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Board index FAQ. Print view FAQ. Forum rules This forum is for most discussion related to the use and optimization of Digital Performer [MacOS] and plug-ins as well as tips and techniques. Only available as a paired product of oboe and english horn. Haven't listened to demos yet. Some of the oboe stuff is tolerable, but I agree with discussions elsewhere that almost everything on the S. I do prefer the S. I fear this Oboe and English Horn library will suffer similarly.
Maybe the Sample Modeling approach simply applies better to Brass than Woodwinds. I prefer VSL's woodwinds to their brass anyway, and find them equally adept at non-classical genres. I requested mine nine days ago and hoped to purchase tonight, so had to re-send my request.
Also, everything using SWAM was updated today, but I can't find where on their website to download the updates. Anyone else have any luck? I had to click on a request that sent an email that required clicking on another request, before finally receiving a usable link for downloading the Mac bit updaters for the saxophone family, and guess I'll have to do the same thing over again for the clarinet which also includes the soprano, but I guess they mean soprano clarinet vs.
I was unable to navigate to the page you linked to, so thanks for providing the direct link. I think they're busy with the updates and just can't answer people's email requests for discount coupons at the moment. But I'll be close to the bone on the discount when I get back from vacation I haven't left yet, but will soon. Like Mark, I had no idea where the link to the updates actually was. And now, apparently I have to use yet another set of license keys for the updated products.A wind controllersometimes referred to as a wind synthesizeris an electronic wind instrument and usually in the form of a MIDI controller associated with one or more music synthesizers.
Wind controllers are most commonly played and fingered like a woodwind instrument, usually the saxophonewith the next most common being brass fingering, particularly the trumpet.
Models have been produced that play and finger like other acoustic instruments such as the recorder or the tin whistle. One form of wind controller, the hardware-based variety, uses electronic sensors to convert fingering, breath pressure, bite pressure, finger pressure, and other gesture or action information into control signals that affect musical sounds. Another form of wind controller uses software to convert the acoustic sound of an unmodified acoustic wind instrument directly into Musical Instrument Digital Interface MIDI messages.
In either case, the control signals or MIDI messages generated by the wind controller are used to control internal or external devices such as analog synthesizers or MIDI -compatible synthesizers, synth modulessoftsynthssequencers, or even non-instruments such as lighting systems.
Simpler breath controllers are also available.
Samplemodeling is the best. Best virtual instruments on the planet.
Unlike wind controllers, they do not trigger notes and are intended for use in conjunction with a keyboard or synthesizer.
For example, a performer who has pressed a long held note on the keyboard with a sustained sound, such as a string pad, could blow harder into the breath controller set to control volume to make this note crescendo, or gradually blow more and more gently, to make the volume die away. Since a wind controller usually does not make a sound on its own, it must be connected to a sound generating device such as a MIDI or analog synthesizer which is connected to an amplifier. For this reason, a wind controller can sound like almost anything depending on the capabilities of the connected sound generator.
The fingering and shape of the controller put no acoustic limitations on how the wind controller sounds. For example, a wind controller can be made to sound like a trumpet, saxophone, violin, piano, pipe organ, choir, or even a barnyard rooster.
For keyboard players fingering must be memorized and real playing is harder. Additionally only one note can be made at once. Electronic Melodica Hohner Electra-Melodicais fusional instrument of synthesizer and melodicais free from this limitation.
Already in the s Benjamin F. Miessner was working on various electroacoustic instruments. Among these was an electroacoustic clarinet, that featured an electromagnetic pickup for the reed vibration and was connected to a variety of electronic filters. Early experiments with fully electronic instruments started in the s.
Leo F. The Frenchman Georges Jenny and the German engineer Ernst Zacharias played an essential role in the development of the first analog wind controllers in the s.
Jenny applied his first patent  for an electronic wind instrument in It features a breath transducer for variable volume control, that works with a piezo element. The prototypes of Zacharias, who started to work on electronic wind instruments inlead to the first commercially produced wind synthesizer — the Hohner Electra-Melodicareleased in The first widely played wind controller was the Lyricon from Computone which came about in the s era of analog synthesizers.
The Lyricon was based on the fingerings of the saxophone and used a similar mouthpiece. It set the standard for hardware-based wind controllers with a number of features that have been preserved in today's MIDI wind controllers, including the ability to correctly interpret the expressive use of reed articulation, breath-controlled dynamics, and embouchure-controlled pitch variation.
The Lyricon also expanded the playing range several octaves beyond the accustomed range for woodwind players. Tone generation on the Lyricon was limited to a dedicated analog synthesizer designed specifically to interpret various wired analog outputs from the instrument.
