Sonokinetic Orchestral Strings [KONTAKT]

 

 
The Strings that work for you
为你工作的弦

We are very proud to present our take on Orchestral Strings to you.
我们非常自豪地向您展示我们对管弦乐的看法。

This product is the culmination of all of our efforts to this point.
这款产品是我们所有努力的结晶。

It melds together our experience in orchestral phrases with what we’ve learned about multisampling over the years, and it furthers our quest for complete phrase flexibility.
它融合了我们在管弦乐短语中的经验和我们多年来对多重采样的了解，它进一步推动了我们对完整短语灵活性的追求。

At its core, Orchestral Strings is a hugely capable full-divisi full-size Strings Section, recorded with the fantastic Capellen Orchestra in Zlin, Czech Republic, and edited with the utmost care to preserve all the details of the performances.
在其核心，管弦乐是一个巨大的能力，全分区全尺寸的弦乐部分，记录与奇妙的Capellen管弦乐团在捷克共和国Zlin，并编辑与最小心地保存所有的表演细节。

We covered all the most-used articulations in up to four velocities, and we devised a ‘shared tail’ system for the shorts that provides you with more round robins without increasing the memory load by too much.
我们以四种速度覆盖了所有最常用的关节，我们为短裤设计了一个“共享尾巴”系统，在不增加太多记忆负荷的情况下，为你提供了更圆的知更鸟。

There is Poly-Legato and Auto Divisi to ensure the most realistic sound imaginable.
有Poly-Legato和Auto division，以确保最现实的声音可以想象。

No corners were cut in making this product, and it will evolve for many years to come – we still have some surprises up our sleeves that will enhance your user experience and provide you with tools that are useful and fun in equal measures.
在制作这个产品的过程中没有偷工减料，而且它将在未来的许多年里不断发展——我们仍然有一些意想不到的东西，它们将增强您的用户体验，并为您提供既有用又有趣的工具。

Included in the instrument are some powerful midi engines, with midi import, real-time midi manipulation, a piano roll editor, and midi export.
包括在仪器是一些强大的midi引擎，与midi导入，实时midi操作，钢琴卷编辑器，和midi出口。

The possibilities are near endless, yet very easily accessible if you just want to scratch the surface.
这种可能性几乎是无限的，但如果你只是想触及表面，也很容易获得。

The Runs engine allows you to play chords and trigger runs that adhere to these chords just by playing a start and an end key.
运行引擎允许你播放和弦和触发运行，坚持这些和弦，只是通过播放开始和结束键。

Sonokinetic’s Orchestral Strings is as playable as it is high quality.
Sonokinetic的管弦乐是可玩的，因为它是高质量。

If you know the work of Dutch sample library developers Sonokinetic already it might be through their many phrase‑based products.
如果你已经了解了荷兰样本库开发者Sonokinetic的工作，那可能是通过他们的许多基于阶段的产品。

They produce conventional multi‑sampled libraries too, though, and it’s into this category that Orchestral Strings, their latest release, falls.
不过，他们也生产传统的多采样库，而他们最新发布的Orchestral Strings就属于这一类。

As orchestral libraries go Orchestral Strings is on the serious and sophisticated side, in that there are no patches for an entire string ensemble but only individual instrument sections: literally, separate Kontakt patches for first and second violins, viola, cello and bass.
正如管弦乐图书馆所做的那样，管弦乐是严肃而复杂的，因为它没有整支弦乐合奏的补丁，只有个别的乐器部分:字面上说，分开的Kontakt补丁，第一和第二小提琴，中提琴，大提琴和低音。

To get a whole‑section sound you’ll need multiple instances and MIDI tracks, and this is precisely what will appeal to composers and orchestrators looking for the ultimate in expressive potential, allowing for entirely separate articulations and expressive shaping in each line.
为了获得完整的部分声音，你需要多个实例和MIDI音轨，这正是作曲家和管弦乐师寻求表达潜力的原因，允许在每一行中完全独立的发音和表达形式。

Going hand in hand with this approach are lots of possibilities for legato behaviour and sound, enhanced by the fact that Orchestral Strings is a ‘divisi’ library: a subtle thing, but subtly powerful in terms of sound and realism.
与这种方法相结合的是许多连奏行为和声音的可能性，因为Orchestral Strings是一个“分裂”库:一个微妙的东西，但在声音和现实主义方面巧妙地强大。

