Sample Modeling French Horn and Tuba 3

The French Hornis an exceptionally versatile, dynamic, flexible and expressive musical instrument,used in a vast majority of musical styles. It covers an incredibly wide dynamic range. With its rich, warm sound it is a perfect blender, if used in combination with other instruments. With its full, bright fortissimo it is an indispensable instrument in any spectacular, “Hollywood-like” orchestration. The real French Horn is extremely difficult to play, requiring advanced skills and intensive practicing. It is also extremely difficult to emulate, a true challenge for developers of virtual instruments. We believe the results are outstanding. And, unlike the real one, our virtual French Horn is easy to play… Tuba–the biggest brass instrument –covers the lowest range of the musical scale and is really not limited to comedic work at all… It contributes remarkably to the fullness of the orchestral sound frequently doubling the bass lines, but also serves as the bass in the brass section or brass band, as well as a solo instrument, playing all possible musical styles.Like the other Kontakt-based Samplemodeling instruments, French Horn& Tuba use Giorgio Tommasini’s proprietary “Harmonic Alignment” technology. It enables real-time, seamless morphing over the entire dynamic range, from pp to ff, an impossible task for conventional sample-based libraries. Furthermore, it uses samples of real instruments as base material, recorded in an anechoic chamber. This proved to be the best choice to preserve the timbral characteristics of the original instrument. We used state-of-the-art recording techniques, including multi-microphone placement, according to the radiation characteristics of the instrument.

Sample Modeling The Trumpet 3.0

The Trumpet 3 includes several exciting features:

New Early Reflections algorithm. The early reflections (ER) are those components of the emitted sound reaching the listener shortly after being reflected from the closest rear and lateral walls, floor and ceiling. They convey information about the spatial localizaton of the instrument, and greatly contribute to realism. In the Trumpet 3, a sophisticated algorithm extracts the directional information of multi-microphone anechoic recordings to recover the overall timbre of the instrument along with its radiation pattern, assembling this information into a suitable ER impulse response, which adds a virtual space to the anechoic sound.
Virtual Soundstage. This new feature allows precise positioning of the instruments in a virtual space located before the listener, using early reflections, pre-delay, convoluted panning and perceived distance algorithms. You can move your instrument back and forth, from side to side, or with a combination of the two, even in realtime, mimicking the natural movements of the player. You can modify the ratio direct/reflected sound, and even “displace” the back wall, for a variable depth effect.
This virtual soundstage will set you free of adding a further suitable acoustic environment, without incurring multiple-ambience issues. This can be carried out within the same Kontakt Player, which provides a high quality convolution reverb.
Real time Timbral Shaping. This revolutionary new feature adds a virtually infinite timbral variety to sample-based instruments, by acting on the amplitude of individual harmonics, or groups of harmonics, even in real time. This is not a graphic equalizer; the controlling bars are not assigned to fixed frequencies, but to the first 10 harmonics of the played note. As a consequence, the affected frequencies vary with the pitch of the note. So, rising, for example, bar #1 will boost the fundamental frequency (first harmonic) of each note played, yielding a rounder sound. Rising bars #3, #4, #5 will increase the intensity of the corresponding harmonics for a more “nasal” sound, etc.
Microtuning. Another new feature is microtuning, applicable to individual keys even in real time, to better cope with non-tempered scales, so essential in, for example, Middle Eastern or Asian music.
Expression Mapping. User-drawn rescaling of the expression CC may give better control of the dynamics, particularly when tailored to suit your own input devices like breath or wind controllers.
Breathy Sound. Simply play at very low dynamics and lowest velocity, and you will get a very realistic breathy component accompanying the tone of the trumpet.
“For Unison Ensemble” IR. A specially devised Impulse Response, markedly reducing the phasing which may occur when several instruments are driven from the same MIDI track (i.e. in unison).
Unison Ensemble Multi. Special consideration has been given to creation of realistic ensembles from solo instruments, whether driven from separate MIDI tracks, or when playing unison. An advanced “Ensemble Maker” has been developed, affecting timing, static and dynamic pitch evolution, phase, response to dynamics, pitchbend, velocity, portamento time, in such a way that even if driven from a single MIDI source, each instrument will sound slightly different, as if played by a different musician.
A ready-to-use Multi, including three specially devised trumpets, the Ensemble Maker, and an appropriate convolution reverb, suitable for unison playing straight out of the box, is included in the package.

Sample Modeling The Trombone 3.0

The Trombone 3 includes several exciting features:

New Early Reflections algorithm. A new ER algorithm exploits the directional information of multi-microphone anechoic recordings to recover the full, rich timbre of the instrument along with its radiation pattern, adding proper virtual space to the anechoic sound.
Virtual Soundstage. This new feature allows precise positioning of the instruments in a “dimensionless” virtual space, using early reflections, pre-delay, convoluted panning and perceived distance algorithms, even in real time.
This will set you free to add a further suitable acoustic environment, without incurring multiple-ambience issues. This can be carried out within the same Kontakt Player, which provides a high quality convolution reverb.
Real time Timbral Shaping. This revolutionary new feature adds a virtually infinite timbral variety to sample-based instruments, by acting on the amplitude of individual harmonics, or groups of harmonics, even in real time. This is not a graphic equalizer; the controlling bars are not assigned to fixed frequencies, but to the first 10 harmonics of the played note. As a consequence, the affected frequencies vary with the pitch of the note. So, rising, for example, bar #1 will boost the fundamental frequency (first harmonic) of each note played, yielding a rounder sound. Rising bars #3, #4, #5 will increase the intensity of the corresponding harmonics for a more “nasal” sound, etc.
Microtuning. Another new feature is microtuning, applicable to individual keys even in real time, to better cope with non-tempered scales, so essential in, for example, Middle Eastern and Asian music.
Expression Mapping. User-drawn rescaling of the expression CC allows better control of the dynamics, particularly with such input devices like breath or wind controllers.
Breathy Attacks. Simply play at very low dynamics and lowest velocity, and you will get a very realistic breathy noise preceding the tone of the trombone.
“For Unison Ensemble” IR. A specially devised Impulse Response, markedly reducing the phasing which may occur when several instruments are driven from the same MIDI track (i.e. in unison).
Unison Ensemble Multi. Special consideration has been given to creation of realistic ensembles from solo instruments, whether driven from separate MIDI tracks, or when playing unison. An advanced “ensemble maker” has been developed, affecting timing, static and dynamic pitch evolution, phase, response to dynamics, pitchbend, velocity, portamento time, in such a way that even if driven from a single MIDI source, each instrument will sound as if played by a different musician.
A ready-to-use Multi, including three specially devised trombones, the ensemble maker, and an appropriate convolution reverb, suitable for unison playing straight out of the box, is included in the package.

Sample Modeling French Horn and Tuba 3.0

French Horn & Tuba 3 further expands Samplemodeling™ technologies. Multi-microphone anechoic recording allows to capture the original timbre of the instrument, along with its radiation pattern. Our proprietary “Harmonic Alignment” yields continuous transitions across virtually infinite dynamics. Specially devised “early reflections” impulse responses add a virtual space to the anechoic sound, greatly contributing to realism (see below). The programming moves further away from conventional libraries, by exploiting physically-oriented modulation of the recorded sound. This yields the characteristic crescendo pattern of French Horns, typical brass flutter on transitions, or even the “watery” sound, knocks, breath noise, and metallic resonances from the bell and the body of the instrument, greatly contributing to realism. The result is a series of playable, very expressive virtual instruments retaining the rich, full sound of the real ones.