The groundbreaking new method of sync on the fly. Kontakt will automatically recognize your sequence’s tempo and playback your scales and textures in time (live). In addition all patches using this engine have samples which have been recorded at multiple tempos. Kontakt will automatically and intelligently choose the correct sample and micro adjust it into place- providing incredibly realistic results and leaving the composer to worry about more important things.
Choose from exclusively Stage Mic patches or Close Mics patches, or using the hybrid patches create your own custom mix – live with no artifacts. Automate your levels using Kontakt 3.5+ or use our presets. Flavor your mix with the 3 Band EQ pre-sets.
INTRODUCING NOTATION VIEW:
Using Kontakt 3.5+ you can actually visually see the music you are creating, live! The notation window displays incredibly detailed conductor – piano reductions of your current sample being triggered. Very useful for composers, educators and anyone curious.
AUTHENTIC HOLLYWOOD SOUND:
Straight down the chain we have focused our sound to emulate the voice of the Hollywood scoring stages. From the choice of ensemble, the players themselves, the gear, the mix, the orchestrations, the scale tunings,…. the entire concept is planned to sound with that one goal in mind. Plenty of trail/error, score studying, lunch meeting, phone calling and general research was gathered in pre production so we blatantly tried to squeeze all the detail and life we possibly could at the sessions and in post. This is the extra step the great hollywood composers and orchestrator’s provide on a daily basis.
Our method of using tempo synced pre-records with typical keyboard patches is extremely efficient and realistic. The stacked patches, such as the octaves patch, allow the user to voice the ensemble over several different octaves in an authentic hollywood stack (see user manual for details). And of course there is the tutti patch, featuring everybody playing (including the piccolo). There is a whole other half to the library after you check out the GB’s of pre records.
20TH CENTURY TEXTURES AND RUNS
All that creepy stuff the winds do when the spider is attacking, when the beautiful face is morphing, when the eyes turn yellow??? We decided we needed to have that too. From unison ensemble quarter tone bends, to 12 tone cluster stacks to massive collection of Atonal Rips to clarinet “meowing” to multi- piccolo flutters you are sure to find something you need for your track here.
Major and Minor Traids
Scales and Rips:
Harmonic Minor Scales
Natural Minor Scales
Whole Tone Scales
Textures and FX:
FX 5th Chord
FX Cluster Chords and Flutters
FX Pitch Bending FX
FX Random Note Staccato Patterns
TEX Chord Trill Quarter Notes
TEX Inspiring 1 (Duplet)*
TEX Inspiring 2 (Triplet)*
TEX Inspiring 3 (Classical, Triplet)*
TEX Light Hearted Motif*
TEX Lydian Thirds*
TEX Marching Patterns8
TEX Octaves Repeating (Duplet)*
TEX Octaves Repeating (Triplet)*
TEX Oom Pah Major Minor*
TEX Repeating Major and Minor Chords*
* These patches use the C.I.T.E (Cinesamples Intelligent Time Engine) which will allow automatic tempo synchronization in your sequencer.
Miss Sax S (the soprano) is presently under evaluation for feasibility.
What’s new in Mr. Sax A, B & T ?
The Alto and Baritone Sax are completely new instruments, designed and programmed for the new NI Kontakt 3.5 Player. The current version is 1.51.
As in Mr. Sax T, v. 1.02, the main panel allows for monitoring and inputting control data. It includes a drop down menu for Keyboard, Breathcontroller, Yamaha and Akai windcontroller input, symmetrical and asymmetrical pitchbend response, velocity or CC controlled portamento time, etc.
Automatic recognition of the audio card sample rate has been implemented, thus obviating the need of manually setting the corresponding value on the instrument GUI.
Channel aftertouch is now recognized and can be used to control several parameters, such as vibrato intensity or rate, subharmonic, growl or flutter intensity. A user defined smoothing parameter helps reduce any sudden jump of the less-than-optimal aftertouch response of several keyboards.
In addition, MIDI remapping of incoming CCs is now possible, by a dedicated GUI (see below).
And Mr. Sax T?
Mr. Sax T, vers. 1.51 has been reprogrammed in exactly the same way as the other Brothers
Note: Load the library in the Libraries Tab of the latest cracked version of Kontakt, Tested in Kontakt 4.1.1
flexible and expressive musical instruments. It covers an incredibly
wide range of sounds and moods. Whether a classical sacred work, a
military march or a powerful fanfare, a pop song or a huge orches-
tral arrangement - the trombone is an indispensable instrument in a
vast majority of musical styles.
However, it.s extremely difficult to emulate, even more than the
trumpet, due to the presence of the slide - a true challenge for
developers of virtual instruments.
That.s why we chose it next.
The Trombone family expands Samplemodeling. technologies beyond the
original limits. An entirely new class of Harmonic Alignment has
been developed, allowing continuous transition across virtually
infinite dynamics, at the same time perfectly preserving the
peculiar, .spiky. waveform of this instrument. Multi-microphone
anechoic recording, coupled to a specially devised .early
reflections. impulse response, allowed to reproduce the full, rich
timbre of the instrument including its radiation pattern, adding at
same time a virtual space to the anechoic sound.
The base material of the instruments (two Tenor, one Valve and one
Bass Trombone) consists of 714 MB of samples, chromatically
performed by a professional trombone player over a very wide dynamic
range. All samples are unlooped, and have a minimum duration of 8
sec. As .The Trumpet., the Trombone engine is structured according
to an adaptive model, based on the performance .fingerprints. of the
real instrument. The purpose of the model is to minimize the
differences between the real phrases and those played by the virtual
Proprietary modal resonance IRs, innovative techniques for sample
modulation, and advanced AI midi processing are used for real time
construction of all articulations and morphing across dynamics,
vibrato, legato, portamento, trills, vibrato-like endings, shakes
and so forth.
Pseudo-random detuning, based on real performance-derived trends, is
another outstanding new feature of The Trombone, adding further
A completely new chapter concerns the slide. The real trombone is
one of the few wind instruments that can produce a true glissando up
to six semitones. Though very difficult to obtain with a sample-
based instrument, the effect of the slide has been perfectly
reproduced in our virtual trombone by a novel application of the
.Harmonic Alignment. technology. Ultra-realistic slide effects can
be obtained by proper use of the pitchbend, but are also automati-
cally activated by overlapped legato. As in the real instrument, a
continuous glissando effect will be obtained if the portamento
interval is within +/- 3 semitones.