Cinesamples CineBrass Sonore [KONTAKT]

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P2P | 25 January 2020 | 7.11 GB

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Sonore (adj.): resonant; with rich tone

When you see “sonore” written in a musical score, the composer is simply asking the musicians to play with the maximum resonance, body and tone of which they are capable

It is the opposite concept of brashness and blasting - “sonore” is a thick and warm sound

We set out to recapture trumpet and horn sections in which we maximized tone and body rather than concentrating solely on loud dynamics

Youll notice a wider, more open sound that takes up more room in the in the mix at a mezzo forte dynamic

We selected articulations specifically for the creation of melodies

Our greatest influence and inspiration was the organic processes employed by the great film composers of orchestral music

Recorded at the MGM Scoring Stage at Sony Pictures Studios in Los Angeles, these ensembles also come with vastly improved legato.THE CINEBRASS FAMILYCineBrass Sonore is another great resource in the CineBrass Family.See how it fits in...MIXERAs with all our CineSymphony Series products, the front page provides our standard 4 mixes: Full, Close, Room, and Surround

The Full mix is the desk mix right from the MGM Scoring Stage using the Lexicon 480 and the Avalon 2055 EQ

The Close, Room, and Surround mixes are untouched and directly from the microphones on the stage

On the left are the standard CineSymphony mix presets

The Trumpets es offer separate mixes of the Principle Trumpet (Tpt

1) and Trumpets 2, 3, and 4.REVERBEach mix sends to the REVERB when the mix is on and the REVERB return is on

There are a few reverb presets in the pull down menu

By default, its 90s Med Hall.We suggest always keeping this on and set to the default amount

Why? Because we use this reverb partly in our legato engine

If you have this reverb set to OFF, the Verb Comp fader (Settings Page) will not work

If you need more, or a different kind of reverb, use a send in your DAW to give the some glossiness

We suggest staying away from overly dense and thick reverbs - the library seems to respond best to glossy, clear reverbs with some nice sheen

And remember there is no reason to ever subject a product recorded at the MGM scoring stage to a convolution reverb, for this space is already an end game sound and it doesnt need to be improved or modified

Adding a room to a room doesnt always sound better.If you are ONLY using Close, Room, and/or Surround mixes, we suggest using Tims Room C because it matches the ambience of these mixes

Also try using Tims Room R

Since the Trumpets sit toward the right it will give a subtle reflection on the left.KEYBOARDThe RED keyswitches are latching and represent the articulations from the pull down menu above the mix presets

The GREEN keyswitches are NON-latching and control the type of overlay at the beginning of each note, even within a legato passage

The amount is determined by velocity and a volume adjust on the Settings Page (below)

In order they are Secco, Forte-piano, and Swell.LEGATO SPEEDThe Trumpets internal legato engine responds naturally to the speed of your playing - speeding up and slowing down as you do

The SPEED knob is a global setting

Increase the speed to play less of the legato transitions and decrease the speed to include more of the transitions.VERB COMPThe Verb Comp is the amount of reverb applied to the tails of outgoing notes during a legato performance

This adds to a more realistic performance.LEG VOLLeg Vol adjusts the overall volume of legato transition samples.OVERLAY VOLThe Overlay Vol adjusts the amount of the overlay articulation selected by the GREEN keyswitches above (also determined by velocity).REL VOLThis adjusts the volume of the note tails.VIBRATOUse CC2 to control Trumpet 1 vibrato

This adjusts the overall volume of those samples.TAPEFinally there is an optional tape saturation (OFF by default).MIXERThe Horns include the same 4 mixes created the same way as Trumpets: Full, Close, Room, and Surround.REVERBWe suggest the same as the Trumpets above

You may also try using Tims Room L

Since the Horns sit toward the left it will give a subtle reflection on the right.KEYBOARDThe RED keyswitches are latching and represent the articulations from the pull down menu above the mix presets

The GREEN keyswitch is NON-latching and adds a SFZ overlay at the beginning of each note, even within a legato passage

The amount is determined by velocity and a volume on the Settings Page (below).* The Horns Settings Page includes the same options as the Trumpets with the exception of Vibrato.THAT CLASSIC SOUNDOver time, many subtle things have changed for trumpets and horns

The combined result of these changes yielded more powerful, weightier, and forward-sounding modern sections

Only a few decades ago, the sound was less brassy, more streamlined, cantabile, and quieter in general

Different tonguing and blending philosophies were favored

The sections play with great agility or force, then and now

They just sound different.Its shocking that the 1990s are now considered a long time ago

Many titans of the session playing world of this period have retired

As they are replaced by their younger colleagues, certain principles of pedagogy and musicality have been retired as well.In the control room, while many of the central philosophies have remained the same, modern recording seems to have evolved to use cleaner, higher bandwidth and less colored gear

Its now a slightly different sound, which some favor, some disdain, and most simply dont notice.Last year, while recording something unrelated, the original pencil marked Jurassic Park session recall sheets popped up out of the filing cabinet for some nerdy ogling

Right there on this aging paper was the actual recipe used to record the orchestra for these landmark sessions

