[影视铜管音源]Cinesamples CineBrass Sonore [KONTAKT]（7.11Gb）

Sonore（adj。）：共鸣；音色丰富当您看到乐谱中写有“共鸣”时，作曲家只是要求音乐家以他们所能发挥的最大共鸣，身体和音调演奏。这是轻率和爆破的相反概念-“ sonore”是厚而温暖的声音。我们着手重新捕获喇叭和号角部分，在这些部分中，我们将音调和身体最大化，而不是仅仅专注于大声的动态。您会发现更宽广，更开放的声音以强力的力度在混音中占据更多空间。我们选择了专门创作旋律的发音。我们最大的影响力和灵感来自于伟大的管弦乐电影作曲家所采用的有机过程。这些合奏在洛杉矶索尼电影制片厂的米高梅计分舞台上录制，还带有大大改进的连奏。

电影黄铜家族电影黄铜Sonore是电影黄铜家族的另一个重要资源。
看看它如何适合…

混合器
与我们的所有CineSymphony系列产品一样，首页提供了我们的标准4种混合音色：完全，关闭，房间和环绕。完全混合是从MGM评分阶段开始使用Lexicon 480和Avalon 2055 EQ进行的桌面混合。 “关闭”，“房间”和“环绕”混音没有改变，并且直接从舞台上的麦克风中获得。左侧是标准的CineSymphony混音预设。小号补丁提供了原理小号（Tpt.1）和小号2、3和4的单独组合。

锐步
混合打开且REVERB返回打开时，每个混合都会发送到REVERB。下拉菜单中有一些混响预设。默认情况下是90年代Med Hall。

我们建议始终保持此状态并将其设置为默认值。为什么？因为我们在连音引擎中部分使用了此混响。如果您将此混响设置为OFF，则动感补偿推子（设置页面）将不起作用。如果您需要更多或不同种类的混响，请在DAW中使用send来使补丁具有光泽感。我们建议不要使用过密和过厚的混响-库似乎对光泽度高，清晰的混响具有最佳光泽。并且请记住，没有理由对在MGM得分阶段记录的产品进行卷积混响，因为该空间已经是最终游戏的声音，不需要进行改进或修改。在房间中添加房间并不总是听起来更好。

如果仅使用“关闭”，“房间”和/或“环绕”混音，建议您使用Tims Room C，因为它与这些混音的环境相匹配。也可以尝试使用Tims RoomR。由于小号坐在右侧，因此左侧将产生微妙的反射。

键盘
红色按键开关处于锁定状态，代表混音预设上方下拉菜单中的发音。绿色键开关处于非锁定状态，即使在连奏通道中，也可以控制每个音符开头的覆盖类型。数量由速度决定，音量可在“设置”页面（如下）中进行调整。依次是塞科（Secco），复钢琴（Forte-piano）和斯维尔（Swell）。

乐高速度
小号的内部连奏引擎自然响应您的演奏速度-像您一样加速和减速。 SPEED旋钮是全局设置。增加速度以播放较少的连奏过渡，并降低速度以包含更多的过渡。

动词补偿
动词补偿是在连奏演奏期间应用于传出音符尾巴的混响量。这增加了更逼真的性能。

腿音量
Leg Vol调整连奏过渡采样的总体积。

叠加音量
Overlay Vol（覆盖音量）调整由上面的绿色按键开关选择的覆盖关节的数量（也由力度决定）。

相对音量
这将调整音符尾巴的音量。

颤音
使用CC2控制小号1颤音。这将调整这些样品的总体积。

胶带
最后，还有一个可选的磁带饱和度（默认情况下为OFF）。

混合器
喇叭包括与小号相同的4种混音：完全，关闭，房间和环绕。

锐步
我们建议与上述小号相同。您也可以尝试使用Tims RoomL。由于喇叭位于左侧，它将在右侧产生微妙的反射。
键盘
红色按键开关处于锁定状态，代表混音预设上方下拉菜单中的发音。 GREEN按键开关为非锁定状态，即使在连奏通道中，也可以在每个音符的开头添加SFZ覆盖。数量由“设置”页面（如下）上的速度和音量确定。

