Team DECiBEL | 18 Feb 2020 | 1.25GB-1.29GB each
为了产生这个音乐库，通过对舒尔SM81的近立体声立体声对，AKG D112，Neumann Tlm 102和“ di”桥拾音器采样低音。在混合过程中，确定将SM81与D112混合可以得到最佳的整体色调。在几个小时的测试过程中对贝斯进行了采样，贝斯手演奏了弹奏音符，拍击贝斯和滑音。那些幻灯片过后，男孩的手指烧了！
Adam Monroe的Upright Bass的Kontakt版本（于2019年12月28日折旧）是跨平台的。 VST，AU和AAX版本由我们编程。也是VST（虚拟仪器），AU（音频单元）或AAX插件的任何示例库中的目标都是尝试匹配Kontakt Player的性能。我们认为此VST，AU和AAX版本的性能可比。
VST，AU和AAX版本包含高性能算法，而Adam Monroe Music发行的每种新虚拟乐器都在改进这些算法。例如，缓冲算法是双缓冲和多线程的，这意味着即使在速度较慢的计算机上，甚至在较低的延迟下，缓冲性能也很快。声音以纯净的C样式阵列进行保留和迭代。 VST版本中的内存使用量比Kontakt版本（已淘汰）中的内存使用量要低（70-130MB）。 VST，AU和AAX版本现在还包括对44.1、48、88.2和96k Hz采样率的本地支持。由于具有可靠的VST，AU，AAX代码库，因此您可以放心VST，AU和AAX版本应与（已弃用的）Kontakt版本一样好。
Adam Monroe’s Upright bass was sampled from the pluckings of a gigging upright bass player. The bass itself was an inherited instrument from the musician’s grandfather. The exact age of the bass is not known, but it had seen some action, and although a little beat-up, still sounded great!
To produce this library, the bass was sampled through a close-miced stereo pair of Shure SM81’s, an AKG D112, a Neumann Tlm 102 and a “di” bridge pickup. During mixing, it was determined that the SM81’s blended with the D112 gave the best overall tone. The bass was sampled over the course of a few 10 hour sessions, where the bass player played plucked notes, slap bass, and slides. Boy did his fingers burn after those slides!
Do to the nature of the recording environment, the samples contained a lot of noise, and had to be denoised, although some of the noise was left in so as not to affect the tonal qualities of the upright bass too much. As an instrument that is more-or-less destined to sit in a mix, we don’t feel that the slight noise is much of an issue, and do to the percussive nature of an upright bass, tends to fade-away quickly.
The goal of this library was to strike a balance between a realistic upright bass sound and a useable vst, aax, au plugin, therefore, the articulations are “pre-recorded” as opposed to engineered/programmed. Although software simulation allows for more control over playing, nothing sounds quite like live articulations.
A future version is planned where we will resample an upright bass in an acoustically pleasing environment (with close and room mics), so that the user may blend between different amounts of natural reverb and ambiance.
The (depreciated 12.28.2019) Kontakt version of Adam Monroe’s Upright Bass is cross-platform. The VST, AU, and AAX version are programmed by us. The goal in any sample library that is also a VST (virtual instrument), AU (Audio Unit) or AAX plugin is to attempt to match the performance of the Kontakt Player. We feel the performance of this VST, AU, and AAX versions are comparable.
The VST, AU, and AAX versions include high-performance algorithms that have been improving with each new virtual instrument released by Adam Monroe Music. For example, the buffering algorithm is double-buffered and multithreaded, which means that buffering performance is fast, even on slower computers, and even at lower latencies. Voices are held and iterated over in a pure, C-Style array. Memory use is lower in the VST version than in the (Depreciated) Kontakt version (70-130MB). The VST, AU, and AAX versions also now include native support for 44.1, 48, 88.2, and 96k Hz sample rates. Because of the solid VST, AU, AAX code base and you can feel confident that the VST, AU, and AAX versions should work just as well as the (depreciated) Kontakt version.
When it comes to upright bass, there are several considerations in regards to articulations. What do you include and how are they triggered? Unlike some other upright bass sample libraries, we decided it would be best to separate the slap sounds, and the softer, natural pizzicato sounds, and allow the user to control them with the sustain pedal. We decided to limit slides to major and minor 3rds which can be controlled by the pitch wheel; holding the pitch wheel slightly up before pressing a note will trigger a minor 3rd, holding it more aggressively up will trigger a major third, and the reverse is true for slide-downs. You then have to move the pitch wheel back to the “neutral” position to trigger another slide. We feel this prevents the user from triggering unwanted slides. Slides don’t work for notes that don’t make sense (like up from and down to E1). Hammer-ons and pull-offs were also recorded, but in the end it was decided they did not add much value to the library and would be difficult to control outside of automation.
* 24-Bit Audio Samples (With Separate Slap Samples)
* Round-Robin, 10 Velocity Layers
* Reverb, Slides, and Slap Patches
* Supports 44.1, 48, 88.2, and 96 kHz