Each instrument group was sampled in two parts called A and B. The number of players vary, but for first violins it’s a 9+7 player split of the whole 16‑part section, and for violas and cellos 6+4.
每个乐器组被分为A和b两部分。演奏者的数量各不相同，但第一小提琴组是9+7人，而中提琴和大提琴组是6+4人。

In normal single‑line playing you’ll hear both divisi parts together by default.
在正常的单线比赛中，你会在默认情况下听到两个分区都在一起。

Switch to a two‑part polyphonic texture though, or two‑note chords, and the playback engine will allocate A players to one line and B to the other.
切换到两部分复音织体，或者两个音符的和弦，回放引擎会将a演奏者分配到一行，将B演奏者分配到另一行。

This avoids the situation where the section seems to keep doubling in size for every additional sounding note.
这避免了每一个额外的发声音符的小节似乎都要加倍大小的情况。

But there’s another advantage, in that either the A or B players can be used by themselves, giving quick access to three different size string orchestras overall, or a mix and match on a per‑instrument basis.
但还有另一个优势，即A或B演奏者都可以单独使用，从而让玩家能够快速接触到三个不同规模的弦乐乐团，或者基于每种乐器进行混合和匹配。

It was the Capellen Orchestra in Zlin, Czech Republic, which was sampled, by the way.
是捷克Zlin的Capellen管弦乐团，顺便说一下，他们被取样了。

Extending the feature set is an on‑board mixer and macro‑driven EQ, for blending four different mic captures;
扩展该功能集的是车载混合器和宏驱动EQ，用于混合四个不同的麦克风捕捉;

memory‑saving single‑mixed patches are also provided.
还提供了节省内存的单一混合补丁。

And as we’ll discover in a minute there are additional dedicated modes for generating runs and even handling pattern‑based material.
我们很快就会发现，还有其他专门的模式可以生成运行，甚至处理基于模式的材料。

You need at least 97GB of disk space for Orchestral Strings, and it runs in Native Instruments Kontakt 6.6.1 and upwards: either a full version or the free Kontakt Player.
你至少需要97GB的磁盘空间来运行Orchestral Strings，它可以运行在Native Instruments Kontakt 6.6.1及以上版本:完整版本或免费的Kontakt播放器。

With typical deployment of the library requiring multiple instances of Kontakt, and arrangements likely triggering hundreds of voices at a time, you’ll get the smoothest performance using a fast, fairly recent Mac or Windows computer with a solid‑state drive.
典型的库部署需要多个Kontakt实例，安排可能一次触发数百个声音，使用一台速度快、使用时间较短、带有固态硬盘的Mac或Windows电脑，你将获得最流畅的性能。

Having said that, after several weeks of testing I was struck by how efficiently the library runs: almost certainly because it doesn’t utilise lots of embedded effects processing.
话虽如此，经过几周的测试后，我对库的高效运行感到震惊:几乎肯定是因为它没有使用大量的嵌入式效果处理。

Play Away
玩了

Compared to the distinctly quirky, almost cryptic graphic interfaces employed in other Sonokinetic products, Orchestral Strings is almost disappointingly easy to use (I jest, of course).
与其他Sonokinetic产品中使用的独特的、几乎神秘的图形界面相比，Orchestral Strings的易用性几乎令人失望(当然，这是我的玩笑)。

In fact, the main Play mode is borderline self‑explanatory.
事实上，主要的游戏模式是不言而喻的。

All available articulations and dynamic shaping options are shown in six boxes.
所有可用的关节和动态塑造选项显示在六个框中。

You can mouse‑click to select things within, but MIDI keyswitches are more fluid and work in a two‑stage manner: notes C0‑A0 to choose the box, and C#0‑A#0 black keys to select one of the items within.
你可以用鼠标点击来选择盒子里的东西，但MIDI按键更流畅，以两种方式工作:用C0 – A0键来选择盒子里的东西，用c# 0 – a# 0黑键来选择盒子里的东西。

Big, dim note‑letter prompts can be spotted in the box backgrounds if you squint a bit.
如果你稍微眯起眼睛，就可以在盒子背景中看到大而模糊的便条字母提示。

Then a nice feature is that boxes ‘remember’ their last selected articulation.
然后一个很好的功能是盒子“记住”他们最后选择的发音。