*除颤音外，“喇叭设置”页面包含与小号相同的选项。

那种经典的声音随着时间的流逝，喇叭和号角的许多细微变化已经改变。这些变化的综合结果产生了更强大，更重且更具前瞻性的现代部分。仅在几十年前，声音总体上还不那么黄铜色，更流线型，可弹奏且更安静。人们倾向于使用不同的语言和混合语言。那时和现在，这些部分都具有很大的敏捷性或力量。他们听起来不同。

令人震惊的是，很久以前就考虑了1990年代。这个时期的游戏世界中的许多巨人已经退休了。随着他们被年轻的同事所取代，教学法和音乐性的某些原则也已被淘汰。

在控制室中，尽管许多中心思想都保持不变，但现代录音似乎已经发展为使用更清洁，带宽更大，色彩更少的齿轮。现在它的声音略有不同，有些偏爱，不屑一顾，最根本没有注意到。

去年，当记录无关的东西时，标有Jurassic Park会议召回记录的原始铅笔从档案柜中弹出，以便进行书呆子查询。在这张老化的纸上，是用来录制这些里程碑会议乐团的实际配方。我们的愿景很明确-复制此声音。我们竭尽全力做到这一点，同时始终参考召回单并使用实际存在的一些MGM Scoring评分员的记忆。

-在最初的会议上，我们租用了三把经过精确修改的Neumann M50麦克风用作Decca树。它们具有独特的高端脆性和透明度，可立即识别。自2000年代初以来，这些麦克风大部分已退役。我们匹配了召回单上的所有其他麦克风，并按照召回单上的指示进行设置。

-在控制室中，我们将精确的前置放大器设置打上了至今仍安装在控制室中的完全相同的前置放大器。现在，大多数此类设备已经淘汰，并由当时还没有创建的公司替换为更干净，颜色更少的信号路径。

-退出支持的最喜欢的Lexicon 480硬件混响单元，并拨出了准确的混响补丁。对于大多数这些录音来说，这都是90年代的“ THE”音色-它的音色非常经典，并且可以立即被识别。

-食谱中声音上最有趣的部分之一是Avalon 2055的使用-一种精致的A类分立立体声硬件EQ，以可想象到的最独特和高保真方式为高端着色。该盒也是宝石，它也因其他母带均衡器而退役。正确使用时，它会给出泛音上可想象到的最光泽的光泽，而错误使用时，则会给出最苛刻的粗糙感。

音乐家：

-小号数学：1 + 1 + 2 =4。在1990年代，当日的资深小号退伍军人用他们各自喜欢的号角演奏，而不是由图表或委托人指定的号角。 90年代初期的A级四号合奏通常由一个Eb号角（由校长演奏），一个C号角（由第二把椅子演奏）和两个Bb号角（由第三和第四把椅子演奏）组成。这些号角的大小不同，在房间中会投射出一系列不完美但又浓密的泛音-令人难以置信的tutti音色，例如小提琴部分的融合。将主体放在较小的号角上也为高八度增加了不懈而轻松的音质。较小的号角会减轻部分音符的重量，但这正是第三和第四把椅子为较大的Bb角所造成的。现代部分通常倾向于使用四个Bb或四个C小号。

-那个年龄段的主要球员，尤其是在黄铜区，是阿尔法。民主部分的想法是，每个演奏者贡献相等比例的声音，这还不是一个概念。对于小号尤其如此。校长在齐声中是最大的，校长在分体和弦中是最大的，校长发夹的声音更大，校长总是在最前面。其他参与者知道并尊重这一点，而是做出了一种充满支持特质的语气，以与校长融合。三个支撑小号和一个穿孔小号的组合是这个时代的支柱。从那以后很少有人听说过。对于该库，我们记录了这一比例的动态。

