uO) 7.0GB fe Cd . WN strings, guitar, PW, Swings and brass PO LG KEV ns WSS “ Za NOIA WY i BN pro advice UM 4 WH THE ULTIMATE GUIDE TO § 7.0GB @ DVD-ROM & Rocking Roland TB-303, TR:909 and TR-808 emulations| A far-out technique broken down into fathomable chunks ISYNAPSE AUDIO DUNE: MADRONA LABS AALTO | VENGEANCE-SOUND PHILTA XL mee SANSUI OLU US aL 40 pe eee aed 'SOUNDWARE ROUNDED UP!make music now < Keeping it real Badly programmed virtual instruments can make a track sound robotic, but with these techniques you'll fool even the sharpest of ears > Virtual instruments have improved in leaps and boundsinrecent years, but it's stil all butimpossibleto tind a perfect trum ‘emulation that fools listeners int thinking, ‘that Louis Armstrongiisright there nthe room with them. You can work your fingersto thebone creatinga beautiful melody, butit's allinvainif the essential human touches ‘rentthere. Many producers mistakenly consider a DAWS humane functions to be ther only option ‘when t comes to adding realfe performance characteristics to MIDI parts. However, you can achieve so muca more with abt of technical know-how and some clever programming Iinths tutorial, were going to blow, bow and strumthree groupsof vitual instruments into convincing realty. Welbe acing breaths, mutes, finger sounds and slides to some basic multsampledinstrumentsin orderto bring st patches to lif Keyswitching san important {spect of any good multsampled instrument, so wellalso be exploring how to get the best from those hidden arveulations ‘Ontheem DVD you! find 2 colection of reat Kontakt patches with which you can try ‘out the techniques we discuss for yoursel You ‘would expect this kind of thing to appeal primarily to those writing parts tor orchestral Instruments but wellaleobe showing you how to transform these sleepy samples into soulful solos for use in your pop rock and dance tracks. Inorderto clearly demonstrate the techniques that were ilustrating, many of thewalkthvough ‘examples might seem ant over humanised ~ we've done this deliberately so that you can ‘lealy hea the effects of ou tinkering, Remember, however, that making instrument ‘emulations sound realticavery subtle Aiscipine so exercise taste and discretion at all times. Otherwise. you risk your pleces ending tp sounding ke ahigh schoo} band rehearsal ‘So, say goodbye torabotie ROMlers, and hallo to convincing, realistic MID performances = lets get programming! COMPUTER MUSIC / 53=] Webulé melody and harmony tines > ting the staccato and egato patches tom Cinesarples Heliywoodwines We oul some parts ith the woodwind “stains ftom rejctSAMSymphobl, “wo ROMplers tuning in tander he tis hp tosmooth over the inconsistencies it ‘ach Wecouble the actavesnthelaet, Section reinforcing the melody (Aucio ‘on theem DV Woods-melodyiray) Wind instruments Let's deal withthe tricklest rst: ‘sampled wind instruments are ‘probably the toughest ofall ‘emulations to program realistic ‘MIDI parts tor. Take the ‘saxophone, for example. $x playersnotonly bend notes Using the reed itself, but there's ‘alsoalot going on with the lips, {ongue,throatand diaphragm. ‘Then there ae allthose complex ‘overtones and harmonics found ‘bouncing around inthe horn, interacting with each other. Yes Indeed, there'savery goodreason that most wind instrument plug-ins and ROMplers sound ‘atherflat by default. ‘The wind instruments that are most viablefor ealisticemulation {are those that can hold reasonably longsustainednotes without too ‘much tonal change. Flute, French hho, clarinetand-toacertain ‘extent -trumpetcan be played in legatostyle reasonably naturally ‘iaMIDL As soon as the phrasing ‘becomes faster, however, the {fakery behind the music inevitably becomes more obvious. ‘One of the most effective ways tobulld moreintricate wind parts {stomixaudioclips with programmed MIDI passages. in ‘order to fool the ear into thinking that the whole thing isasingle Meike pertormance. The audio lips could be whole runsot notes, specialettects or even ‘sampies ofthe player ‘breathing and moving while playing the instrument. 