密码: 222e
Totalmusik TMK001 Polyphonic Wretch Machine | KONTAKT | 1.66 GB
This is the culmination of years of planning and recording – Totalmusik’s first library focusing on the sounds of the Metasonix S-1000 Wretch Machine, the pinnacle of decades of advancement in Vacuum and gas-tube synthesizer design.
The Metasonix S-1000 Wretch Machine is the only commercially available synthesizer to use gas-tube oscillators as the fundamental sound source. This technology predates most of the recognized synthesis advancements of the 20th century, and was abandoned in favor of integrated circuits. The waveforms generated by these gas-filled wonders of yesterday are a beauty unto themselves – wildly variable, inherently unique, and filled with atmosphere.
At the helm of this recording is Michael Weeks, who has been involved with the S-1000 Wretch Machine since its inception. Brought to life at Metasonix with help from Michael's constant prodding to create an integrated rack mount synthesizer, and named after his band The Wretch, Michael has clocked more hours behind the wheel of the Wretch Machine than anyone outside of Eric Barbour.
The goal of this library is simple: provide the most comprehensive and raw presentation of the heart of the Wretch Machine to sound designers via painstakingly recorded samples of its oscillators. Utilizing a scripted interface in Kontakt 4, we provide basic building blocks for sound designers to truly integrate these incredible waveforms into their studio environment.
TRACKING THE SAMPLES
For this library, no attention to detail was spared in capturing the true essence of this instrument. The Wretch Machine features a dual gas-tube oscillator configuration - each oscillator is switchable between three waveforms: Saw, Squarer and Subosc (squarer with suboctave).
We painstakingly sampled every single note of each waveform of each oscillator chromatically from C0-C5 (5 octaves), giving us 60 samples per oscillator, per waveform. Due to the unique tracking range and scale (the S-1000 requires a HZ/v CV as opposed to the much more standard V/Oct CV) we hand tuned EACH INDIVIDUAL NOTE of both oscillators for the truest pitch we could, extending the advertised 3 octave range to a full 5. The idiosyncrasies involved in manually tuning per pitch lend this library to slight pitch imperfections per note, which is captured in full in the library. Each note mapped across the keyboard is an individual sample, meaning a larger library size, but a much more robust, authentic and unique sounding emulation.
Below, you can see the raw waveforms as well as the resulting variations after being transferred to tape. Click on the play buttons to listen to the raw samples.
TO THE TAPE
Realizing that everything sounds better through tape, and our personal philosophy that “Old is Good, Old and Broken is BetterTM” – we enlisted the assistance of our TEAC Reel to Reel to handle our tape transfer needs.
No expense was spared – we have carefully kept this machine in “used” condition in our studio for several years, and due to a fierce hatred of breaking shrinkwrap on our last few rolls of Ampex 456, we have used the same transfer reel for the last year.
We painstakingly did a complete transfer of all of the raw waveforms, running them as hot and pure onto the abused tape as we could, and the results are stunning. “Warmth”, “Grit”, “Enhanced Mids”, “Smoothed Highs”, “Warble”, “Wow and flutter” and “Tape Dropouts” are some of the choice adjectives we can use to describe this subset of the samples. All imperfections of the transfer process are left intact, to further create uniqueness and specialness to this library.
With the Tape transfer process completed, we also went back and recorded the Saw waveforms to tape at 15ips, and then transferred back in at 7.5ips. This dropped the samples an Octave, creating an artificial Saw Suboctave for use in this sample set.
KONTAKT
Due to the raw nature of the samples, we felt the best way to present them was in an integrated sampler. We chose Kontakt due to it’s flexible nature and powerful scripting abilities. In the library, we provide you with several categories of starting points, and some programmed variations to get you running in no time. We also provide you with individual raw instruments as well as a multi with each waveform for purists who want to experiment with creating their own voice architectures.
Scripted Programs: These programs are set up in layers utilizing KSP scripts programmed by Brian Cass of Overclock, Inc.
RAW: These patches are provided as individual raw Kontakt Instruments. These can be used to build simple multis, or used on their own.
IMPULSE RESPONSES
As an added bonus, we have included some Impulse Responses which are usable within the Convolution Reverb in Kontakt.The primary device we created our IR’s from is a rackmounted Furman Spring Reverb – there are 6 different settings we sampled of various input levels and EQ settings. We also threw in some “unique” IR’s, for experimentation and exploration.
