维也纳音色库的劲敌--EW/QL Symphonic Orchestra Library
$2995.00 预计2003/8/15上市。
The EASTWEST / QUANTUM LEAP SYMPHONIC ORCHESTRA was recorded where orchestral instruments sound their most natural - in a 憇tate of the art?concert hall.
Listen to the pure beauty of the "critically acclaimed" Symphonic Orchestra and "state of the art" 125 million dollar Concert Hall that were captured, using custom built recording equipment, by audio legend - Prof. Keith O. Johnson - recipient of two GRAMMYS, plus eight additonal GRAMMY nominations for his 90 plus Classical Recordings.
This is the first 24-bit orchestral sample library to include three simultaneous stereo mic setups (close, stage and hall), so users can mix together any combination of mic positions to control tonality and ambience.
A major benefit of this recording philosophy is the tonal control the three simultaneous stereo tracks provide. Users can literally alter the tone and ambience of any instrument or section by incrementally moving out from the close mics, to the stage mics, to the hall mics (an audio zoom) in real-time!
This "virtual repositioning of the listener" in a concert hall environment offers a surprising amount of tonal control, virtually eliminating the need for EQ; and the ambient control, using any combination of these three stereo tracks, eliminates the need for artificial reverb (which usually sounds artificial).
You can create the sound "you" want. With other orchestral libraries, you get what they give you, and apart from adding reverb and EQ, you have virtually no control over the sound of the instruments. The control of tonality and ambience in the EASTWEST / QUANTUM LEAP SYMPHONIC ORCHESTRA enables each user to "design" the sound of the orchestra to suit the work that is being created - no other orchestral collection offers this!
Use the stage mics for a typical big Hollywood sound; boost certain instruments by adding a hint of the close mics; add in the hall surround mics to create a surround sound mix, or to add natural hall reverb. Finally, you can say goodbye to lifeless, dry studio recordings.
In addition to this unprecedented control of tonality and ambience; the real ambience of the hall, combined with the automatic sample switching of up and down strokes that is built into the NATIVE INSTRUMENTS audio engine and interface (included with each volume of the library), has eliminated the "machine gun" effect when playing fast repetitions.
All of the players were recorded in position. All of the instruments and sections were chromatically sampled, with multiple dynamics, with extremely dynamic and expressive articulations, and although the library is huge, it has been programmed to be "extremely easy to use". For example, an efficient method of composing would be to use just the "close mics" or the "stage mics" during the composition stage, adding a combination of the three stereo pairs to adjust ambience and tonality in the final mixing stage.
The EASTWEST / QUANTUM LEAP SYMPHONIC ORCHESTRA was produced by Doug Rogers from EASTWEST and Nick Phoenix from QUANTUM LEAP, who collectively have received over 30 international awards for sample libraries they have created.
NO SAMPLER REQUIRED!
Each volume comes as a VIRTUAL INSTRUMENT which includes a high-performance NATIVE INSTRUMENTS interface powered by the efficient KONTAKT audio engine, including Direct-from-Disk*, for Mac and PC (*With freely-downloadable Direct-from-Disk extension).
Each VIRTUAL INSTRUMENT in the collection combines intuitive handling with excellent sound quality, and functions as a plug-in instrument, without the need for a sampler, in hosts such as Cubase VST, Digital Performer, Logic, Nuendo, Pro-Tools, Sonar etc.
For the sonically adventureous, many sound shaping tools have been built in to the interface. Powerful multi-mode filters, envelopes, and LFOs give a wealth of creative possibilities. Integrated high-quality reverb, chorus, and delay effects are also provided.
Direct from Disk playback easily handles large samples beyond available RAM (which is assignable).
Professional sound quality with advanced 32-bit processing; eight-part multitimbrality and 256 voice polyphony allow for lush arrangements. The clean and intuitive interface never lets the technology get in the way of your creativity. All important instrument parameters can be immediately adjusted without the need to page, scroll, or fumble through a manual.
