PulseSetter Sounds Cello Ibrida KONTAKT

PulseSetter Sounds Cello Ibrida KONTAKT 是一款极具创意和现代感的弦乐样本库，旨在为作曲家和声音设计师提供一个独特的音色工具。这款样本库结合了传统的古典大提琴演奏与先进的声音设计技术，利用Chroma Console录制的多种大提琴片段，并通过Moog Sub37、Arturia Matrixbrute等合成器进行了深度处理，从而创造出混合型的声音素材。它包含了大约260种不同的声音源，涵盖了从原始的大提琴音色到经过电子合成处理的现代音色，提供了多达500多个可自定义的“快照”，为作曲家提供了广阔的创作空间。

功能强大的矩阵引擎是这款工具的核心，通过两层系统，每一层都有独立的效果链、LFO、序列器和门控功能，允许用户在实时表演中通过MIDI控制多个音效和参数。它的设计特别适合于现代影视、视频游戏和电影配乐作曲，能够帮助作曲家在保持传统音色的基础上，加入现代电子元素来增强作品的情感表达。此外，特别的运动捕捉控制器支持MIDI cc，可以通过手势直接操控声音的变化，这为创作过程带来了更多互动和表现的可能性。

PulseSetter Sounds Cello Ibrida KONTAKT

KONTAKT – 4,21 GB

Cello Ibrida contains different types of sampling and sound design techniques inside one advanced GUI. The concept relies on not focusing on a single traditional library concept but several that when combined will bring out modern sounds that retain an organic sound. A cello section was recorded to do “texture” articulations and multisample. From there we edited and processed a variety of sound design style patches to create low pulses, hybrid plucks, pads and sfx.

Our matrix GUI contains a two layer system each with its own effects chain, LFOs, Sequencer and gate. But the magic happens in the performance matrix page where two macros, two envelope sequencers and velocity source modulators can be individually assigned to different master effects, chord maker and a detuner. This enables even the simplest of sounds to be continuously modulated and ever changing. Additionally, we added CC assignable inputs for crossfade, macro1/2 and LFO rate/amount to let composers modulate all these parameters in real time and thus, creating a great performance sound design instrument.

We love sound design and recording a cello section to later use it as a sound playground was just the start. There was also a cheap blue cello involved that barley survived the mangling when recording it. There is also Gabriel Di Marco’s (Bear McCreary Cellist) amazing Cello sound and we also sampled a Moog sub37, the Arturia Matrixbrute and finally we also ran the Cello multi samples through Euroracks and Cassette decks . We call these patches “soundsources” and there are about 260 of them. From there we made more than 500 snapshots and we still didnt get to use all of them! You can mix and match and create your own.

We decided to start of with recording a cello section doing orchestral evolving textures as a basis of our sound design process. The idea was to expand from there and create pads but we kept going and going. We also recorded some basic multi samples and process each individual note so it sounded crushed, overdistorted or just ran it through granular processors to create short and long notes. Since everything was made with round robin and multi sampled (pitched), this is a time consuming process but also rewarding. With individual notes, textures and pads, the next step was to create bass loops.

Most of the library is based on the bass and lower mids where the Cello gets its most signature sound. The raw sound of the Cello lower strings provide a very visceral feel thats great for cinematic sound design. We also recorded a student real size Cello which was not only ugly but sounded very aggressive. Not a tone deem for orchestral passages but great for horror sounds. Scrapes with hemp, sticks, loose tuning and loose screws provide a very familiar sound reminiscent of many horror scores. These were also further processed and made into loops that work great for rhythmic beds.

Once we were done, one thing was noticeable, it needed a different more present tone to take it into a more modern sound so we sampled a Moog sub37, Arturia Matrixbrute and VirusTI. This enhances the sound when used in the dual layer GUI by letting composers choose any of the 260 patches of either real cello, hybrid cello, sfx cello and synth as a soundsource to create their own unique snapshots. We made 500+ snapshots but we highly recommend making your own.

Another neat feature of our advance matrix engine is the ability of add midi cc to either the macro1, crossfade and LFOs. Paired with the motion leap controller, Cello Ibrida will be hours of fun “performing” the sounds just by moving your hand through the air. The motion leap can also be used with any sample library or synth that has MIDI cc capability beyond cc1 and cc11.

We at PulseSetter-Sounds want to create an alternative orchestral sample library for composers who work on video games, modern tv and film scores so recording real orchestral instruments and using unique sound design techniques is not only fun to do but feel this is something that will be immensely useful for inspiration, as filler, or just to add a touch modern sound design under your “real” orchestral score without bringing unwanted attention to it. We hope you enjoy this product and we welcome feedback as we prepare to sample a live orchestra. And yes… just for the sound design, because we know you already have 34 string sample libraries… but none as unique and different as Cello Ibrida.

Main page contains a two layer engine to load any of the 260 sounds. A crossfader with an LFO enables both rhythmic combinations or use a simple mix of or another soundsource. A big macro knob that’s assignable. Two independent sequencers and two LFOs. Macro1, LFO and Xfade have CC MIDI controls that can be user assignable. This feature lets composers modulated several parameters via their existing MIDI controllers.

The effects page contain the effects of each layer. Filter, Lofi and Distortion have fx step sequencer for more sound design posibilities. Amp modeler also has distorion for additional firepower. These effects are independent from the Performance Matrix page and Main page.

The performance matrix page is a complex system based on matrix synths from the past. Two Macro controls, two envelope squencer and note velocity are used as sources to send the master signal to several master effects, a chord maker and detuner. Each macro has its own MIDI cc input which enables composers to use each for a different purpose. For example, one macro to filter out the signal when scoring a suspense scene but use the other macro to destroy the sound when the killer attacks! Or any combination desired. All while the envelopes progress through octave mode or minor 9th or fx convolution sounds.