If you’ve ever wanted to utilize the massive emotional force a cello contains, LYRICY 4 j =AL CU – J LELLO PHRASES isw O e the rightC – 1 } k P s S & heavy-hitte= ( O v | q\ l N 2 . 3r for yoK { u 4 , Lu. What would your co( p imR a ^ ] 9 –positions be likeT 7 ;, whaC Rf y | : Z I A 8 1M s } w tt woy x H k 6 ms _ w Tuld it feel li7 = # v } ^ MY 9 U + ^ D : c * s Dke^ 9 / w if you couldc S ! @ ] v have a world-Q rI 2 ( : : R F B bcl] 9 Xasp s h_ t @ z ? XI K o 9 G _ @ | cI e l N Zs ce@V G j ) 2 – f s z 2 nlli| , z 7Z v^ x = W M T * S ) gst with you, live whenever and whes 1 0rA c _ / n # 8e$ 7 H . ab } l ] O E ^ T k hveb \ % sX ) m x b t ) 4 u L _r y. t q # l e \ 9ou were making music ExperiW # p 7 L lence this feeli} b \ –ng with LYRICAL CELLO Pk ( q y $ x & t 1HRASE&* 9 g a E BE # r ` , ? ~ \ I x o \ U GS and give yourselfs O 4 the g2 e V J X ! 7iftE ? W &ampP 0 k + G % . \; 0 of a greatI 3 2 x E toolc ; Y ~ * @ to takq q v U S4 d l { z 7 de your wM a 3 9 T xoL c /w 0 I L f } # = q g \rkflow, your prodM :} & & W Q T q / @ Tuctivi8 E [ ~ . { gtBl N M\ m q 4 E &` S Z ^ damc h M 3 K ?p; K m Y ?y and cre\ ) 5 1 x *ativity to the very next le.Q W n 3 # j o | ? dCu _ , y P j ` [ & H r X h $ n – EvR P s {el.u } i

&n$ k & 2 p [ gbsp;

THE IDEA BEHIND LYRICz l N y 4 ]AL CELl C BLyd .k Y – c X Q g M e { 3 t ?I 7 J G T V ] v e R 2 + _= g \ V y B cO4 v k f 0 o PHRASES
We wy 6 | +L a \ q v 2 Vere g. ] \ 3 q D L w \iven a c– T / R BhaD K w G ]lleny – X E } 5 ) * dg% { G R b De by a group of comp3 =F \ L $ C 7 u p ~ ` Y |osers:, S e q ; the& C W By challenged us to buG 6 S a |i| J 4ld ab y O ) J cello tool to take their compos* v l y g\ ~ M @ }itional proc3 + g [ h T x } 4e[ _ 3 1 #ss to a whole new level:5 T \2j ~ ` 0 N y X * B i c M # 9 thesW ? ~e cot K ;o y i D ~ W 4 rY Q ` ^ n l R 9 | Lg } Gmp7 A O v 5 6oser! ~ ~ c 5 R is not onG * 6 B ply wante* \ f Jd theirz r Z. S ` ) p $ + | \ needs taken c@n s I O ? U K L ! j I m Xare of,F q c they also asked us to fi0 J / . snd a way to leverag0 n m ; v n UeG E O thg ! \ c ` k ?e strengths a: 9 4 { g I y % re( ^ cal i| Y ~ Vnstrumenta= 9 @ 6 8list brings to thc 7 Y / = GM o z E ! d | = 5& T J v he5 AJ I ( m X 2 t 1 F table. We aQ 5 B r B 0sked our composers what they look for_ l . Ur e 5 U x u W I z W i% O jn a n* Ui h = Z p _ew) a f H ` 8g K u q / instrument. They2 ` ` l P k v told us they nQ ;^ 7 = k b 5Z ) a = 2 v A 7 c c * Z B hee; F y v a L ` e qy 1 f W Dd high q{ 7 0 k Pg o ! = { XV = j ] w Zuality sound, they need their work-fj $ ( ^ 1low* T ba G # 0 L r : * to be a7 ! 2 y K u \ % ,t the speed of their thoughp V ) GF ) W 1 v ^ # K S p VtR % V & x \ & A Ts or far \ jster# Q % ^ i ($ l W p C ^ and, b& { d O Q o + `A ? : [ H p ;est case scenario^ } v d y u jR G [ V p, thatm B 2 H s D &aI 1 y o j pmp; theseR X V V U if C snstrumenL w 7 * l 1 uts inspiN R 4 } B vre new creatw \ [ive ideas.

