Adam Monroe Music Slap Bass V.1.1 KONTAKT VST AU
Adam Monroe's Slap Bass was sampled from a Fender Jazz electric bass guitar with Carvin J99 pickups and DR Hi-Beam bass strings directly into a Radial Pro48 DI Box. An extended range was obtained by tuning the E-string all the way down to a C. The low B (B0) of a standard 5-string bass was omitted do to "floppiness" from down-tuning.
"Slap" and "pop" articulations were carefully and meticulously recorded for each note, although in the extreme upper range of the bass, do to tension of the string, normal notes starts to become indistinguishable from a pop articulations. Regular notes were recorded with a guitar pick, in order to maintain a semi-percussive and metallic sound.
Regular pick notes were recorded in 5 note round-robin with 4 velocity layers. The velocity layers themselves don't have much of a dynamic range (between -7 -1 dB), as bass guitars are typically compressed signals that end up somewhat level in modern recordings. Slap articulations are 5 turn round-robin, but exist as one velocity layer. The decision was made to simply pick the best representations of a slap or pop sound, rather than mix in many different sounds, in order to achieve a "better" sounding vst instrument as opposed to a more "realistic" one.
Bass strings were periodically cleaned with denatured alcohol, as the metallic Hi-Beam sound tends to darken rather quickly. Pains were taken to ensure that the transition in tone between strings was minimized by selecting the best places to start sampling a new string. One octave of harmonics was achieved by selecting the best harmonic tones and tuning/detuning strings around these notes, thus it would be impossible to recreate these harmonics on a standard-tuned bass, but they do sound cool.
Slides were recorded for most strings, but were ommited for things like open strings, or when sliding down or up would overshoot standard tuning. Major Thirds and Perfect Fifths were chosen for the sake of usability. Slides were recorded at a tempo of 120 BPM.
The Kontakt version of Adam Monroe's Slap 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 and version is another beast entirely, and the programming falls entirely on AdamMonroeMusic. The goal in any sample library that is also a VSTi (virtual instrument) or Audio Unit, is to attempt to match the performance of the Kontakt Player. With this library, we feel like we have done just that.
The VST version includes 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. Because of the solid VST code base, you can feel confident that the VST version should work just as well as the Kontakt version.
Why develop a VST or Audio Unit 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 and Audio Unit version that anyone can use does not add significant time to the development of a Slap 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 or Audio Unit, but the sounds of this slap bass have barely been processed. Slight eq tweaks were done here and there, mostly so that the instrument would have a similar sonic footprint note-to-note. Some noise was removed to level out some of the "hotness" associated with bass guitar circuitry and pickups.
Chocolate Audio BBassV Electric Bass KONTAKT
The BBassV Blectric Bass comes after several years of R&D at our headquarters and we think it sets a new benchmark in terms of playbility and sound.
This virtual instrument is derived from a Yamaha BB415 5-string electric bass, one of the few "non-classics" instruments which we find has tons of character.
964 MB (lossless compressed) library size, 6517 samples
Samples are looped after roughly 6 seconds to save on RAM
4 sustaining dynamic layers, chromatically sampled
4 round robins for each note/dynamic
all 5 Strings sampled in their length
8 release trails layers for each note/string
Fingered, Fingered Mute and Harmonics main articulations
sampled with a Millennia DI preamps fed direct into Apogee converters
ease of use thanks to our custom advanced scripting
recorded at 24 bit / 96 KHz, released at 24 bit / 44.1 KHz
easy-to-use effects section for extreme sound-mangling
Kontakt engine features
custom User Interface
velocity curve management
intelligent auto-fretting algorithms developed in-house, emulate different bass players' way of playing
manual fretting for advanced users
advanced legato and slide-to technology allows for slides of any duration and interval, controllable with your playing
custom vibrato, modeled after real bassists' vibratos
effects section specially tuned for bass instruments
no need to learn tons fo key-switches thanks to well-tought-out user interface design choices
172 custom cabinet + mic combinations IRs for maximum tonal realism
26 factory presets
works as stand-alone, AAX, RTAS, AU and VST for Mac and PC
This is a selection of audio demos for the BBassV created by some of our testers and friends. For more info on the demos, please go to our Soundcloud page.
