New Musical Sampling Soaring Strings Kontakt 5.5.1 Sound Library (Download/Activation Card)
• Violins (10), Violas (6), Cellos (5), Basses (4)
• Legato and Sustains patches
• Full and Soft versions for Sustain patches
• All Strings ensemble patches (Full & Soft)
• Companion library to Adventure Strings
• Recorded on a scoring stage for mixing flexibility
• Sections recorded separately in traditional seating format
• Molto expressive vibrato across the upper dynamic range
• Four dynamics of legato (p
• Five dynamics of sustains (pp
• True bow-change repetition sampling
• Sustain-sync to align starting sustains with legato transitions
• To Silence feature for ‘niente’ dynamic capabilities
• Requires full retail version of Kontakt 5.5.1 or higher
• Free Kontakt Player NOT supported
• Recorded in 48khz / 24bit
• 4 GB compressed NCW format
• Receive watermarked product by Continuata Connect downloader
25 All Strings
WITH SO MANY GREAT LEGATO STRING LIBRARIES OUT THERE, WHY ANOTHER ONE?
We wanted performances that catered to… (yes, I have to say it) soaring string lines and dramatic passages by having the players really dig in with the vibrato and giving us all they had with the triple forte dynamic. This also meant approaching the sessions in a unique, musical way to capture the kind of singular legato we were looking for.
Another focus was to dial things back with what we felt was necessary to produce credible string arrangements in a shorter amount of time. This involved creating a single, natural mix and omitting seldom-used legato articulations. We also developed a “Sustain Sync” feature that synchronizes the starting sustain with the following intervals/repetitions, which saves you from having to make adjustments to start-notes to closely match the intervals timing upon quantization. Lastly, we included a “To Silence” button that can enable the modwheel to completely diminish the softest dynamic to silence. This not only provides unique possibilities with expression, but also saves the need to use another controller to simulate a decrescendo to ‘niente’.
We also agreed that recording medium-sized ensembles in their traditional seating arrangement would not only provide enough “solo-istic” detail in the recordings, but would have a more natural transparency when writing harmonies.