[大提琴音源]PulseSetter Sounds Cello Ibrida [KONTAKT]（4.21GB）

P2P | 21 April 2025 | 4.21 GB

Cello Ibrida 在一个高级 GUI 中包含了不同类型的采样和声音设计技术。这个概念依赖于的不是单一的传统库概念，而是几个概念，当它们组合在一起时，将带出保留有机声音的现代声音。录制大提琴部分以进行 “纹理” 发音和多重采样。从那里，我们编辑和处理了各种声音设计风格的 Patch，以创建低脉冲、混合弹拨、打击垫和 sfx。

我们的矩阵 GUI 包含一个两层系统，每个系统都有自己的效果链、LFO、Sequencer 和门限。但是神奇的事情发生在演奏矩阵页面中，其中两个宏、两个包络音序器和力度源调制器可以单独分配给不同的主效果器、和弦制作器和一个失谐器。这使得即使是最简单的声音也能被连续调制和不断变化。此外，我们还为交叉淡入淡出、宏 1/2 和 LFO 速率/量添加了 CC 可分配输入，让作曲家实时调制所有这些参数，从而创建一个出色的性能声音设计乐器。

我们喜欢声音设计，录制大提琴部分以备后用作为声音游乐场只是一个开始。还有一把便宜的蓝色大提琴，大麦在录制时幸免于难。还有 Gabriel Di Marco （Bear McCreary Celist）令人惊叹的大提琴声音，我们还采样了 Moog sub37、Arturia Matrixbrute，最后我们还通过 Euroracks 和 Cassette 卡座运行了大提琴多样本。我们称这些补丁为 “声源”，大约有 260 个。从那里开始，我们制作了 500 多个快照，但我们仍然没有使用所有快照！您可以混合搭配并创建自己的。

我们决定从录制大提琴部分开始，做管弦乐不断发展的纹理，作为我们声音设计过程的基础。我们的想法是从那里开始扩展并创建垫子，但我们一直在前进。我们还录制了一些基本的多样本并处理每个单独的音符，使其听起来被压碎、过度失真，或者只是通过颗粒处理器运行以创建短音符和长音符。由于一切都是用循环和多重采样（音高）完成的，因此这是一个耗时的过程，但也是有益的。对于单独的音符、纹理和打击垫，下一步是创建贝斯循环。

大部分库都基于低音和中低频，大提琴从中获得了最具标志性的声音。大提琴低弦的原始声音提供了一种非常发自内心的感觉，非常适合电影声音设计。我们还录制了一把学生真尺寸的大提琴，它不仅丑陋，而且听起来非常激进。不是管弦乐段落的音调，但非常适合恐怖的声音。麻、棍子、松动的调音和松动的螺丝擦伤提供了一种非常熟悉的声音，让人想起许多恐怖乐谱。这些也被进一步加工并制成非常适合节奏床的循环。

完成后，有一件事很明显，它需要一个不同的、更现在的音调来将其转化为更现代的声音，因此我们对 Moog sub37、Arturia Matrixbrute 和 VirusTI 进行了采样。当在双层 GUI 中使用时，这增强了声音，让作曲家可以选择真正的大提琴、混合大提琴、sfx 大提琴和合成器的 260 个补丁中的任何一个作为声源来创建他们自己独特的快照。我们制作了 500+ 张快照，但我们强烈建议您制作自己的快照。

我们的高级矩阵引擎的另一个巧妙功能是能够将 MIDI cc 添加到 macro1、交叉淡化和 LFO。与运动跳跃控制器配对，Cello Ibrida 只需将您的手在空中移动，即可享受数小时的乐趣“表演”声音。Motion Leap 也可以与除 cc1 和 cc11 之外具有 MIDI cc 功能的任何样本库或合成器一起使用。

我们 PulseSetter-Sounds 希望为从事视频游戏、现代电视和电影配乐的作曲家创建一个替代的管弦乐样本库，因此录制真实的管弦乐器并使用独特的声音设计技术不仅有趣，而且感觉这对灵感非常有用，作为填充物，或者只是在您的“真实”管弦乐谱下添加一点现代声音设计，而不会引起不必要的关注。我们希望您喜欢这款产品，并欢迎在我们准备对现场管弦乐队进行采样时提供反馈。是的……仅用于声音设计，因为我们知道您已经有 34 个 String 样本库……但没有一个像 Cello Ibrida 那样独特和不同。

Main page 包含一个两层引擎，用于加载 260 种声音中的任何一种。带有 LFO 的交叉推子可以启用两种节奏组合，或者使用简单的混音或其他声源。一个可分配的大宏旋钮。两个独立的音序器和两个 LFO。Macro1、LFO 和 Xfade 具有可由用户分配的 CC MIDI 控件。此功能允许作曲家通过他们现有的 MIDI 控制器来调制多个参数。

