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Konzerthausorgel
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Erstveröffentlichung: 07.12.2006

Konzerthausorgel

5.0 of 5
 (3)
€ 248,-
$ 255.00
£ 214.00
VSL Standard Library / Upgrade
AAX native, AU, Mac, RTAS, Standalone, VST, Win
Download
nach erhaltener Zahlung
€ 248,-$ 255.00£ 214.00

*VSL Upgrade Politik – auch bei uns zahlen Sie nur ihren persönlichen Upgrade-Preis!
Für die meisten VSL Bundles, Collections und Single Instruments können registrierte VSL Nutzer, basierend auf ihren Registrierungen im VSL- Kundenkonto, persönliche Upgrade/Complimentary Rabatte erhalten. In unserem Warenkorb erscheint eine entsprechende Abfrage ihres VSL Accounts und ermittelt daraufhin ihren entsprechend rabattierten Preis.
Wichtig: Um eine bisherige „Extended Library“ zu erwerben, müssen Sie die „Full-Library“ in den Warenkorb legen. Über den User-Rabatt „Prüfen“-Button wird dann ihre vorhandene „Standard-Library“ in Abzug gebracht.
Die Lieferung von persönlichen Upgrades bzw. rabattierten Lizenzen erfolgt aus technischen Gründen spätestens am folgendenden Arbeitstag.

Die großen Vienna Instruments Collections sind die leistungsfähigsten orchestralen virtuellen Instrumente, die je entwickelt wurden. Die Collections, in die Kategorien Strings, Winds, Percussion & Keyboards und Voices eingeteilt, bieten die vollständigen Spielweisen aller Instrumente, mit denen Sie die hochwertigsten und authentischsten Ergebnisse erzielen. Bitte beachten Sie auch unsere vergünstigten VSL Instruments Bundles.

Basierend auf den Standard Libraries bieten die FULL Libraries zusätzliche Instrumente und Spielweisen.

Konzerthaus Organ Header

Einzigartig in ihrer Art

Eine echte Premiere: Die Vienna Konzerthaus Organ ist die erste gesampelte Orgel, die in einem Konzertsaal und nicht in einer Kirche aufgenommen wurde. Somit mischt sich ihr Klang auch optimal mit dem Orchester. Darüber hinaus ist es auch das erste Instrument, das nicht in unserer Silent Stage aufgenommen wurde. Dennoch fügt sich die Vienna Konzerthaus Organ nahtlos in unser Sampling-Konzept ein, da sie in jenem Konzertsaal aufgenommen wurde, der auch die grundlegenden Impulsantworten für unsere revolutionäre Multi Impulse Response Mixing- und Raumsimulations-Software Vienna MIR lieferte. Der ehrwürdige Große Saal ist das Flaggschiff des Wiener Konzerthauses, in dem die berühmte „Rieger-Orgel“ 1913 errichtet wurde.

Konzerthaus Organ Collage Fr

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 des Vienna Instruments-Players seine eigenen Registrierungen durch Kombinationen von Einzelregistern auf einfache und flexible Weise zusammenzustellen. Zusätzlich haben wir 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. Darüber hinaus stehen separate Samples mit Ventilgeräuschen für jedes Register zur Verfügung. Als Besonderheit haben wir 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!

Nachdem die Rieger-Orgel vor einigen Jahren mit MIDI-Technologie ausgestattet wurde, eröffnete uns dies die Möglichkeit, ganz neue Ansätze für die Aufnahme und das Editing zu entwickeln. Durch die exakte Bestimmung der einzelnen MIDI-Notenlängen hatten wir die Möglichkeit, präzise zwischen unterschiedlichen Ausklängen, die durch kurze oder lange Notenwerte entstehen, zu unterscheiden. 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 authentische, dreidimensionale Klangerlebnis dieser Orgel.

  Standard Library Full Library
Sample Amount / Anzahl Samples 20.015 -
Download File Size / Dateigröße des Downloads 8,9 GB -
Installed File Size / Installierte Dateigröße 14,3 GB -
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related products Verwandte Produkte

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info Mehr Infos

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review Testberichte

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Flag ENspaceSound 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 
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product ratings Bewertungen

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Die hier angezeigten Bewertungen, sind von Kunden, die dieses Produkt auch bei uns erworben haben. Alle Bewertungen wurden über das unabhängige Portal eKomi abgegeben.

 
Sprache: deutsch
5.0 of 5

wie alle VSL Produkte allererste Sahne, wenn man die trocken aufgenommenen Samples entsprechend pushed

06.11.2016
Sprache: deutsch
5.0 of 5

Wunderbare Orgelregistern, aber ohne Round-robin, bei raschen wiederholenden Staccati hört man das. Für Organisten am Anfang nicht so intuitiv zu behandeln... Im jeden Fall, hohe VSL Qualität!

04.11.2016
Sprache: deutsch
5.0 of 5

VSL ist für mich ein Fundus auf den ich nicht mehr verzichten möchte. Die Qualität ist extrem hoch.

30.03.2015
 
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requirements Systemanforderung

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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 (neuestes Service Pack, 32/64-bit), Intel Core 2 Duo oder AMD Athlon 64 X2
• Mac OS X 10.8 (neuestes Update), Intel Core 2 Duo
• 2 GB RAM (4 GB empfohlen)
• ViennaKey (Vienna Symphonic Library USB Key) oder anderen 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 Konfiguration sind möglich, werden aber nicht aktiv unterstützt.

EMPFOHLEN
• PC Windows 7 (neuestes Service Pack, 64-bit), Intel i5/i7/Xeon
• Mac OS X 10.9 (neuestes Update), i5/i7/Xeon
• Schnelle, separate Festplatte (7200 rpm oder SSD)
• AU/VST/AAX Native/RTAS kompatiblen Host (funktioniert auch stand-alone)
• RTAS Version benötigt Pro Tools 7.3 oder höher
• AAX-Version benötigt Pro Tools 10.3.5 oder höher
• 88 Tasten Master Keyboard
 

 

elicenserProdukt Aktivierung:
Vienna Instruments und Software benötigen einen ViennaKey!
Der USB-Dongle von eLicenser (Steinberg, vormals Syncrosoft) 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.

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