provided for your convenience. For some of the youngsters out there note that tape will alter the sound of medium to high gain velocity layers and that often engineers go through great lengths to achieve this distortion.
Due to the delightful variances in timbre with each key the piano was sampled chromatically; this was the only way to get a true representation of the instrument. Barry was the pianist for the sampling and he employed a unique strategy.
Perhaps this library benefits from having someone so intimate with sampling striking the keys. The way this particular piano was voiced was very unusual and charming. Certain notes when struck with matching velocities would sound rather different in tone from one another. One would scarcely notice this in a session but it would be greatly amplified via sampling. We decided the most faithful way to capture the samples was to do it by ear, rather then by touch. Instead of concentrating on a perfect velocity match across the keyboard we listened for sweet-spots/landmarks, identifiable, pleasing string to hammer ratios. This is a method employed by pianists to layer notes upon one another with clarity. I think the end result is better for recording in this manner rather then a straight key-weight dependent system.
We sincerely hope you enjoy this piano as much as we do.
PIANO SPECS:
1949 Steinway D via Neve 8078 Console
8 Velocity Layers Sampled Chromatically
9300 Samples
3 Microphone Positions
Close/Vintage 2x Neumann M49 near the lid
Mid 2x B&K 4007 at the tail of the piano
Far 2x Sennheiser MKH20s in the hall
2 Processing Paths (Tape; Direct in)
Studer A800MKIII 24 Track Analog Tape Machine
Programmed by Sam Estes; scripted by Greg Schlaepfer; recorded by Tim Starnes
As always we share our revenue with our brilliant team of programmers, engineers, editors and musicians.
NEW Piano in Blue v2 Complete Update
Latency
We added a Sample Start knob, located next to the Direct/Tape switch, which will cut into the samples of the sustains by 20ms this adjustment will remove all of the hammer/finger noise from the instrument. While we do not recommend using this feature, for those with lag issues, this addition can be useful to make the piano more pop-like however, it will remove the weighted feel of the piano.
Tape Sample Replace
We have re-recorded all the sample sets back through a physical (not a plugin) Studer tape machine with better leveling to remove the crunch on the top velocities. ALL samples have been replaced for the tape setting. We also painstakingly re-denoised all of the samples, so there is very little tape noise buildup in the background. We highly recommend adding a bit of tape noise back in to blend the samples together. You will notice some tape artifacts in some of the samples, but
this is part of the natural sound of using tape.
Individual De-noising of V1 Direct Samples
There were a few samples in the Direct patch that were too noisy or had low
frequency bumps these samples have been addressed and fixed.
Sample Fix F4, Velocity 101-110, Direct-Room
There was a modulated distortion noise on this note this noise has been
removed.
91-110 quick release velocities
There were issues with the shorter release samples being too quiet in this region this issue has been fixed.
Various minor adjustments to ADSR curves and some minor volume tweaks on individual samples.
Added CC11 (Expression) control
Audiobro Legato Sordino 2.0.1
We are proud to announce LASS Legato Sordino 2.5 (LASS LS 2.5). LASS LS 2.5 is an add-on string library that picks up where the original LASS FULL 2.5 left off with its sordino strings (muted strings). You can now achieve that wonderfully silky sordino sound with all the legato, portamento and glissando expressiveness that is so sought after in emotional scores.
Furthermore, LASS LS can now sound like some of the most coveted film scores and orchestral recordings with or without the ARC by simply accessing a Color drop-down menu on the front panel; or, you can chose Colors using the ARC that comes with LASS Full 2.5. Our Batman Cries Sordino Multi is a perfect example of this. Read more about the ARC and Stage and Color included in LASS Full 2.5 here.
Introduction to LASS LS An introductory video to LASS LS with musical examples of each section.
Through The Mist an audio demo of LASS LS in a cinematic style.
With LASSs divisi sections, LASS LS allows you not only all the divisi capabilities of LASS, but it also allows you to layer sordino with LASS Fulls standard legato strings to give you that hybrid sordino/non-sordino sound that is so popular in todays film scores listen to a hybrid example: The Calm After.
Just like its sibling LASS Full, at the heart of LASS LSs revolutionary sound are Real Legato performance sample patches and a unique layered ensemble approach. These ensembles were all recorded individually in a large film scoring studio. Because theyre made up of different players (avoiding the dreaded same player sound), they combine seamlessly to produce entirely cohesive small, medium, or large sections with the right divisi ratios. 100% Legato Sordino A video of a musical example using only LASS LS.
