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DECiBEL团队| 2021年1月20日| 1.56 GB
开箱即用地创建音乐旋律
歌词系列弦乐五重奏的主要重点是开箱即用地提供音乐旋律线。此外，我们的目标是尽可能缩短您的工作流程时间。它不是一个“做任何事”的库，但是我们认为对能够创建旋律线的关注使该产品成为非常有价值的资产。
尽管那里有很多听起来不错的独奏弦乐库，但我发现有趣的是，对我来说，一个专业的弦乐演奏者，需要花很多时间“摆弄”乐器才能获得真正的音乐短语和旋律。当然，很容易获得漂亮的“ pads”和“ fillers”，但我确实想要一条可信的单曲系列。在那里，甚至没有我的老图书馆，似乎也没有捕捉到您在听专业演奏者时听到的某些精髓，除非您花费大量时间来调整所从事的工作。和现场表演？绝不。反正不是“开箱即用”。
直观，面向字符串的LEGATO转换
Legato讨论-多年来，确实已经使用各种“ legato”和“ interval”技巧以及其他方法做出了英勇的努力。有些很好，但仍然不足。其他人的确捕捉到正确的“声音”，但是至少在我看来，最终的演奏总是听起来“笨拙”，“颠簸”，或者仅在以某些节奏演奏时才听起来不错。
因此，在分析字符串播放器的功能时，似乎有无数个变量在起作用……可以这么说。弯曲，打浆，颤音（数量，速度和渐入时间），弦乐穿越，左移等。这些变量太多了，很难识别出一种模式，以便在数字乐器中模仿它。实际上，在此时，这是不可能的。但是，某些情况经常发生，足以告诉听众：“是的，我听说这是一种专业的弦乐器演奏。”从本质上讲，人们可以专注于这些内容并明智地实施它们。就像添加了一些使现实主义化的“啊哈”功能一样。
那么到目前为止如何模拟呢？他们中最好的人竭尽全力使用“ legato”技术。太好了，除了字符串播放器，它从来都不一样。有时，弦乐交叉，有时是手移，有时是弓的改变。容易模仿的是“含糊的”或“指状的”过渡。这是因为播放器不会“弯曲”间隔，并且在较小的间隔内不会移动左手。因此，“连奏”过渡很容易捕获。故障发生在单独鞠躬或玩家左手移动时发生的许多过渡中。
虽然没有简单的方法可以捕获所有这些细节，但似乎似乎很明显的一件事是，当弦线演奏者在同一弦上演奏较大的音程时，会产生声音。（特别是大提琴）这并不是真正的滑音，并且并非总是如此。当玩家需要将左手从当前位置上移或下移以获得音符时，这种情况似乎最常见。我们已经计算出了在某些类型的演奏风格中发生这种情况的概率，并成功地将其实现到了抒情系列弦乐五重奏的乐器中。根据您的演奏方式，这都是非常动态的。
无与伦比的振动控制
然后是颤音的问题。我知道没有专业的弦乐演奏者会静态使用相同的颤音量，速度或渐入时间。在大多数情况下，尝试捕获颤音（如果要处理的话）是通过将颤音分配给控制器来实现的。通常，这只是颤音的数量而已。由于不得不前后移动控制器而不影响传入或传出的音符，这可能变得笨拙，这可能很难做到，而且很少会很自然地掉下来。处理此问题的另一种方法是用表演者自己的颤音“烘焙”样本。如果您碰巧喜欢那个表演者的风格，那么您就定了。如果没有，您将没有选择。有时，有些“没有颤音” 包含样本，您可以在它们之间来回过渡。但是大多数时候，人们可以听到交叉淡入淡出的声音，从而失去了“独奏”的所需声音。
抒情系列弦乐五重奏乐器（除浪漫主义Guarnerius小提琴外）均分析您的演奏风格，并相应地处理所有三个颤音参数（数量，速度和淡入），以便为您提供最接近真实弦乐演奏者风格的近似值。
现实弓的变化
然后是鞠躬。如前所述，那里有一些不错的“手指式”或“糊状”连奏疗法。但是，尝试分开打弓的人尤其会遭受小提琴的折磨。问题是那里的大多数耳朵都希望听到几乎没有分离或没有分离的平滑流体过渡。但是，请分开聆听真实的表演。它们通常不流畅，尤其是在速度较快时。似乎很少有图书馆以消极的批评来解决这个问题，尽管取得了一定程度的成功，甚至有些失败，但他们声称“遗产”过于突然或坎bump。抒情系列弦乐五重奏乐器为您提供逼真的琴弓变化。默认情况下，它们是明显分开和不同的。但是，如果您愿意，您当然可以“
我要特别感谢HR Strings对加利亚诺大提琴的贡献。
独特的主要功能：
无与伦比的颤音控制
直观的，面向字符串的Legato转换
RapidFire Spiccato，用于快速，激进的短语。
非常快速地加载
易于学习的界面，
适用于小型弦乐。工作
要求
Kontakt 5.7.1或更高版本-完整版（并非免费）播放器版本-因此，没有“添加库”功能）。
Mac OSX 10.9或更高版本，Intel Core 2 Duo，4 GB RAM，尽管建议使用6个或更多。
Windows 7或更高版本，Intel Core 2 Duo或AMD Athlon 64 X2、4 GB RAM，尽管建议使用6个或更多。
Team DECiBEL | 20 January 2021 | 1.56 GB
CREATE MUSICAL MELODIES OUT OF THE BOX
The main focus of the Lyric Series String Quintet is to provide musical, melody lines right out of the box. Further, it is our goal to shorten your workflow time as much as possible. It’s not a “do everything” library, but we feel that the attention to being able to create melodic lines makes this product a very valuable asset.