PRESETS
We have included a selection of additional presets based on the provided scripted library to show some ideas of what can be done with the raw samples. Please check out the demo's below - the first track is a complete piece done only with this library in Kontakt. The following clips are individual clips of the independent elements.
可怜的人totalmusik tmk001复调|机械接触| 1.66 GB
这是《大学culmination年规划和记录——totalmusik图书馆的第一聚焦在声音的metasonix 1000机器的可怜的人，几十年的顶尖大学学院先进的真空和气体管的频率合成器的设计。
“可怜的人metasonix的1000只commercially冰淇淋机可用两个合成器使用煤气管oscillators为基础的声源。本技术predates必须报recognized合成advancements of the 20th Century，鸭是在abandoned。集成电路。“这些波形生充气奇迹是一个美容院昨天回到自己inherently——wildly可变的，独特的，和混凝土与大气。
在这冰盔迈克尔周记录，参与世界卫生组织已经与1000的可怜的人机由于其成立。我的两个生命的metasonix与帮助从迈克尔的不断刺激下创建两个完整的架合成器和命名后，他的乐队“可怜的人，迈克尔已经在享受clocked小时在轮的可怜的人比其他任何人的外加工（Eric巴伯。
本图书馆的目标很简单：冰提供最全面和原演示文稿的心脏的机械设计的两个可怜的人painstakingly声通过由其oscillators记录的样本。利用一scripted 4接口的接触，我们提供的基本建筑块的吸声设计的两个真正的integrate这些不可思议的波形进入他们的工作室环境。
跟踪的样本
这个图书馆，NO对细节的关注是spared离真正的本质capturing本仪器。“可怜的人一机双功能燃气管振荡器，每个振荡器配置-冰switchable波形之间的三届广交会上，squarer和subosc（squarer与suboctave）。
我们的每一个采样单注painstakingly of each of each振荡器波形色从C0～C5（5度），给美国的60个样本每振荡器的波形。鸽子的独特的跟踪范围和量表（The的requires 1000赫兹的A / V CV AA opposed多有两个标准的V / OCM CV）手调谐我们每个个体都oscillators注：“我们可以truest间距，延长的advertised 3两个八度范围（全5。参与《idiosyncrasies表壳，手动上弦调谐在每节lend这个图书馆的轻微imperfections每两个音调的注意，这是在全captured的图书馆。每个音符的键盘mapped冰在一个人的样品A，意思larger图书馆的规模，但是一个更强大的多，authentic和独特的emulation测深法。
下面，你可以看到原始的波形为抵抗变形的resulting转移后有两个带。单击该按钮在播放列表中的两个原始的样本。
两个带
实现这一切的声音更好的通带，和我们的个人哲学，“老好，老鸭碎冰bettertm enlisted”——我们的帮助，我们的teac真正的真正的行动，我们两个两个带传输的需要。
费用是不spared carefully——我们要把本机的“使用”条件在我们的工作室several年、鸭鸽两个模糊的hatred打破我的套装软体部几安培负载辊456，我们必须使用相同的传输的真正的最后一年。
我们做了一个完整的painstakingly传输所有的原始波形，运行他们为“纯onto热，我们可以为abused胶带，and the results是stunning。“warmth”、“grit”、“增强”，smoothed MID的“高”、“warble，“哇”和“颤振”和“带dropouts”是一些人的选择，我们可以使用两个adjectives describe这个子集的样本。全imperfections的传输过程是左intact两步创建唯一性和specialness这两个图书馆。
与completed胶带传输过程，我们也去广交会回来的记录波形的两个15ips带回来，然后在7.5ips转移。把这个八度的样本，产生的suboctave人工锯的使用在这个样品上。
接触
鸽子的原始自然的样品，我们这是最好的方式，他们目前是在一个集成的样品。我们选择了两个接触鸽子的弹性性质和强大的脚本的能力。在图书馆，我们提供你和several类大学的起始点和一些programmed变化让你运行在任何时间。我们也提供你和原仪器作为个体和作为一个多好的波形purists每个人想实验与创造他们自己的声音architectures。
这些scripted计划：计划是在IP层上利用该脚本programmed市（Brian Cass overclock股份有限公司。
原料：这些补丁是为个人提供原接触仪器。这些可以被用来建立简单的多级网络，或使用他们自己的。
脉冲响应
作为一个附加的奖金，包括一些我们这是usable脉冲响应卷积混响在体外接触的主要设备。我们创造了我们的红外光谱是一个虔诚的工控弗曼弹簧混响，有6种不同的采样参数（V。