So if you want to do a viola line that continually alternates Sustains: sul ponticello and Trem/Trill: major trill (and who wouldn’t?) you’ll only need to select the specific articulations once, then tap single white‑note keyswitches corresponding to the boxes they’re in to jump back and forth.
因此，如果你想要演奏一段中提琴，它可以不断地交替susains: sul ponticello和Trem/Trill: major Trill(谁不想呢?)，你只需要选择一次特定的发音，然后点击对应于它们所在盒子的单个白色音符键就可以来回切换了。

Also welcome, and musically very potent, is the possibility to choose two articulations at once and crossfade between them: a so‑called ‘morph’.
同样受欢迎的，并且在音乐上非常有力的，是一次选择两种发音并在它们之间交叉的可能性:所谓的“变体”。

When working like this two selection dots appear in the brown boxes, along with percentage values next to them showing the articulations’ relative mix levels.
当像这样工作时，两个选择点出现在棕色框中，旁边的百分比值显示关节的相对混合级别。

You can change those easily with a mouse drag on the values or in real time by sending CC11 (by default, but it can be set to any other MIDI CC).
您可以通过在值上拖动鼠标轻松更改这些值，也可以通过发送CC11实时更改这些值(默认情况下，但它可以设置为任何其他MIDI CC)。

There are many fruitful pairings up for grabs.
有许多富有成效的配对可供争夺。

Straight and expressive sustains together is a real meat‑and‑drink expressive combo, allowing for mid‑note swells from a cool senza vibrato to something much more fervent.
直发和表现力的结合是一个真正的肉和饮料表现力的组合，允许从一个凉爽的桑萨颤音到一些更热烈的东西的中间音膨胀。

Then there are ghostly chimeras like harmonics and tremolo sul ponticello.
然后是幽灵般的嵌合体，如谐音和轮音。

Or try Bartok pizz plus col legno for some serious clatter.
或者试试Bartok pizz和col legno，来点严肃的谈话。

As well as a platform for expressive work, morphs can also be regarded as an interesting sound‑design tool.
作为一个表达性工作的平台，变体也可以被视为一个有趣的声音设计工具。

Looking at Dynamics head‑on now, for sustaining sounds you get to choose either the mod wheel (CC1, but also configurable) for real‑time crossfading through the handful of sampled intensities within each articulation, or one of four preset contours that do it for you.
现在看看Dynamics，要想保持声音，你可以选择mod转轮(CC1，但也是可配置的)，通过每个发音中的少量采样强度进行实时交叉衰落，或者选择四种预置轮廓中的一种。

All of those except fortepiano have an option to take place over four or eight beats.
除了钢琴之外，所有这些都有一个选择，在四个或八个节拍。

Shorter articulations are velocity driven, albeit with an option for the mod wheel to limit their upper dynamic level.
较短的关节是速度驱动的，尽管有一个选项的mod轮，以限制他们的上层动态水平。

There is no separate control of intensity as in some other libraries: dynamic shaping and natural ‘captured’ intensity are rolled into one, as it were.
在其他一些库中没有单独的强度控制:动态塑造和自然“捕获”的强度是卷成一个，就像它一样。

In practice that works very well, and together with morphing there is certainly no lack of expressive scope.
在实践中，这是非常有效的，并且与变形一起，当然也不缺乏表达范围。

Next up: divisi and legato.
下一个:连奏和division。

Cast your eye on the user interface once more and you might be able to spot the dimly layered ‘AB’ (in a curvy art deco font) near the top of the window.
再次将目光投向用户界面，你可能会发现靠近窗口顶部的模糊分层的“AB”(用一种弯曲的艺术装饰字体)。

That’s the manual control over the A and B divisi split: clickable and also keyswitchable.
这是手动控制A和B分割:可点击，也可切换键。

But divisi happens automatically, as I mentioned, via the poly legato features, when you play two‑part lines or chords, which the playback engine can reliably track.
但正如我所提到的，当你演奏两个部分的线或和弦时，分裂就会自动发生，通过poly连奏功能，回放引擎可以可靠地跟踪。

Three types of legato transition are on offer: short, slurred and portamento.
有三种类型的连奏过渡:短连奏、含糊连奏和portamento。

