系统要求：PC/MAC
软件格式：KONTAKT
厂家：https://performancesamples.com/conmoto–cellos/
大小： 1.85 GB
时间：2019年4月8日
Con Moto Cellos is Performance Samples’ first release in their Con Moto Strings series for the full version of Kontakt; Violins, Violas and Basses are scheduled to follow in due course. As with their previous Caspian brass library, the samples are taken from actual performances, the idea being to give a sense of naturalistic movement with dynamic and tonal consistency to played phrases, as opposed to recording samples in isolation, outside of a musical context. The makers’ explanation of the process involved is somewhat enigmatic, nevertheless, the system is designed to enable the most commonly used phrasings to be played without the need for articulation keyswitches.
Performance Samples Con Moto Cellos
‘Con Moto’ means ‘with movement’, which Con Moto Cellos (CMT) achieves using what the makers call ‘Active-bow sustains’, bow-change legato and different attack and release segments that respond to your playing in a transparent way. The legato is particularly successful — very smooth with continually re-expressed vibrato that gently varies in intensity as you move the modwheel (or chosen controller) through the three mp > mf > ff dynamic layers.
The trademark minimalist GUI common to all Performance Samples (PS) instruments offers four microphone positions: Close First Chair, Close Section, Decca and Wide, each with the usual complement of Volume, Mute, Solo, Pan and Output routing. The only additional controls are a Legato on/off button, and fields to reassign the Legato on/off keyswitch number and the MIDI CC for controlling dynamics.
Key velocity controls two variations of note attack, soft and hard (0 – 39 for slow, 40 – 127 for hard). The hard attacks lack sufficient ‘oomph’ to deliver energetic staccato shorts or emphatic marcatos, although fast detaché runs and portatos do come across well. Rather strangely, there are instructions on the PS website describing the editing process for altering those velocity ranges; however they don’t seem relevant to the current version (5.8) of Kontakt. It’s frustrating that the velocity switch point is not adjustable from the GUI — this sort of DIY fix would be unsurprising on a free instrument, but not one at this price. Another issue is an artifact that’s evident on the Decca and Far mics — a ‘bump’ or ‘ghost’ note that preempts the main sound when playing hard-attack, non-legato notes. This appears to be due to the room’s ambience hanging over from the cellists’ previously played note, persisting when the samples were edited. If so, it’s an unfortunate side-effect that perhaps could have been dealt with. Similarly, PS’s disclosure of known CPU issues in Logic AU and Vienna Ensemble Pro AU will deter that sector of potential buyers. And then there’s the question of price, which does seem quite high for a single instrument of limited functionality.
Despite that, Con Moto Cellos has to be judged on how well it performs; it sits effortlessly in the context of an arrangement, blending well with other orchestral libraries. Melodies sound fluid, expressive and positive, and it handles that low I V X V I style of arpeggio without any stumbling or muddiness, which isn’t always the case with some libraries.
Con Moto Cellos 是性能样本在其 Con Moto 弦乐系列中的第一个版本, 用于完整版本的 Kontakt;小提琴、小提琴和低音将在适当的时候跟进。与他们以前的里海黄铜图书馆一样, 这些样本是从实际演出中提取出来的, 其想法是给演奏的短语一种动态和音调一致的自然主义运动感, 而不是孤立地记录样本, 而不是在音乐背景。制造商对所涉及的过程的解释有些神秘, 然而, 该系统的设计是为了使最常用的短语发挥, 而不需要发音的钥匙。
性能样本 Con Moto Cellos
“Con Moto” 的意思是 ‘ 与运动 ‘, Con Moto Cellos (CMT) 实现使用制造商所谓的 “活性弓维持”, 吹制长腿和不同的攻击和释放段, 以透明的方式响应您的发挥。莱加托特别成功–非常流畅, 当您通过三个 mp > mp > ff 动态层移动 modwheel (或所选控制器) 时, 颤音的强度会略有变化。
所有性能示例 (PS) 仪器共有的商标简约 GUI 提供了四个麦克风位置: 关闭第一主席、关闭部分、Decca 和宽, 每个位置都具有通常的音量、静音、独奏、平移和输出路由的补充。唯一的额外控件是一个乐高关闭按钮, 和字段重新分配乐高上关闭键开关号和 MIDI CC 用于控制动态。
关键速度控制音符攻击的两个变化, 软的和硬的 (0-39 为慢, 40-127 为硬)。硬攻击缺乏足够的 “效果” 来提供充满活力的断奏短裤或强调的马甲, 虽然快速的 detaché运行和 portatos 确实遇到了很好的。相当奇怪的是, PS 网站上有描述更改这些速度范围的编辑过程的说明;然而, 它们似乎与 kontakt 的当前版本 (5.8) 无关。令人沮丧的是, 速度开关点不能从 GUI 中调节-这种 DIY 修复在免费仪器上并不奇怪, 但在这个价格上不会有这样的修复。另一个问题是一个在德卡和远的麦克风上可见的文物–一个 “碰撞” 或 “鬼” 音符, 在播放硬攻击、非连形音符时, 会抢占主音。这似乎是由于房间的氛围挂在从大提琴之前播放的笔记, 坚持时, 样品被编辑。如果是这样, 这是一个不幸的副作用, 或许可以处理。同样, PS 披露已知的 CPU 问题在逻辑 AU 和维也纳合奏 Pro AU 将阻止该部门的潜在买家。还有一个价格问题, 对于一个功能有限的仪器来说, 价格似乎确实相当高。
尽管如此, 还是要根据它的表现来判断它的表现;它毫不费力地坐在一个安排的上下文中, 很好地与其他管弦乐库融合。旋律的声音流畅, 表现力和积极, 它处理低 i V X v i 风格的 arpeggio 没有任何绊脚石或泥泞, 这并不总是在一些图书馆的情况。
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