Cinesamples CineBrass Sonore [KONTAKT]

 

 

Sonore (adj.): resonant;
Sonore(形容词):共振;

with rich tone.
丰富的基调。

When you see “sonore” written in a musical score, the composer is simply asking the musicians to play with the maximum resonance, body and tone of which they are capable.
当你看到乐谱上写着“索诺尔”时，作曲家只是简单地要求音乐家以他们所能达到的最大共振、身体和音调演奏。

It is the opposite concept of brashness and blasting – “sonore” is a thick and warm sound.
这是与“莽撞”和爆破相反的概念——“索诺尔”是一种厚实而温暖的声音。

We set out to recapture trumpet and horn sections in which we maximized tone and body rather than concentrating solely on loud dynamics.
我们开始重新捕捉小号和喇叭部分，在其中我们最大限度地提高音调和身体，而不是仅仅集中在响亮的动态。

You’ll notice a wider, more open sound that takes up more room in the in the mix at a mezzo forte dynamic.
你会注意到一个更宽，更开放的声音，在中音强音混合中占据了更多的空间。

We selected articulations specifically for the creation of melodies.
我们专门为创造旋律而选择了表达方式。

Our greatest influence and inspiration was the organic processes employed by the great film composers of orchestral music.
我们最大的影响和灵感来自于伟大的电影管弦音乐作曲家所采用的有机过程。

Recorded at the MGM Scoring Stage at Sony Pictures Studios in Los Angeles, these ensembles also come with vastly improved legato.
在洛杉矶索尼电影制片厂的米高梅评分台录制的这些合奏也有很大的改进。

THE CINEBRASS FAMILYCineBrass Sonore is another great resource in the CineBrass Family.
CINEBRASS家族CINEBRASS Sonore是CINEBRASS家族的另一个重要资源。

See how it fits in…
看看它是否适合……

MIXER
混合机

As with all our CineSymphony Series products, the front page provides our standard 4 mixes: Full, Close, Room, and Surround.
与我们所有的CineSymphony系列产品一样，首页提供了我们的标准4种混合:完整、关闭、房间和环绕。

The Full mix is the desk mix right from the MGM Scoring Stage using the Lexicon 480 and the Avalon 2055 EQ. The Close, Room, and Surround mixes are untouched and directly from the microphones on the stage.
Full mix是使用Lexicon 480和Avalon 2055 EQ的米高梅评分台的桌面混合。Close, Room和Surround混合是不受影响的，直接来自舞台上的麦克风。

On the left are the standard CineSymphony mix presets.
左边是标准的CineSymphony混合预设。

The Trumpets patches offer separate mixes of the Principle Trumpet (Tpt. 1) and Trumpets 2, 3, and 4.
小号补丁提供独立的原则小号(Tpt. 1)和小号2,3，和4的混合。

REVERB
混响

Each mix sends to the REVERB when the mix is on and the REVERB return is on.
每个混音发送到混响时，混音是打开的，混响返回是打开的。

There are a few reverb presets in the pull down menu.
在下拉菜单中有一些混响预设。

By default, it’s 90s Med Hall.
默认是90年代的Med Hall。

We suggest always keeping this on and set to the default amount.
我们建议始终保持此值，并将其设置为默认值。

Why?
为什么?

Because we use this reverb partly in our legato engine.
因为我们在连奏引擎中使用了这种混响。

If you have this reverb set to OFF, the Verb Comp fader (Settings Page) will not work.
如果您将此混响设置为OFF，则Verb Comp音量调节器(设置页面)将无法工作。

If you need more, or a different kind of reverb, use a send in your DAW to give the patch some glossiness.
如果你需要更多，或不同类型的混响，使用发送在你的DAW补丁一些光泽度。

We suggest staying away from overly dense and thick reverbs – the library seems to respond best to glossy, clear reverbs with some nice sheen.
我们建议远离过密和厚实的混响-图书馆似乎对光滑，清晰的混响有一些不错的光泽反应最好。

And remember there is no reason to ever subject a product recorded at the MGM scoring stage to a convolution reverb, for this space is already an end game sound and it doesn’t need to be improved or modified.
并且记住，没有理由曾经在米高梅记分阶段录制的产品到一个卷积混响，因为这个空间已经是一个结束游戏的声音，它不需要改进或修改。