84 | COMPUTER MUSIC 7 SNe, weloadup some woodwind runs > sed short sections to weave sound the melody When doing this be careful not toaverpowe the melody oF double the instruments ueatstiesty For example, dotayer aluterun over another tute melody as areal orchestra Saivnas trae utes which normally a ay inunison or harmonic pais Ai Woodeprerccoraswav) Ecce nen S InGartanPersnal Orchestra, call Up thefteskeyetchartcuation ‘raw the requency envelope himanualy bt we could ato le the er tothe Ideatetomake the staceatonotes bright andthe longer ones relatively dul (audio: Flute higheut way) S Newt. weusea short brett pateh > fromthe Tertsolo vole tary rom Tonenammer (www doneharamet com) ‘Thesamplesare ontheem DVO, but you could awayssamol Your own lations ‘rtd an acappete Weck andl eapture ‘nly theshert Beats before nes, We inset the breahsjust before each pase hanging the pen each tine to prevert Fepettlon. (Aude Fute-breatnewav) The sectons complement each other ven ied together wth ust enough realam to fool ne er Woods finana, Ofcourse you woul very selcom best ‘only woocinsnany wack, so we add {heres ofthe orchestra in areugh in Using more sounds trom Symphotla You ‘anearhow the track tar together with the otra inatrumentation (ud ‘Woodr-orchestration wav) fn \ Theplicibendis adjusted throughout theretfa again acdngdoicate (athoughbarly discernible) human imperfectionto the ack Nex. we ade Same shot notes at oa veloc ue). These ate cate gracenotes and are used by wind players (Gnd ether musician aed interest io simpierelod. ‘asi Fute tech) > Inrary,Phonehammer Buttons (aso ‘ontheem DVD) toad very short noises. These matetnesoundsaf the keys {alg back ont the pipe during the staeato sections, You could fst areas tse samples ofan smal inocxsor even cecita drum sound Just keep very ow inte ix (ud. Fute-inatwa)Forth walkthrough ee using Sample Modelhe’s The Trumpet, anexcelentsolo trumpet forthe Kontakt samp layer You cau use ‘ny brass soundeetatnough youll Wiestartby recording a tase melody usng|ust ey veloty and expression \VaMIDICCT(Augioon teem OVD. ‘Trumpet-exprestionwav) The samplesaremappeat two ferent zones E524 bul tigger fromthe same MIDI note Weturn of the Pitch option andset the 2onesto tigger at ferent vet levlsbyteking the Vel Range’ On chetkbox,thensettha the natura yume totrgger at velrties (a6 andthe mute romp a 87127. ‘and aust the mod wheelto simulate a {wumpet player opening and dosing the ‘end ofthe tumpot witha mate, We've {dedaltierovery anc ata ine to ‘rete The Good, the Ba and the Nod Wheel Auto Trumpet finalwav) Nxt. we drawinmore expression curvosto provide seme atom lane tonauing Weals daw inthe speed and ‘depth of brato. Nest. we copy the MID! Information to frac Sand send tthe ‘Mutetrumpet pater We exortan aoa the acksinto Logie SEXS24 youcan use any software sampler with asignable Sample crosstade. Aco: Trumpet ‘Romuteway, Trumpet mutevav) set Veloaly tobe conte by Ch ‘move the wheel wilzwitch between the {ho samples (ile Trumpet moana Tris bitabrupt so we cnange the ‘Amount +/0 to smoot the anstion Slightly This createsa sweet spot onthe (Aucio-Trumpetsweetway) >Take it further Weveuses this techniaueona hole musical ohase. but you ould crack ot or sng notes ‘mapped acrossthe Keyboard or imostany instrument Alyouneed Scand on one yer withthe ith eight sare You eantake things a step turter by ‘morphing between sounds rather than smpycrosstading Software lke