密码: r3z1
SonicCouture The Attic KONTAKT | 7.55 Gb
The Attic : a project to document and sample interesting, characterful instruments that may not always be the obvious choice when we think of classics. Instruments which, when added to a track, instantly add some special magic, even if it is due to the fact that it sounds a bit cheap or quirky.We asked around some friendly producers: Neil Davidge, Adrian Utley and Liam Howe were all happy to open up their attics to us, and the resulting collection is a fascinating journey into the corners early analogue synthesis, offering a huge palette of sounds to reach into when you need colour, character and exuberance.
The Instruments
• 10 different virtual instruments in one package.
• Meticulous sampling : every single note from each orginal unit is recorded, capturing all the variation and inconsistencies that make vintage analogues so appealing.
• Modelled analogue behaviour : oscillator drift, natural attack variation, custom chorus and ensemble effects, mono mode & legato
• Extensive effects section with bespoke convolution effects, phaser/chorus/delay, compression, EQ, filters, amp modelling, overdrive etc.
Mini 700
A simple monosynth by Korg from 1974, the same era as the Minimoog and the Roland SH2000. It has semi-fixed parameters, with a selection of toggle switches offering limited editing of these. It has a very fat, zappy sound, and fantastic chunky coloured controls. The filter (Traveler) is particularly interesting, with a LPF and HPF semi linked by interlocking faders.
RS202 String Machine
Dating from 1976, the RS202 is 61 note polyphonic, with Strings I, Strings II and Brass sound sources, and a split keyboard - any sound could by assigned to either section of the keyboard. The ensemble chorus effect was a key part of the sonic signature, contributing to its classic, fizzing disco string sound.The RS202 is an all time classic string machine.
Jennings Univox
Dating from 1951, and a true oddity. The first electronic venture for Tom Jennings who later went on to create Vox amplifiers AC15, AC30 etc. The Univox was used by the Beatles during their early Cavern days in Liverpool and can be heard on Telstar by the Tornados.In about 1951/1952 the Univox took off in a big way due to its competitive price and Tom's country wide marketing program. The first version was the J6, single keyboard model, later followed by the J10 with two rows of Tone & effect tabs. All models were supplied with metal screw-on clips, to fasten it under the right hand side of a piano. Later we designed an adjustable chromed stand that enabled the user to do gigs in other locations with out having to screw on fixing brackets each time. Most customers in those days were either Pub owners or pianists playing Pub gigs.
Suzuki Omnichord
Introduced in 1981 and manufactured by the Suzuki Musical Instrument Corporation. It typically features a touch plate, and buttons for major, minor, and diminished chords. This unit (belonging to Neil Davidge of Massive Attack) is a ‘System Two’, and it has a great synth tone, which sounds ‘cheap’ in all the right ways. You can mix two different tones, one straight, and one modulated with a basic LFO. While not sounding much like a plucked string, it does have a pure character all its own, which won it many fans, such as Daniel Lanois and Brian Eno.
Korg LP10 Electronic Piano
Korgs first ever electronic piano, the fuzzy, dreamy tones of the LP10 weren't strictly realistic, but with retro-spectacles on it has a lot of charm. With Piano, Electric piano and Clav settings and a useful shaping EQ, but no velocity sensitivity.
Hammond Solovox
The USA precurser to the Jennings Univox, produced in Canada for Hammond by the Northern Electric Company, Ontario between 1940 and 1948. A monophonic, valve driven keyboard instrument with a separate amplifier cabinet, the sound was derived from a single LC oscillator which had a frequency range of one octave. The signal from the oscillator was then passed through a series of 5 frequency dividers to create a further two octaves. On the front of the instrument there were a series of large thumb operated buttons for oscillator range (switch-able +/- 3 octaves: 'soprano', 'contralto', 'tenor', 'bass'), vibrato, attack time, 'deep tone', 'full tone', '1st voice', 2nd voice', 'brilliant' and a switch for selecting woodwind, string sound or mute.
Godwin String Concert 249
Little known compared to the RS202 and Arp Omnis etc, but in fact this string synth has one of the most lifelike string sounds you will hear from an analogue synth. Manufactured in Italy by Sisme, it has 49 keys, 3 string sounds - Cello 16' / Viola 8' / Violin 4' controllable by faders. Its chorus and tremolo are particularly unique, adding a fabulous shimmer to the sound.
Philips Philicorda
The Philicorda is a 1960s transistor based organ that has found favour with producers in recent times ; one was used on the album ’19’ by Adele by producer Jim Abiss. This particular unit belongs to producer Liam Howe, and has been used on records by Marina and the Diamonds, Ellie Goulding, and Cocknbullkid.
SH2000
The second synth ever produced by Roland (after the sh1000), it was designed to sit on top of a home organ to provide additional sounds. To that end, it is based around presets which are selected by a series of brightly coloured paddle-switches, and sounds very fat and characterful indeed. Basic filter and LFO controls are present, as well as 'growl' and 'wow' effects, which can be linked to aftertouch to give great performance potential.
