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.