注释：KONTAKT格式
大小：41.3GB
内容介绍：
Capturing the Scandinavian zeitgeist we’ve sampled a 100 piece orchestra playing never-before-sampled instructions at the very edge of silence. Alongside orchestral content are bellows, percussion and a characterful warped synth section. Everything you need to take it down a degree or two!
In what can only be described as a sonic odyssey, the Spitfire crew has travelled northern climes to research, discover and unearth the most naked, honest and glacial set of samples we have recorded to date. Returning back to London we set about recording an enormous orchestra – but not in a style steeped in the choral tradition, echoing angelic angels from above. We sought instead to create a sonic tapestry that was of this Earth. As if it was seeping through the moss on the ground, smelling of Estonian forests, Scottish lochs, Norwegian fjords, and evoking the sense of isolation when stood on the permafrost and tundra of Iceland.
For many years now Spitfire Audio has been recording orchestras of all sizes, but a theme that has run throughout our last decade is how to unearth and discover more naked and honest performance styles. We also understand that where sampling is concerned it’s the quietest of levels where the real magic happens. By taking this into account, by studying the most popular recordings of Arvo Pärt, Sibelius and Gorecki, and by observing new emerging talent from Scandinavia and Iceland we were inspired to create a whole new set of tools.
Partnering with long term collaborator, orchestrator and contemporary composer Ben Foskett we set about recording a full dynamic set of samples where the top level was set at mp (mezzo piano, or kind of medium quiet) right down and through to the quietest recordings we have ever dared record. Our chief engineer opened up the hall at Air Studios to maximise its amazing early reflections and to liquify the fibrous and finely textured instructions we gave the 100 strong band of extraordinary London players. Samples we believe that have never been made before.
FEATURES
ICY STRINGS
Creating something extraordinary often takes a leap into the unknown. We knew we wanted the strings to have a frozen sheen to them. We felt we needed to scoop some of the lower mids out of the frequency map. So we took the bold decision of excluding violas from the orchestra and instead supporting a rich cello and bass offering of 12 & 6 players sat in the middle of the room with two massively enhanced violin sections of 20 and 18 players sat in ‘Antiphon’ (opposite sides of the room). The huge selection of articulations created ranged from pimped classics such as our ever popular flautando, but with mutes added, and sections playing poly-divisi so that even with a band of this size, every player can be heard. Right through to unorthodox approaches; requesting that players attend the session with practise bows with NO rosin on the hair so traction was very limited, to actually BOWING the strings with the back of the bow. Jake Jackson’s real challenge, with the roof fully elevated so that the signal contains as much early reflection as possible, was trying to get the musicians louder than the ambient room tone. We recorded the strings in two (high & low) sections with (where possible) matching articulations. Highlights alongside these cascading longs articulations are flautando legatos, brushed shorts and some extraordinary loose pizzicatos where only the principals were in possession of the click track!
WHISPERING CHORUSSES OF BRASS & WIND
We’ve got four different bands (high winds, mid winds, mid brass, low brass) all booked with a choral mode in mind. Taking experience gained with our fantastically popular Trumpet Fields giveaway instrument, our instructions to all bands were to be naked, honest, and non-conservatoire, but also with very specific textural approaches that liven the hall to create a very natural mossy patina.
Whilst the entire “Tundra” orchestra is playing from quiet markings all the way down to ‘oblivion’, where the orchestral tones are slowly deafened by silence, the end result is a deeply dynamic and timbral set of expressive instruments that quite happily act as a stand alone orchestral tool-set, albeit of a quite unique quality.
In what is always a fascinating creative process, we set about accompanying the Tundra band with a selection of Harmoniums and Shruti Boxes (bellowed single chord Indian drone makers). But it didn’t quite match up to the “Tundra” magic, so it was abandoned. Well, everything save a throw away portion of the recordings where Christian had requested for the players to perform on the knife edge between the bellow hissing, and the reeds actually sounding. This produced an extraordinary selection of stuttering granular folk beds which we have slammed through processing and have warped and cajoled into a very special Nordic style Evo Grid. With 32 evolutions spread over 12 regions and the all important dice function to immediately randomise your preset into a near infinite number of possible outcomes.
Following from our hugely successful warped orchestral content in Albions 1 through 3 we decided to approach this set differently. Instead of using our ‘in-the-box’ pristine set of digital processing and mangling tools, we decided to go wholly out-of-the-box, employing whirring Roland Space Chorus Echoes with classic Eventides and Axe FX Pros into the mangle chain – the brief: “imagine you had put together a studio entirely made up from an abandoned 1960s American early warning system”. Not only does this collection feature orchestral material, but also the aforementioned Harmoniums and Shruti boxes which offer up a particularly unique and northern feel.
The end result of this component is as inspiring, mossy, and earthy as the rest of the library. Presented in our ever popular ‘eDNA’ engine so you can instantly make these presets your own.
Never to shy away from epic, we also felt it important to create some brooding epic drum combos designed for intermittent use to mark time or punctuate.Think Cantus in Memoriam Benjamin Britten by Arvo Pärt. Featuring unique combinations of very small drums played against massive Verdi bass drums and taikos. These drums speak of distant pagan rituals!
We’ve invited the legend Paul Clarvis (leader of the Olympic drum corps and London movie session favourite) back on to Spitfire’s dry stage with his infamous car full of “percussion that doesn’t sound like percussion instruments” to record some intimate and honest rhythmic passages to add frosty momentum to your scores. Again presented on the eDNA platform for instant tweakability, but also with a series of spring-out-of-the-box presets designed by Spitfire’s team of award winning composers and producers.