效果页面包含每个图层的效果。Filter、Lofi 和 Distortion 具有 fx 步进音序器，可提供更多声音设计可能性。Amp modeler 还具有 distorion 以增加火力。这些效果独立于 Performance Matrix 页面和 Main 页面。

performance matrix 页面是一个基于过去矩阵合成器的复杂系统。两个 Macro 参数、两个包络 squencer 和音符力度用作源，将主信号发送到多个主效果器、一个和弦制作器和去谐器。每个宏都有自己的 MIDI cc 输入，使作曲家能够将每个宏用于不同的目的。例如，一个宏在为悬疑场景配乐时过滤掉信号，但在杀手攻击时使用另一个宏来破坏声音！或者任何想要的组合。同时，包络会通过八度模式或小调 9 分频或 fx 卷积声音进行。

需要 Kontakt FULL 版本 5.8.1+！

Cello Ibrida contains different types of sampling and sound design techniques inside one advanced GUI. The concept relies on not focusing on a single traditional library concept but several that when combined will bring out modern sounds that retain an organic sound. A cello section was recorded to do “texture” articulations and multisample. From there we edited and processed a variety of sound design style patches to create low pulses, hybrid plucks, pads and sfx.

Our matrix GUI contains a two layer system each with its own effects chain, LFOs, Sequencer and gate. But the magic happens in the performance matrix page where two macros, two envelope sequencers and velocity source modulators can be individually assigned to different master effects, chord maker and a detuner. This enables even the simplest of sounds to be continuously modulated and ever changing. Additionally, we added CC assignable inputs for crossfade, macro1/2 and LFO rate/amount to let composers modulate all these parameters in real time and thus, creating a great performance sound design instrument.

We love sound design and recording a cello section to later use it as a sound playground was just the start. There was also a cheap blue cello involved that barley survived the mangling when recording it. There is also Gabriel Di Marco’s (Bear McCreary Cellist) amazing Cello sound and we also sampled a Moog sub37, the Arturia Matrixbrute and finally we also ran the Cello multi samples through Euroracks and Cassette decks . We call these patches “soundsources” and there are about 260 of them. From there we made more than 500 snapshots and we still didnt get to use all of them! You can mix and match and create your own.

We decided to start of with recording a cello section doing orchestral evolving textures as a basis of our sound design process. The idea was to expand from there and create pads but we kept going and going. We also recorded some basic multi samples and process each individual note so it sounded crushed, overdistorted or just ran it through granular processors to create short and long notes. Since everything was made with round robin and multi sampled (pitched), this is a time consuming process but also rewarding. With individual notes, textures and pads, the next step was to create bass loops.

Most of the library is based on the bass and lower mids where the Cello gets its most signature sound. The raw sound of the Cello lower strings provide a very visceral feel thats great for cinematic sound design. We also recorded a student real size Cello which was not only ugly but sounded very aggressive. Not a tone deem for orchestral passages but great for horror sounds. Scrapes with hemp, sticks, loose tuning and loose screws provide a very familiar sound reminiscent of many horror scores. These were also further processed and made into loops that work great for rhythmic beds.

Once we were done, one thing was noticeable, it needed a different more present tone to take it into a more modern sound so we sampled a Moog sub37, Arturia Matrixbrute and VirusTI. This enhances the sound when used in the dual layer GUI by letting composers choose any of the 260 patches of either real cello, hybrid cello, sfx cello and synth as a soundsource to create their own unique snapshots. We made 500+ snapshots but we highly recommend making your own.

Another neat feature of our advance matrix engine is the ability of add midi cc to either the macro1, crossfade and LFOs. Paired with the motion leap controller, Cello Ibrida will be hours of fun “performing” the sounds just by moving your hand through the air. The motion leap can also be used with any sample library or synth that has MIDI cc capability beyond cc1 and cc11.

We at PulseSetter-Sounds want to create an alternative orchestral sample library for composers who work on video games, modern tv and film scores so recording real orchestral instruments and using unique sound design techniques is not only fun to do but feel this is something that will be immensely useful for inspiration, as filler, or just to add a touch modern sound design under your “real” orchestral score without bringing unwanted attention to it. We hope you enjoy this product and we welcome feedback as we prepare to sample a live orchestra. And yes… just for the sound design, because we know you already have 34 string sample libraries… but none as unique and different as Cello Ibrida.

Main page contains a two layer engine to load any of the 260 sounds. A crossfader with an LFO enables both rhythmic combinations or use a simple mix of or another soundsource. A big macro knob that’s assignable. Two independent sequencers and two LFOs. Macro1, LFO and Xfade have CC MIDI controls that can be user assignable. This feature lets composers modulated several parameters via their existing MIDI controllers.

The effects page contain the effects of each layer. Filter, Lofi and Distortion have fx step sequencer for more sound design posibilities. Amp modeler also has distorion for additional firepower. These effects are independent from the Performance Matrix page and Main page.

The performance matrix page is a complex system based on matrix synths from the past. Two Macro controls, two envelope squencer and note velocity are used as sources to send the master signal to several master effects, a chord maker and detuner. Each macro has its own MIDI cc input which enables composers to use each for a different purpose. For example, one macro to filter out the signal when scoring a suspense scene but use the other macro to destroy the sound when the killer attacks! Or any combination desired. All while the envelopes progress through octave mode or minor 9th or fx convolution sounds.