电影工作室系列 电影工作室字符串 v1.7 KONTAKT 截图
AudioZ Exclusive | KONTAKT – 45,25 GB
A powerful strings sample library for Kontakt Player
电影工作室弦乐是一个充满! S f f个性的图书馆。CSS拥有澳大利亚最优秀的音乐V 1 g q Q C家,并在世界一流的配乐舞台上精心录制,拥有华丽的x i 5 N I ~ /声音,令人惊叹的逼真动态和各种各样的发音。通过直观高效的Z B ! EGUI,CSS旨在满足当今电影,电视和视频游戏行业中工作作曲家的T = Y C w / R需求。这个出色的管弦乐库适用于Kog P P O 7 . ~ntakt和Kontakt Player,现在以非常实惠的价格提供。

介绍电影工作室弦乐 CSS具有好$ ib ? d n ^ g ` `莱坞风格的弦乐部分,在澳大利亚首屈一指的配乐
阶段 – Trackdown中录制。从高音小提琴高亢多彩的颤音到低音大提琴和低音音符的E dR s K % ; Ho n 3 G Y A M h (色木质纹理,您将立即获得灵感。我X # A c ! j ^ # y们的目标是创造一种即时可演奏的乐器,开箱即用,并得到快速客户支持的支持。

开创性的界面
CV P z 7 @SS 的核心是其尖端的 GUI,它建立在f , L V . v Y我们之前广受好评的库 Cinematic String 2 的基础上。这意味着一个简短但甜美的补丁列表,易于分配的按键开关和MIDI CC,_ D , c以及一个带有输出路由选项和混响的完整混音器。这些功能和许多其他功能都可以通过 GUI 主页访问,您将在几分钟内让: ] ? CSS 与您一起处理最新项目。

逼真而富有表现力
的 CSS 具有令人惊叹的逼真的连奏引擎。我们煞费苦心地为每个音符记录了真正的连奏过渡,包括一个美丽的波塔门托。我们还录制了“重新弓”样本,这意味着您可以流畅地演奏重复9 # \ ] j ; n T的连奏音符,并具有真正的连奏真实感。有关更多信息,请查看下面“视频”部分中的 Legato 介绍视频。

现场声音b g r @ h s u,无需
混响 凭^ F M #借流畅的连奏、有力的 spiccatos、鼓舞人心的纹理谐波和 con soK + – \ c H c :rdino,CSS 涵盖了世界级弦乐部分提供的广泛声音调u d N j色板。我们在声音中保留了真实的人为元素,因此您会感觉自己在现场演出。R / O u Q J P有了这种新的真实: h : s / S感水平,你会觉得使用没有混响的 CSS 很舒服;事实上,我们推荐它!我们所有的演示都是在没有混响的情况下创建的——您听到的只是样本中捕获的自然空气。

完全混合 – 加载和播放
我们使用各q 0 3 5 _ S m种漂亮的带状麦克风和电容式麦克5 ? L l m n风在三个距离上录制 C0 Ye N r | j M K # n – 5 e ` ? K ?SS,您可以将它们组合起来,在 Kontakt 内部或通过新包含的输出路^ ? D P K L u由选项创建自己独特的混音。或者,如果您想用更少的资源获得出色的声音,您可以使用我们所有 3 种的预混组合。完整和精简合奏补丁优化了工作流程,非常适合草图或填写曲目。

Articulations:
– LEGATO, INCLUDING LEGATO REPETITION Aj f nND PORTAMENTO
– SPICCB u F D ! c [ &ATO
– STp = 4 @ 6 4 0 4 +ACCATISSIMO
– STACCATO
– SFORZAW r , ~ O b V YNDO
– PIZZICATO, INCLUDING BA– } Z ^ [ 8 d T GRTK SNAPS
– COL LEGNO
– HARMONICS
– TREw : y i z dMOLO
– TRILLS (HALF A: M W AND WHOLE TONE)
– MEASURED TREMOLO (TREMOLO SYNC AND FREE SYNC)
= m W MARCA{ : & Y T z zTO/FAST RUNS
– COz _ ~ M . J g ! mN SORDINO EMULATION (WHOLE LIBRARYA # = ~ ) 6 g = =)\ x g e h