Ilya Efimov Fretless Bass KONTAKT-MAGNETRiXX
This library is a detailed emulation of a hi-end 5-string "studio custom” fretless bass from the famous Canadian company F-Bass. We recorded 12 dynamic layers for each fret of each string with different playing techniques and articulations.
The three right hand positions in one patch: normal, soft, jaco. Additional articulations - allow you to conveniently and quickly edit your midi notation or play in real-time. We have minimized the use keyswitches, making the instrument simple and intuitive to use. A sophisticated algorithm to select strings in real time, automatically selects the natural bass guitar left-hand position on the fretboard. Manual string and position selection are also available.
The library’s repetition keys make it easy to play realistic ostinato bass-lines. FX glissando will allow you to introduce new musical "colors” to your bass guitar parts. Multiple legato types are changed automatically, depending on the first note played.
Included, are several Legato modes, Open String mode, Chord Detection mode and X-note mode; for the convenience of composers and arrangers!
Fretless Bass features
2.37 GB ncw compression format.
4612 samples, 24-bit, 44.1 kHz.
Up to 12 velocity layers, 21 frets on each string with round-robin algorithm.
Three right hand positions in the single patch.
Auto and Manual String and Position Selection.
Slide-up, Flageolets, X-notes (two modes for x-note performance).
Repetition keys for X-notes and last articulations.
Realistic glissando note-to-note.
AMP cabinet and Bass tone effects.
Multiple FX and Noises (strokes, fret noises, releases)
Wavelore Pedal Steel Guitar 1.1 KONTAKT-FIST
The Wavelore Pedal Steel Guitar is the world's first pedal steel library to date that is fully playable in realtime. Instead of relying on pre-recorded licks and loops, the Wavelore Pedal Steel Guitar uses single-note samples with advanced KSP scripting to put all ten bendable strings of E9th tuning right under your fingers! Programmed with 8-way round-robin samples per note, this amazing instrument is rounded out with multiple amp simulations, full neck position control, two types of release samples, and a host of tweakable/assignable controls for complete flexibility.
Ten strings of E9th-tuned pedal steel guitar, totalling 1.9 Gigabytes of 24-bit samples for Native Instruments Kontakt 2 or above.
Allows independent pitch bending of all strings in nearly endless combinations, all on a single Kontakt MIDI channel.
8-Way Round-Robin sampling for natural sounding repetitions of notes and phrases.
Gives access to 24 neck positions via assignable MIDI CC#. New in Version 2.5: Position control via keyswitch or "Auto-Position Mode".
Seperately assignable controls for vibrato speed and depth.
Convolution Amp Modeling: 3 Amps with up to four reverb settings and multiple stereo/mono mic configurations.
Realtime release sample control (pick damping and palm damping).
MIDI Learn mode for all assignable controls and keyswitches.
A feature-rich, dynamic performance view with three pages of clearly organized and intuitive controls for tweaking the instrument to your taste and style.
Carefully chosen factory settings to allow unsurpassed out-of-the-box playability.
A Unique Bowed Glockenspiel Sample Library KONTAKT
The Rosinspiel is a glockenspiel that has been played with a bow instead of a mallet.
It has a very unique soft, glassy like sound and its an incredibly unusual sample library – perfect for orchestral and underscore music.
The Rosinspiel is glockenspiel played with a bow instead of being struck with a mallet. The result is an unusual, silky sounding instrument with an almost ethereal string like sound.
The staccato samples sound like a celeste with a softer attack, while the sustains sound like a glass armonica with slight bow noise. The samples are tuned to match OrchestralTools’ The Glock.
Recorded with a close mic in 24 bit Mono
The Rosinspiel was close mic’d and recorded in mono as 24bit WAVs. Each sampled sustain is held for 8 seconds or longer with three dynamics recorded for each sustain. Crossfading is controllable via the mod wheel. – The physical instrument’s range is from G3-C6. The virtual instrument’s range is C3-C6.
In total there are 99 sustain samples with 3 velocity layers and 1xRR and 155 staccato samples with 1 velocity layer and 5XRR. It comes with 3 patches – bowed sustain, bowed sustain loop (credit to Park Bench) and staccato.