Whats New in LASS 2
Click to watch videoLA Scoring LS 2.0 (LASS LS 2) brings you a whole new set of tools providing a new level of expressiveness, realism, real- time playability and program-ability to sampled strings.
Aside from incorporating our new Stage & Color* feature into all LASS LS 2 patches (providing an easy way for LASS Full 2 owners to have LASS LS 2 sound like famous orchestral recordings and film scores), LASS LS 2.0 has updated all the performance scripts including the Auto Arranger, CC Tables, Real Legato, and the Tuning/Micro Tuning. These features have also been 100% integrated with LASS Full 2.0s ARC (Audiobro Remote Control)*.
* In order to use the ARCs features (which includes Stage and Color, Key Switcher, etc) you must be a LASS Full 2.0 owner. You can learn more about the ARC here.
Below is a partial list of some of LASS LS 2.0s new features (you can also read about LASSs new A.R.C. (Audiobro Remote Control) included when you own LASS Full 2.0).
A new Micro Tuning tool and real-time performance of tuning
A CC Attenuation knob that allows on to ride CC attenuation in real-time or after-the-fact for added dynamic control.
Improved Real Legato, Auto Arranger and CC table scripts.
Stage & Color support At the heart of Stage & Color is a collection of exclusive orchestral sound profiles (colors) inspired by famous movie scores and recordings. Now, at the push of a button, LASS LS can adopt the tonal characteristics of some of the most coveted scores and recordings. Support for the new ARC (Audiobro Remote Control) master script that will allow for dramatically easier control of all sections and divisis from a single window.
Support for Reverb and width controls of multiple patches from within the ARC
Support for CC Table control of multiple patches from within the ARC
Support for Auto Arranger control of multiple patches from within the ARC
Support for the new Key Switching approach of multiple patches from within the ARC
Many other new features and improvements
(LASS LS 2 works with Stage & Color included with LASS Full 2)
Overview
The players are recorded in position on the scoring stage and mixed in the traditional orchestral seating perspective, making it simple to get a magnificent string mix out of the box. Meanwhile we took the utmost care to ensure that the instruments can be panned anywhere with virtually no phasing problems should you need to do that.
To make it easy to get just the right sound, all LASS patches and programming are consistent from the first chair to the full mix. If a part sounds right using one patch, the same sequence will sound right with the other patches. no MIDI reprogramming required. The result is unprecedented control over dynamics, performance, and section size.
LASS LS is the first fully featured divisi legato sordino string library that offers real-time polyphonic Real Legato, Real Portamento , Real Glissando and Auto Divisi with audiobros Auto Arranger. LASS LS also brings a new look and functionality to LA Scoring Strings legato patches. The patches have been greatly optimized and re-coded to allow the end-user greater flexibility and ease of use. In addition to a new skin and new features, a new sample Load/Purge mode has been added to replace the many patches from LASSs previous Legato patches.
In addition, all the blue buttons can be MIDI CC assignable allowing for additional performance automation so you can work fast without having to use the mouse for any of those features.
A new menu has been placed next to the Leg, port and gliss articulations that include the following options (watch a video about this):
Unloaded This unloads all the samples of the selected articulation
DFD This puts all the samples of the selected articulation in Direct From Disk mode (most memory efficient).
Speed Lt This Speed Lite mode loads the samples into a quasi DFD mode and uses less memory than Speed.
Speed This is the most memory intensive version but allows for the most flexibility with controlling the speed of the portamento and glissando transitions.
LASS_LS_Patch_Articualations
L = Legato, P = Portamento, G = Glissando
With LASS LS patches, you can:
Play legato, portamento and glissando in real-time without Key Switching by simply playing different velocities.
Load only the articulations you intend on using with LASSs new Load/Purge capabilities.
Use the Auto Arranger to play polyphonic legato and Auto Divisi passages in real-time.
Use the Dynamics Attenuator (CC Attenuator) to breath new dynamics into your parts.
Automate any blue button you see above with CC automation.
Tune the patch with the Tuning Table (see Tuning Table section in index)
With divisi ensemble patches you can:
use the Auto Arranger on each divisi ensemble patch to give you auto divisi capabilities.
split up the divisi ensemble into divisi sections to maintain accurate player count on harmony and chords.
perform each divisi ensemble separately to add more of a human performance
tune each divisi ensemble separately to add a greater variety to the sound
EQ each divisi ensemble separately to have more creative options
send different amounts of Reverb or FX to each divisi ensemble separately to add ambiance control.
have small, medium or large ensemble sizes by choosing which divisi ensembles you want to use.