v1.7 R% Q + ~ E 4eF X e h ^ ? S ~ /lease notes
New Marcato mode (including runs); r 6 D W Q @
The new impr? * a v ; 7oved “Marcato” articulatioc ; D & =n in CSS v1.7 is quite powerful. Its main purpose is to peX = $ i Q B [ rrform fast, energetic) = t ^ . $ n 9 i passages, ostinatE y . = q {os and ruI , + a 4 # pn\ 3 N C % l [s. ThW S Q W 6 D # pe vibrato is exaU V $ x I : s QggerV 4 c o b w . C zated, and the attack i_ # # cs accented, which means it excels aZ 4 s bt bombastic melodies, like the Star Wars theme for exam| ( 2 6 X _ple.
However, since the legatos have been improved, it is also quite capable of playing less- accented, more va} e X cried phraseB w ms too – think of the violin parts early in thA d l Me “J/ @ 5 c c R i : Uourney to the Island” cue from Juras; W c 3sic Parn M c \ } uk. This is aided by the fact that you can also now trigger suZ f . +btR C T 4 . ile poE C ? (rtamento sla , Uidi 9 K N 2 U Tes, so all in alb ` D W n 0l, the new Marcato is a lot more versJ n H 2 %atile. I also/ b 8 V # ] aZ R I 8dded a 2 xV g N 1 o R 0 | ^ round robi. ) u Z 4n, which further ef I 8 7N y 1 * Enhances realism.
To play runs, simply play a fast passage in legato moG O P ] S 8 O C ^de – it works esY K /pecially well fY E j D 6 ^ # _ [or scalici 3 v J Y q runs. You can add accents to inD ! E gdividual notes witP A uhin a run by triggering a note aE F . jbove= * J a velocity of 75.= x Y / ! b This effect is subtle. = u I \ e t (,A b * _ but audible and useful in context, especially wh2 x D = & z \ c @en you “change direction” during a run3 B h.
Alteu s y \ ; | ? \rnatively, to create a more obvious accent, try l_ e #eaving a gap betwe9 3 L u $ c men the previous note and the no\ V * ! / # Tte you wis; A d shw I t w ) l u to accent, effectivelT G k #y starting a “new” legato phrase with the accented note. Ik : = O r Vn othery B m h words, if you ply D u C T U Bay a 10-note run, and would like to accent the 5th note in the phrase, you’ll need to leave a small gap between the 4th and 5t! K = v hh noteM J 6 S 1 v + \s. Thi$ 9 h \ Fs would effe: 1 M: 7 Q 2 )c| N R L q Utivel| e E c w ^ ry “end” the legato phrase at the end of the 4th note, and th, / S % 4 : L Nen “begin” a new le2 _ % ~ Ygato phrase starting wi_ P @ n l Hth the 5th note. This means you’ll hear th: p Ne attack portion of the Marcato sample, which. 1 C b c 6 = T in the context of a fast passage, essentially fuA \ o D n ^nctz \ 7 [ b $ D cions as a more pronounced acc; ? z m ben% 6 _ 9t.

Ix t . # P J mmprovedh i 7 B : 6 legato / “Low Latency” mode
I( J B L q x spent a (very) longB 0 & Q u 6 g \ time re-editing all of tf L \he legato trans\ : = 9 6 K _ bity P t y W y C b iion samples, not o[ / w Hnly to improve the timing,t } / L O : & q but also to ensure a more consistent voluu t V : Ome envelope.0 N : @ y [ N A W This makes sequenci. ] – G H } Nng legato a breeze, and I also introducM _ J b n ( P n ke/ S q . z e ?d a new “Low latency” mode, making it even eT L G O f ^ yasier to perfo: z & 9 : ? \ h _rm passages in real-time.
Lm d : d Y J :ow latencm s S ( 6y mode has a legato delay of approximately 150ms (butS r ? & | { don’t hold me to it), and replaces tD , a ! m @j | q y L ,he oui Q 6 g d ; Ktgoing “Stp P , Z B { Aandard” legato mode, which had a delay of 250ms,5 K [ A while t, [ T x ! @ # ~ $he new “Expressive” mode has replaced the outgoing “A= r D + L = 5dvanced” mode. Expressive mode is verr $ gy similar to the forJ 1 0 ~ |mer Advanced mode,r y k and is mainly just a name,M S ; P f s ! % = V 9 q ! , , change, but it is still improved. x g 5 } + T # I since the legato tral N C vnsitions themselves have been improved. Personally, I recommend using the lW r N W t Z *ow latency mo. ~ k k * $de fz I L {ort 2 o ] s most work, as I’ve found that it hits the swH % Geet spotP n Z l B of realii v Ssm and playability. HoO + @ d qweh f M 7 f ? \ver, ExpressivN \ D Ie mode still very much has its plae F – 5 ~ n (ce, especially for slower5 b u * I \, more p) W 9 * + B C +a) L 8 & 2 | + P 1stora) ; s G o z 6 $ 0l them) l 0 ~ k % v katic material. ExperimeN $ C L , 9nting with both modes will make it preto # H / ! ] gty clear aso O 5 U to which mode will work better fF | :or any given passD | \ 0age.

