VI15 Konzerthausorgel

Die großen Vienna Instruments DVD Collections sind die leistungsfähigsten orchestralen virtuellen Instrumente, die je entwickelt wurden. Die Collections, in die verschiedenen Instrumenten-Kategorien eingeteilt, bieten die vollständigen Spielweisen der jeweiligen Instrumente mit denen Sie die hochwertigsten und authentischsten Ergebnisse erzielen können.

Eine echte Premiere: Die Vienna Instruments Collection Vienna Konzerthaus Organ ist die erste gesamplete Orgel, die in einem Konzertsaal und nicht in einer Kirche aufgenommen wurde. Daher eignet sie sich auch optimal für orchestrale Anwendungsbereiche. Außerdem ist sie das erste Instrument, das nicht in der Silent Stage der Vienna Symphonic Library aufgenommen wurde. Sie fügt sich dennoch nahtlos in das Gesamtkonzept der Wiener Sampling-und Software-Schmiede ein, wurde sie doch in jenem Konzertsaal aufgenommen, der die grundlegenden Impulsantworten für die in Entwicklung befindliche „Multi Impulse Response Mixing and Reverberation Engine“ MIR lieferte. Dieser Saal ist der ehrwürdige Große Saal, das Flaggschiff des Wiener Konzerthauses, in dem die berühmte „Rieger-Orgel“ 1913 errichtet wurde.

Die Vienna Konzerthaus Organ Collection beinhaltet 14 GB Stereo-Samples mit drei Manualen zu 38 und einem Pedal mit 18 Einzelregistern. Der User hat die Möglichkeit, sich mit Hilfe der Benutzeroberfläche der Vienna Instruments seine eigenen Registrierungen durch Kombinationen von Einzelregistern auf einfache und flexible Weise zusammenzustellen. Zusätzlich wurden Experten eingeladen, wichtige und gut klingende, bereits vordefinierte Registerkombinationen für Sie zu erstellen. Natürlich lassen sich diese Register ganz nach Ihren Vorstellungen und Bedürfnissen erweitern. Außerdem stehen separate Samples mit Ventilgeräuschen für jedes Register zur Verfügung. Als Besonderheit wurden auch zwei Minuten Raumklang gesampelt. Das somit verfügbare Geräusch des Orgel-Gebläses kann auf Wunsch den Orgelklängen hinzugemischt werden, wodurch ein Optimum an Realitätsnähe entsteht. Die Orgel atmet!

Die vor einigen Jahren erfolgte Ausstattung der Rieger-Orgel mit MIDI-Technologie eröffnete dem Team die Möglichkeit, neue Ansätze für Aufnahme und Editing zu entwickeln. Durch die exakte Bestimmung der einzelnen MIDI-Notenlängen konnte präzise zwischen verschiedenen Ausklängen, die durch kurze oder lange Notenwerte entstehen, unterschieden werden. Dies ist insofern wichtig, als sehr tiefe Töne in ihrer Klangentfaltung bis zu einer Sekunde benötigen und sich dadurch auch die betreffenden Release-Samples je nach gespielter Tonlänge unterscheiden. Die MIDI-Steuerung ermöglichte auch die authentische Nachbildung des Verzögerungsverhaltens jeder einzelnen Pfeife. Erst diese Latenzen gestatten die realistische, räumliche Abbildung und sind der Grund für das dreidimensionale Klangerlebnis dieser Orgel.

Patches

Manual I – Stops

Principal 16´
Bordun 16´
Principal 8´
Gedackt 8´
Fugara 8´
Nasatquinte 5 1_3´
Octave 4´
Reedpipe 4´
Superoctave 2´
Rauschquinte 2f
Kornett 3-5f
Mixtur 5f
Cymbel 3f
Trumpet 16´
Trumpet 8´
Clarino 4´

Manual II – Stops

Viola 16‘
Quintatoen 16‘
Principal 8‘
Bordun 8‘
Viola da Gamba 8‘
Salicional 8‘
Unda maris 8‘
Octave 4‘
Flute octaviante 4‘
Gemshorn 4‘
Woodpipe 2‘
Sesquialtera 2f
Mixtur 4f
Krummhorn 8‘

MANUAL III – Stops

Quinte 2 2-3‘
Lieblich-Gedackt 16‘
Violin-Principal 8‘
Vox coelestis 8‘
Aeolsharp 4‘
Gemsquinte 2 2-3‘
Flautino 2‘
Piccolo 1‘
Oboe 8‘