System Specifications
Library Size:
5.7 GB with loss-less compressed audio files (approximately 7.1 GB uncompressed)
Software Requirements:
Requires Kontakt Player 5.0.2 or later. Click here to download the latest version.
Supported Interfaces:
Stand-alone, VST, Audio Units, RTAS, ASIO, Core Audio, DirectSound, WASAPI, AAX1
Minimum System Requirements:
Windows Windows Vista/Windows 7 (latest Service Pack, 32/64 Bit), Intel Pentium 4 2.4 GHz or Intel Core Duo or AMD Athlon 64, 2 GB RAM
Mac Mac OS X 10.6 or 10.7 (latest update), Intel Core Duo, 2 GB RAM
8dio Claire Flute Virtuoso
Deep-Sampled Classical Flute
Welcome to our new Claire Virtuoso Woodwind series produced by Emmy Nominated Composer, Colin OMalley. The Claire Woodwind Series is a deep-sampled collection of the finest virtuoso woodwind soloists ever sampled. These are highly playable instruments soared with true emotion, effortless and equilibristic behavior.
Our Flute Virtuoso is the most expressive, playable and lifelike Flute ever sampled. The Flute Virtuoso was recorded in a symphonic hall and contains three microphone positions (Close, Decca, Wide). The core of the Flute is its highly advanced legato system, which contains both lyrical and strong legato. The legato system allows you to play legato with passionate arcs and sustains. We recorded arcs with both light, medium and strong vibrato, so you can freely sculpt your performance from the subtle to vibrant. In addition we also added trills, runs, staccattissimo, marcato and even non-tonal effects like breaths, valve sounds and natural click noises etc.
Related Products
Bassoon Virtuoso
Clarinet Virtuoso
8Dioboe
Advanced Legato
Claire Flute Virtuoso is based on a highly intuitive, playable and expressive legato system. We sampled a variety of different types of expressive arcs that are all connected to the legato system, so you can go between sustain types that are gentle (p-mp) to strong (f-ff) or sustain types with less or more vibrato. All these articulations can seamlessly be connected while you are playing using our highly advanced legato system.
High Definition (96Khz)
Claire Flute Virtuoso contains three microphone positions (Close, Decca, Wide) and everything was sampled at 96Khz, which provides an unprecedented detail in the sound and reveal details that would otherwise have been lost at lower resolutions. The fidelity of the library is especially revealing once you start combining the microphones and hear the warmth of the instrument, reflections of the room, the air and all the tiny, little details so often missed.
Overview
Price: $139
Hyper Expressive Flute
96Khz / 3 Microphone Positions (Close, Decca, Wide)
Direct download / Cloud Server System
Product only available as download
Core Specifications
Deep-Sampled Virtuoso Flute / ultra hi-def (96Khz)
Recorded in symphonic hall w/ 3 mics (Close, Decca, Wide)
Fast and Slow Legato patches
Arcs, Marcato, Runs, Sustains
Staccatissimo and Trills
Full Retail version of Kontakt 4.2 or later required
5.0GB harddrive space
Ability to download
PC 2.4GZ+, 4GB ram
MAC 2.6Ghz, 4GB ram
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http://i60.fastpic.ru/big/2013/1126/b7/e33f07bdf50a9681169f68702ac322b7.jpg
Kontakt Pack Vol 5
Appz/misc
Size 20.002 GB
Presenting
for Ni Kontakt
Cinsamples Piano in Blue
We were provided a unique opportunity to preserve an important piece of musical history in its final days. Word had come to us that the historic Clinton Recording Studios in midtown Manhattan was forever closing its doors, destined to be transformed into a modern condominium complex.
One of the many treasures contained therein was this particular Steinway Model D Concert Grand which used to live in the Columbia Records 30th Street Studios. The CBS 30th Street Studio, The Church was perhaps the most influential recording studio of the 50s and 60s producing dozens of legendary albums in various genres.
Of those recordings this piano played a critical role in two albums which are still considered among the finest recordings of all time. First being the original Glenn Gould Goldberg Variations, the most critically received classical album of all time. Four years later came Miles Davis Kind of Blue which forever altered music.
In 1981 Columbia closed its doors and this piano was brought to Clinton. In addition to the grand two of the original Columbia Nuemann U49 microphones made the journey also. These were two of the five (or six) microphones originally used on the Kind of Blue date. We were fortunate enough to sample this special grand using these two original microphones.
