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Elements
Erstveröffentlichung: 17.10.2006

Elements

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VSL Standard Library / Upgrade

AAX native, AU, Mac, RTAS, Standalone, VST, Win

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$ 215.00

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VSL Full Library / Upgrade

AAX native, AU, Mac, RTAS, Standalone, VST, Win

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$ 320.00

 8.43BestCoinBestCoin Bonus 

Elements Header

Wasser, Metall, Glas, Stein

Bei der Klangerzeugung dieser aufregenden Instrumente kommen ganz archaische Elemente zum Einsatz. Diese Collection enthält das Bass Waterphone, ein Litophon mit 5 Oktaven und das XXL Tamtam. Das Bass Waterphone ist mit einem Durchmesser von 35 cm wesentlich größer als jenes in der Percussion Collection verwendete Instrument. 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 XXL 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 ein Gläserspiel und Flaschen.

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Elements - Instrumente: Bass-Waterphon, XXL Tamtam, Flaschen, Glasglocken, Gläserspiel
Glasharmonika, Verrophon & Lithophon

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.

Umfang der Library

  • Standard Library: Samples 2.374 | Downloadgröße 5,3 GB | Installierte Dateigröße 10,9 GB

  • Full Library: Samples 8.172 | Downloadgröße 5,3 GB | Installierte Dateigröße 10,9 GB

 

 

 Verwandte Produkte

 Mehr Infos


 Testberichte

Flag EN spaceSound 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 

 Awards

SoundOnSound 5 Stars
SOS, 5 Stars

 Endorsements

Alexandre Desplat
Alexandre Desplat

Harry Potter and the Deathly Hallows Part I & II, The Curious Case of Benjamin Button, Coco avant Chanel, The Queen, The King’s Speech, Carnage, Renoir

“Since I’m working in Hollywood it requires a vast library and that’s why VSL is really useful.”

David Foster
David Foster

16-time Grammy Award winner, composer and producer of Chicago, Earth, Wind & Fire, Al Jarreau, Chaka Khan, Michael Jackson, Barbra Streisand, Natalie Cole, Whitney Houston, Céline Dion, Seal, Michael Bolton, Peter Cetera

“To have the magic of a full orchestra in breathtaking 3D sound at your fingertips is the best luxury someone like myself could hope for. Thank you VSL for an amazing product.”

Danny Elfman
Danny Elfman

Men in Black, Good Will Hunting, Planet of the Apes, Spiderman, Batman Returns, Corpse Bride, Alice in Wonderland, Mars Attacks!,The Simpsons, Desparate Housewives, Oingo Boingo)

“Vienna Symphonic Library has been the center of my orchestral sample library for several years now. I go to their library first every time I create an orchestral template when I´m beginning each film I score. And my demos sound great. I recommend this library to anybody getting into film scoring.”

Herbie Hancock
Herbie Hancock

Oscar and multiple Grammy Award winner

“Using Vienna Instruments puts authenticity into your pallet of sounds.”

Jochem van der Saag
Jochem van der Saag

Michael Bublé, Andrea Bocelli, Jackie Evancho, Josh Groban, Seal

“Vienna Symphonic Library is way ahead of the curve in terms of their sounds and their software; the combination of both musical expression and technical excellence is truly superb and unrivaled“

 Systemanforderung

VSL poweredDer Erwerb einer VSL-Library berechtigt Sie auch zum Gratis-Download des Software-Players Vienna Instruments, der die Mixing- und Host-Software Vienna Ensemble enthält.

  • PC Windows 7/8/10 (letztes Update, 32/64-Bit), Intel Core 2 Duo oder AMD Athlon 64 X2
  • macOS 10.10 (letztes Update) oder höher, Intel Core 2 Duo
  • 2 GB RAM (4 GB empfohlen)
  • VIENNA KEY (Vienna Symphonic Library USB Kopierschutz-Stecker) oder anderer USB eLicenser (z. B. von Steinberg oder Arturia)
  • eLicenser Control Center Software (die neueste Version finden Sie unter www.eLicenser.net)
  • freien Festplattenplatz entsprechend folgender Speicherplatz Bedarf Tabelle

Andere Systemkonfigurationen können durchaus funktionieren, werden aber nicht aktiv unterstützt.

Empfohlen

  • PC Windows 7/8/10 (letztes Update, 64-Bit), Intel i5/i7/Xeon
  • macOS 10.12 (oder höher), Intel i5/i7/Xeon
  • 4 GB RAM
  • SSD (M2, Sata 6 oder USB3/3.1 UASP Support) oder separate HDD (7200 rpm oder schneller)
  • AU/VST/AAX kompatibles Host-Programm (läuft auch stand-alone)
  • AAX-Version benötigt Pro Tools 10.3.5 oder höher
  • 88 Tasten-Masterkeyboard

elicenserProdukt Aktivierung:
Vienna Instruments und Software benötigen einen ViennaKey!
Der USB-Dongle von eLicenser (Steinberg, vormals Syncrosoft) ist nicht in den 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. Jeder ViennaKey kann bis zu 100 Produktlizenzen speichern.
Ausserdem benötigen Sie eine Internetverbindung auf einem beliebigen Computer, um einen ViennaKey zu autorisieren.