http___www.saxopedia.com_ga_2014_11__1.xml
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Even if I am fond of “real” acoustic instruments,I have always been intrigued by “synthetic” wind instruments,be them sampled or synthesized. For example,I really like some flute patches that come with the Patchman Turbo VL upgrade chip for the Yamaha VL70-m,and I find them quite expressive and playable with my Akai EWI 4000s. Alas,I always failed at finding a decent implementation of a virtual sax. Using a sampler rather than a synth – including synths that use physical modeling to replicate the sound characteristics of a real wind instrument,as is the case of the VL70-m – surely delivers a result closer to a natural sax sound,yet I have always been disappointed by the lack of playability and the inability of achieving the many timbre variations that only a real sax can offer. When I decided to record music for sax quartet,the choice was between purchasing a real tenor and baritone (to be added to my alto and soprano) or trying again with a sampled instrument. This is how I got to Samplemodeling and its range of products,which includes brass (Trumpet,Trombone,and French Horn &Tuba) and woodwind instruments (Saxophones,Clarinets,Flutes,and Double Reeds). Their list price ranges from 159 euros (about 200$) for products with two instruments (e.g. Trumpet,Trombone and Clarinets) up to 259 euros (330$) for packages with four instruments,such as Saxophones (which includes soprano,alto,tenor,and baritone) and Double Reeds (oboe,English horn,bassoon,and contrabassoon). These price tags make Samplemodeling products more expensive than libraries that offer hundreds instruments for a fraction of a dollar each,but this comparison is misleading,because none of the instruments in these libraries can really compete with Samplemodeling. The company has been on the market for a while and gained a very high reputation among musicians,especially EWI players. The first line of their products is based on the Native Instruments’ Kontakt platform,and in fact they include the free Kontakt Player for users who don’t own the complete product. This holds true for brass instruments,but newer woodwind instruments – including The Saxophones – are based on a proprietary engine named SWAM (Synchronous Wavelength Acoustic Modeling). For more tech information about SWAM check this page,but for now it’s enough to say that this platform is a further step towards more realistic virtual woodwind instruments. SWAM instruments don’t require you to install the Kontakt player. Installation,licensing and required hardware The good news is Samplemodeling software needs no dongle key (e.g. the iLok dongle),which means you don’t have to give up to a USB port on your computer AND you don’t feel you are treated as a potential pirate. Instead,you get two license keys,which allow you to install their software on two different computers. If you buy a third computer you can have one key deactivated and reactivated on the new hardware. As is common with most vendors,a valid license gives you the ability to download future minor releases of the same product,without having to pay for a yearly subscription. My review is based on version 2.4,but I learned that version 2.5 is about to be made available (for free) to all registered users. Samplemodeling instruments work on Windows XP and later and on Mac (OSX 10.6 and later). They are provided only as plug-ins in the VST2,AAX,and AudioUnit formats,therefore they require a plug-in host such as Cubase,Live,Logic,or ProTools. If you don’t have a host program,you can use a free one,such as Cantabile Lite. In all my tests I used the AudioUnit version loaded inside Apple MainStage 3. Interestingly,Samplemodeling virtual instruments are built with the wind player in mind:unlike other software,you must use either a wind controller (such as the Akai EWI or Yamaha WX5),a MIDI keyboard with either a breath controller (such as the Yamaha BC3) or – at the very least – an expression pedal that emits CC11 messages. Without any of these MIDI controllers,SWAM instruments don’t sound at all! Installing The Saxophones on my MacBook Pro was a breeze. I haven’t used by second serial key yet,therefore I don’t know how it works on a Windows system,but I don’t expect any trouble. I scanned the Samplemodeling forum before getting the software,and the