&nbH$ 3 Q s T 1 b g r 9 c Psp;

LYRICAL CELLO PHR{ ] Z a w ` = \ASES is exactly the besO T . % # , [t of7 ~ & bothc ; ? E G l N q N worlds: it combj @ h 0i@ ~ \ Q c ! L Cnes tmE @ 2 n { 1/ ( # T v 0 o 4 _ D yhe creativ$ X K p O Re freedom a6u 0 m ` s j } } ( Y W % c3 T ~ !omposO 3 ! ` V 7er& D + D U R – enjoys witO 5 O u S Hh the exp; 3x d 8 ~ Q [ x ? y ) `ressiviY : A vty and emT i rm C T X j F / – t7 k K c * b 7otionality a real inst2 L A [ 3 . . ( _rumentaw S Y T $ d Glist sets free – all at your fR L e { 9 N – 9ingertips.

&, .& W e H | ! \ , \g 5 %nbsp;

PHRT| – s t ^ 4 u BASE INS? ] 6 _ 5 # ,TRN h 4 }S P 4 ` I J u +UMENT
[NEW FEATURE: We’ve updated the software, so you can now change themes via key switch. Watch the “Update Video” below]
The themes were aq % G B * V u K 6j r # $ All played by our cellT Z W F j y * ; |ist of cI 8 ( *ho\ ( c 3Z i ( rice Mtys lvet$ a ! Zi (r7 4 @ / 7 0ecorded for “The Eldi W c 3er Scroi . t g r 6s ; P [ d Xlls O: , i z 8nl4 | v 0 L : |ine”, …H1 : E b E , Z ^ 5 E) whose improvis7 z 9 N : \ $ R Natorial talent brought out the strengths of theh 8 u V . ] ) U ) cello fulE O 6 B * \ Nl throttlee ! d c P ~ { ).1 j Q ( w With over_ x . C , F 70 freel0 )^ n 8 q c 3 _ F a k [ 3y co. 9 P P y ] J@ R A y 9 V ^ .mbinable phr0 ] NY [ S W C k a E 7? 8 ~ . h z Rases spread over 10 themes t* ; T @ Or W f R :N f C C + W7 . V M J { ) f % q6 q p7 A { T 4 F q bhrou{ ( E jghout all keys as well as 2 additionU $ R r f / v E {al bog y ) ] %nu* Y /s tr X \ m o 4 / T? ? T B q \ O j ;hemes this library is a tool that empowers evb 1r S * w x l E B H / u 3 Q Rn $ , + P 8er) 0 1yx! L , 0 T * A z A I Z d O creative co` Q { 3 S 8x * } J ,mpos; _ 2er to get theh T 2 t i \ j t project ofi x 4 v _ ^ _ df of the groum u \W $ + , [ B p j d Rnd with an impact.

LE% [ +GATO IN. . r V L eSTRUML R | f h j oE3 t M uNT
Bes\ 6 p sides the selecv 0 ]tion? o 7 Q l of tG 3 c q & = Ohese hand-crafted| _G _ z B ] = tg S 4hemes the Lyrica+ L ` L Y Fl Cello Phrases includes a legato in3 q ) 6w ^ – r z /7 3 r D # ! c z 9S 2 g d h _ Kstrument so you canU Z ; : q Pi f w 0 D _ E C pq = S[ y o T q ~ k 9 ?layX 7 X f ! S @ . the melodies thatS T K M 8 cR A p D z ; I ]ome to you freely with two different note-lengthA C { 0 mD % W F + $ g : \ W Ds to chose fror r P 4 s jm.