MANUAL – Registrations

Small Principalplenum
Large Principalplenum
Large Principalplenum + Reeds
String Choir I
String Choir II
Flutes I
Flutes II
Modular Plenum-A
Modular Plenum-B
Modular Plenum-C
Modular Plenum-D
Modular Plenum-E
Modular Gedackt-A
Modular Gedackt-B
Modular Gedackt-C
Modular Gedackt-D
Gedackt + Woodpipe
Gedackt + Piccolo
Gedackt + Sesquialtera
Gedackt + Oct + Kornett
Salicional + Unda maris
Trompete 16‘ + 8‘
Krummhorn + Oboe

PEDAL – Stops

Principalbass 32‘
Principalbass 16‘
Violon 16‘
Subbass 16‘
Salicetbass 16‘
Quintbass 10 2-3‘
Octavbass 8‘
Gedacktbass 8‘
Bassflute 8‘
Cello 8‘
Dulcianbass 8‘
Octave 4‘
Campana 3f
Mixtur 4f
Bombarde 32‘
Trombone 16‘
Trumpet 8‘
Clarino 4‘

PEDAL - Registrations

Small Principalplenum
Large Principalplenum
Large Principalplenum + Reeds
String Choir I
String Choir II
Flutes I
Flutes II
Modular Plenum-A
Modular Plenum-B
Modular Plenum-C
Modular Plenum-D
Modular Plenum-E
Subbass + Gedacktbass

NOISES

Valves Manual I
Valves Manual II
Valves Manual III
Valves Pedal
Organ and concert hall noise

Mehr Infos

Screenshot

Systemvoraussetzungen

• Bitte beachten Sie, dass die "Extended Library" eine Erweiterung mit mehr Instrumenten und erheblich erweitertem Sample-Content ist. Sie ist nur aktivierbar, wenn man bereits die "Standard Library" (Virtual instrument incl. Player) besitzt!
  "Standard Library" plus "Extended Library Upgrade" ergeben die "Full Version"

PC

• Intel/AMD mit Windows XP/VISTA/7 32Bit und 64Bit Versionen (Core 2 Duo/i7/Xeon empfohlen)

Apple

• Intel Core 2 Duo/Xeon-Prozessor mit Mac OS X 10.5.7 oder höher (Vienna Instruments 4 funktioniert auch auf PPC Macs, diese werden aber nicht aktiv unterstützt.)

für alle

• 1 GB RAM (2 GB oder mehr empfohlen)
• Schnelles separates Festplattenlaufwerk mit freiem Speicherplatz entsprechend der Library
• ViennaKey (Vienna Symphonic Library USB Kopierschutz-Stecker oder anderer Syncrosoft eLicenser)
• DVD-Laufwerk zur Installation
• Vienna Ensemble 2.0 Host-Software oder
• VST (OS X, Win XP), AU (Mac) oder RTAS (Mac) kompatibles Host-Programm (läuft auch stand-alone)
• aktuelles eLicenser Control Center (es wird empfohlen, die aktuelle Version von www.elicenser.net herunterzuladen und zu installieren)
• 88 Tasten Master-Keyboard (empfohlen)

Produkt Aktivierung:
Vienna Instruments benötigen einen ViennaKey!
Der USB-Dongle von eLicenser (vormals Syncrosoft, kompatibel z.B. zu Steinberg, Arturia etc.) ist nicht in der Packung der Vienna Instruments enthalten, sondern muss separat erworben werden. Sie müssen also zumindest einen ViennaKey gemeinsam mit Ihrer ersten Collection bestellen. Er wird automatisch mit dem ersten Instrument in den Warekorb gelegt, kann aber wieder gelöscht werden, falls Sie ihn nicht benötigen. Besteller des gesamten SYMPHONIC CUBE erhalten einen ViennaKey gratis (erscheint nicht im Warenkorb). Jeder ViennaKey kann bis zu 100 Produktlizenzen speichern.
Ausserdem benötigen Sie eine Internetverbindung auf einem beliebigen Computer, um einen ViennaKey zu autorisieren.

Testberichte

Sound on Sound 1/07

Having unleashed their 545GB Symphonic Cube orchestral collection, VSL embark on the second phase of their Vienna Instruments series. Two of the new VI's will ring a bell with VSL followers: Saxophones is an expanded version of the 2004 sound library Saxophones 1, while Elements incorporates the ethereal Glass & Stones, one of the highlights of the company's Horizon series.

Saxophones completes the Vienna saxophone family by adding alto, baritone and bass saxes to the soprano and tenor instruments supplied in Saxophones 1. This 25GB collection was performed single-handedly by Robert Bernhard in VSL's Silent Stage, a controlled room acoustic which suits the saxes' intimate sound. The five instruments perform a huge menu of single-note deliveries, changing dynamic samples and note repetitions as well as fast
octave scales and a comprehensive set of trills and grace notes.