Adding a room to a room doesn’t always sound better.
在一个房间里增加一个房间并不总是听起来更好。

If you are ONLY using Close, Room, and/or Surround mixes, we suggest using Tims Room C because it matches the ambience of these mixes.
如果你只使用Close, Room和/或Surround混合，我们建议使用Tims Room C，因为它与这些混合的氛围相匹配。

Also try using Tims Room R. Since the Trumpets sit toward the right it will give a subtle reflection on the left.
也试着使用Tims Room R.，因为小号的位置在右边，所以在左边会有一个微妙的反射。

KEYBOARD
键盘

The RED keyswitches are latching and represent the articulations from the pull down menu above the mix presets.
RED键开关正在锁定，并代表组合预设上面的下拉菜单中的连接。

The GREEN keyswitches are NON-latching and control the type of overlay at the beginning of each note, even within a legato passage.
绿色键开关是非锁存和控制类型覆盖在每个音符的开始，甚至在连奏的段落。

The amount is determined by velocity and a volume adjust on the Settings Page (below).
数量由速度和设置页面(下面)上的音量调整决定。

In order they are Secco, Forte-piano, and Swell.
按顺序排列是塞科，Forte-piano和Swell。

LEGATO SPEED
连奏的速度

The Trumpets’ internal legato engine responds naturally to the speed of your playing – speeding up and slowing down as you do.
小号的内部连奏引擎自然地响应你的演奏速度-加速和减慢，因为你做。

The SPEED knob is a global setting.
SPEED旋钮是一个全局设置。

Increase the speed to play less of the legato transitions and decrease the speed to include more of the transitions.
提高速度以减少连奏过渡，降低速度以包括更多的过渡。

VERB COMP
动词比较

The Verb Comp is the amount of reverb applied to the tails of outgoing notes during a legato performance.
Verb Comp是指在连奏演奏中应用于传出音符尾部的混响量。

This adds to a more realistic performance.
这增加了更现实的性能。

LEG VOL
腿卷

Leg Vol adjusts the overall volume of legato transition samples.
腿Vol调整连奏过渡样本的整体体积。

OVERLAY VOL
覆盖卷

The Overlay Vol adjusts the amount of the overlay articulation selected by the GREEN keyswitches above (also determined by velocity).
覆盖卷调整由上面的绿色键开关选择的覆盖连接的数量(也由速度决定)。

REL VOL
REL卷

This adjusts the volume of the note tails.
这调整了笔记尾部的音量。

VIBRATO
颤音

Use CC2 to control Trumpet 1 vibrato.
使用CC2控制小号1颤音。

This adjusts the overall volume of those samples.
这调整了这些样本的总体容量。

TAPE
磁带

Finally there is an optional tape saturation (OFF by default).
最后还有一个可选的磁带饱和度(默认为OFF)。

MIXER
混合机

The Horns include the same 4 mixes created the same way as Trumpets: Full, Close, Room, and Surround.
号角包括相同的4种混音，以相同的方式创建小号:完全，关闭，房间，和环绕。

REVERB
混响

We suggest the same as the Trumpets above.
我们建议和上面的小号一样。

You may also try using Tims Room L. Since the Horns sit toward the left it will give a subtle reflection on the right.
你也可以尝试使用Tims Room L.，因为角的位置在左边，所以会在右边产生微妙的反射。

KEYBOARD
键盘

The RED keyswitches are latching and represent the articulations from the pull down menu above the mix presets.
RED键开关正在锁定，并代表组合预设上面的下拉菜单中的连接。

The GREEN keyswitch is NON-latching and adds a SFZ overlay at the beginning of each note, even within a legato passage.
绿色键开关是非锁存的，并在每个音符的开始添加SFZ覆盖，甚至在连奏的段落。

The amount is determined by velocity and a volume on the Settings Page (below).
数量由速度和设置页面(下面)上的体积决定。

* The Horns Settings Page includes the same options as the Trumpets with the exception of Vibrato.
*喇叭设置页面包括相同的选项，作为小号除了Vibrato。

THAT CLASSIC SOUNDOver time, many subtle things have changed for trumpets and horns.
随着时间的推移，小号和喇叭的许多微妙的事情都发生了变化。