SYSTEM REQUIREMENTS
68 GB Free Hard Disc Space, DVD Drive
MINIMUM REQUIREMENTS (for Native Instruments software)
Windows XP/ME/98, Pentium III/Athlon 500 Mhz, 256 MB RAM
Mac OS 9.2 or higher, G3 500 Mhz, 256 MB RAM
RECOMMENDED SYSTEM (for Native Instruments software)
Windows XP, P III/Athlon 700 MHz, 512 MB RAM
Mac OS 9.2 or higher, G4 733, 512 MB RAM
RECOMMENDED SYSTEM (for sound library)
EASTWEST recommends using a fast processor and up to 1.5 Gbs of free RAM to optimize the performance of these sound modules.
COMPATIBILITY
WIN (VST?.0, DXi2? ASIO? MME? Direct Sound? RTAS?*)
MAC (VST?.0, ASIO? Soundmanager? FreeMIDI? OMS? Audio Units?*, Core Audio?*, RTAS?*)
**RTAS?support and OS X compatibility including support for Audio Units and Core Audio will be available as a downloadable update later. Sound Library can also be loaded into KONTAKT (from version 1.3), for even greater flexibility and more options for working with the sound material.
INSTRUMENTS AND ARTICULATIONS
STRINGS
18 Violins -
expressive vibrato p, f
expressive vibrato slow p, f
straight vibrato p, mf, ff upstroke, ff downstroke
lyrical vibrato slow, fast attack
legato vibrato p, mf, f
sordino expressive mp, mf
sordino fast mp, mf
sliding sustain, slow, medium ,fast and imperceptible speeds
non-vibrato p, mf
tremolo 1 & 2
pizzicato, p, mp, mf, f
martele up and down
short martele up and down
marcato short, medium and long
effects
11 Violins -
expressive vibrato dimuendo p, f
expressive vibrato p, f
lyrical vibrato p, f
straight vibrato p, mf, ff
legato vibrato p, mf, f
glissando short, long
trill half step
trill whole step
spiccato
martele up and down
short martele up and down
marcato short and long
10 Cellos -
expressive vibrato, slow and fast attack
straight vibrato p, mf, ff
legato vibrato p, mf, f
sordino, slow, medium and fast attack
crescendo long
sforzando long
pizzicato, p, mp, mf, f
non vibrato
portato short and long
trill half step
trill whole step
tremolo
martele up and down mf, f
short martele up and down mf, f
effects
10 Violas -
expressive vibrato p, f
expressive vibrato slow p, f
straight vibrato p, mf, ff
legato vibrato p, mf, f
martele up and down mf, f
short martele up and down mf, f
marcato short and long
9 Basses -
expressive vibrato, slow and fast
straight vibrato p, mf, f, ff upstroke, ff downstroke
legato vibrato p, mf, f
crescendo long
sforzando short
pizzicato, p, mp, mf, f
martele up and down mf, f
short martele up and down mf, f
marcato short
portato
tremolo
bow slaps
effects
Solo Violin -
expressive vibrato 1, 2, 3
crescendo
slide
vibrato, p, mf, f
non- vibrato legato, p, f
martele up and down
marcato
Solo Cello -
expressive sustain 1, 2
sforzando
slide
vibrato legato, p, mf, f
non- vibrato legato, mf
martele up and down
marcato f
Harp -
mp, mf, f
roll finger, mp
harmonics
WOODWINDS
3 Flutes -
vibrato p, mf ,f
non-vibrato mf
expressive vibrato
trill half-step
trill whole step
glissando, long and short
grace notes
staccato
C Flute -
vibrato mp, f
non-vibrato mf
expressive vibrato 1 and 2
staccato p, mf, f
flutter
grace notes
falls
3 Oboes -
vibrato mp, f
non-vibrato mf