There’s enough sophistication here for the feature to need a panel all its own, accessed via a Setup menu, and suffice to say there’s a lot of control on offer.
这里有足够复杂的功能，需要一个单独的面板，通过设置菜单访问，足够说有很多控制提供。

There’s a monophonic mode for single lines, or legato can be turned off completely, to allow uncomplicated synth‑pad‑style chord playing.
有单音模式，可以完全关闭单线，或连奏，以允许不复杂的合成器垫式和弦。

Then lots of options for the velocity threshold that triggers swoopy portamentos, and level and timing controls for the connecting ‘transition’ samples, which can also be under MIDI CC control.
然后为触发俯冲portamentos的速度阈值和连接“过渡”样本的水平和定时控制的许多选项，这也可以在MIDI CC控制下。

All things considered, in Play mode, Orchestral Strings gets a lot right.
考虑到所有的事情，在演奏模式，管弦乐得到很多正确的。

The overall sound is hugely attractive, usable, naturalistic, and flexible enough for use in cinematic scoring and pop/rock backdrops alike.
整体的声音是非常有吸引力的，可用的，自然的，灵活的，足以用于电影评分和流行/摇滚背景。

It proves easy to achieve great results in no time at all, with the articulation chooser and dynamics schemes very simple to master.
事实证明，它很容易在任何时间取得伟大的结果，与发音选择器和动力学方案非常容易掌握。

Agile ostinatos and blooming swells are all there for the taking, and the legato scheme makes for nice connected, continuous lines without drawing attention to itself or sounding stuck‑on.
灵活的固定音和蓬勃的膨胀音都在那里，连奏方案形成了良好的连接，连续的线条，而不会引起注意或听起来卡住。

I was also pleased to see that the most useful keyswitches remain available on a five‑octave controller keyboard;
我还高兴地看到，最有用的按键开关仍然可以在五倍频的控制器键盘上使用;

you still get a better experience with 88 notes, though.
不过，使用88个音符仍然可以获得更好的体验。

Sustains, incidentally, do sustain indefinitely, with audible bow changes.
顺便说一下，持续确实无限期地持续，伴随可听到的弓的变化。

There’s a little list of things I’m less keen on.
我列了个不太喜欢的小单子。

Instrumental ranges are not lavish: we would not expect an instrument to go lower than its real‑world range, of course, but violins only go up to C6, and cellos to a distinctly safe C4.
乐器的音域并不丰富:当然，我们不认为一种乐器的音域会比现实世界的音域更低，但小提琴的音域只有C6，而大提琴的音域则是非常安全的C4。

Harmonics do sound an octave higher, but as an articulation in themselves they’re fixed non‑vibrato and have a single attack characteristic.
和声听起来确实要高一个八度，但作为发音，它们本身是固定的无颤音，有单一的攻击特征。

Marcatos take some getting used to too.
马卡托斯也需要一段时间来适应。

At first it looked like the straight and expressive articulations were identical to their equivalents in the Sustains group, but it turns out they speak quicker in response to high‑velocity playing, despite also being controlled dynamically by the mod wheel.
一开始，它们的直来直去和富有表现力的发音看起来与Sustains组中的相同，但结果是，它们在高速游戏时说话更快，尽管它们也受到mod轮的动态控制。

This isn’t documented at all, and I felt I wanted more control over the velocity/wheel interplay.
这完全没有文档说明，我想要更多地控制速度/轮子的相互作用。

Maybe just faster attacks here generally, if I’m honest.
老实讲，也许这里的攻击速度更快。

Also in the Marcato group the short, mid and long variants all sound notably drier and more direct than every other articulation, and even more so (to a bizarre extent) if you play short notes with them.
同样，在马卡托语组中，短变音、中变音和长变音听起来都比其他任何发音都更干燥、更直接，如果你用它们来演奏短音符，就会更明显(到一种奇怪的程度)。

Again, nothing is documented, though I picked up from a Sonokinetic video that these use the same sample, artificially varied in length.
同样，没有任何记录，尽管我从声速动力学视频中得到这些使用相同的样本，人为地改变了长度。

Ultimately these marcatos are musically useful, but you’ll have to play tenuto style or edit your MIDI notes longer for best results.
最终，这些marcatos在音乐上是有用的，但你必须演奏tenuto风格或编辑你的MIDI音符更长的时间，以获得最佳效果。