Prosonas Norah can create “moathertraneformation bebwesn Samples This partir pasa two sounds anathen automatialy mates them fo you Mar! make music now < Programming the winds ‘Aswithany other Instrument, the therealism of any particular Instrument, double it up with another to disguiseits flaws. you want to goal-out, invest na wind controller. This isa kindof oversized MIDI recorder that ‘canbe blowninto to create realistic ‘dynamics envelopes. and configured tocontrol simulated breath sounds ‘as wellas vibrato and portamento. doesn’t matter it you can't playa ind instrument, as mostcan be set ‘upte only use the incoming breath ‘expressions, while you use your MIDI Keyboard to input note values. Dpictattctonguing rad ana slur are essential in simulating ‘wind instruments effectively, and the trombone alsoneeds pitchbend {or the slide. Its hardto program all ‘ofthese simultaneously while playing a wind partlive,so gotor ‘the parameters thathave the biggestimpacton the sound fst ‘expression and vibrato. The other ‘envelopes canbe drawn in later. ‘Think about the imitations of the human player.Note duration belimited tothe performer's length of breath, and will shorten at higher velocities asthe player's lungs blow harder and aster through the instrument, Emulate this by blowing ‘along with the wind partthat you're ‘writing -when yourun outof breath, splitthe currently playingnote. itching on wind instruments is rarely 100% precise. Much like string players, wind players correct pitch errorsafter afew milliseconds. During fast runs, valveinstrument players (eg trumpet and french horndare physically unable to ‘depress each vaive fully before moving onto thenextnote, resulting Jnmany hal-tones and somesiuring between pitches. Emulate thisby imistuning the starts and ends of ‘notes with pitchbend, or by heavily ‘muting some notes during arun. Allblown instruments are relatively quiet compared to ‘other families of instrumentation. Bear this in mind when mixing and refrain from pushing toomuch volume out of single Instruments. If ‘Youwantan instrument tostand out Inthe mix, EQit differently, double withanotherorusea brighter alternativelive a plecolo or trumpet. 29) COMPUTER MUSIC 55>make music now Guitar Instrument to emulate with MIDI ‘programming. Thereare some ‘very good plug-ins out there that ‘canhelp you to achieve realistic ‘ound, but they needto beplayed ‘and processed inthe same way ‘asa guitarist would play areal ‘guitar to sound truly great. So, Success involves allowing for and programming playing errors, and recreating the sounds of finger ‘movements on strings. ‘Thereare essentially two ways toplay the guitar strumming the hhand across all ofthe strings to produce a chord, orplucking the strings with fingers ora plectrum toproduce separatenotes.A strumming action alwayssees the player's hand move from the top tothe bottomstring,or vice ‘versa, which means that strings. are never played quite together. The first thing youneedto do toemulate this isturn quantise offin your MIDI sequencer. The strumming moverient can be ‘emulated on a MIDI keyboard bby rocking yourhands rom the thumb tothe lite finger backwards and forwards. The ‘other option isto enter MIDI ‘notes by hand, but this ean be tricky and time-consuming. Some plugHinshelp you outby providing prerecorded up and ‘own strums touse asastarting point. Asustain pedal is useful {orholding chords until the next chord progression starts. Wo load our muitsampled gutar tary Wedgie Acoust Gu Cotecton into Kantat 3. You can use ary pale ou he but weve ncidecone fom {he ndginus Cllecion on theem DVD. Wemapoutasimple croré sequence, sing thesustan pedal oot notes and eleacing them before tre next chor {Ridloon theem DVD Gi s-orignalway) Next we add