A friend of ours, John Davis, did a scoring session at Clinton and let us know about the closing as this day was to be the final date. As the conversation drifted from the saddening state of affairs for large stages we came to talk about why this particular stage was a special place. Although I had previously worked at the this studio I was never aware that the grand in the corner was the one piano used in so many of my favorite recordings.
At the time we were in Seattle conducting some non-cinesamples recordings. Mike and I walked over to secure a copy of Ashley Kahns paperback Kind of Blue: The Making of the Miles Davis Masterpiece. This book pushed us across the threshold and the vision for this session started to become a reality.
As Patti headed back home to put the finishing touches on the Seattle project Barry caught a red-eye that night for Manhattan. We had arranged to extend the closing date of Clinton by one day, just ensuring us enough time to sample this extraordinary instrument. Much of the gear being used was already up on Ebay. It was the last session ever recorded at Clinton.
With a mind to the handful of historic pictures from the recording Kind of Blue our engineer Tim Starnes (Drums of War, HollywoodWinds, Cinesnares, Cinetoms 2, CineCrash) set up three sets of microphones. The first pair the U49s from old Columbia set up in historical position (note that the original was in mono), the two other pairs each set back a touch further from the other.
We recorded two signal chains for each mic, a clean signal going through the Neve board and one going through a historic tape machine and finally into pro tools. We highly suggest exploring the charming colorization of the tape signal but both are provided for your convenience. For some of the youngsters out there note that tape will alter the sound of medium to high gain velocity layers and that often engineers go through great lengths to achieve this distortion.
Due to the delightful variances in timbre with each key the piano was sampled chromatically; this was the only way to get a true representation of the instrument. Barry was the pianist for the sampling and he employed a unique strategy.
Perhaps this library benefits from having someone so intimate with sampling striking the keys. The way this particular piano was voiced was very unusual and charming. Certain notes when struck with matching velocities would sound rather different in tone from one another. One would scarcely notice this in a session but it would be greatly amplified via sampling. We decided the most faithful way to capture the samples was to do it by ear, rather then by touch. Instead of concentrating on a perfect velocity match across the keyboard we listened for sweet-spots/landmarks, identifiable, pleasing string to hammer ratios. This is a method employed by pianists to layer notes upon one another with clarity. I think the end result is better for recording in this manner rather then a straight key-weight dependent system.
We sincerely hope you enjoy this piano as much as we do.
PIANO SPECS:
1949 Steinway D via Neve 8078 Console
8 Velocity Layers Sampled Chromatically
9300 Samples
3 Microphone Positions
Close/Vintage 2x Neumann M49 near the lid
Mid 2x B&K 4007 at the tail of the piano
Far 2x Sennheiser MKH20s in the hall
2 Processing Paths (Tape; Direct in)
Studer A800MKIII 24 Track Analog Tape Machine
Programmed by Sam Estes; scripted by Greg Schlaepfer; recorded by Tim Starnes
As always we share our revenue with our brilliant team of programmers, engineers, editors and musicians.
NEW Piano in Blue v2 Complete Update
Latency
We added a Sample Start knob, located next to the Direct/Tape switch, which will cut into the samples of the sustains by 20ms this adjustment will remove all of the hammer/finger noise from the instrument. While we do not recommend using this feature, for those with lag issues, this addition can be useful to make the piano more pop-like however, it will remove the weighted feel of the piano.
Tape Sample Replace
We have re-recorded all the sample sets back through a physical (not a plugin) Studer tape machine with better leveling to remove the crunch on the top velocities. ALL samples have been replaced for the tape setting. We also painstakingly re-denoised all of the samples, so there is very little tape noise buildup in the background. We highly recommend adding a bit of tape noise back in to blend the samples together. You will notice some tape artifacts in some of the samples, but
this is part of the natural sound of using tape.
Individual De-noising of V1 Direct Samples
There were a few samples in the Direct patch that were too noisy or had low
frequency bumps these samples have been addressed and fixed.
Sample Fix F4, Velocity 101-110, Direct-Room
There was a modulated distortion noise on this note this noise has been
removed.
91-110 quick release velocities
There were issues with the shorter release samples being too quiet in this region this issue has been fixed.
Various minor adjustments to ADSR curves and some minor volume tweaks on individual samples.
Added CC11 (Expression) control
Audiobro Legato Sordino 2.0.1
We are proud to announce LASS Legato Sordino 2.5 (LASS LS 2.5). LASS LS 2.5 is an add-on string library that picks up where the original LASS FULL 2.5 left off with its sordino strings (muted strings). You can now achieve that wonderfully silky sordino sound with all the legato, portamento and glissando expressiveness that is so sought after in emotional scores.