The next analog wind controller of note was the EWI from Akai which, like the Lyricon, was paired with a dedicated analog, voltage-controlled tone module, the EWV Analog signals were derived from the various sensors e.
With the advent of MIDI and computer-based digital samplers in the early s, the new music technology ushered in a variety of "alternative" MIDI controllers. In the s and s, the main way for a musician to play synthesizers was with a keyboard.
Leading the way to demonstrate the virtuosic potential of this new arsenal of MIDI technology on the world stage through extensive touring and big-label recordings were guitarist Pat Metheny playing the guitar synthesizer and saxophonist Michael Brecker playing the wind controller, each leading their own bands. These instruments are capable of generating a standard MIDI data stream, thereby eliminating the need for dedicated synthesizers and opening up the possibility of controlling any MIDI-compatible synthesizer or other device.
These instruments, while shaped something like a clarinet with a saxophone-like key layout, both offer the option to recognize fingerings for an assortment of woodwinds and brass. The major distinction between the approach taken by the two companies is in the action of their keys.
Yamaha WX series instruments have moving keys like a saxophone or flute that actuate small switches when pressed.Alas,I always failed at finding a decent implementation of a virtual sax. Using a sampler rather than a synth — including synths that use physical modeling to replicate the sound characteristics of a real wind instrument,as is the case of the VLm — surely delivers a result closer to a natural sax sound,yet I have always been disappointed by the lack of playability and the inability of achieving the many timbre variations that only a real sax can offer.
When I decided to record music for sax quartet,the choice was between purchasing a real tenor and baritone to be added to my alto and soprano or trying again with a sampled instrument. These price tags make Samplemodeling products more expensive than libraries that offer hundreds instruments for a fraction of a dollar each,but this comparison is misleading,because none of the instruments in these libraries can really compete with Samplemodeling.
The company has been on the market for a while and gained a very high reputation among musicians,especially EWI players. The good news is Samplemodeling software needs no dongle key e.
Instead,you get two license keys,which allow you to install their software on two different computers. If you buy a third computer you can have one key deactivated and reactivated on the new hardware. As is common with most vendors,a valid license gives you the ability to download future minor releases of the same product,without having to pay for a yearly subscription.
My review is based on version 2. Interestingly,Samplemodeling virtual instruments are built with the wind player in mind:unlike other software,you must use either a wind controller such as the Akai EWI or Yamaha WX5 ,a MIDI keyboard with either a breath controller such as the Yamaha BC3 or — at the very least — an expression pedal that emits CC11 messages. I scanned the Samplemodeling forum before getting the software,and the satisfaction level among users is impressively high.
This surely means something. Quite opportunely,Samplemodeling provides three configurations to start with:for keyboard players with an expression pedal,for keyboard players with breath controller,and for wind controller players. The documentation is short,clear and concise,and just takes a few minutes.
Once I grasped the fundamental concepts,it took less than one hour to tweak the many available parameters until I got the sound and the responsiveness I expected. The parameters are grouped in three distinct sets:.
In the top half of the window you can set the intonation in Hertz or cents ,the transposition in semitones ,the pitchbend up and down ranges,the volume,and the pan. A rectangular area in the center of the main window shows a subset of the messages arriving from the MIDI controller,i.
It also provides a graph of the dynamic envelope and shows how the software is interpreting the way you articulate the phase e. In the bottom half of the main window you see more advanced controls that directly affect the resulting sound. After some tests,I found myself focusing on two or three different variations for each sax model. In some cases I managed to have interesting sound variations by moving a slider,in others I found no audible difference,probably because some controls must be adjusted in groups rather than individually.
For example,I found out that lowering the default value of the Dyn. Pitch parameter — which controls random pitch fluctuations in response to different breath intensity — allows me to articulate phases in a way that is closer to my playing style on the real instrument.
A couple of sliders affect the noise produced by breath and keys;when playing at low volume,these two parameters add realism to the sound. You can control them using CC messages,too,but in practice their default value is OK for most circumstances.
The SWAM engine also supports microtones and non-tempered tuning. Instead,you have to activate the microtuning feature either in the main window or by sending a specific CC message.
In either case,you can decide which notes use the alternate tuning. The fields in the left portion of the Options window allow you to customize how MIDI CC messages map to most of the parameters just described. Even if I have both these foot controllers,my goal was to achieve good results with the EWI alone,thus I spent some time to configure the software and the EWI for the highest expressiveness.
PitchBend Up: 0. PitchBend Down: 1. Expression: mapped to CC2 breath controller ,the standard setting if you select the wind instrument configuration.Toby Pitman on Feb 06, in Review 0 comments.