Tonehammer Alien Drum Vol.1 KONTAKT DVDR-DYNAMiCS
The Alien Drum (aka Hang Drum – trademarked by Pan Art) is a unique tone based percussion instrument, which is almost impossible to come by, since there is only one maker in the world and less than 1000 drums in circulation. The instrument has a soft, sorrowful, melancholic tone to it and is a perfect companion for emotional or ambient type of scores. The Tonehammer Alien Drum is unique in the sense it was recorded at an average of 15 velocity layers and with 10 round-robin repetitions pr. layer/note, so you will never experience any repetition in the articulation.
We used custom microphone set-ups to capture the delicate resonance both inside and outside the drum, since the resonance defines the true sound of the drum. Additionally we sampled multiple playing techniques with fingers, palm, slaps, hand brushing and the back-side of the drum, which has the similar properties to the Udu. Multiple versions of all multis allow for a variety of ways to switch or fade between articulations while playing.
Tonehammer Alien Drum Facts:
Single finger tap on all 8 notes (including ding): 12 – 20 velocity layers, 10x round-robin
Single finger mute on all 8 notes (including ding): 12 – 20 velocity layers, 10x round-robin
Fingertip ping on all 8 notes (including ding): 12 – 20 velocity layers, 10x round-robin
Palm slap on all 8 notes (including ding): 12 – 20 velocity layers, 10x round-robin
Sound Hole thumps: 12 velocity layers each, 10x round-robin
Sound Hole edge pings: 8 velocity layers each, 10x round-robin
Hand Brushes included in finger tap patches: 3 styles, 5-9 velocity layers each, 10x round-robin
Articulation switching multis (sustain pedal, cc22, midi channel or modwheel fading/switching)
All multis in standard 8 note and full-range chromatic tuning versions
1/4 sized Low-Memory versions of all multis (slightly fewer velocity layers, 4x round-robin)
26 instrument patches, 4064 samples, 1.99 GB installed, 468 MB .rar download
Cinematique Instruments Hammered Dulcimer
The hammered dulcimer is a stringed instrument with 31 string pairs stretched over a trapezoidal shaped sound box. Usually, the hammered dulcimer is set on a stand in front of the musician, who holds small wooden mallet hammers to strike the strings.
The dulcimer has two bridges, a bass bridge near the right and a treble bridge on the left side. The bass bridge holds up bass strings, which are played to the left of the bridge. The treble strings can be played on either side of the treble bridge, playing them on the left side gives a note a fifth higher than playing them on the right of the bridge.
The strings of a hammered dulcimer are found in pairs, two strings for each note. Each set of strings is tuned in unison and is called a course. As with a piano, the purpose of using multiple strings per course is to make the instrument louder, although as the courses are rarely in perfect unison, a chorus effect usually results like a mandolin..
We recorded the hammered dulcimer in two microphone positions. At the top of the instrument we placed - in a ms stereo set-up - a pair of Neumann U87s and at the bottom we put a single condenser. These two positions are covering a wide range of sound and you are free to mix them at your own requirements. We played the hammered dulcimer in minor thirds and concentrated mainly on three different articulations. Firstly we recorded the „normal" notes which means that we hit the strings with the typical small wooden mallets, we called this articulation „Mallet". Furthermore we struck the strings with a drum stick which we called „Sticks" and finally we recorded an articulation where we struck the strings with a timpani mallet and damped the strings with the palm of the hand which we named „Muted". All these articulation were recorded in 4 round robin variation and up to 4 velocity layer.
Beside this we cared most about producing the typical hammered dulcimer tremolo. Thus we equipped the instrument with two different ways to produce this roll alike tremolo. The first option to generate the tremolo will be achieved by duplicating each already played note when releasing the key. This lets you exactly control the velocity and tempo of the tremolo. The other and more easy way to produce the tremolo uses the modwheel. By turning the wheel you control the tremolo tempo from slow to fast. In order to avoid sounding too artificially we included a random factor which automatically affects the tempo and the velocity which results a very organic tremolo which lets you easy switch between single notes and tremolo rolls. Furthermore we added several functions and effects such as the control of reverb, delay, decay, distortion or octave which expands the entire sound of the hammered dulcimer and gives you a lot of options.
All in all we came out with an instrument which enriches your music with a nice and organic feel whether you used it as a solo or just as a background instrument.
One complex patch including three articulations and advanced scripting. Approx. data 2.5 GB (1.4 GB compressed). For more details please read the . reference manual.
Kontakt 4 full version is required