asubtegutar sap Sound as each chordends Theseare athe omer endef thekeyooardinour patch ASthasustain pedal comes of ach ‘Chord we use the sound of ger onthe Tretuoardto smite the chord being cut ft Wed thisat ow velacty tomakelt at lait as possible. Rudo Git stopesea¥) To sequence sounds abit robotic atthe moment ro we move thenates ‘manually nto ht ardegae groups Siwaysstrumming tom the bass nate up thetrequency range Notethat there are _twaysshenotas inthe chords andthay rough correspon tore! gular ager boston (Audio ita moved) Altnatremainsista tt inthe gaps tara few ones tums ona Separate rack remembering tokaep the Chordsthe same Its3 ood eatomiss ‘utthe opiate ofthe core on these ‘extra strum Rel guarss uses techniqueto ave rythm the section ‘nite mating he leading notes ina Sustar (Rudo. Gie-a-inaav) Guitar Collection Kontakt iar ‘again. ferent articulations ae avaable ‘roughout the increasing voles ut ‘your RONpler or mutsample set might avekayrotch arcuatlons stead We seth feestyemeloi using the bend ‘ad mod wheels toad a adhstrents {ptr and vibrato. (Ausio on theem DvD-6les-orginalwav) 56 / COMPUTER MUSIC , Newt we aust veloc in order to > rigger altemativeartiultonsin Kontakt, Thefastruns of notes ager the Short muted samples ow veloc ana thehighnotes are tiger tides ah Vole ule Giteveloctywa) S, Wefinsh of by puting in finger stops atthe end of exch praseto replicate ‘the changing of fnger postion by ne layer asin the walktvouh above We thon give thewhole piece ate warmth Sdmakethe stops less obvious by _clsting the £0, boosting 348 around ate and rong off te as reauencles dite vse i-mate)Wobullia base chorésequence Using impact Soundworks Streddage inkontakt’3- but you can use any guitar Horry that eludes chores best prosram tiswithoutany eects inate tsngalstrtion, et, yu ha way there Instadetlooing werenest ne sequence ‘ans humanie io keep the tack reas ‘co. ontheem OVD Git oopavay) ‘ula leads is pitchbend and ts frantic Picking We use our sequencers pumanise function again to mave veloc ana nots, adng resis Dorit go mad with Uheoitehbend.though=fustuse eto accentuate cerainsstained nates. (iuco:Gterlesawe) False emblsh the wacks with prerecorded guitar fal toleadiniothe {Wack Ween te the lead ana myth ‘ular sections tagebrer wit asinle rock best anapush theresa throug TZolope Ozone Rock preset or convenience (Aude It fnaluay) oT = Gt Now for eects We ac our favourite D> aurtaramopiugin and crankup its Z. cstertion Gai setting athough ary Kind of estertionioverdrve plugin vit 4a. We un doun the Trebleand Mids EQ 'by20% each andads asmatlameunt ot revert. Ned wepanthe wack let litle toleave spacefor tha lead tackonthe Fat Chuco-Gitwdstorteawav) Mids snd Treble EQ to make telecine Stand eutaganst the power chords onthe frstirac. and ad sighty more rover on this tack making the guitar realy sng. Next we panthistrack to theright ac Gitrlead-dlawav) >Improvise a sound Ityou denthaves dedieated rock ‘utarROMoler. dont stress out Youeanuse the sours! ay Substitute instep 3~ whic spor being acted - you can hea how ‘urplekea quar ine sounds rather Ike banjo! By playing about wih oven disguise he orginal sound ‘ute ettectvey Have agol make music now < Top tips for realistic guitars [When programming strummed chords, remember to only use ‘chordsthat guitarists regutarly lay. wwwchordbook.comis a ‘reatsite featuring virtual guitar that strums the chord you'reatter andnames thenotesit contains. Play these notes back on your MIDI keyboard to create realistic strum. ‘Onthecm DVDisa PDF thatexplains how common guitar chords are played on a keyboard - check out GultarChordVolcings.pat. Wien using pitchbend on rock ultar tracks, bear in mind thata ‘guitarist can't pick thestringsand lsethe whammy (pitchbend