Cinesamples CineBrass Sonore KONTAKT



Cinesamples CineBrass Sonore KONTAKT | 7.13 Gb


Sonore (adj.): resonant; with rich tone. When you see "sonore" written in a musical score, the composer is simply asking the musicians to play with the maximum resonance, body and tone of which they are capable.



It is the opposite concept of brashness and blasting - "sonore" is a thick and warm sound. We set out to recapture trumpet and horn sections in which we maximized tone and body rather than concentrating solely on loud dynamics. You'll notice a wider, more open sound that takes up more room in the in the mix at a mezzo forte dynamic. We selected articulations specifically for the creation of melodies. Our greatest influence and inspiration was the organic processes employed by the great film composers of orchestral music. Recorded at the MGM Scoring Stage at Sony Pictures Studios in Los Angeles, these ensembles also come with vastly improved legato.
MIXER
As with all our CineSymphony Series products, the front page provides our standard 4 mixes: Full, Close, Room, and Surround. The Full mix is the desk mix right from the MGM Scoring Stage using the Lexicon 480 and the Avalon 2055 EQ. The Close, Room, and Surround mixes are untouched and directly from the microphones on the stage. On the left are the standard CineSymphony mix presets. The Trumpets patches offer separate mixes of the Principle Trumpet (Tpt. 1) and Trumpets 2, 3, and 4.
REVERB
Each mix sends to the REVERB when the mix is on and the REVERB return is on. There are a few reverb presets in the pull down menu. By default, it's 90s Med Hall.
We suggest always keeping this on and set to the default amount. Why? Because we use this reverb partly in our legato engine. If you have this reverb set to OFF, the Verb Comp fader (Settings Page) will not work. If you need more, or a different kind of reverb, use a send in your DAW to give the patch some glossiness. We suggest staying away from overly dense and thick reverbs - the library seems to respond best to glossy, clear reverbs with some nice sheen. And remember there is no reason to ever subject a product recorded at the MGM scoring stage to a convolution reverb, for this space is already an end game sound and it doesn't need to be improved or modified. Adding a room to a room doesn't always sound better.
If you are ONLY using Close, Room, and/or Surround mixes, we suggest using Tims Room C because it matches the ambience of these mixes. Also try using Tims Room R. Since the Trumpets sit toward the right it will give a subtle reflection on the left.
KEYBOARD
The RED keyswitches are latching and represent the articulations from the pull down menu above the mix presets. The GREEN keyswitches are NON-latching and control the type of overlay at the beginning of each note, even within a legato passage. The amount is determined by velocity and a volume adjust on the Settings Page (below). In order they are Secco, Forte-piano, and Swell.
LEGATO SPEED
The Trumpets' internal legato engine responds naturally to the speed of your playing - speeding up and slowing down as you do. The SPEED knob is a global setting. Increase the speed to play less of the legato transitions and decrease the speed to include more of the transitions.
VERB COMP
The Verb Comp is the amount of reverb applied to the tails of outgoing notes during a legato performance. This adds to a more realistic performance.
LEG VOL
Leg Vol adjusts the overall volume of legato transition samples.
OVERLAY VOL
The Overlay Vol adjusts the amount of the overlay articulation selected by the GREEN keyswitches above (also determined by velocity).
REL VOL
This adjusts the volume of the note tails.
VIBRATO
Use CC2 to control Trumpet 1 vibrato. This adjusts the overall volume of those samples.
TAPE
Finally there is an optional tape saturation (OFF by default).

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