This gives rise to lively, dynamic long notes in different styles. While higher velocity leads the instrument to play a subtle crescendo, playing more softly results in a slight decrescendo. By using a single velocity layer, we reduce any phasing effect to a minimum. Mic merging Preserve your system resources: Fine-tune your mix using multiple mic positions, then merge into a single channel within the player. Greater usability SINE is designed to complement the compositional workflow.
Create on the fly with auto keyswitch options, and easy remapping tools. This is due to doubled costs for downloads and licensing. Berlin Woodwinds Soloists 2 4 expressive solo instruments for the lower registers. Its A Wonderful Life Other People Clean A The Founders p T SlimDrivers 2 2 free down Both are technically perfect and supremely playable.
The second player eases into his long notes a little more than the first, which could give his bassoon a slight advantage for expressive solo passages, but really there's nothing to choose between these excellent instruments. BWW's two clarinets are equally well-matched: the first player's sweet-toned legatos are a delight to play, while the second clarinet's subtly brighter tone adds a smart edge to its staccatos.
Both instruments perform their sustains and legatos in the rather austere, classical no-vibrato style, which means they won't cut the mustard in a hot Dixieland jazz context! The three-player clarinet ensemble executes very strong unison lead lines, as well as lovely, super-dynamic chord pads: push up the mod wheel while holding down a chord and you'll hear a dramatic, smooth crescendo from a soft, soothing tone to a penetrating ff delivery.
Every chord I played sounded beautifully in tune, a testament to how well these musicians play together, and to the producers' high technical standards. If you fancy trying your hand at some free-form melodic improvisation, BWW's three-dynamic legato patches supplied for all instruments and ensembles will track your every move and transform keyboard licks into liquid, flowing lines; the musical equivalent of writing with a luxury fountain pen.
True legato samples sometimes struggle to keep up with fast playing, but these never faltered, even when I approached Mach 1 tempos. Using the mod wheel to morph seamlessly between dynamic layers enables you to add dramatic, expressive swells to your legato melodies. I particularly enjoyed the principal flute's and 1st clarinet's ultra-sleek legatos, which are among the best I've played.
Provided for the clarinet ensemble, piccolo and flutes the second and third flutes play theirs as a unison duo , these short-ish, non-vibrato notes work very well for quick runs and arpeggios.
As is usually the case in orchestral libraries, the legatos and Runs Transitions patches are monophonic and need a slight overlap between notes to trigger the real-life legato transitions.
Due to a programming blooper, the piccolo's runs transitions currently sound a semitone flat; the producers say they'll fix that in an imminent software update, but in the meantime a workaround is to set the value of the 'Tune' control on Kontakt's instrument GUI to '1.
The phrases are identical to those in OSR. Performed by the clarinet and flute ensembles only, these phrase modules can easily be joined together to form lively-sounding custom runs and ostinato patterns in any key. Each slot has a dedicated keyswitch, and a second octave of keyswitches positioned below enables on-the-fly key changes.
Only the actual scale notes in any given key are mapped; consequently, if you select the key of F and play a note of C or vice versa , you'll hear a resounding silence. The phrases themselves are also scale-based, and adapt to play the correct intervals for every scale step of the chosen key. One advantage of this approach is that phrases can be instantly harmonised: for example, select the 16th-note figure G-F -E-G and play an interval of G and B in the key of G major, and the Runs Builder creates the correct for that key harmony of B-A-G-B.
Users can also alter the scale to minor, whole tone, chromatic, Lydian and so on , making this a very flexible system. I shudder to think how long it must have taken to record all the samples The flutes and clarinets play their large menu of phrases with great spirit and accuracy, and the sound of the two ensembles playing in unison is fabulous. If you want to impress a client or the person claiming to be Kylie Minogue you just met on the Internet with the magical realism of your sampled orchestra, these patches are worth the entry price alone.
Of course, you don't have to stick religiously to the Runs Builder phrases; inserting one of these pre-played licks into a straight single-note passage will add a little extra colour and zest to the piece. As in OSR, BWW provides a full set of pre-played octave scale runs, in this case for all instruments and ensembles except the English horn, bassoons and third flute.
Variants include ascending, descending and up-and-down versions of single- and double-octave runs, two non-linear figures that take a zig-zag route up to their top note, and runs that start and finish on the fifth interval. In all, there are 14 run types, each with its own minor-key version. This is an improvement on OSR, which lacks minor versions of some of its scales.
Due to range limitations, the oboes don't play all the variations. As with the Runs Builder patches, key changes can be effected by a low-lying set of 12 chromatic keyswitches, giving you on-the-fly control of key and tonality.
The octave runs track perfectly from instrument to instrument, so you can confidently program unison runs for flute, oboe and clarinet, with the option of double-tracking any or all of them.
Prospective owners of both libraries will be pleased to hear that BWW's woodwind runs track the equivalent runs in OSR with great precision the same is true of the Runs Builder phrases , making it a doddle to create tightly-coordinated unison string and woodwind runs.
While doing this, I noticed that the keyswitches used for the two non-linear figures have been swapped in BWW, but the resulting unintentional harmony still sounded agreeably musical! The playback speed of the phrases and runs is sync'ed to your host tempo via Kontakt's Time Machine algorithm, so you don't have to fiddle around with time-stretching to make them fit your arrangements.
An intelligent 'Auto Tempo' script ensures that the scales and runs don't end up sounding impossibly fast or ridiculously slow as the tempo varies. However, you can disable this function and manually alter the run speed to half time, half-time triplet, double time or double-time triplet if you so desire If that sounds scary, rest assured that its operation is simplicity itself.
Expressive legato. Fast, agile legato. Re-tongued legato. A single velocity layer for maximum expressiveness Instead of recording fixed p, mf and f layers, the musicians were free to follow their instincts in choosing the best dynamic for a solo part.
Not licensed. By The Lake by Ben Botkin. Ave Maria perf. Solo Oboe.
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