TUNDRA ORCHESTRA
•100 piece orchestra recorded to tape at Air Studios, London
•133 multi dynamic orchestral articulations split across Strings, Brass and Woodwind ensembles
•38 violins with 32 articulations including 19 longs, 11 shorts and 2 legatos
•12 Celli and 6 Basses with 30 articulations including 17 longs, 11 shorts and 2 legatos
•Brass ensembles with 17 unique articulations for both Mid and Low ensembles
•Woodwind ensembles with 18 unique articulations for both High and Mid Ensembles
•Legatos designed by Andrew Blaney
•All have multimic control with Close, Tree, Outrigger and Ambients
•Recorded by priceless valve and ribbon mics at the edge of silence
•Neve Monserrat preamps into a Neve 88R desk
•Recorded digitally at 96k via 2″ Studer tape
THE “VRAL” GRID
•32 hand crafted drones in our “Vral” Grid
•Slowly evolving drones with varying loop points
•All housed within our ‘Evo Grid’ engine for almost limitless randomisation
STEPHENSON’S STEAM BAND
•138 Stephensons Pads housed in our eDNA interface
•Organic sounds created from the orchestral material
•198 original sounds to create more content from
BRUNEL LOOPS
•22 unique instruments with 52 presets
•All played in triplets, 12ths, 8th and 16ths
•Tempo-sync’d to your DAW
•layed by the infamous Paul Clarvis
DARWIN PERCUSSION
•20 percussive elements
•Single patch for easy playability
捕捉斯堪的纳维亚时代的时代精神，我们在沉默的边缘上，品尝了100件从未有过的体验。管弦乐内容包括风箱、打击乐和一个有特色的扭曲的synth部分。你所需要的每一件事都要花上一两个学位!
在只能被描述为“音速奥德赛”的地方，“喷火”的船员们已经游历了北方的气候，去研究、发现和发掘我们迄今为止所记录的最赤裸、最诚实、最冰川的样本。回到伦敦后，我们开始录制一个巨大的管弦乐队，但不是以一种沉湎于合唱传统的风格，从上面呼应天使天使。我们试图创造出一种地球上的声音织锦。就好像它在地面上渗出苔藓，闻着爱沙尼亚的森林，苏格兰的湖泊，挪威的峡湾，在冰岛的永久冻土和苔原上唤起了与世隔绝的感觉。
多年来，Spitfire Audio一直在录制各种规模的管弦乐队，但贯穿我们过去十年的一个主题是如何发掘和发现更多赤裸和诚实的表演风格。我们也知道，在采样的地方，它是最安静的，真正的奇迹发生的地方。通过研究Arvo部分最流行的录音，Sibelius和Gorecki，以及观察来自斯堪的纳维亚和冰岛的新涌现的天才，我们得到了启发，创造了一套全新的工具。
与长期合作伙伴、管弦乐家和当代作曲家Ben Foskett合作，我们开始录制一组完整的动态样本，其中最高级别是在mp(mezzo钢琴，或一种中等安静)下，并通过我们曾经敢于记录的最安静的录音。我们的首席工程师在空中工作室开放了大厅，以最大限度地提高其惊人的早期反射，并将纤维和精细纹理的指令进行了液化，我们给了100个非常出色的伦敦球员。我们相信从未有过的样品。
特性
冰冷的字符串
创造非凡的东西往往需要跳入未知的领域。我们知道我们希望琴弦能给他们一个冰冻的光泽。我们觉得我们需要从频率图中挖出一些较低的mids。所以我们采取了大胆的决定扣除乐团的中提琴和支持而不是丰富的大提琴和低音提供12 & 6球员坐在房间的中间有两个大大增强小提琴部分20到18岁的球员坐在“轮流吟唱的歌”(两端的房间)。大量的发音的选择范围从拉皮条的经典作品，如我们曾经流行的flautando，但是随着mutes的加入，以及部分演奏的多分，这样即使有一个这样的大小的乐队，每个玩家都可以被听到。通过非正统的方法;要求球员们练习鞠躬，在头发上没有松香，所以牵引是非常有限的，实际上是用弓的背部来弯曲琴弦。杰克·杰克逊真正的挑战是，屋顶被完全抬高，这样信号就尽可能地包含了早期的反射，试图让乐师们比环境房间的声音更响亮。我们用(可能)匹配发音的两个(高和低)部分记录了字符串。与这些层叠的longs发音一起突出的是flautando legatos，拉丝短裤和一些非常宽松的披萨饼，只有那些主体拥有点击的路径!
铜管和风的低语
我们有四个不同的波段(强风，中风，中铜，低黄铜)，所有的都以合唱模式预定。我们用我们非常受欢迎的小号，赠送乐器来获得经验，我们对所有乐队的指示是裸体，诚实，和非音乐，但同时也有非常具体的结构方法，让大厅里有一种非常自然的苔藓。
在整个“苔原”乐团演奏从安静的标记“遗忘”,管弦乐的音调是慢慢变聋的沉默,最终的结果是一个非常动态的场音色的表现力的乐器,很高兴作为独立管弦乐的工具,尽管一个相当独特的品质。
在一个总是令人着迷的创意过程中，我们围绕着Tundra乐队，选择了一些和谐的和灌木的盒子(印度的单弦无人机制造商)。但它与“苔原”魔法并不匹配，所以它被遗弃了。好吧，所有的东西都保存了一个扔掉的部分录音，在那里，基督徒要求玩家在刀锋之间的刀刃上表演，而芦苇实际上是在发声。这产生了一种特别的选择，我们在处理过程中进行了猛烈的撞击，并被诱骗到一个非常特殊的北欧风格的Evo Grid中。有32个进化分布在12个区域和所有重要的骰子f
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