-小号颤音：演奏Tutti时，小号乐团不使用颤音。四个以不同速度振动的小号听起来更像是墨西哥流浪乐队，而不是古典小号。
10 CineBrass SONORE Horns Articulations.nki是主要的Horns补丁。 从混音预设上方的下拉菜单更改主要清晰度后，将从该音色中提取所有后续的Horns音色。
02 CineBrass SONORE小号连奏
03 CineBrass SONORE小号维持
04 CineBrass SONORE小号Secco
05 CineBrass SONORE小号复音钢琴
06 CineBrass SONORE小号Sforzando
07 CineBrass SONORE小号口音
08 CineBrass SONORE小号半音
09 CineBrass SONORE小号膨胀
10 CineBrass SONORE角音
11 CineBrass SONORE Horns Legato
12 CineBrass SONORE牛角支撑
13 CineBrass SONORE Horns Secco
14 CineBrass SONORE Horns Forte钢琴主动式CC表力度控制短发音时的力度，也控制连奏过渡和延音时的覆盖力度和力度。

CineBrass Sonore是为Native Instruments的Native Kontrol Standard（NKS）格式编写的脚本。

适用于Kontakt 5.7.2及更高版本的免费版本。

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.

THE CINEBRASS FAMILYCineBrass Sonore is another great resource in the CineBrass Family.
See how it fits in…

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).

MIXER
The Horns include the same 4 mixes created the same way as Trumpets: Full, Close, Room, and Surround.

REVERB
We suggest the same as the Trumpets above. You may also try using Tims Room L. Since the Horns sit toward the left it will give a subtle reflection on the right.

KEYBOARD
The RED keyswitches are latching and represent the articulations from the pull down menu above the mix presets. The GREEN keyswitch is NON-latching and adds a SFZ overlay at the beginning of each note, even within a legato passage. The amount is determined by velocity and a volume on the Settings Page (below).

* The Horns Settings Page includes the same options as the Trumpets with the exception of Vibrato.

THAT CLASSIC SOUNDOver time, many subtle things have changed for trumpets and horns. The combined result of these changes yielded more powerful, weightier, and forward-sounding modern sections. Only a few decades ago, the sound was less brassy, more streamlined, cantabile, and quieter in general. Different tonguing and blending philosophies were favored. The sections play with great agility or force, then and now. They just sound different.

It’s shocking that the 1990’s are now considered a long time ago. Many titans of the session playing world of this period have retired. As they are replaced by their younger colleagues, certain principles of pedagogy and musicality have been retired as well.

In the control room, while many of the central philosophies have remained the same, modern recording seems to have evolved to use cleaner, higher bandwidth and less colored gear. It’s now a slightly different sound, which some favor, some disdain, and most simply don’t notice.

Last year, while recording something unrelated, the original pencil marked Jurassic Park session recall sheets popped up out of the filing cabinet for some nerdy ogling. Right there on this aging paper was the actual recipe used to record the orchestra for these landmark sessions. Our vision was clear – replicate this sound. We went to great lengths to do this while always referencing the recall sheet and using the memories of some of the MGM Scoring crew who were actually there.

– We rented the three exact modified Neumann M50 microphones used as the Decca Tree on the original sessions. They feature a unique hi-end crispness and transparency that is instantly recognizable. These microphones have mostly been retired since the early 2000’s. We matched every other microphone on the recall sheet and set them up exactly as indicated on the recall sheet.

– In the control room we patched in the exact preamp settings on the exact same preamps that still are mounted in the control room to this day. Most of these are now retired and replaced by cleaner and less colored signal paths by companies that weren’t created yet at the time.

– The favored Lexicon 480 hardware reverb unit was taken out of retirement and the exact reverb patch was dialed up. This was “THE” patch of the 90’s for most of these recordings – it is so classic sounding and is also instantly recognizable.

– One of the sonically most interesting parts of the recipe is the use of the Avalon 2055 – a delicate Class A discrete Stereo Hardware EQ that colors the high end in the most unique and hi-fi way imaginable. Also retired in favor of other mastering EQs, this box is a gem. When used correctly, it gives the most glossy sheen imaginable on the overtones, and when used incorrectly gives the harshest of harshnesses.