satisfaction level among users is impressively high. This surely means something. First impressions Quite opportunely,Samplemodeling provides three configurations to start with:for keyboard players with an expression pedal,for keyboard players with breath controller,and for wind controller players. Each configuration correctly initializes the program’s parameters to work properly with the corresponding MIDI controller,and in fact all the four instruments of The Saxophones worked “well enough” as soon as I loaded them in MainStage. But probably “well enough” isn’t enough for you,thus you need to read the manual to get the best out of these instruments;failing to do so means that you are leveraging a fraction of their potential. The documentation is short,clear and concise,and just takes a few minutes. Once I grasped the fundamental concepts,it took less than one hour to tweak the many available parameters until I got the sound and the responsiveness I expected. The parameters are grouped in three distinct sets: - basic sound parameters,in the main window - advanced sound parameters,in the Options window - MIDI CC mappings,also in the Options window Let’s have a look at basic parameters first,even though they aren’t really “basic”,as you’ll see in a moment. In the top half of the window you can set the intonation (in Hertz or cents),the transposition (in semitones),the pitchbend up and down ranges,the volume,and the pan. You can also control reverb,even though I prefer MainStage’s own reverb plug-ins because they provide more options. A rectangular area in the center of the main window shows a subset of the messages arriving from the MIDI controller,i.e. pitch bend,velocity,expression (CC11) or breach (CC2),and vibrato. It also provides a graph of the dynamic envelope and shows how the software is interpreting the way you articulate the phase (e.g. legato or staccato). These pieces of information are crucial,because The Saxophones – unlike traditional samplers – uses sophisticated algorithms to understand the musician’s intentions and generates slightly different sounds depending on the result of this analysis. If what you hear isn’t what you had in mind,you should keep an eye on these parameters to understand how the software is analyzing your playing style. The quest for the perfect parameter value In the bottom half of the main window you see more advanced controls that directly affect the resulting sound. Your first option is which instrument/microphone combination you want to use:each sax model (soprano,alto,tenor,and bari) provides between 8 and 10 variations,labeled with names such as “Sax 1 Dry” or “Sax 2 Bright”. Each variations results in a slightly different timbre,even though the differences aren’t always noticeable,at least to my ears. After some tests,I found myself focusing on two or three different variations for each sax model. Except for a few sliders whose meaning is obvious – for example,the amount of growl,the compressor rate,and the release time – the controls in this area require a deep knowledge of acoustic principles and honestly I can’t really claim I could grasp the meaning of each of them. In some cases I managed to have interesting sound variations by moving a slider,in others I found no audible difference,probably because some controls must be adjusted in groups rather than individually. For example,I found out that lowering the default value of the Dyn. Pitch parameter – which controls random pitch fluctuations in response to different breath intensity – allows me to articulate phases in a way that is closer to my playing style on the real instrument. Likewise,increasing the SubHarm value – which simulates the sub-harmonics that acoustic instruments create one octave below the played note – results in a “richer” sound. Some parameters are meant to be controlled dynamically by sending CC messages from your MIDI controls. For example,the Growl and Flutter Tongue values should be set to zero because you don’t want these effects in all your phrases:by mapping them to specific CC messages you can enable them on-the-fly and add expressiveness to your phrases. A couple of sliders affect the noise produced by breath and keys;when playing at low volume,these two parameters add realism to the sound. You can control them using CC messages,too,but in practice their default value is OK for most