Team DECiBEL 电贝司音源插件 | WiN: 7.23 GB | OSX: 12.14 GB
Adam Monroe的Electric Bass是从Yamaha BB424x电贝司吉他中取样的。修改了低音,以便将各个拾音器连接到独立的插孔,从而可以对桥式拾音器和颈部拾音器进行独立采样。绕过了音量和音调锅,因此电阻器就位了,以最大程度地减少没有锅的电贝司的“拾音”声。然后将拾音器放到单独的Radial 48有源直接盒和Grace 101前置放大器中,以提供额外的增益。

从记录开始进行采样,首先以5个音符循环记录4个速度层为目标。低音琴弦保持相对明亮和新鲜。几乎以这种方式对整个低音进行了采样,但结果不尽人意,因此从一开始就以10个力度层,4音符循环和柔和的琴弦重新采样了低音。

轻柔地弹奏音符并猛烈地打击它们,以便在低速演奏时会发出微弱的打击声,并发出温暖的声音,高音速的音符会更加具有打击乐性。通过轻柔或柔和地演奏,在琴颈和琴桥拾音器之间进行融合,并应用eq,可以实现各种音调。但是,这样做的目的是制作一个听起来很不错的“实用”低音,轻松地将其混入混音中,并为用户提供标准的低音提琴,可以作为其他低音提琴库的参考。

滑动发音以三音圈知更鸟的方式记录下来,可以通过变桨轮触发。对于大多数琴弦,分别记录了主要和次要第三次上滑和下滑的情况,例外是打开的E1,以及每当幻灯片将音符放置在所记录的低音范围之外时。以120 BPM的速度记录幻灯片。像其他注释一样,可以释放幻灯片。

谨慎选择了最佳的音符样本。定期清洁琴弦以保持声音一致。

工程
Adam Monroe的Electric Bass的Kontakt版本是跨平台的,由Native Instruments维护,所有编程和效果均通过它们完成。一些简单的脚本由我们完成。 VST,音频单元和AAX版本完全是另一种野兽,因为编程完全取决于AdamMonroeMusic。也是VSTi(虚拟仪器),音频单元或AAX插件的任何示例库中的目标都是尝试匹配Kontakt Player的性能。有了这个库,我们觉得我们已经做到了。
VST,音频单元和AAX版本包括更新的高性能算法,随着Adam Monroe Music发布的每台新虚拟乐器都在不断改进。例如,缓冲算法是双缓冲和多线程的,这意味着即使在速度较慢的计算机上,甚至在较低的延迟下,缓冲性能也很快。声音以纯净的C样式阵列进行保留和迭代。内存使用量与Kontakt版本相当-大约390MB。由于具有可靠的VST,AU,AAX代码库,因此您可以放心VST,AU和AAX版本将与Kontakt版本一样工作。
VST,AU和AAX版本还包括自动采样率转换,支持44.1、48、88.2和96 kHz采样率。

为什么要完全开发VST,音频单元或AAX版本?尽管功能强大,但Kontakt的完整版(运行第3方样本库必需)价格昂贵。开发任何人都可以使用的VST,音频单元或AAX版本并不会花费大量时间来开发Electric Bass库,因为大部分时间都花在了采样和处理样本上,因此这真是轻而易举。

音频工程是创建VST,AAX或音频单元插件的很大一部分,但是该电贝司库的声音几乎未得到处理。没有进行音调调整,因为可以通过拾音器之间的混合来显着改变音调。亮度可以通过“音调”旋钮调回,该旋钮本质上是HPF。
Adam Monroe’s Electric Bass was sampled from a Yamaha BB424x electric bass guitar. The bass was modified so that individual pickups were wired to independent jacks, thus allowing for independent sampling of bridge and neck pickups. Volume and tone pots were bypassed, so resistors were wired in their place to minimize the “ice pick” sound of an electric bass without pots. The pickups were then run into individual Radial 48 active direct boxes and Grace 101 preamps which provided additional gain.

Sampling began by recording began with the target of recording 4 velocity layers with 5 note round-robin. The strings of the bass were kept relatively bright and fresh. Nearly the entire bass was sampled in this manner but the results were unsatisfactory, so the bass was re-sampled from the beginning with 10 velocity layers, 4-note round robin, and mellow strings.

Notes were gently plucked and fiercely attacked, so that playing low velocities generates a warm sound with subtle attack, well higher velocity notes become more percussive. By playing soft or hard, blending between neck and bridge pickups, and applying eq, a variety of tones can be achieved. However, the intention was to make a nice-sounding “utility” bass that blends easily into the mix, and to offer the user a standard go-to bass that can serve as a reference for other bass libraries.

Slide articulations were recorded in three-note round robin and can be triggered via the pitch wheel. Major and minor third slide up and slide downs were recorded for most strings, the exception being open E1 and whenever the slide would place the note beyond the recorded range of the bass. Slides were recorded at a tempo of 120 BPM. Like other notes, slides can be released.

Care was taken to find the best strings on which to sample notes. Strings were cleaned periodically in order to maintain a consistent sound.

ENGINEERING
The Kontakt version of Adam Monroe’s Electric Bass is cross-platform, and is maintained by Native Instruments, all the programming and effects being done through them. Some simple scripting is done by us. The VST, Audio Unit, and AAX versions are another beast entirely, as the programming falls entirely on AdamMonroeMusic. The goal in any sample library that is also a VSTi (virtual instrument), Audio Unit, or AAX plugin is to attempt to match the performance of the Kontakt Player. With this library, we feel like we have done just that.
The VST, Audio Unit, and AAX versions include updated, high-performance algorithms that have been improving with each new virtual instrument released by Adam Monroe Music. For example, the buffering algorithm is double-buffered and multithreaded, which means that buffering performance is fast, even on slower computers, and even in lower latencies. Voices are held and iterated over in a pure, C-Style array. Memory use is comparable to the Kontakt version – around 390MB . Because of the solid VST, AU, AAX code base, you can feel confident that the VST, AU, and AAX versions will work just as well as the Kontakt version.
The VST, AU, and AAX versions also include automatic sample-rate conversion supporting 44.1, 48, 88.2, and 96 kHz sample rates.

Why develop a VST, Audio Unit, or AAX version at all? Although a great piece of software, the Full version of Kontakt (required to run 3rd party sample libraries) is expensive. Developing a VST, Audio Unit, or AAX version that anyone can use does not add significant time to the development of an Electric Bass library – most of the time is spent sampling and processing the samples – so it’s a real no-brainer.

Audio engineering is a large part of creating a VST, AAX, or Audio Unit plugin, but the sounds of this electric bass library have barely been processed. No eq tweaks were made, as the tone can be shaped dramatically by blending between pickups. Brightness can be dialed back with the “tone” knob, which is essentially a HPF.

Features of the Plugin Include:

Drive and Tone Knobs.
Individually sampled pickups.
Sampled slides.
4X Round-Robin and 10 Velocity layers.

CHANGELOG v1.3:

The plugin now includes a drive knob, which adds built-in distortion and gain.
The plugin has also been updated to be OS X Catalina compatible.

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