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.
- Bass-Waterphon
- XXL Tamtam
- Flaschen
- Glasglocken
- Gläserspiel
- Glasharmonika
- Verrophon
- Lithophon
Wasser, Metall, Glas und Stein. Ganz besondere Elemente werden hier zur Klangerzeugung genützt. Diese Collection ist eine Fortsetzung der Horizon Series-Library „Glass & Stones“ und bietet aufregende neue Instrumente: Das Bass-Waterphon ist mit einem Durchmesser von 35 cm wesentlich größer als das bisher in den Percussion-Editionen der Vienna Symphonic Library verwendete Waterphon. Durch mehr und längere Klangstäbe, die größere Öffnung sowie durch den größeren Resonanzboden mit mehr Wasser kann der Musiker dem Instrument unzählige neuartige Klänge und Farbnuancen entlocken. Das übergroße Tamtam mit einem Durchmesser von über 170 cm wurde nach allen Regeln der Kunst, angelehnt an Stockhausens Werk „Mikrophonie“ und darüber hinausgehend, bearbeitet. Als Anschlagmittel dienten u. a. Metallstäbe, Pappkartons, Laubsägeblätter, geworfene und am Tamtam geriebene Ketten, Fliegenklatschen, ein Eierschneider und sogar ein Massagestab. Neben Glasharmonika und Verrophon enthält die Elements-Collection auch Glasglocken und Flaschen. Letztere wurden geblasen und bieten u. a. Sustains und Flatterzunge.
Artikulationen – Full Library
- Glasinstrumente: Staccato, Portato, Sustains, Triller, Tremolo. Glasharmonika, Verrophon und Flaschen werden auch mit Schlägeln gespielt.
- Lithophon: Linke und rechte Hand, gedämpfte Töne, Tremoli, Akkord-Tremoli – gespielt mit 5 verschiedenen Schlägeln. Spezielle Effekte mit Fingern, Fingernägeln, mit Bogen gespielte Töne, sowie Töne mit auf den Klangstäben liegenden Steinen oder Nadeln.
- XXL Tamtam: Einzelschläge (Rand und Mitte), kurze und lange Tremoli (offen, gedämpft, crescendi & diminuendi), Effekte.
- Bass-Waterphon: Staccato- und Portato-Variationen, Sustains, Repetitionen, Crescendi, Tremoli, Arpeggien, Glissandi, Hotrods, Holzschlägel, Strokes.
Mehr Infos
ScreenshotSystemvoraussetzungen
- 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.
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
Ab Lager
5 Tage
2-3 Wochen