Re-edited, re-timed short notes / RR reset
The short n* 9 T @ N ` Aotes in v1.7 are tighter a3 ) h | h = H C vnd more consistent thaS m + p ! J en they were previously. Similar tV ) k |o the re-timed leg( V Z B Rato transitions, these new short notes haN * & q ;ve a| } plso had their timing improved. This applies to all of the short note types in CSS – both bowed and pluckn a { Z c Zed9 * |.
We have also im6 \ k V ` Y h Mplemented a “round robin reset” fuZ T W / X : M %nction, which can be accessed vi/ I {a CC59. Setting this CC to a speci6 | ofic va^ | , & ` 6 slue (eg 4) prioru U B C A h * @ 1 to the start of a short note passage will ensure that the same RR sequeE X e q A P ynce plays out every time you play that passage. YL z 8 ! J w x –ou won’t need to use ths A ) + a S P 1 Nis most of the time, as any random RR sequence should always sound perfectly fine in any given passage. Yet, hav8 ! 3 p king said that, tO i J % b } z phere are certainly. 6 + timesa 4 z D h i { t wJ R ` & N : n Xhen it is preferable for aR ) 9 0 l , b w ; sequence to sound exactly the same e] e l , X 0 [ 9 lvery time you play it (or export / render your piece),R N 9 r and that’sh 7 q x ? B g 8 when this function comes in handy.
ImproF v G j P j T ] \ved mix / Separa: n V ^ z $ \ eted spot mics
Improv; Y ning the sound of CSS was another important aspect of the new verso s U V } ? +ion. My aim was to bring out more of the room-J = : G p n `deptD ( : { ( Th, as I fe= I v p s # , pltT 7 y R this wasn’t asu & V B prominen. * o (t* G x P Y l D in the previous mix. This means the new mix is more “6 } 4 b Nroomy”, yet at the same time then W fre’s also mor/ } F S | g W w ?e clarit4 ] r @ % Ry and detail in the close mics. So it’f @ ! ;s the best. P Z 7 X 7 ` Z of both w4 / N vD o e 3 K t &orlds, really. Thix J E $\ q . 6 9 V V . cs will become more o: F ` w k c x [ #bvious when applied in tn / R , 9 }R R dhe brass library update, but for now the strings souc ] k i 1nd wider and more lush.
I also separated the spot mics so they are both now independently controllabl~ J # K ue, instead of being mixed together as they were in the previous version. This mj | / A 9 q je[ H . . ~ f +ans you can effectively narrow or widen the sound of each section by playing around with the pan. 8 m Kning, or you can even@ E a do more extreme things like panning them hard left and righU S lt, which may be perfect for a pop-stylew l L m arrangement / mix.
Spot 1 is fo3 1 I ] b x G Hcussed mainly on the two lead pla2 u \ ` kyers of each section, and Spot 2 is positioned further back in the section and capturing more pz % k 7 $layers. They each have their own distinctI ( h \ , 5 4 r Z character, and I encourage yk T F Y O ; #ou to experiment with the mixing^ n + 2 of the spot mics – au F U e y r ( l lot can be done toP * – s ` customise thC F ke sound to your own tastes.

Note: The defaulb X 4 jt positions for all of the volume an] O h 8 7d panning sliders reflect the exact setn – # C { R [tings used to cd @ ( /reate the Mix mic. This servx o z 0 } ! b [es as a good sw p ptarting point, and if you ever want to return top ; B # { Y thR Q t [ V } Z P )ese defaut U v q k ; Dlt settings, you can hold Command + Optix K { \ 5 2 Non (Mm b Y q Nac) or Control + Alt (Windows) and then4 – z D y = l N i click anywhere on any on2 ! N A d b q D ) l & 5f the faders (ore G 8 panning slide: j W m| 1 I L s k L e i N [rs), and they will all snap back to thn W h f qe default settings.