circumstances. As if all these options weren’t enough,the Options button (near the bottom-left corner) brings up a window with additional advanced parameters (see right portion of following figure). Here you can set the way portamento and vibrato work,the expression curve,under which circumstances the virtual sax “overblows”,etc. I haven’t played much with these values,because I was already satisfied with their default value,but it’s good to know that you have so many options to tailor the virtual instrument to your taste and style. The SWAM engine also supports microtones and non-tempered tuning. In the Options window you can select the detuning value (in cents) for each of the twelve semitones,but this operation alone doesn’t change the intonation. Instead,you have to activate the microtuning feature either in the main window or by sending a specific CC message. In either case,you can decide which notes use the alternate tuning. Notice that you can detune any note by the desired amount of cents,but you still have “only” 12 notes available:this means,for example,that you can play non-tempered Indian ragas and other Eastern scales but you still can’t perform any sort of quarter-tone compositions,which would require up to 24 different keys. Optimal MIDI and EWI settings The fields in the left portion of the Options window allow you to customize how MIDI CC messages map to most of the parameters just described. The default mappings are reasonable,yet they assume that you have a large number of CC controllers available,such as a MIDI keyboard with a lot of sliders and knobs or – if you are an EWI player – a foot MIDI controller such as Behringer FBC1010 or McMillen SoftStep. Even if I have both these foot controllers,my goal was to achieve good results with the EWI alone,thus I spent some time to configure the software and the EWI for the highest expressiveness. Here’s the configuration I came up with. In the SWAM Engine: Trasposition: +3 semitones for alto and baritone,-2 semitones for soprano and tenor – this means that a given fingering delivers the same note that would produce on the real instrument,so for example the low Bb generates more or less the same characteristic tone you get from the saxophone. PitchBend Up: 0.0 semitones – this is necessary so that you can use the EWI pitchbend plate to send a specific CC message without affecting the pitch. PitchBend Down: 1.0 semitones – with an acoustic sax you typically don’t “bend” a note for more than a semitone;besides,using a small value allows you to achieve a “pitch vibrato” by rapidly moving the thumb on the EWI pitchbend plate. Expression: mapped to CC2 (breath controller),the standard setting if you select the wind instrument configuration. Vibrato Rate: mapped to CC1 (default),to allow you to apply vibrato using the modulation wheel (on a keyboard) or the pitchbend up plate on the EWI (by using the configuration described below). Portamento Time: mapped to CC5 (default) Growl: mapped to CC4,so that you can add growl effect by pressing an auxiliary key on the EWI (see below). Overblow: mapped to CC64,so that you can achieve this effect by pressing a key on the EWI (see below). On the EWI: You should configure the EWI to send note velocity and breath information (CC2) with each note,and not send volume (CC7) messages. Sending velocity doesn’t really change the note volume or timbre (which depends on CC2),but can affect other behaviors,for example the transition time from note to note during glissandos. To match the SWAM settings described above,you should map pitchbend up values to the CC1 (modulation) message,which lets you easily have a variable degree of vibrato by simply sliding your right thumb up the pitchbend plate. The Glide plate should map to CC5,so that it controls the portamento in legato phrases. The Hold key – i.e. the auxiliary key closer to the mouthpiece – should be mapped to CC64 and send the value 65 (or any value greater than 64) when pressed the first time,so that you can activate overblow mode by just pressing this EWI key. Pressing it again disables overblow. The Octave auxiliary key should be mapped to CC4 so that you can achieve the growl effect by pressing a single key;in the setup you should specify a value between 30 and 127,depending on the amount of growl you desire. Unfortunately,the EWI can only send a single value,thus you can’t