Furthermore, LASS LS can now sound like some of the most coveted film scores and orchestral recordings with or without the ARC by simply accessing a Color drop-down menu on the front panel; or, you can chose Colors using the ARC that comes with LASS Full 2.5. Our Batman Cries Sordino Multi is a perfect example of this. Read more about the ARC and Stage and Color included in LASS Full 2.5 here.
Introduction to LASS LS An introductory video to LASS LS with musical examples of each section.
Through The Mist an audio demo of LASS LS in a cinematic style.
With LASSs divisi sections, LASS LS allows you not only all the divisi capabilities of LASS, but it also allows you to layer sordino with LASS Fulls standard legato strings to give you that hybrid sordino/non-sordino sound that is so popular in todays film scores listen to a hybrid example: The Calm After.
Just like its sibling LASS Full, at the heart of LASS LSs revolutionary sound are Real Legato performance sample patches and a unique layered ensemble approach. These ensembles were all recorded individually in a large film scoring studio. Because theyre made up of different players (avoiding the dreaded same player sound), they combine seamlessly to produce entirely cohesive small, medium, or large sections with the right divisi ratios. 100% Legato Sordino A video of a musical example using only LASS LS.
Whats New in LASS 2
Click to watch videoLA Scoring LS 2.0 (LASS LS 2) brings you a whole new set of tools providing a new level of expressiveness, realism, real- time playability and program-ability to sampled strings.
Aside from incorporating our new Stage & Color* feature into all LASS LS 2 patches (providing an easy way for LASS Full 2 owners to have LASS LS 2 sound like famous orchestral recordings and film scores), LASS LS 2.0 has updated all the performance scripts including the Auto Arranger, CC Tables, Real Legato, and the Tuning/Micro Tuning. These features have also been 100% integrated with LASS Full 2.0s ARC (Audiobro Remote Control)*.
* In order to use the ARCs features (which includes Stage and Color, Key Switcher, etc) you must be a LASS Full 2.0 owner. You can learn more about the ARC here.
Below is a partial list of some of LASS LS 2.0s new features (you can also read about LASSs new A.R.C. (Audiobro Remote Control) included when you own LASS Full 2.0).
A new Micro Tuning tool and real-time performance of tuning
A CC Attenuation knob that allows on to ride CC attenuation in real-time or after-the-fact for added dynamic control.
Improved Real Legato, Auto Arranger and CC table scripts.
Stage & Color support At the heart of Stage & Color is a collection of exclusive orchestral sound profiles (colors) inspired by famous movie scores and recordings. Now, at the push of a button, LASS LS can adopt the tonal characteristics of some of the most coveted scores and recordings. Support for the new ARC (Audiobro Remote Control) master script that will allow for dramatically easier control of all sections and divisis from a single window.
Support for Reverb and width controls of multiple patches from within the ARC
Support for CC Table control of multiple patches from within the ARC
Support for Auto Arranger control of multiple patches from within the ARC
Support for the new Key Switching approach of multiple patches from within the ARC
Many other new features and improvements
(LASS LS 2 works with Stage & Color included with LASS Full 2)
Overview
The players are recorded in position on the scoring stage and mixed in the traditional orchestral seating perspective, making it simple to get a magnificent string mix out of the box. Meanwhile we took the utmost care to ensure that the instruments can be panned anywhere with virtually no phasing problems should you need to do that.
To make it easy to get just the right sound, all LASS patches and programming are consistent from the first chair to the full mix. If a part sounds right using one patch, the same sequence will sound right with the other patches. no MIDI reprogramming required. The result is unprecedented control over dynamics, performance, and section size.
LASS LS is the first fully featured divisi legato sordino string library that offers real-time polyphonic Real Legato, Real Portamento , Real Glissando and Auto Divisi with audiobros Auto Arranger. LASS LS also brings a new look and functionality to LA Scoring Strings legato patches. The patches have been greatly optimized and re-coded to allow the end-user greater flexibility and ease of use. In addition to a new skin and new features, a new sample Load/Purge mode has been added to replace the many patches from LASSs previous Legato patches.
In addition, all the blue buttons can be MIDI CC assignable allowing for additional performance automation so you can work fast without having to use the mouse for any of those features.
A new menu has been placed next to the Leg, port and gliss articulations that include the following options (watch a video about this):
Unloaded This unloads all the samples of the selected articulation
DFD This puts all the samples of the selected articulation in Direct From Disk mode (most memory efficient).