Better, more realistic non-vib_ F f 7 l Q L \rato legatx = 6 X z ) Jo transit} 3 g 7ions, anj 9 2 g d J –d refined x-fading betweS i 3 7 3 i T z {en them
Lastly, I ha– l W l Z – w @ fx m g 5 % @ve also improved the non-vibrato leg@ ] 2 z J e *ato transiti} D 3 ]ons. In the previous version of CSS I’d usede h p simulatn R O j i S @ Ved lx \ O 0 k o g j %egato transitionB $ = , \ ) C 5 os, andk b 2 / D = while I didn’t record any new material for Version 1.7, I developed a technique to significand s M co v : etly improve the sound* _ N ~ r + c of these simulated transitions by editing the with-v? _ g i mibrato samples to cr1 B !eate an a4 S +ll-new set of nL b k : \ i 7 –on-vibrato legato transitions.
This not only sounds moreq 8 z p I P } q realistic, but also makes the x-@ L I 1 4 ^ N +fade system more straightforward and s2 f m $ :tr\ M p ` ( r \ =eamlined. By defn E r J B w )ault, both the nb 0 l 8 o ? N \on-vibrato and with-vibrat4 * 9 V G Qo samplz ^ O G – Zes are always triggered whenevx U 7 d oer you’re usi= 8 X m ) ing the Sustain articulation. This means you can x-fade seamlessly between them at an` R N G t | t T Ay timed: l \ 8 s s P. However, ia 4 % Nt also* 9 , 8 f 5 n F me8 X J { 8ans th% A 6 ; r n x b –at the voice count isG x G T | roughly tD o c e h M P M ^wic.6 R g & R ~ W K 3 S C We whp HW 1 S 7 u 2 J H z ^ M lat it was before, but= ` @ I fZ M 8 & n 4 = Pigu^ 8 i H L yrz ] H c V u Zed to M p , s O ? *ht ) ` / ` y kat most average systems cou` r E O f .ld handle this pretty easily tw 8 { W * P *hese dZ F ( ? H Ways. Alternatively, if you’d p4 k N _ U 7 )refer to disable this option, youV Z A ? 6 o – Z z can click on the configl # | U ~ cog up i* ) J un the top right corner, click on “Vi_ D 7 o u \ w P sbrato X- fade”, then scroll up to the top of the list and select “Off.” Doing this will mean thac J Pt vibrato is set to maximum and isa ] j 1 4 j T S no longer controZ H + 1 t 4llable.

Requires NI Kontakt Player orX l % m u Kontakt FULL v5.p v t w t P8.1 or later!

 

Support ViP Team for future releases:Z A D v w ^ y G z

Bitcoin – 1LSP+ 5 F vUAX9mffJv e 4 sZvFvDihC1VzwHvc9YWDVBC
Bitcoin Cash – qqr0kp504yx0d@ ^ X O K ? 1 P Ejl27feszfymd@ ` 6 6 %jut6hd0sw S 6 K Rcdnv7ehcy
ED T {n S p ?t$ ~ l n S jhereum – 0x603396A786 O s2eCAE546E55902B793425410dB1D9f0
USDT (TRC20) – TGcsvWAEYWBQ2tUU9bHqN8Dqt9KCJGzP36

 

1.全站解压密码www.vstsample.com
2.若下载解压失败可对比下载完压缩包的与网盘上的容量,若小于网盘提示的容量则是这个原因。这是浏览器下载的bug,建议用百度网盘软件或迅雷下载。 若排除这种情况,可在对应资源底部留言,或联络我们。

对于会员专享、插件vst、音源采样、工程模版等类型的素材均收集来自互联网!如遇下载失效请联系客服补档

如果您已经成功付款但是网站没有弹出成功提示,请联系客服提供付款信息为您处理

本站所有资源版权均属于原作者所有,这里所提供资源均只能用于参考24小时之内学习用,请勿直接商用。若由于商用引起版权纠纷,一切责任均由使用者承担。更多说明请参考 VIP介绍。

资源素材属于虚拟商品,具有可复制性,可传播性,一旦授予,不接受任何形式的退款、换货要求。请您在购买获取之前确认好 是您所需要的资源