bar at ‘the same time. Hertce, big bends should be used sparingly. The ‘musician can also create bends by pushing the strings with theiriert hand,but one or two semitones should be the maximambend within picked sequence of notes. Ws the sounds youleave out that will blow the cover of your ‘guitar patch. Finger slide sounds ‘andrelease stops should always be included - omitting these will make ‘your guitar soundasitithasa ‘mechanical plucking mechanism! ‘Thereare loads of these samplesin Kontakt format on thecm DVD, ‘courtesy of mpact Soundworks. There arelots of multisampled instruments and ROMplers out ‘there, but the two Kontaktpatches ‘weusehereare idealbecause of the ‘ease with which their articulations. ‘canbe velocity switched. Indiginus (www.indiginus.com) produce great collection of ‘acoustic gultar patches for E35, with {tengultarsto choose from, and the ‘StrumMaker plug-inforcreating ‘your own strumming loops. Impact Soundworks! (oruru.impactsoundworks.com) ‘Shreddageincludes double-tracked patches, which are great {for producing rhythm guitars, as different ettects ean be applied to Jeftand right channels separately. When a guitarist plays high- lees hmcerbie: ‘won'tcompletely mute the strings Inbetween each note. So, you should Use fast muted articulations forthe {6tHv-notes and then go upto normal mutes tor the eightirnotes. These ‘elghth-notes shouldall beastongas possible. edged right upagainst the startof the followingnote, Dragging theendof eachnoteto the very beginning of thenext ensures ‘continuous vibration from the ‘string, with realetc attack rhythms, Mach 2) / COMPUTER MUSIC | 57> make music now String instruments Allbowed stringinstruments canbe _keysat the bottom ofthe playedin ahugerangect different Clever use o these suit \Ways.Aviollnist,forexample, wil playingcan create very realistic —_alwaysland perfectly on vary theltension ofthe strings the sequencesit youknow roughly thenote poskion of their fingers onthe neck Nowa player would forma phrase, , foftheinetrument andthe firmness Because orchestralstring ‘with hich the Dow ispressed, not instruments don have tomentionthespeedof theplece, guitar players can slide we keyboard. slurred. and withbig or fast tches while jumps the player might not ets ke a theangeofthebow and mony smooth Fomonenateto ther factorsthatcontrbuteto —thenextbymoving the the struments sound. hand up and down the neck TnROMplersand sample rales, Thisis ealed portamento someottheseartiationsare and yourecognige rom oftencapturedandallocatedto any numberof romantic teyentenes Using MIDIkeyBoard, Hollywood scores Bear ts Penn menyene therighthandplays thenotes while inmind when writing string wave, theletthandplcksoutaspectic.partsasjumps trom one Srarteywtcnngto” "imple bankbyselectng erent notetothenextcanbe ouatsmeatam 1 > patches tram Cartan Persona 2 > totais cache lfrcat vot > Sreveryrock yarwarttcreteo Crcestra ut yuan sey sored patches lone #yourdont have access sooth quence hat bude then ops Son otongor tne pen wes ean {oaiterentptenes use the same one an ‘enya eestetne sr beeen besettocoverene ertwoserntones Fst seentack putas 2d and compression notes hte nest cma te sound ‘restetchoutatastrunwith our st {oslo ater he ones tena tthe visit nt iting every sng Patch and actots Wseasen to ecord eat could neal oro and trspose note peret ny ppl areverb Ihssortf ting ntoyour sequencer ot thenetes Newt pk out every thd nte thetivec acktote them together ‘ow tempa tren speed up lo bench tackand deat the others (Goaio wrametnatwan) “ntneem VD uraneorginaluay) ‘nici wane nanotessaw) Load asampled sting instrument > that features atleast ee or our eyswicharteations Were using the ‘al Tambur tom EastWest Weinput the sequence using jst one sustain ‘ea! for expression (do on the ‘emDVE:Etinle-originalwav.) 