apply a varying degree of growl unless you use a MIDI foot controller. Pressing the key again returns to normal (non-growl) sound. Alternatively,you can give up to either overblow or growl,and instead use one of the EWI auxiliary keys to activate microtuning. Finally,I strongly recommend that you reduce the delay that the EWI introduces between playing a fingered note;the default value for this parameter is 7 and you probably never edited it,but Samplemodeling tech support recommends adopting a lower value,say 3 or 4,to reduce the number of “ghost” MIDI notes that the instrument sometimes emits and that is sometimes responsible for spurious notes,clicks,etc. Reality check It’s time to answer the questions that always come up when speaking about virtual instruments:do these instruments sound as good as the “real” ones? Can “The Saxophones” replace real,acoustic saxes? Unfortunately,the only answer I can provide is:it depends. More precisely,it depends on why you want to use a virtual instrument in the first place and what are your expectations. Let’s start saying that the quality of sound is fully satisfactory:if you play single notes or slow musical phrases,the saxes in “The Saxophones” can be hardly distinguished from acoustic instruments. Same consideration applies if you want to record a big band section:to get the idea,listen to the demos in this page. In the hands of a good EWI player,a virtual sax can be also used to play ballads and medium-tempo songs,as this video demonstrates. Samplemodeling instruments were accurately recorded in an anechoic room with expensive mics and using first-class instruments played by professional musicians,thus a recording session based on these sampled instruments can often deliver better results that those you typically obtain in your home studio. If you don’t have four saxophonists at hand,“The Saxophones” is your next better option. The sound of all the instruments provided in the package is equally good,yet I have my preferences. In my opinion,the baritone and the soprano delivers slightly better results,then comes the tenor and finally the alto. But again,this is my personal opinion and it probably depends on me being an alto sax player,which means that have higher expectations for that specific model. Playing these virtual instruments in live gigs can be challenging. The detail that makes the biggest difference between a virtual or real sax isn’t the sound itself,rather it’s the playability of the virtual instrument:a sampled instrument just cannot render the countless timbre and articulation variations that you can achieve with an acoustic instrument,such as alternate fingerings and different tonguing techniques;you can sing in the instrument,use multiphonics,produce vibrato by using either the breath or the jaw,and so forth. You can’t reasonably expect that a virtual instrument can implement all these techniques,even though Samplemodeling offer some interesting possibilities,for example in the way they implement growl and flutter tonguing. Just remember that every single detail of how these instruments sound can be controlled via CC messages:if you really want to get the best results you should read the manual,learn how to tweak the most important parameters,and maybe use an EWI with a MIDI foot controller (or a master MIDI keyboard with a breath controller and a lot of sliders and knobs).
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Fiú má tá mé Fond "ceart" ionstraimí fuaimiúla, tá mé ag intrigued i gcónaí ag "sintéiseacha" ionstraimí gaoithe, a iad sampláil nó shintéisiú. Mar shampla, tá mé i ndáiríre cosúil le roinnt paistí fheadóg mhór a thagann leis an sliseanna uasghrádú Patchman Turbo VL do Yamaha VL70-m, agus a fháil mé iad expressive go leor agus playable le mo 4000s Akai EWI. Faraoir, theip mé i gcónaí ag teacht ar chur i bhfeidhm réasúnta de sax fíorúil. Ag baint úsáide as sampler seachas Synth - lena n-áirítear synths go n-úsáideann samhaltú fisiciúil a mhacasamhlú na saintréithe fuaime ionstraim gaoithe fíor, mar go bhfuil an cás an VL70-m - seachadann surely thoradh níos gaire fuaim sax nádúrtha, ach tá mé i gcónaí curtha díomá ag an easpa playability agus an neamhábaltacht na héagsúlachtaí thondath leor nach féidir ach le sax fíor a thairiscint a bhaint amach. Nuair a chinn mé ceol le haghaidh ceathairéad sax a thaifeadadh, bhí an rogha idir a