Run Away
跑了

Runs mode is a convenience feature, and a very welcome one.
运行模式是一个方便的特性，也是一个非常受欢迎的特性。

You hold down a MIDI note, play a second one, and you’ll instantly get a nice fast, fluid run between them.
你按住一个MIDI音符，播放第二个音符，你就会立刻在它们之间得到一个优美、快速、流畅的运行。

By default the notes in between will all be naturals, but you can modify that by playing in a dedicated chord‑recognition key range that replaces Play mode’s articulation chooser.
默认情况下，中间的音符都是自然的，但你可以通过一个专门的和弦识别键范围来替代Play模式的发音选择器来进行修改。

Run speed can be set in absolute values from 1/4 notes to 1/32nds (with triplet options along the way), or in relative terms, with runs including any number of notes taking between one and eight beats to explode out into the world.
跑步速度可以设置为从1/4到1/32的绝对值(可以选择三连音)，也可以设置为相对速度，在1到8拍之间的跑步中包含任何数量的音符。

It’s not all about real‑time play either: create a run to your spec with your DAW transport stopped and a MIDI symbol appears than can be dragged out of Kontakt and into a DAW MIDI track.
这也不全是关于实时播放:创建一个运行到你的规格，你的DAW传输停止，一个MIDI符号出现，可以拖出Kontakt，进入DAW MIDI跟踪。

Whether you use that for careful timing alignment in an existing line or to drive an entirely different instrument is up to you.
你是否使用它在一个现有的线小心定时校准或驱动一个完全不同的仪器是你的。

Any articulation can be used for a run: hence pizz and harmonic runs are an entertaining extension to string playing reality…
任何发音都可以用于跑动:因此pizz和和声跑动是弦乐演奏现实的有趣延伸……

Also the number of recognised chords is impressive: no fewer than 19 types, including some which will produce a chromatic, whole‑tone or blues scale, or other exotica.
此外，识别出的和弦的数量也令人印象深刻:不少于19种类型，包括一些会产生半音阶、全音阶或布鲁斯音阶，或其他异域音阶。

Phrase Ways
短语的方法

If we were ever in any doubt of how programmable Kontakt is, here’s Phrase mode.
如果我们对Kontakt的可编程性有任何疑问，这里是短语模式。

It’s a mini MIDI sequencer, with quantising, a piano‑roll editor for notes and dynamics, and a system for both harmonic analysis of incoming notes and redeployment in different harmonies and keys.
它是一个迷你MIDI音序器，具有量化功能，一个用于音符和动态的钢琴滚动编辑器，以及一个用于对传入音符进行和声分析和在不同和声和键中重新部署的系统。

It’s also a feature from which Sonokinetic’s phrase‑based experience shines out.
这也是Sonokinetic基于短语的体验的一大亮点。

In essence, here you record in a melody, ostinato, or other note pattern up to 16 beats long, with Kontakt providing a click.
本质上，在这里你记录的旋律，固定音型，或其他音符模式高达16节拍长，与Kontakt提供点击。

It’s analysed for harmonic content and ‘type’ (chord/scale/chromatic figure) and then can be immediately played back, triggered by chords you play in another dedicated key range.
它被分析为和声内容和“类型”(和弦/音阶/半音图)，然后可以立即被回放，由你在另一个专用音域弹奏的和弦触发。

Because of the analysis process and the way Phrase mode always operates in a harmonic context you’re never stuck in a narrow path of absolute intervals, as can happen with some synth step sequencers.
因为分析过程和短语模式总是在和声环境中运行，所以你永远不会陷入绝对间隔的狭窄路径中，就像一些合成器步进定序器那样。

Indeed, you can easily record in minor‑key broken chords, say, and then spend the rest of the session playing only major versions of them.
事实上，你可以很容易地录制小调和弦，然后在剩下的时间里只播放它们的大调版本。

Phrase mode’s analysis is only really interested in the relative up/down movement of note patterns, and not specific pitches or intervals.
乐句模式的分析只对音符模式的相对升降运动感兴趣，而不是特定的音高或音程。

At any one time 12 different phrases are available for recording or playback, and like Sonokinetic’s phrase libraries they’re meant to be switched on the fly, and are available in several octave offsets.
在任何时候，12个不同的短语可用于录音或回放，和Sonokinetic的短语库一样，它们意味着要在飞行中切换，并在几个八度偏移可用。