VI's intelligent interval detection software makes legato melody notes join together as nature intended. Sampled at three dynamics, the alto sax's performance legatos sound astonishingly real and can transform simple keyboard melodies into flowing, expressive lines worthy of Wayne Shorter. Now upgraded, the soprano's performance legatos match the high quality of the alto sax. In the full library, there's a choice of vibrato, no-vibrato, marcato and portamento (slide) legatos, the latter producing real played bends which sound far better than anything you can knock up with the pitch wheel.

In the '60s, Tamla Motown producers used to largely confine the baritone sax to honking staccato mini-phrases and the occasional spluttering foghorn-like solo, but the instrument in this collection is capable of far more than that. The rich, attractive timbre of its quiet sustains sounds great in isolation but also blends very nicely with orchestral low winds. The rarely-found bass sax is impressive too; it's an expressive, powerful and surprisingly versatile low-range
instrument which handles bass lines, melodies and even chords with aplomb. But if all you want are those Motown bass licks, the baritone and bass sax's blasting sforzando samples will do nicely.

A new set of growling 'dirty' samples and pitch falls help make these top-quality sax samples suitable for pop, jazz and big-band arrangements as well as orchestral settings. Although Saxophones contains no pre-configured melodic phrases, having such a wealth of lively performance samples under your fingers makes it inexcusable not to program your own. Throughout, Mr. Bernhard plays with commitment and lots of feel, effortlessly covering the emotional
range of these highly versatile and mobile instruments. After performing 58,000 samples the poor chap deserves a holiday - let's hope that VSL bought him some lip salve for Christmas.

The 11GB Elements occupies more of a niche market, but it's a pretty nice niche. The beautiful instruments from Glass & Stones are all here, augmented by several more elemental creations. The largest is an oversized tam tam so tall that Ronnie Corbett could hide inside it. Its small menu of conventional loud hits sound like slow-motion explosions, and it has also been scraped, rubbed, stroked and otherwise molested by a variety of implements, producing a range of mysterious atmospheric noises, suitable for horror film soundtracks and experimental modern music.

Glass & Stones' musical glasses now have alternate samples with an extended range, and also offer mallet hits which reminded me of chiming clocks, toy pianos and Javanese gamelan metallophones. Unfortunately the element of fire is absent, but the liquid world is represented by a fantastic bass waterphone, a mad-sounding contraption that creates a wonderfully spooky set of slithering, other-worldly noises, indeterminate random notes and crazy overtones. A set of blown bottles completes the line-up. Unfortunately, their upper range is rather limited, but hopefully that will be sorted out when someone from VSL next goes to the off-licence. 

The third new Vienna Instrument is the only title in VSL's catalogue not to have been recorded in the Silent Stage, but there's a good reason for that: the instrument is built into the fabric of the Great Hall of the Vienna Konzerthaus and it would have been rather inconvenient to move it to another location! Built in 1913, the Konzerthaus organ boasts five manuals and over a hundred stops. The Vienna boys sampled every note of 39, using the organ's retro-fitted MIDI interface to speed up the job. Each note has its own reverb release sample, and although VSL claim the hall acoustic gives the instrument a more defined sound than your average cathedral organ, its reverb tails are still pretty prominent.

The two things I look for first in a pipe organ are a simple flute stop and a big, multi-octave sound to scare the congregation. I found the former quickly enough - 'Bordun 16' and 'Lieblich-Gedakt 16' are both pure, plain flute timbres, which sound lovely on their own, or can be used as building blocks in the construction of more complex sounds. I enjoyed the tremolo effect of 'Unda Maris', which gives it something of the floating quality of a Hammond/Leslie combo, while the brighter, reedier 'Trumpet 16' and 'Krummhorn 8' have a much more triumphant and declamatory tone. If you want to add high frequencies, there are plenty of 4', 2', 'quint' (ie. sounding a fifth higher) and 'mixture' stops, all sounding bright and transparent.

For an instant big organ sound, you can simply select one of the 36 pre-layered multi-stop 'registration' patches, the most massive-sounding of which is the 'Large Principalplenum + Reeds', combining nine different stops. If that apocalyptic racket doesn't put the fear of God into your flock, nothing will! The Konzerthaus Organ is highly playable, extremely versatile and sonically beautiful. The only minor inconvenience is that some bass notes take a while to
develop, so if you want these particular low notes to 'speak' in time with your track, you'll just have to play or sequence them a bit early!

5 STARS  Review: VSL SAXOPHONES, ELEMENTS & KONZERTHAUS ORGAN  Sound on Sound, January 2007

Having unleashed their 545GB Symphonic Cube orchestral collection, VSL embark on the second phase of their Vienna Instruments series. Two of the new VI's will ring a bell with VSL followers: Saxophones is an expanded version of the 2004 sound library Saxophones 1, while Elements incorporates the ethereal Glass & Stones, one of the highlights of the company's Horizon series.