The combined result of these changes yielded more powerful, weightier, and forward-sounding modern sections.
这些变化的综合结果产生了更强大、更有分量、更超前的现代剖面。

Only a few decades ago, the sound was less brassy, more streamlined, cantabile, and quieter in general.
就在几十年前，这种声音还不那么铜质，更流线型，更像唱着歌，总体上也更安静。

Different tonguing and blending philosophies were favored.
不同的语言和混合哲学受到青睐。

The sections play with great agility or force, then and now.
各个部分的发挥非常敏捷或有力，无论是过去还是现在。

They just sound different.
它们只是听起来不一样。

It’s shocking that the 1990’s are now considered a long time ago.
令人震惊的是，现在人们认为20世纪90年代已经很久了。

Many titans of the session playing world of this period have retired.
在这个时期的世界里，很多巨人已经退役了。

As they are replaced by their younger colleagues, certain principles of pedagogy and musicality have been retired as well.
随着他们被年轻的同事们所取代，一些教育学和音乐性的原则也被取消了。

In the control room, while many of the central philosophies have remained the same, modern recording seems to have evolved to use cleaner, higher bandwidth and less colored gear.
在控制室里，虽然许多核心理念保持不变，但现代录音似乎已经进化到使用更干净、更高带宽和更少颜色的设备。

It’s now a slightly different sound, which some favor, some disdain, and most simply don’t notice.
现在这是一种稍微不同的声音，有些人喜欢，有些人鄙视，大多数人根本就没注意到。

Last year, while recording something unrelated, the original pencil marked Jurassic Park session recall sheets popped up out of the filing cabinet for some nerdy ogling.
去年，在记录一些无关的事情时，用铅笔标记的《侏罗纪公园》召回单突然从文件柜里冒出来，引起了一些书呆子的眼色。

Right there on this aging paper was the actual recipe used to record the orchestra for these landmark sessions.
就在这张老化的纸上有实际的配方用来为这些里程碑式的会议记录管弦乐队。

Our vision was clear – replicate this sound.
我们的目标很明确——复制这种声音。

We went to great lengths to do this while always referencing the recall sheet and using the memories of some of the MGM Scoring crew who were actually there.
我们尽了很大的努力去做这件事，同时总是引用召回表，并使用一些MGM记分人员的记忆，他们实际上在那里。

– We rented the three exact modified Neumann M50 microphones used as the Decca Tree on the original sessions.
-我们租了三个精确的改良过的诺伊曼M50麦克风，在最初的会话中用作台卡树。

They feature a unique hi-end crispness and transparency that is instantly recognizable.
它们具有独特的高端脆度和透明性，可以立即识别。

These microphones have mostly been retired since the early 2000’s.
这些麦克风从2000年早期就已经退役了。

We matched every other microphone on the recall sheet and set them up exactly as indicated on the recall sheet.
我们匹配了召回单上的所有其他麦克风，并将它们完全按照召回单上的指示设置。

– In the control room we patched in the exact preamp settings on the exact same preamps that still are mounted in the control room to this day.
在控制室里，我们在控制室里安装的前置放大器上做了完全相同的前置放大器设置。

Most of these are now retired and replaced by cleaner and less colored signal paths by companies that weren’t created yet at the time.
这些信号现在大部分都已经退役了，取而代之的是那些当时还没有成立的公司更干净、颜色更少的信号路径。

– The favored Lexicon 480 hardware reverb unit was taken out of retirement and the exact reverb patch was dialed up.
最受欢迎的Lexicon 480硬件混响单元退出了退役，并拨出了准确的混响补丁。

This was “THE” patch of the 90’s for most of these recordings – it is so classic sounding and is also instantly recognizable.
这是90年代大多数唱片的“THE”补丁——这是如此经典的声音，也立即被识别。

– One of the sonically most interesting parts of the recipe is the use of the Avalon 2055 – a delicate Class A discrete Stereo Hardware EQ that colors the high end in the most unique and hi-fi way imaginable.
-音质上最有趣的部分之一是阿瓦隆2055的使用，这是一款精致的a级离散立体声硬件EQ，以最独特和高保真的方式为高端设备着色。