Phrases can be named and also stored, which causes them to appear in any other instance of Orchestral Strings you load up.
短语可以被命名，也可以被存储，这使得它们出现在你加载的任何其他Orchestral Strings实例中。

You can also edit note pitch and length, and overlay a mod‑wheel dynamics curve.
您还可以编辑音符的音高和长度，并覆盖一个mod – wheel动态曲线。

Then there’s a lovely option to add two, three or four harmonising notes to every note trigger on playback: instant counter‑melodies, or fleshed out chord voicings.
然后还有一个可爱的选择，可以在播放时为每个音符添加两个、三个或四个和谐音符:即时的反旋律，或充实的和弦声音。

A further fascinating option is to drag and drop a MIDI phrase from your DAW, or a Sonokinetic phrase library, rather than recording it.
另一个有趣的选项是从DAW或Sonokinetic短语库中拖放MIDI短语，而不是记录它。

The clear, concise Orchestral Strings PDF manual urges us to not ‘go mad’ with this, and suggests a maximum length of 16 bars, but even so it gives a wonderfully quick way to build up a bank of patterns that could form the backdrop of an orchestration in no time at all.
清晰、简洁的弦乐PDF手册敦促美国不要“发疯”,并建议最大长度为16条,但即便如此,它给了一个非常快速的方法来建立一个银行的模式形成的背景下编制的。

Alongside a good level of robustness I experienced in many areas of Phrase mode there is also sporadic weirdness.
除了我在短语模式的许多领域体验到的良好的稳健性之外，还有一些零星的奇怪之处。

I could not identify a way to edit recorded note velocities directly in the Kontakt interface.
我不能确定一种方法来编辑记录的笔记速度直接在Kontakt界面。

Then there is the way that some lines recorded in one key may not be transposed at all on playback even when you ask for a different key, if they’re deemed to be harmonically compatible still.
还有一种方式是，在一个键中录制的一些行可能在播放时根本不会被调换，即使你要求换一个键，如果它们仍然被认为是和谐的。

By the same token, expect some recorded melodies to radically change their contour, or chord figures to be produced in different (and uncontrollable) inversions, if that’s what necessary to maintain compatibility.
出于同样的原因，如果有必要的话，可以期待一些录制的旋律彻底改变它们的轮廓，或者以不同的(不可控的)倒置产生和弦，以保持兼容性。

All of these are features or characteristics rather than bugs, it’s fair to say, and nothing is a deal‑breaker.
所有这些都是功能或特征，而不是bug，公平地说，没有什么是交易的破坏者。

In any case I was forewarned: Sonokinetic told me that while they’re proud of and excited by the possibilities of Phrase mode it’s a work in progress, likely to gain further sophistication and polish as time goes on.
无论如何，Sonokinetic事先警告过我:虽然他们对短语模式的可能性感到自豪和兴奋，但这是一项进展中的工作，可能会随着时间的推移而进一步完善和完善。

String Of Pearls
串珍珠

It’s harder than ever these days for sample library developers to make instruments that really stand out, such is the saturation and competition in this market.
由于市场的饱和和竞争，样本库开发人员现在比以往任何时候都更难制作出真正引人注目的工具。

But Orchestral Strings does, thanks to a well‑judged balance of classy sound quality and unfussy, instant playability.
但管弦乐乐队却能做到这一点，这要归功于它在经典音质和简单、即时的可弹奏性之间的良好平衡。

Add in the broad range of articulations and potential for dynamic control, some top‑class legato/divisi behaviour, plus those useful additional runs and phrases, and there’s an awful lot to enjoy.
再加上广泛的发音范围和动态控制的潜力，一些顶级的连奏/分奏行为，再加上那些有用的额外跑法和短语，有很多东西值得享受。

Like many good tools Orchestral Strings is actually not over‑complicated, but is capable of getting great‑sounding jobs done with minimal fuss.
像许多好的工具一样，管弦乐实际上并不过分复杂，但它能够以最小的麻烦完成听起来很棒的工作。

It’s a really valuable new option in the orchestral strings world.
这在管弦乐界是一个非常有价值的新选择。

Sordino Strings
弱音器的字符串

Amongst Orchestral Strings’ many articulations and playing techniques, con sordino muted options are notable by their absence.
在管弦弦乐的许多清晰度和演奏技术中，con sordino静音选项是值得注意的，他们的缺席。