Agitato Sordino Strings for Kontakt VST-AU-AAX
As of writing there are three available. Flute, Clarinet and Bassoon. Files are supplied via the 8Dio downloader app and weigh in at around 5 GB each. Each come with around 5 to 6 different. All three libraries are structured and set out in a similar way providing more or less the same set of articulations and functionality. The Legato instruments provide control over dynamics crossfadingexpression volume and Legato Speed and volume of the transition.
There are also controls on all instruments to load and balance the three supplied Microphone positions Close, Decca Tree and Wide. The Legato instruments are based on key-switching between different intensities in dynamics and vibrato allowing for some pretty expressive results.
The Flute library is particularly nice though all perform admirably when used in a solo melodic context. The Legato is smooth and pretty seamless when key-switching. There is also a second player function that colors the sound for a variation in tone when layering patches. The Arc provide swells in varying degrees of intensity from p to ff.
These patches are polyphonic allowing you to create some nice realistic chordal swells. The FX Runs patches contain both one and two octave major and minor runs up and down. These can be sped up or slowed down using the pitch wheel to fit your tempo which is nice. A range of one octave is supplied separated on the keyboard into up and down articulations. There are also some breaths and key clicks.
On the whole, all the instruments are very nice to play and sound very realistic with a bit of work i. My favorites are the Flute and Bassoon. There are some issues with the mod wheel dynamic control as it runs parallel with velocity to volume which can be a bit counterproductive unless you use a fixed input velocity.
Maybe they need to dump velocity control and just use mod wheel. Especially on slow passages. This is the same with the Arcs and Sustain patches. Maybe 8Dio were deliberately trying to avoid any looping work in the samples. Either way I found this a bit annoying at times. Very well recorded and playable libraries.
More articles by this author. For the past 20 years Toby has worked as a professional guitarist, programmer and producer.These amazing Audio Modeling SWAM virtual instrument software products respond superbly to your breath expression and we are very happy to finally offer these virtual instruments to our wind controller and breath controller customers. Patchman Music is taking orders and delivering these products via email.
Order today from Patchman Music and save money! Be sure to check out all the wonderful demos of these products on YouTube. Please note the system requirements in the descriptions below. Also note that these software virtual instruments do not load inside your wind controller or MIDI controller.
Email Matt for details. Here it is! ALL the best solo instruments on the market in one convenient bundle. See below for pricing info. With this bundle you don't need to look for anything else: all the best physical modeled Solo Strings, Solo Brass, and the best hybrid modeled Solo Woodwinds will be yours. Click here to order online. This technology allows all articulations typical of this instrument to be reproduced in real time by acting on its main physical elements such as pipe length, breath pressure, and lip tension.
Independent control of the valves allows both Half Valve transitions and ones typically triggered with overtones in glissandos or broad vibratos. The realism and expressiveness of the SWAM instrument requires a computer with at least a 1. Less powerful systems may also prove satisfactory, but may require larger buffer sizes, involving higher latencies.
Physical Modeling allows all articulations typical of Trombones to be reproduced in real time by acting on its main physical elements such as pipe length, breath pressure, and lip tension. Independent control of the slide allows soft glissando's as well as ones with typical overtone triggers. Regardless, you can always choose between Slide or Valve mode. In French Horns, the sound can be modulated using a hand inside the bell.
Moreover, one can perform pedal notes by enabling the additional-valve option. These brass instruments are Physical Models- and do not use any samples so they are extremely lightweight only a few Megabytes. Therefore, no Giga-sized pre-recorded libraries are needed: the smallest footprint creates the perfect organic consistency resulting from the endless expressive parameters that are unique to every live performance.
This SWAM Solo Brass Bundle gives you the chance to play in real-time, via a MIDI controller, an extensive list of brass instruments while fully managing the expression of these virtual acoustic instruments. All of these virtual brass instruments were developed by Audio Modeling using their SWAM Technology for the most realistic, real-time controllable, and expressive instruments on the market.
All SWAM Engine digitally handcrafted acoustic instruments are not a simple recording of notes via sample libraries, but a set of real virtual instruments based on their traditional counterparts. They do not repeat a pre-recorded sound like a sample library would.
They play for real! It's up to you. See the above descriptions for complete details on each Brass instrument that is included in this bundle. SWAM Violin is the most realistic, real-time controllable and expressive virtual violin on the market. With SWAM instruments you can compose and arrange your orchestra pieces or concertos.Forums Quick Links. Members Quick Links. NI Community Forum. Messages: I expected it to be released at least a week ago. Sample-modeling say they are just waiting on NI now.
GregoirMar 23, I've been looking forward to this library too. I am waiting for it to come out so that I can buy it, and then also the crossgrade to K3.
Since I don't own any other NI libraries yet Hopefully it will be ready soon Messages: 1, Okay after giving it some use now, I have to say that I am a bit disappointed.