expressive vibrato mp, mf
staccato p, mf, f
trill half step
trill whole step
grace notes
Solo Oboe -
vibrato mp, f
non -vibrato mf
expressive vibrato 1 and 2
staccato p, mf, f
trill half step
trill whole step
falls
octave runs
glissando
grace notes
Alto Flute -
vibrato mf
expressive vibrato 1 and 2
non-vibrato mf
staccato p, mf, f
glissando
Piccolo Flute -
vibrato mp, f
expressive vibrato
staccato mp, f
glissando
trill half step
trill whole step
English Horn -
vibrato mp, f
expressive vibrato 1 and 2
non-vibrato mf
staccato p, mf, f
falls
octave runs
glissando
grace notes
Bassoon -
vibrato mf
non-vibrato mf
expressive vibrato 1,2 and 3
portato
staccato, p, mf, f
glissando
Contra-Bassoon -
vibrato mp, f
expressive vibrato
non- vibrato mf
portato
staccato mp, f
glissando
grace notes
3 Clarinets -
non-vibrato mp, f
staccato p, mf, f
Solo Clarinet -
non-vibrato mf
expressive non-vibrato 1 and 2
portato
staccato p, mf, f
Bass Clarinet -
non-vibrato mp, f
expressive non-vibrato
portato
staccato mp, f
glissando
BRASS
6 French Horns -
sustain p, mp, mf, f, fff
staccato p, mf, f, fff
long staccato fff
portato, mf, fff
portato sfz, mf, fff
sforzando f
legato slides, short and long
legato p, mp, mf, f, fff
rips, short 1 and 2, and long
shakes
stop mutes
Solo Horn -
sustain, p, mf.ff
staccato p, mf, ff
portato, mf, ff
sforzando f
4 Trumpets NV -
sustain mp, mf, ff
sustain accent mp, mf, ff
legato mp, mf, ff
staccato, mp, mf, ff
sforzando short
forte-piano
slides fast and slow
Solo Trumpet (C) -
expressive vibrato 1 ,2 and 3
non-vibrato mp, mf, ff
staccato double tongue position 1 p, mf, ff
staccato double tongue position 2 p, mf, ff
sforzando
portato
slides fast and slow
4 Bass/Tenor Bones -
sustain p, mf, ff
sustain accent p, mf, ff
staccato p, mf, ff
portato
sforzando
flutter tongue
crescendo short, medium and long
Solo Bass/Tenor Bone -
sustain p, mf, ff
staccato p, mf, f, fff
3 Wagner Tuben -
sustain mp, f
sustain accent mf
portato fff
rips
Solo Tuba -
sustain mp, f
sforzando
staccato, mp, mf, ff
PERCUSSION
5 Timpani with Calf Heads
2 Bass Drums
4 Snares
5 Concert Toms
Funeral Drum
Tenor Drum
Field Drum
4 Anvils
Vibes
Crotales
Glockenspiel
Xylophone
6 Suspended Cymbals
6 Cymbal pairs
Band Cymbal
5 ft. Gong
4 ft. Gong
2 Normal Gongs
Bell Tree
Mark Tree
Orchestral Chimes
Triangle
Lots of toys
PROF. KEITH O. JOHNSON
Prof. Keith O. Johnson has spent over 30 years developing a reputation for innovative thinking, technical achievement and musicianship which has elevated him to a position in the audio industry occupied by only a handful of visionaries. His intensive investigation of electronic behavior and acoustic perception have led most recently to his development (with digital engineer Michael Pflaumer) of the revolutionary High Definition Compatible Digital encoding process, produced and marketed by Pacific Microsonics (recently acquired by Microsoft). HDCD is widely considered to be the most accurate recording process ever invented.
His 90-plus recordings have long been considered the standard for high fidelity, and include two GRAMMY award-winners and eight additional GRAMMY nominations.