The Musicians:

– Trumpet math: 1+1+2 = 4. In the 1990’s, the venerable trumpet veterans of the day played on horns they individually favored instead of a horn dictated by the chart or principal. An A-list 4-trumpet ensemble of the early 90’s was often made of one Eb Horn (played by the principal), one C horn (played by the second chair), and two Bb horns (played by third and fourth chairs). The differing sizes of these horns projects an imperfect yet thick series of overtones into the room – incredibly tutti sounding, like the blending of a violin section. Having the principal on a smaller horn also lends a tireless and effortless quality to the high octave. Some weight on the lower notes is lost on a smaller horn, but this is where the third and fourth chairs contribute on their larger Bb horns. Modern sections often tend to favor four Bb or four C trumpets.

– Principal players of the age, especially in the brass section, were the alphas. The idea of a democratic section where each player contributes an equal percentage of the sound wasn’t a concept yet. This was especially true for trumpets. The principal was the loudest on a unison, the principal was loudest on a divisi chord, the principal hair-pinned louder, the principal was atop always. The other players knew and respected this, and instead contributed a tone full of supporting qualities to blend with the principal. The combination of three supporting trumpets and one piercing trumpet is a mainstay of this era. It has rarely been heard since. For this library we recorded the dynamics with this ratio in mind.

– Trumpet Vibrato: When playing tutti, Trumpet Ensembles do not use vibrato. Four trumpets vibrating at different speeds tend to sound more like a mariachi band and less like a classical trumpet section. When vibrato is heard within a section it is the principal carefully using his/her judgment when to vibrate.This is often at the apex of a phrase, a particular important note, or toward the end of a long hold. During this time, trumpets 2-4º will not vibrate at all. The vibrato we captured in this library was the principal player vibrating at the highest dynamic layer only. Use it as described above for realistic playing. However, be sure to bypass (using the bypass vibrato performance switch) on quick crescendo rips, since that would not be a proper use of it.

– A quieter, nobler tone. The overall volume of the brass section in soundtrack recording has increased over the years. This is partly due to upgraded mouthpieces, instruments, pedagogy, and partly due to the presence of highly brassy composer mockups. Upon hearing these hyped mockups, session players have been forced to emulate this sound in an effort to satisfy the composers writing them. While sometimes appropriate, this style of playing is now found in soundtracks of all styles, including ones where it is less appropriate. In the 90’s, the median forte was a quieter and richer tone. Experiment with having the mod wheel about half way up, which would represent a “comfortable and sustainable” forte for session players. Ride the wheel into the higher zones to follow the phrase or for the most exiting moments only.
PATCH LIST01 CineBrass SONORE Trumpets Articulations.nki is the primary Trumpets patch. All subsequent Trumpets patches are drawn from this patch after changing the primary articulation from the pull down menu above the mix presets.

10 CineBrass SONORE Horns Articulations.nki is the primary Horns patch. All subsequent Horns patches are drawn from this patch after changing the primary articulation from the pull down menu above the mix presets.
02 CineBrass SONORE Trumpets Legato
03 CineBrass SONORE Trumpets Sustains
04 CineBrass SONORE Trumpets Secco
05 CineBrass SONORE Trumpets Forte Piano
06 CineBrass SONORE Trumpets Sforzando
07 CineBrass SONORE Trumpets Accent
08 CineBrass SONORE Trumpets Half Notes
09 CineBrass SONORE Trumpets Swells
10 CineBrass SONORE Horns Articulations
11 CineBrass SONORE Horns Legato
12 CineBrass SONORE Horns Sustains
13 CineBrass SONORE Horns Secco
14 CineBrass SONORE Horns Forte PianoACTIVE CC TABLEVelocity controls dynamics on short articulations also controls the overlay dynamic and amount on legato transitions and sustains.

CineBrass Sonore is scripted for Native Instruments’ Native Kontrol Standard (NKS) format.

Works with the FREE version of Kontakt 5.7.2 and above.

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