That’s because they’re all in a completely separate library of their own, Sordino Strings.
这是因为它们都在一个完全独立的库中，Sordino Strings。

This is clearly meant from the off as a companion product;
这显然是指从off作为配套产品;

it’s visually and operationally almost identical, and has the same three playback modes and divisi structure, and mic mixing.
它的视觉和操作几乎相同，有相同的三种播放模式和分区结构，和麦克风混音。

It has far fewer articulations though: just straight and expressive sustains, and a single staccato short stroke.
然而，它的发音却少得多:只有直的和富有表现力的支撑点，以及一个断奏的短笔画。

Consequently it’s both smaller in installation size (24GB) and a lot cheaper, at €74.90.
因此，它的安装尺寸更小(24GB)，而且便宜得多，74.90欧元。

Broad Brushes
广泛的刷子

With no whole‑ensemble patches, Orchestral Strings can’t be used straight off the bat as an all‑encompassing ‘string pad’ sound source.
由于没有完整的合奏补丁，管弦乐不能直接作为一个全方位的“弦垫”声源使用。

Patches can play polyphonically, beyond the two‑part limit of the poly legato system, but only in playable ranges that don’t extend far (if at all) beyond three octaves for most instruments.
Patches可以演奏复音，超过了多连奏系统的两个部分的限制，但只能在可演奏的范围内，对大多数乐器来说，不超过三个八度(如果有的话)。

It’s entirely feasible to build your own ensemble though by running separate basses, cellos, violas and violins patches inside a single instance of Kontakt, with all responding to a single MIDI channel.
这是完全可行的，但建立自己的合奏运行单独的低音，大提琴，中提琴和小提琴补丁内的单一实例Kontakt，与所有响应一个单一的MIDI频道。

They all put their keyswitches in the same place, so they’ll respond to them en masse.
他们都把钥匙开关放在同一个地方，这样他们就会一起回应。

It’s the same for incoming expression messages too.
传入的表达式消息也是如此。

Legato playback has to be switched off if you want to play chords, and there can be the odd abrupt lurch in timbre across the pitch range, but it’s a heck of a sound.
如果你想演奏和弦，连奏回放必须关闭，音色在音高范围内可能会有奇怪的突然倾斜，但这是一个非常棒的声音。

Array Of Hope
数组的希望

Like many competitors, Orchestral Strings has an internal mixer that controls four different mic captures: close spots, decca tree, stage wide and balcony.
像许多竞争对手一样，管弦乐有一个内部混音器，可以控制四种不同的麦克风捕捉:近距离、台布树、舞台宽度和阳台。

Volume, pan and width can be controlled for each, and there’s a mix‑level EQ macro marked ‘mellow’ at one end and ‘punchy’ at the other.
音量、跨度和宽度都可以控制，并且有一个混合级别的EQ宏，一端标记为“柔和”，另一端标记为“有力”。

Unusually, five separate mic mixes can be saved, and even stored so that other instances can share them.
不同寻常的是，五个独立的麦克风混音可以被保存，甚至存储，以便其他实例可以共享它们。

It’s great to see, by the way, that the single‑mix instrument patches still include the mic mixer.
顺便说一下，很高兴看到单混音乐器补丁仍然包括麦克风混音器。

There might only be one array shown in it, but you retain useful control over pan, width and EQ.
可能只有一个数组显示在它，但你保留有用的控制范围，宽度和EQ。

Pros
优点

A fundamentally versatile, fine‑sounding string section.
一个基本通用的，声音优美的弦乐部分。

Divisi foundation underpins good legato behaviour and character options.
division基金会支持良好的连奏行为和角色选择。

A good range of articulations, and the possibility to mix them.
良好的关节范围，以及混合它们的可能性。

Runs and Phrases modes add considerable value.
运行和短语模式增加了可观的价值。

CPU efficient.
CPU的效率。

Cons
缺点

Narrower pitch ranges than some competitors, for some instruments.
对某些乐器来说，音域比其他乐器窄。

Marcato behaviour takes some getting used to.
马卡托的行为需要一段时间来适应。

Additional Sordino Strings library required for with‑mute timbres.
用于哑音色所需的额外Sordino字符串库。