58 / COMPUTER MUSIC / | notes one by one ading adferent Idioseratieswitheson few ofthe > Nextwe zoom ntight anc out the > nay. we sea couple ot more eye trigger ned betore almost longernotes These feature prevecorced everyone Weusea sound witha’ piehbendand remot Listen out frp Stacktor notes ating onthe beat sndone Solted articulations that ean enlace parts (itvastower attacktoe he faces une We ‘otyour sequencetoramorereasticefac dust the velocities to compensator the olrshas ese nsteadofarunat ete Vatlousarvculations aferent volumes. Second mark Audi: Etwletnalay)it real / make music now < Programming the strings Never use quantise t you ean help it Allreaistic string samples have anattack ot between 20 and 30ms,and dedicated egatostring patches may haveasmuch ashalf a ‘second, Quantise wll make your ‘strings play slightly behind the rest ofthe track. it's necessary for your Stringstobe exactly on thebeat (with staccato sections, for example), ‘mute everything else and check the trent ntetchrend Manges oti incon ny eee ‘sample library that offers a selection of ‘onto ft. We assign a contrasting string nee ‘Sting sections Makesureyou use dean Worarytothis track afl sings batch starts ofthe sections back litle. cocoate hays em ae See cnmaccon, «sa emecen en Sree ovement ence sp nent yond Seeeesegee tae ange erga ec caae eae & fies =. Sea Sa ee eg Cece acca Invest in an expression peda for playing live’ strings. This wi ‘cutdown on later expression creo rca etaeeenaiees spanner sti SEs creer Using EQ, we slightly cut the Next we add a delay, The air isto veer te oe 2p eon, Yeryatsting cantar Seems OF seeenemcsrurrens cece Seca eee Bearers onan masa teenranuetae Soca skiose Saacteamet gees Sinicornerdae Sy oa ee Bo restart less ie more. Tocreate.afull ‘sounding chord you may only need >Cover the cracks goers chor ounsgagey ‘Thistechnique works very well sebhmaareante pd when working with two cheaper, cea! the sections (oles, calto, less articulate libraries, as the etc) play justa single note, fepettinot samples As you can Don’t torgetto double up. Many os ee rey enna ees cca maiieteesaatact ge Spier ny ee ee aera ‘but anbeunsacom he a peal etd a Enos mts septmtendent en eee nece ancacayree eeeteeernmarett, siracenuctaa ie ara tothe orginal theresa subtle but elective ease upon theeffects note lengthsand sustain patches, Seana, ‘ee hon rnd (een 29)/ COMPUTER MUSIC 59> make music now Resources for realism Theresa wealth of information avalableoniine _ Final. learn the basics of an tohelp youlearn the limitsand possibilities of instrument There arealways plenty Various insttuments. The Vienna Academy at a secanhand instrument forsale vsleoatlen/70/149/152/48.vsofferstonsof _online,as kids give up music lessons ‘advice on orchestral instrumentation, including every day. Pick upan old, du one fora ‘anextensive library of playing svlesallwith few quid and try some onlinelessons ‘audio examples There'salso.a great onlinebook fromsitesike eHow. A couple of hours at wwscribd.com/doc/I8072822 to help you wort make youa vituoso, but youll put these ideas into practice, learn techniques that canbe transferred Post your effrts on Soundloud or MySpace to your ROMpler programming. ‘andinvite erties frm rea players. rou know someone who plays an instrument tak to them about what worksand what doesnt within your pieces, They'll beable to pick the wheat ‘rom the chain seconds, Its difcut to learato write and program realistic partsit you confine yourself to istening tothe efforts of others who use only sample locates. Get yourself alang to some concerts ‘and recast hear the real instruments in ‘action. Try to focus on usta sinale player or ‘roup of instruments, cater