Kv 0 4 ; w & W Su I W R + @ ] P 0EY F= ` Z Z \ 7 $E B & e 7EAd qm m ~ = | c t y (R u 3 = O , v % H |TURES

&nbspI c \;

– 70+ Freely CombiM 0 _ _ q ) :nable Phrases
– 10+ ThemeM s .s thP ) brou3@ , 2 c K c j l j # 8ghout all keys
– 2 B: S ionus{ M + a Themes% n W }
5 p ? x } r x Legat9 U 1o Inst/ \ V ? p h @ Wrument= – o W d w 6y W 6 g 4 K !

Sonuscore Lyrical Cell_ i % (o PhO Ti G e f 1 ) P Z # A 1 v la C , , y Gk & V 5 w ( 5 Z Yrases Updat& S 3 # / & ^ y de LR V / dT m X o G B U &a0 j A q 9 emp;ampu a V; X B UH O ~ jog:

V1.2
Date: 2U 1 ` f | X d 0 S9.09.2017

– we removed thH L b : ^ Ne9 y C 0 j q z zone voD p G j ~ wlu% V j c J eme envelo( D L C k ; z , mpes from the phrase ins` I Z M l 5 M ztrument,\ s H @ C x 8 4 \ because an into 4 x 3 a l {er #K I U + ~ p g Z %\ @ : & 5 9rnalg D S s ] ~ # KO] b – ` g ` g . @NO 2 @/ : rL q M 6 N Q % ] _Tt K L \ y n (AKl R ST bu. | L b = o z 3g does] n h . not scale them ci ; % P & ) Y worre|f 1 j & N ^ t a J A 7 nctly when time stretchN cu : % . b { F h S a Q Y Ting is ad { cp$ [ ~ !p, V 4V c F / 8B C ; \ A 8 b k A Ylied/ x v _ P8 I ] : W qS Y _ 5 S \. Th= ` J ? bis lF u g \ # \ ! ; Dead to phras= 8 6 X |es being fa& p Z H 3 r2 k D \ z T # ) t 5 r –d= = – L –ed out too eV V M I Yarly. The envelop– d d U ^ + \ Bes^ $ m were ai R ^ @ c 1 a ~ppli? ) ! ( 1 w }ed to) E p g 9 N 4 9 coun\ d & c j ) % Nte9 6 2 _r another KONXg 1 w = n B ~ W 0 v @ D j vv s K # ` B I / nTAKT bu| ^ D Sg whicM $ 9 N B ` Z Yh produces cliq 0 \ v\ S 8 c ) y Z j + z ?cks when muf j A [ ]ltiple phrases are played[ 2 $ ! ^ at thw_ v I [ / C j(A \ M 0 F . p – ; e 2 _ 7 V a k l Ce same time` 2? _ } Ms 1 = 3 l* ( & M a F } L F an M i O ? # an+ ) . f (d the keys stayw V W f G 9 , X Q pressed lon~ c f B 4 G X hN S q b n @G i m 7 7 ` ggerj % P , h , D f G than the p} } 5 qhra^ B w : 2 g V qses’ durak % d 4 5 s DtV _ / ) [ion.

– the updatP1 Io K | a y S ( @ 9 7 l _ X z Y h * B H# . p ) K l 5 ge forc` P ses us toE b & m u in4 6 + r ~/ y i s – F , } 8cr% –@ C ^ _ y 8 %ed D 2 P z A Lase the minimum verR t h V 3S _ P Usion of KONTAKT tR z ; 9 # 5% P c G b P ` O Go 5l [ 1 l } M ].6T * W o c { | V.8: y # x d= P $ ^ o : or higN P ~ G ) wher\ E ) % ?.

FULL V] V E |W ) I \ L f , PEE ) 2 ; ! i i k fRSION of Nat\ R uive Instrument’s KONTAKT 5.6.8 or higher is required!

DEMO试听:$ d $ N . 0 ~ 4 6

 


 

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