Saxophones completes the Vienna saxophone family by adding alto, baritone and bass saxes to the soprano and tenor instruments supplied in Saxophones 1. This 25GB collection was performed single-handedly by Robert Bernhard in VSL's Silent Stage, a controlled room acoustic which suits the saxes' intimate sound. The five instruments perform a huge menu of single-note deliveries, changing dynamic samples and note repetitions as well as fast
octave scales and a comprehensive set of trills and grace notes.

VI's intelligent interval detection software makes legato melody notes join together as nature intended. Sampled at three dynamics, the alto sax's performance legatos sound astonishingly real and can transform simple keyboard melodies into flowing, expressive lines worthy of Wayne Shorter. Now upgraded, the soprano's performance legatos match the high quality of the alto sax. In the full library, there's a choice of vibrato, no-vibrato, marcato and portamento (slide) legatos, the latter producing real played bends which sound far better than anything you can knock up with the pitch wheel.

In the '60s, Tamla Motown producers used to largely confine the baritone sax to honking staccato mini-phrases and the occasional spluttering foghorn-like solo, but the instrument in this collection is capable of far more than that. The rich, attractive timbre of its quiet sustains sounds great in isolation but also blends very nicely with orchestral low winds. The rarely-found bass sax is impressive too; it's an expressive, powerful and surprisingly versatile low-range
instrument which handles bass lines, melodies and even chords with aplomb. But if all you want are those Motown bass licks, the baritone and bass sax's blasting sforzando samples will do nicely.

A new set of growling 'dirty' samples and pitch falls help make these top-quality sax samples suitable for pop, jazz and big-band arrangements as well as orchestral settings. Although Saxophones contains no pre-configured melodic phrases, having such a wealth of lively performance samples under your fingers makes it inexcusable not to program your own. Throughout, Mr. Bernhard plays with commitment and lots of feel, effortlessly covering the emotional
range of these highly versatile and mobile instruments. After performing 58,000 samples the poor chap deserves a holiday - let's hope that VSL bought him some lip salve for Christmas.

The 11GB Elements occupies more of a niche market, but it's a pretty nice niche. The beautiful instruments from Glass & Stones are all here, augmented by several more elemental creations. The largest is an oversized tam tam so tall that Ronnie Corbett could hide inside it. Its small menu of conventional loud hits sound like slow-motion explosions, and it has also been scraped, rubbed, stroked and otherwise molested by a variety of implements, producing a range of mysterious atmospheric noises, suitable for horror film soundtracks and experimental modern music.

Glass & Stones' musical glasses now have alternate samples with an extended range, and also offer mallet hits which reminded me of chiming clocks, toy pianos and Javanese gamelan metallophones. Unfortunately the element of fire is absent, but the liquid world is represented by a fantastic bass waterphone, a mad-sounding contraption that creates a wonderfully spooky set of slithering, other-worldly noises, indeterminate random notes and crazy overtones. A set of blown bottles completes the line-up. Unfortunately, their upper range is rather limited, but hopefully that will be sorted out when someone from VSL next goes to the off-licence. 

The third new Vienna Instrument is the only title in VSL's catalogue not to have been recorded in the Silent Stage, but there's a good reason for that: the instrument is built into the fabric of the Great Hall of the Vienna Konzerthaus and it would have been rather inconvenient to move it to another location! Built in 1913, the Konzerthaus organ boasts five manuals and over a hundred stops. The Vienna boys sampled every note of 39, using the organ's retro-fitted MIDI interface to speed up the job. Each note has its own reverb release sample, and although VSL claim the hall acoustic gives the instrument a more defined sound than your average cathedral organ, its reverb tails are still pretty prominent.

The two things I look for first in a pipe organ are a simple flute stop and a big, multi-octave sound to scare the congregation. I found the former quickly enough - 'Bordun 16' and 'Lieblich-Gedakt 16' are both pure, plain flute timbres, which sound lovely on their own, or can be used as building blocks in the construction of more complex sounds. I enjoyed the tremolo effect of 'Unda Maris', which gives it something of the floating quality of a Hammond/Leslie combo, while the brighter, reedier 'Trumpet 16' and 'Krummhorn 8' have a much more triumphant and declamatory tone. If you want to add high frequencies, there are plenty of 4', 2', 'quint' (ie. sounding a fifth higher) and 'mixture' stops, all sounding bright and transparent.

For an instant big organ sound, you can simply select one of the 36 pre-layered multi-stop 'registration' patches, the most massive-sounding of which is the 'Large Principalplenum + Reeds', combining nine different stops. If that apocalyptic racket doesn't put the fear of God into your flock, nothing will! The Konzerthaus Organ is highly playable, extremely versatile and sonically beautiful. The only minor inconvenience is that some bass notes take a while to
develop, so if you want these particular low notes to 'speak' in time with your track, you'll just have to play or sequence them a bit early!

5 STARS