Voxos epic virtual choir rapidshare

Each syllable will intelligently advance to the next syllable, based on your keyboard performance. Cinesamples has methodically recorded the tens of thousands of intervalic leaps within the ranges of each section. Their custom Legato script instantly analyses the keyboard performance and plays the appropriate interval sample.

The result is an instrument that allows you to play smooth and emotional legato lines. The V. The engine instantly analyses the chord structure and assigns each pitch to its own section of the choir. The result: a patch that is easy to play, with incredibly realistic results. There are hundreds of shouts, whispers, grunts, clusters, screams and trailer risers, perfect for any media project. Chords The Chords patch is modeled after our popular CineOrch library, where each note plays an entire chord instead of an individual pitch class.

The library divides the keyboard into six main sections:. The three sections on the left correspond to the major chords, while the three right sections will trigger the minor chords. The blue keys play the chords in their root position, the yellow keys play the chords in first inversion, and the red keys play the second inversion of the chords. The Octaves patch is not unlike the patch from our Hollywoodwinds library, where we recorded all sections performing in octaves simultaneously.

This patch covers two full octaves of all sections singing the same triggered pitch class. By default, the samples will react to CC1 and CC2, with the former controlling the dynamics, and the latter changing the vowels between Ooh and Ah. This, like the other patches, can be changed from the [Settings] tab. We recorded both the sustains and the shorts for the Solo Soprano New patch. Also, the sustains now respond to CC2 which allows you to move between vibrato and non-vibrato layers.

We have also included the Poly Legato function in case you wish to use this patch for multiple voices. These three patches function the same way as the previous version of this library, but the sample set has been re-tuned, re-mixed, and de-noised. The musicians involved in this project are constantly participating in such high profile acts as these. Our solo boy was captured from C3 to A4. With an amazingly transforming tambre — the purest sound imaginable in his soprano and a charming inward sound in his lowest third.

These children possessed amazingly mature musical discipline, excepting guidance from the booth and their choir master in the same professional manner as the other sections. This was quite an achievement considering that they were all under 12 years of age. We were amazingly fortunate to have children who have sang on a wide variety of soundtracks themselves, they needed no explanation about wearing headphones or being still while the tape is running.

They were true professionals of the scoring stage. After much trial and error, we were able to formulate a recipe for recording legatos in the most musical and accurate manner possible. It may not be evident while playing the patches how many samples you are triggering back and forth but it is mind blowing when you stop and look at the audio files involved in one patch, at one microphone position.

On the surface things seem simple, but much is going on under-the-hood. During programming all 35, samples and transitions are meticulously tightened by hand. This process takes fresh ears and cannot be rushed or automated. The charming human inaccuracies which give live performances vibe and soul also cause issues when aligning samples during programming.

We have, without exaggeration, been tweaking the legatos for over six months — still making final tweaks the moments before delivering to Native Instruments for encoding. It needs to be perfect or its not going out the shop door. They call it voice leading for a reason.

From day one, composers of all styles are taught the value and importance of proper voicings. It all begins with SATB, the notable 4 part chorale diagrams in music textbooks all over the world.

It is the basis of all chorale writing, the foundation of jazz ensemble writing — the glue of all composing. It was something we had to address, and address from the point of view of a composer under the anxiety of an approaching deadline.

The included SATB Voice Leading Engine can take incoming midi data sent from a piano track and assign the proper notes to each section automatically. Resulting in properly voiced chords with full legato from one track.

In both cases, there's no need to laboriously fiddle around creating splits or changing MIDI channels: the whole choir is there at your fingertips ready to play. That said, a good sampled church choir is a staple of the modern media composer's sound library, and Voxos is certainly one of the best I've heard. I'm happy to have this superior choral collection on my hard drive and can unhesitatingly recommend it to my fellow MIDI maestros. Mac owners need Mac OS When installed, the samples which were losslessly compressed from the original 35GB of data use I found I had to increase my soundcard's latency to samples to prevent the legato patches which use a lot of samples from glitching.

The higher setting theoretically introduces a latency of around 10 to 12 milliseconds. Were we dealing with percussion samples, this might be considered a minor issue, but it certainly wasn't noticeable when playing the choir samples.

Nevertheless, it's clear that to get the optimum performance from Voxos one needs a fast, powerful processor. Much work has gone into making the library playable without bogging users down in technical detail; as a result, it can deliver great, expressive musical results with a minimum of effort. Altos Tenors Basses Boys Soloists Solo soprano.

Solo alto. Solo boy. Effects Men clusters. Women clusters. Men effects. We recorded both the sustains and the shorts for the Solo Soprano New patch. Also, the sustains now respond to CC2 which allows you to move between vibrato and non-vibrato layers. We have also included the Poly Legato function in case you wish to use this patch for multiple voices.

These three patches function the same way as the previous version of this library, but the sample set has been re-tuned, re-mixed, and de-noised. The musicians involved in this project are constantly participating in such high profile acts as these. Bastyr's main stage chapel offers one of the highest quality recording venues in the country.

An extremely flattering hall for vocalists and instrumentalists — contributing to the familiar Hollywood style reverb bed without the tasteless metallic tinge and never ending ring- out that the majority of cathedral's give. Combine that with the highest end recording gear available and the table is set for excellence. The piece boys choir covers roughly the range of the Altos transposed up by a major third.

Our solo boy was captured from C3 to A4. With an amazingly transforming tambre — the purest sound imaginable in his soprano and a charming inward sound in his lowest third. These children possessed amazingly mature musical discipline, excepting guidance from the booth and their choir master in the same professional manner as the other sections.

This was quite an achievement considering that they were all under 12 years of age. We were amazingly fortunate to have children who have sang on a wide variety of soundtracks themselves, they needed no explanation about wearing headphones or being still while the tape is running.

They were true professionals of the scoring stage. Hand Sculpted Scripted true Legato: As one of our trusted colleagues once stated: "There are no shortcuts when it comes to legato. After much trial and error, we were able to formulate a recipe for recording legatos in the most musical and accurate manner possible. It may not be evident while playing the patches how many samples you are triggering back and forth but it is mind blowing when you stop and look at the audio files involved in one patch, at one microphone position.

On the surface things seem simple, but much is going on under-the-hood. During programming all 35, samples and transitions are meticulously tightened by hand. This process takes fresh ears and cannot be rushed or automated.

The charming human inaccuracies which give live performances vibe and soul also cause issues when aligning samples during programming. We have, without exaggeration, been tweaking the legatos for over six months — still making final tweaks the moments before delivering to Native Instruments for encoding. It needs to be perfect or its not going out the shop door.

From day one, composers of all styles are taught the value and importance of proper voicings. It all begins with SATB, the notable 4 part chorale diagrams in music textbooks all over the world. It is the basis of all chorale writing, the foundation of jazz ensemble writing — the glue of all composing. It was something we had to address, and address from the point of view of a composer under the anxiety of an approaching deadline. The included SATB Voice Leading Engine can take incoming midi data sent from a piano track and assign the proper notes to each section automatically.

Resulting in properly voiced chords with full legato from one track. No settings, its all intelligently scripted and prepared. This is a monumental time saver.

We knew what we wanted as an end result and we backed up from there — we didn't just roll the dice on the recording sessions and see what we ended up with. We knew we wanted to stay in Kontakt. We knew we wanted to avoid artificial word synthesis — aka Apple Talk or the Steven Hawkings effect.

We knew we wanted to have the simplest, most powerful phrase building interface possible.