Our vision was clear - replicate this sound

We went to great lengths to do this while always referencing the recall sheet and using the memories of some of the MGM Scoring crew who were actually there.- We rented the three exact modified Neumann M50 microphones used as the Decca Tree on the original sessions

They feature a unique hi-end crispness and transparency that is instantly recognizable

These microphones have mostly been retired since the early 2000s

We matched every other microphone on the recall sheet and set them up exactly as indicated on the recall sheet.- In the control room we in the exact preamp settings on the exact same preamps that still are mounted in the control room to this day

Most of these are now retired and replaced by cleaner and less colored signal paths by companies that werent created yet at the time.- The favored Lexicon 480 hardware reverb unit was taken out of retirement and the exact reverb was dialed up

This was “THE” of the 90s for most of these recordings - it is so classic sounding and is also instantly recognizable.- One of the sonically most interesting parts of the recipe is the use of the Avalon 2055 - a delicate Class A discrete Stereo Hardware EQ that colors the high end in the most unique and hi-fi way imaginable

Also retired in favor of other mastering EQs, this box is a gem

When used correctly, it gives the most glossy sheen imaginable on the overtones, and when used incorrectly gives the harshest of harshnesses.The Musicians:- Trumpet math: 1+1+2 = 4

In the 1990s, the venerable trumpet veterans of the day played on horns they individually favored instead of a horn dictated by the chart or principal

An A-list 4-trumpet ensemble of the early 90s was often made of one Eb Horn (played by the principal), one C horn (played by the second chair), and two Bb horns (played by third and fourth chairs)

The differing sizes of these horns projects an imperfect yet thick series of overtones into the room - incredibly tutti sounding, like the blending of a violin section

Having the principal on a smaller horn also lends a tireless and effortless quality to the high octave

Some weight on the lower notes is lost on a smaller horn, but this is where the third and fourth chairs contribute on their larger Bb horns

Modern sections often tend to favor four Bb or four C trumpets.- Principal players of the age, especially in the brass section, were the alphas

The idea of a democratic section where each player contributes an equal percentage of the sound wasnt a concept yet

This was especially true for trumpets

The principal was the loudest on a unison, the principal was loudest on a divisi chord, the principal hair-pinned louder, the principal was atop always

The other players knew and respected this, and instead contributed a tone full of supporting qualities to blend with the principal

The combination of three supporting trumpets and one piercing trumpet is a mainstay of this era

It has rarely been heard since

For this library we recorded the dynamics with this ratio in mind.- Trumpet Vibrato: When playing tutti, Trumpet Ensembles do not use vibrato

Four trumpets vibrating at different speeds tend to sound more like a mariachi band and less like a classical trumpet section

When vibrato is heard within a section it is the principal carefully using his/her judgment when to vibrate.This is often at the apex of a phrase, a particular important note, or toward the end of a long hold

During this time, trumpets 2-4º will not vibrate at all

The vibrato we captured in this library was the principal player vibrating at the highest dynamic layer only

Use it as described above for realistic playing

However, be sure to bypass (using the bypass vibrato performance switch) on quick crescendo rips, since that would not be a proper use of it.- A quieter, nobler tone

The overall volume of the brass section in soundtrack recording has increased over the years

This is partly due to upgraded mouthpieces, instruments, pedagogy, and partly due to the presence of highly brassy composer mockups

Upon hearing these hyped mockups, session players have been forced to emulate this sound in an effort to satisfy the composers writing them

While sometimes appropriate, this style of playing is now found in soundtracks of all styles, including ones where it is less appropriate

In the 90s, the median forte was a quieter and richer tone

Experiment with having the mod wheel about half way up, which would represent a “comfortable and sustainable” forte for session players

Ride the wheel into the higher zones to follow the phrase or for the most exiting moments only

LIST01 CineBrass SONORE Trumpets Articulations.nki is the primary Trumpets

All subsequent Trumpets es are drawn from this after changing the primary articulation from the pull down menu above the mix presets.10 CineBrass SONORE Horns Articulations.nki is the primary Horns

All subsequent Horns es are drawn from this after changing the primary articulation from the pull down menu above the mix presets.02 CineBrass SONORE Trumpets Legato03 CineBrass SONORE Trumpets Sustains04 CineBrass SONORE Trumpets Secco05 CineBrass SONORE Trumpets Forte Piano06 CineBrass SONORE Trumpets Sforzando07 CineBrass SONORE Trumpets Accent08 CineBrass SONORE Trumpets Half Notes09 CineBrass SONORE Trumpets Swells10 CineBrass SONORE Horns Articulations11 CineBrass SONORE Horns Legato12 CineBrass SONORE Horns Sustains13 CineBrass SONORE Horns Secco14 CineBrass SONORE Horns Forte PianoACTIVE CC TABLEVelocity controls dynamics on short articulations also controls the overlay dynamic and amount on legato transitions and sustains.CineBrass Sonore is scripted for Native Instruments Native Kontrol Standard (NKS) format.Works with the FREE version of Kontakt 5.7.2 and above.


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