[马林巴琴音源]Soniccouture Grand Marimba v2.2.0 [KONTAKT]（3.27Gb）

FANTASTiC | 20 February 2024 | 3.27 GB

现代马林巴琴是非洲 balafon 的后代，起源于墨西哥，其典型特征是安装在金属谐振管上方的木条，可以使用音栓进行调音。

这款 Soniccouture 乐器采用 5 八度音阶的 Yamaha 6100，由马林巴传奇人物 Keiko Abe 设计。

6100 是最先进的，具有独特的精确调音、洪都拉斯玫瑰木杆和焊接共鸣器，可实现无嘎嘎声的演奏。

TREMOLO FLOW
Tremolo 是一种极具表现力的马林巴琴技术，我们设计了一个原创的 Kontakt 模块来以无与伦比的准确性来模拟它。它可以轻松处理 1 到 4 个和声部（因为马林巴琴手很少使用超过 4 个木槌），并且会根据输入的 MIDI 或您的演奏智能地实时重新映射颤音。

颤音的速度和力度可以使用 MIDI 控制器进行实时调制。

Humanise 控件提供更自然的表达 – 以微妙、随机的数量改变序列的时间和速度 – 让您的作品呼吸和流动。

仪表板
主仪表板包含 ADSR 控件、带包络调制的滤波器部分和带 Flip 的立体声宽度。铰接开关可以在面板的下半部分看到。

马林巴琴采样
马林巴琴很大，几乎有 3 米宽，这使得录制它成为一个挑战;
不可能太靠近这么大的乐器并保持任何一种合理的立体声图像。
由于我们的目标是进行亲密的、非环境的录音，因此我们需要一个非常大但相对干燥的工作室来工作。

版本 2.2.0

• 修复：效果页面
• 改进：速度响应

A descendant of the African balafon, the modern marimba originated in Mexico, and is typified by wooden bars mounted above metal resonator tubes, which can be tuned using stops.

This Soniccouture instrument features the 5-octave Yamaha 6100, designed with marimba legend Keiko Abe.

The 6100 is state of the art, with exclusive precision tuning, Honduran Rosewood bars and welded resonators for rattle-free playing.

TREMOLO FLOW
Tremolo is such an expressive marimba technique that we’ve designed an original Kontakt module to emulate this with unparalleled accuracy. It comfortably handles 1 to 4 voices of harmony (since marimba players rarely use more than 4 mallets), and will intelligently remap the tremolo in real time based on the incoming MIDI or your playing.

The speed and velocity of the Tremolo can be modulated in real time using a MIDI controller.

The Humanise controls offer even more natural expression – vary the timing and velocity of a sequence by subtle, random amounts – allowing your composition to breathe and flow.

THE INSTRUMENT PANEL
The main Instrument panel contains ADSR controls, a filter section with envelope modulation, and stereo width with Flip. The articulation switches can be seen in the lower half of the panel.

SAMPLING THE MARIMBA
The marimba is massive, almost 3 meters across, which makes recording it a challenge;
it isn’t possible to get too close to an instrument that large and maintain any sort of sensible stereo image.
And since we were aiming for an intimate, non-ambient, recording, we needed a very large but relatively dry studio to work in.

Version 2.2.0

• FIXED: Effects Page
• IMPROVED: Velocity Response

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