Synthi AKS
The EMS Synthi AKS is a legendary instrument with an illustrious history. First manufactured in 1972 by EMS in Putney, south-west London, The Synthi A was basically a portable version of EMS's famous VCS3 synthesiser, and the KS keyboard (an unplayable 30-note touchplate) was added to make the Synthi AKS. It cost ?420.It was quickly adopted by the likes of Brian Eno and Pink Floyd, and has been used by experimental musicians ever since. The Synthi has a unique patching system that uses a small patchbay grid. Each of the Synthi's components appear as a source and destination on the patchbay, and by placing a pin into that x-y position, you can route the signal from one component to the other. This was a very effective way to make a powerful modular system very compact.
soniccouture阁楼| Kontakt 7.55 GB
阁楼：一个项目文件和样品有趣，特色的乐器，可能并不总是显而易见的选择，当我们认为经典。仪器，当添加到一个轨道，立即添加一些特殊的魔法，即使它是因为它听起来有点廉价的或古怪的。我们问一些友好的制片人：尼尔戴维奇，阿德里安厄特利和利亚姆豪都高兴地打开他们的阁楼，以及由此产生的集合是一个早期的模拟合成到角落的迷人旅程，提供一个巨大的声音调色板进入当你需要颜色，个性和活力。
乐器
在一个软件包中有10个不同的虚拟仪器。
•细致的取样：每一个音符从每个原单位记录，捕获所有的变化和矛盾，使老式的类似物很有吸引力。
•建模模拟行为：振荡器漂移，自然发作变化，自定义的合唱和合奏的效果，单模式与连奏
•广泛影响部分定制的卷积效应，相位/合唱/延时，压缩，EQ，滤波器，放大器建模，超速等。
迷你700
一个简单的从1974个monosynth Korg，时代minimoog，罗兰SH2000相同。它具有半固定的参数，与选择的切换开关提供有限的编辑这些。它有一个很胖的，吸引人的声音，和梦幻般的厚重的颜色控制。过滤器（旅行）是特别有趣的，和一个LPF和HPF半推子与联锁。
202串机
从1976年代的61，202注意和弦，弦弦我，II和黄铜的声源，和一个分裂的键盘，任何声音可以通过分配到键盘部分。合奏合唱效果的声音签名的一个重要组成部分，有助于其经典，层出不穷的迪斯科的弦音。202是一个时间的经典串机。
詹宁斯UniVox内
从1951年代，一个真正的怪人。汤姆詹宁斯后来形成了VOX放大器AC15第一电子企业，30等是在利物浦UniVox为早期洞窟天甲壳虫的使用，可以听到在通讯卫星的龙卷风。在大约1951 / 1952的UniVox内起飞由于其有竞争力的价格和汤姆的全国营销程序的一大途径。第一个版本是J6，单键盘模型，随后是J10两排音效果的标签。所有型号均配有金属螺丝夹，将其固定在一架钢琴的右边。后来我们设计了一个可调镀铬的立场，使得用户在不必拧上固定支架每次其他地方做演出。在那些日子里，大多数客户都是酒吧老板和钢琴家的演奏酒吧演出。
铃木omnichord
介绍了1981和生产的铃木乐器公司。它通常具有一个触摸板，并为主要，轻微，和减少和弦按钮。本单位（属于尼尔戴维奇的大规模攻击）是一个“系统”，具有很强的合成音，听起来很“便宜”在所有正确的方法。你可以混合不同的音调，一直，和一个调制的基本特征。而不是听起来像弹拨乐器，它有一个纯粹的自己的人格，从而赢得了许多粉丝，如丹尼尔lanois和布瑞恩Eno。
Korg LP10电子钢琴
korgs首次电子钢琴，模糊，梦幻般的音调的LP10不是严格的现实，但随着复古眼镜对它很有魅力。钢琴，电钢琴，CLAV设置和有用的情商塑造，但没有速度灵敏度。
哈蒙德索洛沃克斯电子乐器
美国前的詹宁斯在加拿大生产的哈蒙德UniVox内，由北方电力公司，安大略1940和1948之间。单声道，阀门驱动一个单独的放大器柜键盘乐器，声音是从一个单一的LC振荡器有一个倍频程的频率范围。然后从振荡器的信号是通过一系列的5分频器产生进一步的两个八度。在仪器的前面有一系列的大拇指操作按钮（开关振荡器范围能+ / - 3个音阶：“女高音”，“低音”，“男高音”，“低音”），颤音，进攻的时候，“深调”，“全音”，“第一声”，第二声音'，'选择'木管辉煌和开关，弦音或静音。
戈德温弦乐249
鲜为人知的相对于202和ARP OMNIS等，但事实上这串合成有一个最逼真的字符串会听到你的声音，从一个模拟合成器。通过sisme在意大利生产的，它有49个按键，3弦音大提琴16 / 8 / 4的中提琴小提琴控制推子。它的合唱和颤音是特别独特的，增加一个神话般的闪亮的声音。
飞利浦philicorda
这是一个基于philicorda年代晶体管的器官，发现随着最近的生产商青睐；一是用在这张专辑‘19’阿黛勒的产品