cheannach bhrí fíor agus baritone (a chur leis mo Alto agus soprán) nó ag iarraidh arís le hionstraim sampláil. Tá sé seo conas a fuair mé go dtí Samplemodeling agus a raon táirgí, lena n-áirítear práis (Trumpa, Trombón, agus Fraincis Corn & Tiúba) agus gaothuirlisí adhmaid (saxophones, Clarinets, Flutes, agus Double giolcacha). A n-raonta praghas liosta ó € 159 (thart ar 200 $) i gcás táirgí a bhfuil dhá ionstraim (eg Trumpa, Trombón agus Clarinets) suas go dtí € 259 (330 $) le haghaidh pacáistí le ceithre ionstraim, ar nós saxophones (lena n-áirítear soprán, alt, teanór , agus baritone) agus Double giolcacha (óbó, adharc Béarla, bassoon, agus contrabassoon). Na clibeanna praghas a dhéanamh ar tháirgí Samplemodeling níos daoire ná leabharlanna a chuireann uirlisí céadta do chodán de dollar gach, ach tá sé seo i gcomparáid míthreorach, toisc nach féidir aon cheann de na hionstraimí sna leabharlanna iomaíocht i ndáiríre le Samplemodeling. Tá an chuideachta ar an margadh ar feadh tamaill agus cáil bainte amach an-ard i measc ceoltóirí, go háirithe imreoirí EWI. Is é an chéad líne a gcuid táirgí atá bunaithe ar ardán Teagmháil hIonstraimí Dúchais ', agus go deimhin tá siad saor in aisce Teagmháil Player d'úsáideoirí nach bhfuil ar leo an táirge críochnaithe. Tá sé seo fíor i gcás ionstraimí práis, ach gaothuirlisí adhmaid nuaí - lena n-áirítear na saxophones - bunaithe ar snámh inneall dílseánaigh ainmnithe (Synchronous Tonnfhad Fuaimiúil Modeling). Le haghaidh tuilleadh eolais ardteicneolaíochta faoin snamh sheiceáil an leathanach seo , ach faoi láthair tá sé go leor a rá go bhfuil an t-ardán céim eile i dtreo gaothuirlisí adhmaid níos réadúla fíorúil. Ní ionstraimí snámh ag teastáil uait a shuiteáil ar an imreoir Teagmháil. Suiteáil, ceadúnú agus crua-earraí is gá Is é an dea-scéal Samplemodeling riachtanais bogearraí aon eochair dongle (eg an dongle iLok ), rud a chiallaíonn nach gá duit a thabhairt suas le USB port ar do ríomhaire agus nach mbraitheann tú go bhfuil tú ag caitheamh mar pirate féideartha. Ina áit sin, gheobhaidh tú dhá eochracha ceadúnas, a ligeann duit a shuiteáil a bogearraí ar dhá ríomhairí éagsúla. Má cheannaíonn tú an tríú ríomhaire is féidir leat a bheith eochair amháin deactivated agus athghníomhú ar na crua-earraí nua. Toisc go bhfuil coitianta le díoltóirí an chuid is mó, tugann ceadúnas bailí tú an cumas a íoslódáil scaoileadh mion sa todhchaí ar an táirge céanna, gan féachaint d'íoc as síntiús bliantúil. Is é mo athbhreithniú bunaithe ar an leagan 2.4, ach d'fhoghlaim mé go bhfuil an leagan 2.5 ar tí a chur ar fáil (saor in aisce) do gach úsáideoir cláraithe. Ionstraimí Samplemodeling obair ar Windows XP agus níos déanaí, agus ar Mac (OSX 10.6 agus níos déanaí). Tá siad ar fáil ach amháin mar plug-orlach ar an VST2, AAX, agus formáidí AudioUnit, dá bhrí sin, éilíonn siad plug-in a lán cosúil le Cubase, Beo, loighic, nó ProTools. Más rud é nach bhfuil tú ar chlár óstach, is féidir leat úsáid a ceann saor in aisce, ar nós Cantabile Lite . I ngach mo tástálacha a úsáidtear mé an leagan AudioUnit luchtaithe taobh istigh Apple MainStage 3. Suimiúil, ionstraimí fíorúil Samplemodeling a tógadh leis an imreoir gaoithe i gcuimhne: murab ionann agus bogearraí eile, caithfidh tú a úsáid ceachtar rialtóir gaoithe (cosúil leis an EWI Akai nó Yamaha WX5), méarchlár MIDI le ceachtar rialtóir anáil (cosúil leis an BC3 Yamaha ) nó - ar a laghad - ar gcos léiriú a astaíonn teachtaireachtaí CC11. Gan aon cheann de na rialtóirí MIDI, ní dhéanann ionstraimí snámh fuaime ar chor ar bith! Shuiteáil na saxophones ar mo MacBook Pro a bhí Breeze. Nach bhfuil mé úsáid ag an dara eochair sraitheach fóill, dá bhrí sin, níl a fhios agam conas a oibríonn sé ar chóras Windows, ach ní féidir liom a bheith ag súil aon trioblóid. Scanadh mé an fóram Samplemodeling roimh dul ar an bogearraí, agus is é an leibhéal sástachta i measc na n-úsáideoirí impressively ard. Ciallaíonn sé seo surely rud éigin. An chéad imprisean Go leor opportunely, soláthraíonn Samplemodeling trí bhfoirmíochtaí chun tús a chur leis: le haghaidh imreoirí méarchlár le gcos léiriú, d'imreoirí méarchlár le rialtóir anála, agus d'imreoirí rialtóir gaoithe. Gach chumraíocht initializes gceart paraiméadair an chláir a bheith ag obair i gceart leis an rialtóir MIDI comhfhreagrach, agus go deimhin go léir na ceithre ionstraim Na saxophones oibrigh "maith go