Single Or Multi Articulation Kontakt Orchestral
I actually have two questions concerning the capsule system.Firstly, in the Orchestral Tools Help Desk, it says you can combine Single Articulation patches with Multi Articulation patches using the Mute Instrument keyswitch, but it's unclear as to how this can be accomplished. How exactly do you combine them together on one midi track?Second, let's say I use the Single Articulation Legato patch and a Longs patch together as per my first question. Can the Single Articulation patch legato transition into an articulation on the Multi Articulation patch? For example, can a note from the single articulation legato patch transition into a portato on the multi patch?Sorry if this seems convoluted but any help would be appreciated.
. VEP MULTI toolkit offers complete Cubase Expression Maps, Logic Articulation Sets and AG Logic Maps EDITOR templates, where you only have to type articulation names according to the loaded Kontakt patches. Control Change single lane MIDI Channel switching. Making this multi sampled orchestral sample collection the pivotal accomplishment to complete the Sonokinetic cinematic orchestral tools. FOR NATIVE INSTRUMENTS KONTAKT AND KONTAKT PLAYER 5.7.1 and up. The articulation controls within Da Capo are highly flexible. Any articulation can be assigned to any instrument section. Orchestral Tools has released version 2.0 of Berlin Strings, a string instrument library for Native Instruments Kontakt, which now features Capsule. Capsule uses Kontakt’s scripting engine to add features like polyphonic keyswitching in Multi Articulation Patches, and the possibility to apply True Legato intervals to any long notes.
I have just bought Cubase and hardly started to use it yet - and sorry for the off topic question, but - is changing MIDI channels the only way to select new articulations on the fly? In Logic, MIDI channels are used to define polyphonic voices in the score editor, so while I wish Logic had it's own parameter for 'voice', I hope Cubase will get a dedicated parameter for articulation ID numbers (a la Logic, except that Apple has had articulation IDs for many years but don't seem to develop the idea much).I guess you are talking about this page, rainierjmartin?Are you aware that you can activate legato for the longs (or any other articulation) in the multipatches? Since this is possible, one could have both a legato version of longs and a polyphonic version of longs inside the same multipatch, but for that to happen, OT need to implement support for having several instanses of the same articulation in multipatches.On another note - I guess the answer depends a little on what you want to do with that combo.
If you want to compose improvise using a sound which both have a playable legato and is polyphonic, you could always simply load both presets into Kontakt and layer them.There's also possibly a way to define that each of the instruments are limited to eg a predefined velocity layer. But OT's own suggestion implies, I guess, clicking on the lowermost icon on the lefthand (the one with all the small squares), and define a CC value to control Mute Instrument, under 'Instr. If you assign Mute Instrument to eg note A-1 in both instruments, clicking on A-1 on your keyboard will mute one of them, and unmute the other.Thanks for asking the question, btw, I wasn't aware of this option! Click to expand.They probably use the same samples (for the sustained part of the sound), but the legato you getting by enabling legato for individual multi-patches isn't as advanced as the legato you get in the dedicated legato patches.
Also: when using the legato patches, you don't have access to the advanced functions the multis have, eg. Crossfading between 2, 3, or 4 different articulations in real time. I guess the limitations exist because Kontakt simply can't handle enough samples to offer all these functions within one single preset. Click to expand. No, they are not the same. You can tell just by A/Bing them.
But I did write to OT a while ago asking if this is intentional behaviour, and they said yes. In fact, I agree with them: it's very useful. Sometimes, the sound of the legato in the single patch works better, sometimes better in the multi, depending on the line one is writing. Also, for 1st Violins, one can only combine the slurred and fingered legato in an unbroken line using the multi. And, also, the ostinato legato that they added is only found in its own single patches.BST, for me, is such a complex, multi-faceted library, that I both love and hate it. I hate it because it's resource-use makes it impossible to, realistically, fully load all of its options.
Single Or Multi Articulation Kontakt Orchestral Download
I love it because it has so many options. My strategy has been to try and get to know it as best I can, and load it 'on demand' as I write lines. I think you'd need 128GB of RAM to keep a full Berlin template loaded into RAM, TBH. Click to expand.If you have one computer for the full orchestra, yes. But you can easily load the full BS with a 64gb system plus some more patches, given that you use low buffer settings in Kontakt, which requires an SSD. On the other hand, I can load a full orchestra on my 128gb slave PC including BS full, but with dense orchestrations that machine will at some point run into streaming problems, which clearly tells me we still need 2-3 PCs at least for diese orchestration, using multiple legato patches and including libraries like BB, where you need to load every single instrument (BB is 180Gb).
Click to expand.No, you cannot. At least not, if you want to run intense orchestration with multiple mic positions, possibly layering and without having to bounce to audio in between.