SOME REVIEWS OF HIS RECORDINGS -
"Its sonic quality is most impressive in stereo spread, depth, presence, and resolution of detail, with rock-solid image stability, in a spacious ambiance -- a demonstration-quality recording if there ever was one." --McKelvey, AMERICAN RECORD GUIDE
"This may be some of the best sound Keith Johnson has ever gotten out of Symphony Hall in Minneapolis, and certainly Oue's most convincing work with the Minnesota players, who sound for all the world more like the Philadelphia than that orchestra does these days . . . how Johnson got that huge climax at the end of the Dances cleanly onto tape transcends engineering and goes into the realm of magic." -- Harry Pearson, THE ABSOLUTE SOUND
"Once again, Keith Johnson has raised the bar of excellence in the recording of a symphony orchestra. . . It's a fabulous recording and a super performance of the SYMPHONIC DANCES, and a testament to the brilliance of Keith Johnson and his associates." -- Anthony Kershaw, Audiophilia.com
"Keith Johnson's engineering, mastering and production have, in this case, produced the finest orchestral recording I have ever heard. It is instantly among that handful of CDs I will carry with me to audition sound systems, or that I will play to show off my own. Listening to this recording is one of those exultant musical experiences that will remind you why you got into the audiophile game in the first place." -- Russell Lichter, Soundstage.com
"I recommend it highly to those who love the sound of the symphony orchestra in all its glory, and to those who love to show off what their audio systems can do when asked to reproduce first-class orchestral showpieces."" - Karl Nehring, THE SENSIBLE SOUND
"Stunning audiophile sonics...the clarity, transparency, and firm definition of individual orchestral timbres are unequaled in my listening experience." -- Lawrence A. Johnson, FANFARE
"These people really know how to record an orchestra." -- Richard Freed, WETA Radio
AWARDS AND NOMINATIONS
GRAMMY NOMINATION, 2002 ("Best Engineered, Classical"):
RESPIGHI (RR-95) was engineered by Keith O. Johnson using HDCD (High Definition Compatible Digital) technology, which he co-invented. It was produced by J. Tamblyn Henderson, Jr., 1998 Grammy nominee for Best Classical Producer. Recording sessions with Eiji Oue and the Minnesota Orchestra were in Orchestra Hall in Minneapolis, September 28-29, 1999; the release date was March 14, 2000.
Earlier GRAMMY-nominated titles:
MALCOLM ARNOLD OVERTURES (London Philharmonic Orchestra conducted by the composer), RR-48
BOLERO (Eiji Oue/Minnesota Orchestra), RR-92
STRAVINSKY: The Rite of Spring, The Song of the Nightingale, The Firebird Suite (Eiji Oue/Minnesota Orchestra), RR-70
BRUCKNER: Symphony No. 9 (Stanislaw Skrowaczewski/Minnesota Orchestra), RR-81
GRAMMY WINNER:
CHICAGO PRO MUSICA ("Best New Classical Artist'), RR-2102
THE ABSOLUTE SOUND GOLDEN EAR AWARDS:
RACHMANINOFF: Symphonic Dances, etc. (Eiji Oue/Minnesota Orchestra), RR-96
RIMSKY-KORSAKOFF: Scheherazade, etc. (Jose Serebrier/London Philharmonic Orchestra), RR-89
THE ACADEMY ADVANCING HIGH PERFORMANCE AUDIO & VIDEO AWARDS:
BRUCKNER: Symphony No. 9 (Skrowaczewski/Minnesota Orchestra), RR-81
FROM THE AGE OF SWING (Dick Hyman), RR-59
ARNOLD OVERTURES (Arnold/London Philharmonic Orchestra), RR-48
NAIRD "INDY" AWARDS ("Best Original Recording"):
RESPIGHI: Belkis, Queen of Sheba, etc. (Eiji Oue/Minnesota Orchestra), RR-95
TRITTICO (Frederick Fennell/Dallas Wind Symphony), RR-52