Also retired in favor of other mastering EQs, this box is a gem.
也退休了，有利于其他精通eq，这个盒子是一个宝石。

When used correctly, it gives the most glossy sheen imaginable on the overtones, and when used incorrectly gives the harshest of harshnesses.
当正确使用时，它会在泛音上产生你所能想象到的最光滑的光泽，而当使用不当时，会产生最粗糙的粗糙感。

The Musicians:
音乐家:

– Trumpet math: 1+1+2 = 4.
-小号数学:1+1+2 = 4。

In the 1990’s, the venerable trumpet veterans of the day played on horns they individually favored instead of a horn dictated by the chart or principal.
在20世纪90年代，当时受人尊敬的小号老兵用他们个人喜欢的号角演奏，而不是用图表或主旋律所指示的号角。

An A-list 4-trumpet ensemble of the early 90’s was often made of one Eb Horn (played by the principal), one C horn (played by the second chair), and two Bb horns (played by third and fourth chairs).
90年代早期的一个一流的4号合奏通常由一个Eb号(由校长演奏)，一个C号(由第二张椅子演奏)和两个Bb号(由第三和第四张椅子演奏)组成。

The differing sizes of these horns projects an imperfect yet thick series of overtones into the room – incredibly tutti sounding, like the blending of a violin section.
这些喇叭大小不一，投射出一系列虽不完美却很厚实的弦外之音——令人难以置信的tutti声音，就像小提琴部分的混合。

Having the principal on a smaller horn also lends a tireless and effortless quality to the high octave.
把主喇叭放在一个小喇叭上也会给高八度带来不知疲倦和毫不费力的音质。

Some weight on the lower notes is lost on a smaller horn, but this is where the third and fourth chairs contribute on their larger Bb horns.
在较低的音符上的一些重量在较小的喇叭上丢失了，但这是第三和第四把椅子贡献于他们的较大的Bb喇叭。

Modern sections often tend to favor four Bb or four C trumpets.
现代部分通常倾向于四个Bb号或四个C号。

– Principal players of the age, especially in the brass section, were the alphas.
-那个时代的主要演奏者，尤其是铜管乐部的主要演奏者都是阿尔法。

The idea of a democratic section where each player contributes an equal percentage of the sound wasn’t a concept yet.
每个玩家贡献相同比例声音的民主部分还不是一个概念。

This was especially true for trumpets.
对于小号来说尤其如此。

The principal was the loudest on a unison, the principal was loudest on a divisi chord, the principal hair-pinned louder, the principal was atop always.
校长在齐声合唱中声音最大，在除音和弦中声音最大，头发别着的校长声音更大，校长总是高高在上。

The other players knew and respected this, and instead contributed a tone full of supporting qualities to blend with the principal.
其他的球员知道这一点，也尊重这一点，他们反而用一种充满支持特质的语气来配合校长。

The combination of three supporting trumpets and one piercing trumpet is a mainstay of this era.
三个支撑号和一个穿孔号的组合是这个时代的主旋律。

It has rarely been heard since.
从那以后就很少听到这种声音了。

For this library we recorded the dynamics with this ratio in mind.
对于这个库，我们记录了这个比率的动态。

– Trumpet Vibrato: When playing tutti, Trumpet Ensembles do not use vibrato.
-小号颤音:在演奏tutti时，小号合奏不使用颤音。

Four trumpets vibrating at different speeds tend to sound more like a mariachi band and less like a classical trumpet section.
四个喇叭以不同的速度振动，听起来更像墨西哥流浪乐队，而不像古典的小号部分。

When vibrato is heard within a section it is the principal carefully using his/her judgment when to vibrate.
当在一个小节内听到颤音时，是校长仔细地使用他/她的判断来振动。

This is often at the apex of a phrase, a particular important note, or toward the end of a long hold.
这通常是在一个乐句的顶端，一个特别重要的音符，或在一个长握音的末尾。

During this time, trumpets 2-4º will not vibrate at all.
在此期间，喇叭2-4º根本不会震动。

The vibrato we captured in this library was the principal player vibrating at the highest dynamic layer only.
我们在这个库中捕捉到的颤音只是在最高动态层中振动的主要玩家。