than geting carried anay with the whole soundscape ~ remember, this is alearing exercise, There are also many groups on SoundCloud ‘you canjoinand poach ideas from while Istening to real instruments perform. Wehad ‘look and found groups uch as instrumental ‘Acoustic Gultar,"The Flute Group'and"The Beautl Vili that contained some great ‘examples of ea. world playing sts Librrtestor samples andarlee terface Virtual instrument buying guide Openingasampletbraryand __diferentvelocescanoftenbe butalzothetranstionstromnote _samenotelsplayedrepeatedy. beingcontrontedwitnhundreds crossfadedbymovingthemodtonote-thesliebetween notes Largerlbrarte willuse afferent ttdifterentplayingabbrevations wheslndsomeeven apply onaceloorexample,or thefall__samplestor each ote and ConbeatewiKienngexperience. soundimorphingtothesamplesandrisecfatrombonesie. _arication smaller ones might utatmoughitecontusig nthe _forasmoother raniton Theserealictranaionsare subttyaterthanotesby secting worldotsample packages binger : ‘ten called legato patches and diferent pitched notes and Eeeetaeceteier tear IONS Siege, ewes remoting pe or ie Te Fae eee INSEE tapipRitietescen trey coeatiie aiteence | Gligh earl wera NollywoodStrnos aan becaptured ndarranged within batweenbelevabity andsn ” trample only contaiesection thesamplelibrary.selectinga. obviculy synthetic part DEDICATED ROMPLERS strings no solo instruments), but particulararticulationisnormally VS SAMPLE LIBRARIE: Itstill weighs in atavast350GB. —_ done viakeyswitching at the AFTERTOUCH ‘Whether purpose-built ROMpler Theremonborthisissinply the lewerendefthelamooard,or __‘Thisiittadealbreakarasthe engines are better than sample amoutofvarationenctae’”” bychangesinvelecky.some affecleaisicobeprograrmed bares tea ntgetars- Tasmocdareststint win | ROMctrsniigateatoretrectin wemellitetsfietouchisrenty rotated maiekt, heretohep!tookoutforthe playingstyieand automatically usefultohavepreoaded With, EXS24and HALionisa sublet following features when Ewitcrartcuationsaccordingl. youcanachieve effects suchas. verymuchupfor debate, Onthe investing ina sound Moray: opie Tealsticerescendosvithout " _plussde,ROMplersare bul AICROPHONE POSITIONS favingtoprogramcontrol___specically aroun sounds MULTISAMPLES, ‘Some ROMplers and sample ‘envelopes.using MIDI expression. they contain, and such bespoke Insmalleribraries,onesample packagerarerecordedttrougha tailoring canmake or extremely Conbesprestacrose several’ ranoeefmiopodons-Thisla (ROUND ROBIN, reat etiapn conees fotesbutchangedinpitcior _normallyacombinaionof close Thissampleplaybacktechnique _progranuning instrumental timestetchea.Multsarpling microphones surroundetfect. almetoreducetemachine-gun _parts.Onthe other hand, every ineamtiateveryindividualnote micsandotherspecialleed _affectthat occurs when acarnple ROMpler you buy can dey the iromthelnstrumenthasbeen "options. Msingtese ferent lsplayedrepeatedlyinrapid. musicmaking process as you ompledacrocetheheyboard, miccharewistepether sivessccosion tdoeesoby choosing spend tie petting your head er theinstrumentamoreresliste fromapoolot twee rtouraroundltsparicular intricacies. VELOCITY LAYERING ambience than just slapping separately performed/recorded It’s worth pointing out that Aliyeredinstrumenthasbeen reverbpiiginonit Samples pernote These samples some ROMpler packages do, fampledatlifterent velocity Se Wilalsoundessentalythe enable youtouse the samme levels, fromsofttohard, providing | NSITIONS ‘same, but thesubtle differences _ libraries with universal sample. tigeveratoninbeigiiness and’ LGGKGitSiremiplevaciaves betweerithemmakeforaiuch __ptapers lethe aforementioned tone indedcatednOnplers, thatdontjusteamplethenotes, morebellerablescund whente Kona EXS24 HaLlonec.em 60 / COMPUTER MUSIC