Hemat 20rb !!!
Big bass sounds!
You aren’t restricted to the arrangement of filters and files that the default view places. Instead of having the criteria listed above the files, a click of the button rearranges files on the left with criteria vertically listed on the right. The default view presents an information display on the right that offers up details of the sound sources, suggested playing techniques, the author of the patch, and more. If you need to see more patches at once, you can toggle the information window off.
A return to the main panel foreshadows Trilian’s inner workings and the depth of expression that the STEAM engine provides. Laid out across the front panel are the series of knobs and switches that bring Trilian’s patches to life. Change patches, and you’ll probably notice that the controls have new assignments. One knob may alter the level of the mic sound and another might vary the level of the pickup. Still other knobs may govern filter cutoff or resonance. More than that, all controls are customizable—from the names to their actual functions.
The Edit page takes you deep into Trilian’s capabilities as a synth (see Fig. 3). At the patch level, you get two layers, which define an oscillator—its modulation routings and its signal flow. A tab over the panel of parameters lets you toggle between layers A and B. If you want to create identical parameter settings, just click the Link button.
Continuing with the bass rack metaphor, The FX page is replete with grilles, rack screws, and up to four effects per rack (see Fig. 4). You can load as many as 29 racks (assuming your computer is up to the task), consisting of insert effects, aux effects, and a rack of master effects.
Robust architecture notwithstanding, Trilian’s strongest lure is its massive library of gorgeous basses, so before getting any deeper into the instrument’s architecture it’s worth talking about the sounds. I’ve heard a lot of high-end sampled basses in my time, but Trilian, by a huge margin, offers the most animated, lifelike, and expressive basses created from a sampled instrument.
The depth and breadth of synth-derived basses in Trilian is mind-boggling. Lots of familiar sources appear here, including Moog, ARP, Oberheim, Korg, Yamaha, and Roland, as well as lesser-known noisemakers and those of more recent vintage such as Waldorf, Oxford, Cwejman, and Metasonix. Here, Trilian’s deep synthesis architecture comes into play with a vengeance.
Trilian provides plenty of ways to customize sounds beyond the patch level. Entering Stack mode lets you easily map out combination sounds or mix and match articulations. Separate horizontal bar-graph depictions of Velocity, keyboard range, and Control Change messages for each instrument eliminate confusion and visual clutter. If your needs are more spontaneous, use the Live Mode page to switch between different basses or play different articulations on the fly.
Trilian is head and shoulders above any bass collection I’ve yet seen. The detailed, careful sampling and painstaking capture of every note and noise is evident in each of these eminently playable instruments.
Cons: No standalone version.