I have several NVMe drives and in spite of those, on PC (or Mac) does not provide enough voices to do it.You can certainly do lighter pieces, but if you seriously tried mocking up a fully orchestrated piece (take a John Williams Scores as an example, maybe Harry Potter-dense or Starwars-dense), one PC will fail.That is why Richard Games is totally right that one maxed out PC is a waste of money vs. Two decent ones. The only con of the two PCs is they need more power, which is a factor where I live. But besides that, the two PCs will make a denser arrangement possible than the one. No, you cannot. At least not, if you want to run intense orchestration with multiple mic positions, possibly layering and without having to bounce to audio in between. I have several NVMe drives and in spite of those, on PC (or Mac) does not provide enough voices to do it.You can certainly do lighter pieces, but if you seriously tried mocking up a fully orchestrated piece (take a John Williams Scores as an example, maybe Harry Potter-dense or Starwars-dense), one PC will fail.That is why Richard Games is totally right that one maxed out PC is a waste of money vs.
Two decent ones. The only con of the two PCs is they need more power, which is a factor where I live. But besides that, the two PCs will make a denser arrangement possible than the one.
I actually have two questions concerning the capsule system.Firstly, in the Orchestral Tools Help Desk, it says you can combine Single Articulation patches with Multi Articulation patches using the Mute Instrument keyswitch, but it's unclear as to how this can be accomplished. How exactly do you combine them together on one midi track?Second, let's say I use the Single Articulation Legato patch and a Longs patch together as per my first question. Can the Single Articulation patch legato transition into an articulation on the Multi Articulation patch? For example, can a note from the single articulation legato patch transition into a portato on the multi patch?Sorry if this seems convoluted but any help would be appreciated. I have tried doing this over the past couple of weeks so that I can have single and multi patches on one channel as suggested by the user guides for CAPSULE.Effectively I tried making CC32 mute the single patch instruments. This is accommodated for in CAPSULE.
IntroductionIn this review, we will talk about the newest Symphony Series components: Woodwind Ensemble and Woodwind Solo. Previously, we reviewed the incredible Soundiron. The so far contains Brass, Woodwinds (created by Soundiron), and Strings (created by AudioBro) both as individual instruments and as ensembles. The Soundiron contributions to the Symphony Series are both recorded in the same large cathedral so that they sit beautifully together in the mix.
One of the most exciting things about this library to me are the “expression” patches – which give lots of runs, aleotoric runs, and flourishes that can really add life and realism to your compositions. Like the Brass Ensemble and Solo we reviewed previously, these are all state of the art sample libraries, and the “engine” is as smooth and easy to use as you would expect.We have included video reviews, a demo composition from Lawson Madlener, and lots of tech and articulation info on both libraries. For the tech and articulation info we drew directly from the product page as there is a LOT of depth in these products and we didn’t want to miss anything. We also conducted a video interview with Soundiorn Co-Founder Mike Peaslee, which you can check out. Pros: Soundiron quality, incredible variety of articulations including multi-tounged articulations, and cool aleotoric performances on every wind instrument. Soundiron has created one of the easiest to use and robust Kontakt engines available, plus it’s compatible with the free Kontakt Player.Cons: Woodwind vibratos are not controllable, i.e. Only one style on some of the sustain patches.List Price: Woodwind Solo: $299/ Woodwind Ensemble: $399/ Solo and Ensemble Bundle: $499Website: www.soundiron.com Demo Piece by Lawson MadlenerThis piece only utilizes the Solo and Ensemble Woodwinds with no external processing and the default mics. You can really heard the difference in sound between the ensemble – thicker yet more airy – and the soloists – more present yet thinner.
I used every instrument except saxophones, as I am not a huge fan of their sound in an orchestral setting. Symphony Series: Woodwind EnsembleThe SYMPHONY SERIES WOODWIND ENSEMBLE is a massive 36-piece woodwind ensemble!
This includes both individual woodwind sections – flutes, oboes, clarinets, saxophones, bassoons and contrabassoons – each with six players per section, and an ensemble patch to play everything in on go.This library features over 300 playable articulations, including true legato, a range of staccato tonguing techniques with up to 8-round-robins, half & whole trills, swells, sforzandos, crescendos, decrescendos, time-adjustable arpeggios, to name just a handful. You can also add character and realism with an additional selection of orchestral woodwind effects – such as clusters, stingers, sweeps, falls, risers, tuning cacophonies, valve clicks and creative flourishes.This slideshow requires JavaScript. 58 GB of sample content (30.5 GB after lossless ncw compression). 38,964 Samples. 43 Kontakt instrument presets. Six full woodwind sections with natural, dynamic sound.
36-piece woodwind ensemble, with 6 players per section. 314 articulations for utmost depth and flexibility.
An uncluttered and elegant interface to accelerate your workflow. Efficient ram and voice optimization. 34 GB of sample content (19.8 GB after lossless ncw compression).
21,574 Samples. 37 Kontakt instrument presets. Six woodwind soloists with natural, dynamic sound.
148 articulations for utmost depth and flexibility. An uncluttered and elegant interface to accelerate your workflow. Efficient ram and voice optimization.