Speed Lt This Speed Lite mode loads the samples into a quasi DFD mode and uses less memory than Speed.
Speed This is the most memory intensive version but allows for the most flexibility with controlling the speed of the portamento and glissando transitions.
LASS_LS_Patch_Articualations
L = Legato, P = Portamento, G = Glissando
With LASS LS patches, you can:
Play legato, portamento and glissando in real-time without Key Switching by simply playing different velocities.
Load only the articulations you intend on using with LASSs new Load/Purge capabilities.
Use the Auto Arranger to play polyphonic legato and Auto Divisi passages in real-time.
Use the Dynamics Attenuator (CC Attenuator) to breath new dynamics into your parts.
Automate any blue button you see above with CC automation.
Tune the patch with the Tuning Table (see Tuning Table section in index)
With divisi ensemble patches you can:
use the Auto Arranger on each divisi ensemble patch to give you auto divisi capabilities.
split up the divisi ensemble into divisi sections to maintain accurate player count on harmony and chords.
perform each divisi ensemble separately to add more of a human performance
tune each divisi ensemble separately to add a greater variety to the sound
EQ each divisi ensemble separately to have more creative options
send different amounts of Reverb or FX to each divisi ensemble separately to add ambiance control.
have small, medium or large ensemble sizes by choosing which divisi ensembles you want to use.
System Specifications
Library Size:
5.7 GB with loss-less compressed audio files (approximately 7.1 GB uncompressed)
Software Requirements:
Requires Kontakt Player 5.0.2 or later. Click here to download the latest version.
Supported Interfaces:
Stand-alone, VST, Audio Units, RTAS, ASIO, Core Audio, DirectSound, WASAPI, AAX1
Minimum System Requirements:
Windows Windows Vista/Windows 7 (latest Service Pack, 32/64 Bit), Intel Pentium 4 2.4 GHz or Intel Core Duo or AMD Athlon 64, 2 GB RAM
Mac Mac OS X 10.6 or 10.7 (latest update), Intel Core Duo, 2 GB RAM
8dio Claire Flute Virtuoso
Deep-Sampled Classical Flute
Welcome to our new Claire Virtuoso Woodwind series produced by Emmy Nominated Composer, Colin OMalley. The Claire Woodwind Series is a deep-sampled collection of the finest virtuoso woodwind soloists ever sampled. These are highly playable instruments soared with true emotion, effortless and equilibristic behavior.
Our Flute Virtuoso is the most expressive, playable and lifelike Flute ever sampled. The Flute Virtuoso was recorded in a symphonic hall and contains three microphone positions (Close, Decca, Wide). The core of the Flute is its highly advanced legato system, which contains both lyrical and strong legato. The legato system allows you to play legato with passionate arcs and sustains. We recorded arcs with both light, medium and strong vibrato, so you can freely sculpt your performance from the subtle to vibrant. In addition we also added trills, runs, staccattissimo, marcato and even non-tonal effects like breaths, valve sounds and natural click noises etc.
Related Products
Bassoon Virtuoso
Clarinet Virtuoso
8Dioboe
Advanced Legato
Claire Flute Virtuoso is based on a highly intuitive, playable and expressive legato system. We sampled a variety of different types of expressive arcs that are all connected to the legato system, so you can go between sustain types that are gentle (p-mp) to strong (f-ff) or sustain types with less or more vibrato. All these articulations can seamlessly be connected while you are playing using our highly advanced legato system.
High Definition (96Khz)
Claire Flute Virtuoso contains three microphone positions (Close, Decca, Wide) and everything was sampled at 96Khz, which provides an unprecedented detail in the sound and reveal details that would otherwise have been lost at lower resolutions. The fidelity of the library is especially revealing once you start combining the microphones and hear the warmth of the instrument, reflections of the room, the air and all the tiny, little details so often missed.
Overview
Price: $139
Hyper Expressive Flute
96Khz / 3 Microphone Positions (Close, Decca, Wide)
Direct download / Cloud Server System
Product only available as download
Core Specifications
Deep-Sampled Virtuoso Flute / ultra hi-def (96Khz)
Recorded in symphonic hall w/ 3 mics (Close, Decca, Wide)
Fast and Slow Legato patches
Arcs, Marcato, Runs, Sustains
Staccatissimo and Trills
Full Retail version of Kontakt 4.2 or later required
5.0GB harddrive space
Ability to download
PC 2.4GZ+, 4GB ram
MAC 2.6Ghz, 4GB ram
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