leor" chomh luath agus a luchtú mé iad i MainStage. Ach is dócha "maith go leor" nach bhfuil go leor chun tú, dá bhrí sin is gá duit a léamh ar an lámhleabhar a fháil is fearr as na n-ionstraimí; éagmais sin a dhéanamh chiallaíonn go bhfuil tú ag leveraging chodán de a n-acmhainn. Is é an doiciméadú gearr, soiléir agus gonta, agus gan ach a thógann cúpla nóiméad. Chomh luath agus grasped mé na coincheapa bunúsacha, thóg sé níos lú ná uair an chloig a tweak na paraiméadair go leor ar fáil go dtí go bhfuair mé an fhuaim agus an fhreagrúlacht súil agam. Na paraiméadair a ghrúpáil i dtrí shraith ar leith: - paraiméadair fuaime bunúsach, sa phríomhfhuinneog - paraiméadair fuaime chun cinn, i bhfuinneog Roghanna - Mapálacha CC MIDI, chomh maith i bhfuinneog Roghanna A ligean ar a bheith ag féachaint ar bhunpharaiméadair dtús, cé nach bhfuil siad i ndáiríre "bunúsacha", mar a mbainfidh tú a fheiceáil i láthair. Sa leath barr na fuinneoige is féidir leat a leagtar ar an tuin chainte (i Hertz nó cent), trasuíomh (i semitones), an pitchbend suas agus síos raonta, an toirt, agus an uile. Is féidir leat a rialú freisin Aisfhuaimniú, cé is fearr liom Aisfhuaimniú féin plug-orlach MainStage ar toisc go dtugann siad roghanna níos mó. Léiríonn limistéar dronuilleogach i lár an fhuinneog is mó fo-thacar de na teachtaireachtaí ag teacht ón rialaitheoir MIDI, ie Bend pháirc, treoluas, focal (CC11) nó sárú (CC2), agus vibrato. Soláthraíonn sé freisin graf den chlúdach dinimiciúil agus léiríonn gcaoi a bhfuil an bogearraí a léirmhíniú ar an dóigh leat a chur in iúl an chéim (eg legato nó staccato). Tá na píosaí eolais ríthábhachtach, mar gheall ar na saxophones - murab ionann agus samplers traidisiúnta - úsáideann halgartaim sofaisticiúla chun tuiscint a fháil ar intinn an ceoltóir agus gineann fuaimeanna beagán difriúil ag brath ar an thoradh ar an anailís seo. Má cad a chloiseann tú nach bhfuil an méid a bhí ar intinn agat, ba chóir duit a bheith ag faire ar na paraiméadair a thuiscint conas a bhfuil na bogearraí anailís a dhéanamh ar do stíl imirt. An tóraíocht ar an luach paraiméadar foirfe Sa leath bun na fuinneoige is mó a fheiceann tú rialuithe níos forbartha a théann i bhfeidhm go díreach ar an fhuaim mar thoradh. Is é do chéad rogha a ionstraim / micreafón meascán is mian leat a úsáid: gach samhail sax (soprán, alt, teanór, agus Bari) Soláthraíonn idir 8 agus 10 éagsúlachtaí, lipéadú le hainmneacha cosúil le "Sax 1 Tirim" nó "Sax 2 Bright" . Gach éagsúlachtaí mar thoradh ar thondath beagán difriúil, cé nach bhfuil na difríochtaí suntasacha i gcónaí, ar a laghad, le mo chluasa. Tar éis roinnt tástálacha, fuair mé mé féin ag díriú ar dhá nó trí athruithe éagsúla do gach samhail sax. Ach amháin ar feadh cúpla Barraí Sleamhnáin bhfuil brí soiléir - mar shampla, an méid growl, an ráta comhbhrúiteoir, agus an t-am a scaoileadh - na rialuithe sa réimse seo a cheangal ar eolas domhain ar phrionsabail fuaime agus go hionraic ní féidir liom a éileamh i ndáiríre raibh mé in ann a thuiscint an bhrí atá le gach ceann acu. I gcásanna áirithe d'éirigh liom a bheith acu ar athruithe fuaime suimiúil ag gluaiseacht sleamhnán, i gcásanna eile fuair mé aon difríocht inchloiste, is dócha mar ní mór roinnt rialuithe sin a choigeartú i ngrúpaí seachas ina n-aonar. Mar shampla, fuair mé amach go bhfuil ísliú an luach réamhshocraithe an paraiméadar Dyn.Pitch - a rialaíonn luaineachtaí pháirc randamach mar fhreagra ar dhéine éagsúla anáil - Ceadaíonn dom céimeanna iúl ar bhealach atá níos gaire do mo stíl imirt ar an ionstraim fíor. Mar an gcéanna, méadú ar luach SubHarm - a insamhladh ar an fo-harmonics a chruthú ionstraimí fuaimiúla octave amháin faoi bhun an nóta imir - torthaí i "níos saibhre" fuaime. Tá roinnt paraiméadair atá i gceist a bheith faoi rialú dinimiciúil ag teachtaireachtaí CC sheoladh ó do rialuithe MIDI. Mar shampla, ba chóir na luachanna Teanga Growl agus flutter a shocrú go nialas toisc nach bhfuil tú ag iarraidh ar na héifeachtaí i ngach do frásaí: trí iad mapáil teachtaireachtaí CC ar leith is féidir leat iad a chumasú ar-an-eitilt agus expressiveness a chur le do frásaí. Tá cúpla Barraí Sleamhnáin difear torann a tháirgtear trí anáil agus eochracha; nuair a imirt ar toirt íseal, cuir an dá paraiméadair réalachas le fuaim. Is féidir leat iad a rialú ag baint úsáide as teachtaireachtaí CC, freisin, ach i gcleachtas tá a luach