- 产品视频
电声倒影
围绕声音反射与折射的概念展开,MIRRORS 是模拟合成与原声管弦表演之间的和谐融合。这是与知名乐器开发者 SLATE + ASH 的一次合作项目,MIRRORS 将合成声音素材送入一面“听觉镜面”,通过管弦乐队的演绎揭示出电声表达的对称之美。
合成遇上管弦的宏伟气势
MIRRORS 同时探索实验性的模拟合成与传统的管弦采样。这套音色最初由我们位于布里斯托的合作伙伴提供合成源素材——包括故障质感、破碎振荡与高度处理的氛围声。随后我们将这些声音送入“管弦棱镜”中,经过精准编排的演奏,捕捉下它们如镜像般的再现,细节把控精致入微。
正如一个物体靠近镜子时,很难分辨哪里是本体,哪里是倒影,在 MIRRORS 中,合成音与管弦演奏之间也逐渐模糊界限,浑然一体。这是一组专为激发灵感、营造氛围与叙述场景而打造的声音工具。
为“再编排”而生的声音
SLATE + ASH 在创作 MIRRORS 的源声音时,秉持着“制造具有原声质感的声音”这一理念。他们用缠绕交错的连接线、模块设备和模拟合成器挖掘更有机的声音世界,雕琢出如呼吸般颤动的音色、微分音泛音与温暖、缓慢演变的音调。
随后由伦敦当代管弦乐团的 Hugh Brunt 进行再编排,打造可供现场演奏的乐谱,捕捉每一丝质感、渐强、颤动,甚至包括音高拉伸所带来的“合成化怪癖”。这不只是传统的弦乐、铜管与木管,还包括一些打破常规的乐器,如玻璃琴(verrophone)、擦奏钹片,甚至是塑料袋的沙沙声。在 Brunt 的指挥下,以及作曲人兼制作人 Yair Elazar Glotman 的美学指导下,我们在柏林著名的 Teldex 录音棚完成了这次高还原度的录音工作。
重要合作人
Hugh Brunt
Hugh Brunt 是伦敦当代管弦乐团的联合创始人,曾为 Radiohead、Beck、Imogen Heap 等知名音乐人编排。他作为指挥,参与了《大师》、《黑客帝国:复活》、《鲸》等多部电影的配乐录制。
Yair Elazar Glotman
Glotman 是一位常驻柏林的作曲家与音乐人,为电影《蛇影》(Reptile)创作并制作了原声音乐。他也为《小丑》、《西线无战事》、《曼蒂》等影片演奏低音提琴或提供额外配乐。在 MIRRORS 项目中,他担任制作人并指导录音流程。
录音于 Teldex
除了在柏林享誉盛名的 Teldex 录音棚 录制管弦乐部分,我们还在这个舞台上对源声音进行了实地放音并从相同的麦克风视角录制。这种方式不仅让 MIRRORS 中的“原像”与“倒影”极为统一,也让它与其他 Orchestral Tools 系列产品轻松融合。
亮点概览
- 45 对合成音与管弦倒影音色
- 定制音色引擎与界面
- 97 个音色设计预设,232 个 Kontakt 快照
- 演化型铺底、长音与质感音色
- 三组可混合麦克风位置,具备串音控制
- 源声音由 SLATE + ASH 制作
- 所有音色采样均录制于 Teldex
- 需要免费 NI Kontakt Player 或 NI Kontakt FULL v7.10.5 及以上版本!
Exploring the concept of sonic reflections and refractions, MIRRORS is the harmonious marriage of analog synthesis and acoustic orchestral performance. A collaboration with celebrated instrument creators SLATE + ASH, MIRRORS sends synthesized source material through an aural looking glass of orchestral ensembles, unearthing the symmetries of electroacoustic expression.
Synthesis meets orchestral grandeur
MIRRORS explores both experimental analog synthesis and traditional orchestral sampling. The collection originated from synthesized source material from our Bristol-based collaborators – glitched textures, fractured oscillations, and hyper-processed ambiances. Together, we then put these sounds through a prism of orchestral performance, recording their precisely orchestrated mirror images, all with unwavering attention to the minutest details.
As an object approaches a mirror, it becomes harder to tell where it ends and its reflection begins. Likewise in MIRRORS, synthesized sounds give way seamlessly to orchestral performances, resulting in a set of tools tailor-made for sparking your creativity, creating atmospheres, or setting scenes.
Sounds made to be reorchestrated
SLATE + ASH created the source material for MIRRORS under the guiding principle of making sounds that evoke a distinctly acoustic feel. With their labyrinth of patch cables, modular devices, and analog synths, they tapped into more organic soundworlds, sculpting breath-like fluttering, microtonal harmonics, and warm tones that evolve over time.
Hugh Brunt of the London Contemporary Orchestra then re-orchestrated these sounds for live performance, capturing all the minutae – every texture, swell, and flutter, and even the synthetic idiosyncracy of pitch stretching. This called for traditional strings, brass, and woodwinds, but also out-of-the-box instrumentation like verrophone, bowed crotales, or even rustling plastic bags. With Brunt conducting, and additional aesthetic guidance of composer-producer Yair Elazar Glotman, we recorded the orchestral ensembles at Teldex Studios in Berlin with our typical attention to detail and fidelity.
Notable collaborators
[spoiler]Hugh Brunt
Hugh Brunt, who re-orchestrated and conducted our recording session, is the co-founder of the London Contemporary Orchestra and has done arrangements for household names like Radiohead, Beck, and Imogen Heap. As a conductor, he’s worked on films such as The Master, The Matrix Resurrections, The Whale, and many more.
Yair Elazar Glotman
Yair Elazar Glotman is a Berlin-based composer and musician who wrote and produced the score for Reptile. In addition to his own music, he’s played contrabass or provided additional music for critically acclaimed films including Joker, All’s Quiet on the Western Front, and Mandy. For MIRRORS, he produced and guided the recording sessions.
Recorded at Teldex
In addition to recording the orchestral ensembles for MIRRORS at the storied Teldex Scoring Stage in Berlin, we amplified the source material on the scoring stage, recording it from the same microphone perspectives. This means, not only are the images and reflections in MIRRORS remarkably cohesive, they are also easy to blend with other Orchestral Tools collections.
Highlights– 45 pairs of synth and orchestral sounds
– Bespoke engine and interface
– 97 sound design presets, 232 Kontakt snapshots
– Evolving pads, long notes, and textures
– Three mixable mic positions with bleed control
– Source synth material made by SLATE + ASH
– Orchestral ensembles and synthesized source material sampled in Teldex
Requires free NI Kontakt Player or NI Kontakt FULL v7.10.5 and higher!