You see, it is set up for keyboard control. No problems there, just open it up in the full Kontakt and remap the parameters to something useful. Except, it is still locked in the full Kontakt. So I have been in touch with Peter from Samplemodeling regarding this and he suggested that I do one of the following: Use it with a sequencer which is an awesome suggestion given that I was looking to use it liveor to use a MIDI utility to remap the CCs.
So that doesn't exactly help me much. His argument was that they wanted to keep the GUI simple for the user and not to "overcomplicate" it. I just wonder why they could have made a simple and advanced mode that was activated by a button? Or at least allowed ALL of the parameters to be remapped within Kontakt, rather than just expression? So now I am very disappointed because it sounds awesome, but for the fact that I can't play it with my WC Perhaps if it wasn't sooo good, and sooo close, I wouldn't be so upset?
Anyway WC players beware Hi Ben Just curious - how would you like to remap the CCs? Please be aware that Native Instruments has still not provided script access to aftertouch so aftertouch messages cannot be used to influence anything that is under script control. If you want aftertouch support added in Kontakt please make your voice heard in the following feature request thread. Hey Kotori, tbh I am not so sure because: a I am fairly new to WC programming and b I am not sure what you have going on in the BG other than the obvious visible CCs that are currently not remappable.
My complaint: Perhaps the most basic issue is the fact that it slurs way too much when being played with a WC. So much so that you have to articulate every single note as a staccato to stop this from occurring. Even if it could just be dialed down a notch with regards to how connected the note timmings are to trigger legato then it would be much nicer to play.
When I try to play at the moment, it just sounds like I am playing with a glide switch on and it is way too "mushy. Lastly I would like to be able to make the cornet a little bit brighter.VirtualSoundStage 2. When active, you can listen to the input signal, as it leaves the input offset section without any further positioning or reflections added. This is very handy while adjusting the gain and delay offset.
When you start the Input Offset Auto Detection, VirtualSoundStage will record and analyze a short section of the input signal and try to set the gain and delay offset for you. This is good as a starting point, but make sure to always double-check by ear. Controls the Directivity of the virtual speakers.
Mixing orchestra - Reverbs, EQs and other tricks
A directivity of 0 means the signal will emit sound equally in all directions and if the directivity is set to 1, the sound will only be emitted in the direction of the speaker cone. Controls the width of the virtual speaker setup. To keep the signal path clean there's a link between the left speaker and left microphone as well as the right speaker and the right microphone.
This is crucial to eliminate any kind of phasing, but can result in unexpected positioning effects, if the speaker setup is not pointed towards the microphones. To quickly direct the sound source to the main microphone you can double-click the arrow in the stage view.
If Air absorption is turned on Virtual SoundStage will emulate the effects that take place when sound travels through air. Depending on the setting of the Air Absorption Parameter and the distance between the sound source and the microphone this can result in either a damping or a boost of high frequencies.
If your input signal has been recorded with a very close microphone you can use a higher air absorption level to damp more of the higher frequencies. If on the other hand the input signal already has been recorded from a distance, you can use a negative value to bring back some of the higher frequencies that have been lost during the original recording.
If turned off the direct signal won't be touched by VirtualSoundStage. This can be usefull, if you only want to add some ER's to a track without changing its position.
You can use the output gain to compensate for any gain differences between the input and output signal similar to a makeup gain control in a compressor. If you want to use VirtualSoundStage only as a replacement for the pan controls in your DAW mixer, without adding any extra room information simply choose the Free Field from the Room Menu.
This will put your sound sources in an empty space and will free up the CPU resources normally needed to generate reflections. If you want to see any other sample libraries included or you want to contribute with recordings of a missing library, please let me know about it: support parallax-audio. Run the installer for your Operating System.
Can't see the plug-in? Read the FAQ or contact support parallax-audio. On the first start you'll be asked for your keyfile. Click "open" and select the keyfile you received from share-it with your order. That's it! Make sure to keep your keyfile and downloaded installers in a safe place for the next installation. So first of all you need to make sure that all of your instruments are available as seperate stereo tracks within your DAW.
Some samplers like Kontakt by default only use one single Master Stereo Output for all patches, but most of them will also give you the possibility to switch to a setup with multiple outputs to route your instruments separatly into your DAW. This is probably also a good time to start setting up a reverb send bus with a generic reverb tail, so you can quickly add some reverb to your tracks while setting them up with VSS. For more tips on how to find the right reverb tail also see the next section.
Now that the routing is prepared you can start adding VSS as an insert effect to one of your tracks. If you are using a sample library, which is included in the preset library you can go ahead and load that preset and start tweaking your sound from there.
Otherwise these are the steps to go through:.