réamhshocraithe OK le haghaidh imthosca an chuid is mó. Mar más rud é nach raibh seo go léir roghanna go leor, tugann an cnaipe Roghanna (in aice leis an chúinne ag bun ar chlé) suas fuinneog le paraiméadair bhreise chun cinn (féach chuid ceart figiúr seo a leanas). Anseo is féidir leat a leagtar ar an mbealach portamento agus obair vibrato, an cuar abairt, faoina imthosca an sax fíorúil "overblows", etc. Nach bhfuil mé a bhí i bhfad leis na luachanna, toisc go raibh mé sásta leis an luach réamhshocraithe cheana féin, ach tá sé go maith go mbeadh a fhios go bhfuil tú roghanna an oiread sin a chur in oiriúint leis an ionstraim fíorúil ar do blas agus stíl. Tacaíonn an t-inneall snámh freisin microtones agus tiúnadh neamh-tempered. Sa an fhuinneog Roghanna is féidir leat a roghnú an luach detuning (i cent) do gach ceann de na déag semitones, ach an oibríocht nach n-aonar athrú ar an tuin chainte. Ina áit sin, caithfidh tú a ghníomhachtú an ghné microtuning ceachtar i an fhuinneog is mó, nó a sheoladh trí teachtaireacht CC ar leith. I gceachtar cás, is féidir leat cinneadh a nótaí a bhaint as an tiúnadh malartach. Fógra gur féidir leat detune aon nóta ag an méid atá ag teastáil de cent, ach tá tú fós "ach" 12 nótaí ar fáil: ciallaíonn sé seo, mar shampla, gur féidir leat a imirt ragas Indiach neamh-tempered agus scálaí Oirthear eile ach ní féidir leat fós aon saghas cumadóireachta ceathrú-ton, bheadh gá suas le 24 eochracha difriúla. Is fearr is féidir socruithe MIDI agus EWI Ceadaíonn na réimsí sa chuid na láimhe clé den fhuinneog Roghanna leat a shaincheapadh ar conas léarscáil teachtaireachtaí MIDI CC chuid is mó de na paraiméadair díreach cur síos. Is iad na mapálacha réamhshocraithe réasúnta, ach glacadh leis siad go bhfuil tú líon mór de rialtóirí CC atá ar fáil, cosúil le méarchlár MIDI le go leor de Barraí Sleamhnáin agus knobs nó - má tá tú imreoir EWI - rialtóir MIDI chos ar nós Behringer FBC1010 nó McMillen SoftStep. Fiú má tá mé an dá rialaitheoirí coise, bhí mo sprioc a bhaint amach torthaí maithe leis an EWI-aonar, dá bhrí sin chaith mé roinnt ama a chumrú na bogearraí agus an EWI don expressiveness is airde. Seo an chumraíocht a tháinig mé suas leis. Sa Inneall snámh: Trasposition: +3 semitones do Alto agus baritone, -2 semitones do soprano agus teanór - ciallaíonn sé seo go seachadann fingering mar gheall ar an nóta céanna a bheadh a tháirgeadh ar an ionstraim fíor, mar sin mar shampla, a ghineann an Bb íseal níos mó nó níos lú an ton tréith chéanna gheobhaidh tú as an sacsafón. PitchBend Suas: 0.0 semitones - is gá ionas gur féidir leat a bhaint as an pláta pitchbend EWI a sheoladh teachtaireacht CC shonrach gan cur isteach ar an bpáirc. PitchBend Síos: 1.0 semitones - le sax fuaimiúla tú de ghnáth ní "Bend" nóta ar feadh níos mó ná semitone; bhreis ar sin, ag baint úsáide as luach beag is féidir leat a le "vibrato pháirc" a bhaint amach trí go tapa ag gluaiseacht an ordóg ar an pitchbend EWI pláta. Slonn: mapáilte go CC2 (rialtóir anáil), an suíomh caighdeánach má roghnaíonn tú an chumraíocht ionstraim gaoithe. Ráta vibrato: mapáilte go CC1 (réamhshocrú), chun deis a thabhairt duit vibrato ag baint úsáide as an roth modhnú (ar an méarchlár) nó pitchbend suas pláta a chur i bhfeidhm maidir leis an EWI (trí úsáid a bhaint an chumraíocht cur síos orthu thíos). Portamento Am: mapáilte go CC5 (réamhshocrú) Growl: mhapáil go CC4, ionas gur féidir leat a chur i bhfeidhm growl ag an cnaipe eochair cúnta ar an EWI (féach thíos). Overblow: mhapáil go CC64, ionas gur féidir leat a bhaint amach i bhfeidhm ag an cnaipe eochair ar an EWI (féach thíos). Ar an EWI: Ba chóir duit a chumrú an EWI a sheoladh nóta treoluas agus faisnéis anáil (CC2) le gach nóta, agus ní sheoladh toirt (CC7) teachtaireachtaí. Ní Seoladh treoluas athrú i ndáiríre an méid nóta nó thondath (atá ag brath ar CC2), ach is féidir leis tionchar iompar eile, mar shampla an t-am aistriú ó nóta a thabhairt faoi deara le linn glissandos. A mheaitseáil leis na socruithe snamh cur síos orthu thuas, ba chóir duit an léarscáil pitchbend suas luachanna dtí an CC1 (modhnú) teachtaireacht, a ligeann tú go héasca ar a bhfuil céim athraitheach de vibrato ag simplí sleamhnáin le do ordóg ceart suas an pláta pitchbend. Ba chóir an pláta Glide léarscáil chun CC5, ionas go rialaíonn sé an portamento i frásaí legato. An eochair Coinnigh - ie an eochair cúnta níos