While there are plenty of good-sounding solo string libraries out there, I found it interesting that for me, a professional string player, it took a lot of “fiddling” with the instrument to get really musical phrases and melody lines. It was easy to get nice “pads” and “fillers” for sure, but I really wanted a believable single, melody line. Nothing out there, not even my older libraries, seemed to capture that certain essence you hear when listening to a professional player unless you took a lot of time to tweak whatever you were working on. And live-playing? No way. Not “out of the box” anyway.
INTUITIVE, STRING-ORIENTED LEGATO TRANSITIONS
Legato Discussion – Valiant efforts have indeed been made over the years using all kinds of “legato” and “interval” tricks and whatnot. Some are very nice, but still fall short. Others do capture the right “sound”, but the resulting performance always, at least to me, sounds “clunky”, “bumpy” or only sounds good when played at certain tempos.
So in analyzing what string players do, it seems that a myriad variables came to play…so to speak. Bowing, slurring, vibrato (amount, speed and fade-in time), string crossing, left-hand-shifting, and more. With so many of these variables, it is hard to recognize a pattern so as to emulate this in a digital instrument. In fact, at this point in time, it’s impossible. However, certain occurrences take place often enough to tell the listener, “yes, I hear this as a professional stringed instrument performance.”, that one could, in essence, focus on those, and implement them judiciously. It’s like putting in a few “aha” features that make for realism.
So how has this been emulated so far? The best of them go to great lengths in using “legato” technology. That’s great, except that with string players, it’s never the same. Sometimes, there’s a string crossing, sometimes a hand shift, sometimes a bow change.. and on and on. The easy ones to mimmic are the “slurred” or “fingered” transitions. That’s because the player does not “bow” the interval, and does not shift the left hand during small intervals. So the “legato” transition is easy to capture. The trouble begins during the many transitions that happen during separate bowing or when a player shifts the left hand.
While there is no easy way to capture all of these details, the one thing that seems to be loudly apparent is the sound that happens when string players play larger intervals on the same string. (Especially cellos) It’s not really a true portamento and does not always happen. It seems to occur most when the players need to move their left hand up or down from it’s current position to achieve the note. We have calculated certain probabilities of this happening during certain types of playing styles, and have successfully, to a point, implemented them into the instruments of the Lyric Series String Quintet. And it’s all very dynamic depending on the way you play.
UNRIVALED VIBRATO CONTROL
And then, there’s the issue of vibrato. I know of no professional string player who uses the same vibrato amount, speed or fade-in time statically. In trying to capture vibrato, most of the time, (if handled at all) it is by means of assigning vibrato to a controller. Usually, this is just the amount of vibrato and nothing else. That can become clunky due to having to ride the controller back and forth without affecting incoming or outgoing notes, which can be quite difficult to do, and rarely comes off as very natural. Another way of handling this issue has been to have the samples be “baked in” with the performer’s own vibrato. If you happen to love that particular performer’s style, then you’re set. If not, you have no options. Sometimes, some “no vibrato” samples are included whereby you can transition to and from them. But most of the time, one can hear the crossfades and thereby loses the “soloistic” desired sound.
The Lyric Series String Quintet instruments (except the Romantic Guarnerius Violin) all analyze your playing style and handle all three vibrato parameters (amount, speed and fade-in) accordingly so as to give you the closest approximation of a real string player’s style.
REALISTIC BOW CHANGES
Then there is the bowing. As stated before, there are some decent “fingered” or “slurred” legato treatments out there. However, the ones that attempt to handle separate bowing suffer more, especially violins. The problem is that most ears out there want to hear smooth fluid transitions with little or no separation. But go listen to real performances with separated bowing. They’re not usually fluid, especially at faster tempos. It seems that the few libraries out there which have tackled this problem with some, if little, degree of success have been met with negative critique, falling to claims that the “legato” is too abrupt or bumpy. The Lyric Series Strings Quintet instruments provide you with realistic bow changes. By default, they are markedly separate and distinct. But if you prefer, you can certainly “connect” the bowing for a more “fluid” phrase if you want. And of course, “slurred” or “fingered” legato is also available.
I want to send a special thanks to HR Strings for their contribution to the Gagliano Cello.
Unique Key Features:
Unrivaled Vibrato Control
Intuitive, String-Oriented Legato Transitions
RapidFire Spiccato for Fast, Aggressive Phrases
Extremely Quick to Load
Easy-to-Learn Interface
Multis for Small String Ensemble Work
Requirements
Kontakt 5.7.1 or newer – FULL VERSION (not free player version – therefore, there is no “Add Library” feature).
Mac OSX 10.9 or newer, Intel Core 2 Duo, 4 GB RAM, although 6 or more is recommended.
Windows 7 or newer, Intel Core 2 Duo or AMD Athlon 64 X2, 4 GB RAM, although 6 or more is recommended.