Use it as described above for realistic playing.
使用它如上所述的现实游戏。

However, be sure to bypass (using the bypass vibrato performance switch) on quick crescendo rips, since that would not be a proper use of it.
然而，一定要绕过(使用旁路振动性能开关)在快速渐强音撕裂，因为这将不是一个正确的使用它。

– A quieter, nobler tone.
-更安静，更高贵的语调。

The overall volume of the brass section in soundtrack recording has increased over the years.
在配乐录音中，铜管部分的整体音量近年来有所增加。

This is partly due to upgraded mouthpieces, instruments, pedagogy, and partly due to the presence of highly brassy composer mockups.
这部分是由于升级的吹口、乐器、教学方法，部分是由于高度铜管作曲家模型的存在。

Upon hearing these hyped mockups, session players have been forced to emulate this sound in an effort to satisfy the composers writing them.
在听到这些夸张的模型后，玩家不得不模仿这种声音，以满足编写它们的作曲家。

While sometimes appropriate, this style of playing is now found in soundtracks of all styles, including ones where it is less appropriate.
虽然有时是合适的，但这种风格现在可以在所有风格的音轨中找到，包括不太合适的音轨。

In the 90’s, the median forte was a quieter and richer tone.
在90年代，中位强音是一种更安静、更丰富的音调。

Experiment with having the mod wheel about half way up, which would represent a “comfortable and sustainable” forte for session players.
尝试将mod轮盘放置到半空中，这将为玩家带来“舒适和持久”的优势。

Ride the wheel into the higher zones to follow the phrase or for the most exiting moments only.
乘坐车轮进入更高的区域跟随短语或为最激动人心的时刻。

PATCH LIST01 CineBrass SONORE Trumpets Articulations.
PATCH LIST01 CineBrass SONORE小号Articulations。

nki is the primary Trumpets patch.
nki是主要的小号补丁。

All subsequent Trumpets patches are drawn from this patch after changing the primary articulation from the pull down menu above the mix presets.
所有小号的后续补丁都是从这个补丁中提取的，在改变了主要的连接后，从下拉菜单上面的混合预设。

10 CineBrass SONORE Horns Articulations.
10 cininebrass SONORE Horns articals。

nki is the primary Horns patch.
nki是主要的角补丁。

All subsequent Horns patches are drawn from this patch after changing the primary articulation from the pull down menu above the mix presets.
所有随后的角补丁都是从这个补丁中绘制的，在改变了主要的连接后，从下拉菜单上方的混合预设。

02 CineBrass SONORE Trumpets Legato
02 CineBrass SONORE小号连奏

03 CineBrass SONORE Trumpets Sustains
03 CineBrass SONORE小号维持

04 CineBrass SONORE Trumpets Secco
04 CineBrass SONORE小号赛科

05 CineBrass SONORE Trumpets Forte Piano
05电影铜管奏鸣曲小号强音钢琴

06 CineBrass SONORE Trumpets Sforzando
06 CineBrass SONORE小号Sforzando

07 CineBrass SONORE Trumpets Accent
07 CineBrass SONORE小号重音

08 CineBrass SONORE Trumpets Half Notes
08 CineBrass SONORE小号半音符

09 CineBrass SONORE Trumpets Swells
09 CineBrass SONORE小号膨胀

10 CineBrass SONORE Horns Articulations
10 cininebrass SONORE Horns articals

11 CineBrass SONORE Horns Legato
11 cininebrass SONORE Horns连奏

12 CineBrass SONORE Horns Sustains
12 CineBrass SONORE喇叭支撑

13 CineBrass SONORE Horns Secco
13 CineBrass SONORE Horns赛科

14 CineBrass SONORE Horns Forte PianoACTIVE CC TABLEVelocity controls dynamics on short articulations also controls the overlay dynamic and amount on legato transitions and sustains.
14 CineBrass SONORE Horns Forte PianoACTIVE CC TABLEVelocity控制动力学上的短关节，也控制叠加动态和数量上的连奏过渡和持续。

CineBrass Sonore is scripted for Native Instruments’ Native Kontrol Standard (NKS) format.
CineBrass Sonore是根据Native Instruments的Native control Standard (NKS)格式编写的。

Works with the FREE version of Kontakt 5.7.2 and above.
工作与免费版本的Kontakt 5.7.2和以上。