gaire don mouthpiece - Ba chóir a mhapáil go CC64 agus a sheoladh ar an luach 65 (nó aon luach níos mó ná 64) nuair a bhrúitear an chéad uair, ionas gur féidir leat a ghníomhachtú modh overblow ag díreach an cnaipe an eochair EWI . Fáscadh arís díchumasaigh overblow. Ba cheart don Sheachtain eochair cúnta a mhapáil go CC4 ionas gur féidir leat a bhaint amach ar an éifeacht growl ag an cnaipe eochair amháin; sa thus ba chóir duit luach idir 30 agus 127 a shonrú, ag brath ar an méid growl mhian leat. Ar an drochuair, is féidir leis an EWI sheoladh ach luach amháin, dá bhrí sin ní féidir leat iarratas a dhéanamh céim éagsúla de growl amháin má úsáideann tú rialtóir shiúl na gcos MIDI. Fáscadh an eochair ar ais arís chun gnáth (neamh-growl) fuaime. De rogha air sin, is féidir leat a thabhairt suas chun ceachtar overblow nó growl, agus in ionad a úsáid ar cheann de na heochracha cúnta EWI microtuning a ghníomhachtú. Mar fhocal scoir, molaim go láidir go bhfuil tú laghdú ar an moill a tugtar isteach an EWI idir imirt nóta fingered; is é an luach réamhshocraithe le haghaidh an paraiméadar 7 agus tú riamh is dócha in eagar é, ach molann an tacaíocht Samplemodeling ardteicneolaíochta ghlacadh le luach níos ísle, a rá 3 nó 4, a laghdú ar líon na "taibhse" nótaí MIDI a astaíonn an ionstraim uaireanta agus go bhfuil uaireanta freagrach as nótaí bréagacha, cad a tharlaíonn, etc. Seiceáil réaltacht Tá sé am chun freagair na ceisteanna a thagann suas i gcónaí nuair a labhairt faoi ionstraimí fíorúil: bhfuil na hionstraimí fuaime chomh maith leis an "ceart" cinn? Is féidir "An saxophones" in ionad fíor, saxes fuaimiúil? Ar an drochuair, is é an freagra ach is féidir liom a chur ar fáil: Braitheann sé. Níos cruinne, braitheann sé ar cén fáth ar mhaith leat a úsáid ionstraim fíorúil sa chéad áit agus cad iad do ionchais. A ligean ar tús ag rá go bhfuil an caighdeán na fuaime go hiomlán sásúil: má tá tú ag imirt nótaí aonair nó frásaí ceoil mall, is féidir leis an saxes i "The saxophones" a éigean idirdhealú ó ionstraimí fuaimiúla. Tá feidhm ag breithniú same más mian leat a thaifeadadh alt banna mór: a fháil ar an smaoineamh, éist leis an demos sa leathanach seo . I lámha imreoir maith EWI, is féidir le sax fíorúil a úsáid freisin chun bailéad agus amhráin mheán-luas spraoi, mar físeán seo léiríonn. Rinneadh na hionstraimí Samplemodeling thaifeadadh go cruinn i seomra anechoic le mics costasach agus ionstraimí den chéad scoth ag baint úsáide as a bhí ag ceoltóirí gairmiúla, dá bhrí sin is féidir le seisiún taifeadta atá bunaithe ar na hionstraimí sampláil a sheachadadh go minic torthaí níos fearr go siúd leat a fháil de ghnáth i do stiúideo bhaile. Más rud é nach bhfuil tú ceithre saxophonists ar láimh, "An saxophones" do rogha eile níos fearr. Is é an fuaim na n-ionstraimí uile ar fáil sa phacáiste chomh maith, ach tá mé mo roghanna. I mo thuairim, seachadann an baritone agus an soprán torthaí beagán níos fearr, ansin a thagann an bhrí agus ar deireadh ar an Alto. Ach arís, is é seo mo thuairim phearsanta agus braitheann sé is dócha ar a bheith orm imreoir sax Alto, rud a chiallaíonn go bhfuil ionchais níos airde le haghaidh múnla ar leith. Is féidir le imeartha na hionstraimí fíorúil i gigs beo a bheith dúshlánach. Níl an mion a dhéanann an difríocht is mó idir sax fíorúil nó fíor an fhuaim féin, in áit tá sé an playability an ionstraim fíorúil: Ní féidir ionstraim sampláil fhágfaidh ach an thondath countless agus athruithe in iúl gur féidir leat a bhaint amach le hionstraim fuaimiúla, cosúil le fingerings malartach agus teicnící tonguing éagsúla; is féidir leat a chanadh san ionstraim, multiphonics úsáid, a tháirgeadh vibrato ag baint úsáide as ceachtar an anáil nó an fhód, agus mar sin de. Ní féidir leat a bheith ag súil go réasúnta gur féidir le uirlis fíorúil a chur i bhfeidhm go léir na teicnící, cé a thairiscint Samplemodeling roinnt féidearthachtaí suimiúil, mar shampla ar an mbealach siad chun feidhme growl agus flutter tonguing. Ach cuimhnigh gur féidir le gach mion aonair ar conas na hionstraimí fuaime a rialú trí teachtaireachtaí CC: más mian leat a fháil ar na torthaí is fearr a ba chóir duit a léamh ar an lámhleabhar, foghlaim conas a tweak na paraiméadair is tábhachtaí, agus b'fhéidir a úsáid ar EWI le MIDI rialtóir chos (nó ina mháistir méarchlár MIDI le rialtóir anála agus a lán de Barraí Sleamhnáin agus knobs).