Team DELIRIUM | 08-01-04 | 11.33 GB
The GOLD EDITION of the “critically acclaimed” EASTWEST/QUANTUM LEAP SYMPHONIC ORCHESTRA includes 16-bit stereo samples from the PLATINUM EDITION (which is multi-channel), at a much lower cost, and was recorded where orchestral instruments sound their most natural – in a ‘state of the art’ Concert Hall.
Listen to the pure beauty of the Symphonic Orchestra and 125 million dollar Concert Hall that were recorded with the HIGHEST-QUALITY custom built recording equipment, by audio legend – Prof. Keith O. Johnson – recipient of two GRAMMYS, plus eight additional GRAMMY nominations for his 90 plus Classical Recordings.
The GOLD EDITION is a MAC/PC Plug-In (compatible with most music software), and has been designed to be extremely EASY TO USE – providing professional composers with the HIGHEST-QUALITY instruments available, to create their compositions. To achieve this level of quality, all of the instruments and sections were chromatically sampled, with multiple dynamics, with extremely dynamic and expressive articulations. All players were recorded in position. If you upgrade to the PLATINUM EDITION later, your compositions will be FULLY COMPATIBLE, providing a known upgrade path to “the best sounding orchestral sample library ever” – no other product offers this!
SYSTEM REQUIREMENTS
15 GB Free Hard Disc Space, DVD Drive
MINIMUM REQUIREMENTS (for Native Instruments software)
Windows XP/ME/98, Pentium III/Athlon 500 Mhz, 256 MB RAM
RECOMMENDED SYSTEM (for Native Instruments software)
Windows XP, P III/Athlon 700 MHz, 1 GB RAM
RECOMMENDED SYSTEM (for sound library)
EASTWEST recommends using a fast processor and up to 1.5 GB of free RAM to optimize the performance of this sound module.
COMPATIBILITY
WIN (VST®2.0, DXi2tm, ASIOtm, MMEtm, Direct SoundTM, **RTAStm)
(**RTAS support for Windows will be available as a free download later.)
This product requires registration within 5 days (by web, fax or mail).
INSTRUMENTS AND ARTICULATIONS
STRINGS
18 Violins –
expressive vibrato p, f
straight vibrato p, mf, ff upstroke, ff downstroke
lyrical vibrato slow, fast attack
legato vibrato p, mf, f
sordino expressive mp, mf
sordino fast mp, mf
non-vibrato p, mf
tremolo 1 & 2
pizzicato, p, mp, mf, f
martele up and down
short martele up and down
marcato short, medium and long
effects
11 Violins –
expressive vibrato dimuendo p, f
expressive vibrato p, f
lyrical vibrato p, f
straight vibrato p, mf, ff
legato vibrato p, mf, f
trill half step
trill whole step
spiccato
martele up and down
short martele up and down
marcato short and long
10 Cellos –
expressive vibrato, slow and fast attack
straight vibrato p, mf, ff
legato vibrato p, mf, f
pizzicato, p, mp, mf, f
non vibrato
portato short and long
trill half step
trill whole step tremolo
martele up and down mf, f
short martele up and down mf, f
effects
10 Violas –
expressive vibrato p, f
expressive vibrato slow p, f
straight vibrato p, mf, ff
legato vibrato p, mf, f
martele up and down mf, f
short martele up and down mf, f
marcato short and long
9 Basses –
expressive vibrato, slow and fast
straight vibrato p, mf, f, ff upstroke, ff downstroke
legato vibrato p, mf, f
pizzicato, p, mp, mf, f
martele up and down mf, f
short martele up and down mf, f
marcato short
portato
tremolo
bow slaps
effects
Solo Violin –
vibrato, p, mf, f
martele up and down
Solo Cello –
sforzando
vibrato legato, p, mf, f
Harp –
mp, mf, f
roll finger, mp
WOODWINDS
3 Flutes –
vibrato p, mf ,f
non-vibrato mf
expressive vibrato
trill half-step
trill whole step
staccato
C Flute –
vibrato mp, f
non-vibrato mf
expressive vibrato 1 and 2
staccato p, mf, f
grace notes
falls
3 Oboes –
vibrato mp, f
staccato p, mf, f
Solo Oboe –
vibrato mp, f
non -vibrato mf
expressive vibrato 1 and 2
staccato p, mf, f
trill half step
trill whole step
falls
glissando
grace notes
Alto Flute –
vibrato mf
Piccolo Flute –
vibrato mp, f
expressive vibrato
staccato mp, f
trill half step
trill whole step
English Horn –
vibrato mp, f
expressive vibrato 1 and 2
non-vibrato mf
staccato p, mf, f
Bassoon –
vibrato mf
non-vibrato mf
expressive vibrato 1,2 and 3
portato
staccato, p, mf, f
Contra-Bassoon –
vibrato mp, f
staccato mp, f
3 Clarinets –
non-vibrato mp, f
staccato p, mf, f
Solo Clarinet –
non-vibrato mf
expressive non-vibrato 1 and 2
portato
staccato p, mf, f
Bass Clarinet –
non-vibrato mp, f
expressive non-vibrato
portato
staccato mp, f
BRASS
6 French Horns –
sustain p, mp, mf, f, fff
staccato p, mf, f, fff
long staccato fff
portato, mf, fff
portato sfz, mf, fff
sforzando f
legato slides, short and long
legato p, mp, mf, f, fff
rips, short 1 and 2, and long
shakes
Solo Horn –
sustain, p, mf.ff
staccato p, mf, ff
portato, mf, ff
sforzando f
4 Trumpets NV –
sustain mp, mf, ff
sustain accent mp, mf, ff
legato mp, mf, ff
staccato, mp, mf, ff
sforzando short
forte-piano
slides fast and slow
Solo Trumpet (C) –
expressive vibrato 1 ,2 and 3
non-vibrato mp, mf, ff
staccato double tongue position 1 p, mf, ff
sforzando
portato
slides fast and slow
4 Bass/Tenor Bones –
sustain p, mf, ff
sustain accent p, mf, ff
staccato p, mf, ff
portato
sforzando
flutter tongue
Solo Bass/Tenor Bone –
sustain p, mf, ff
staccato p, mf, f, fff
Solo Tuba –
sustain mp, f
staccato, mp, mf, ff
PERCUSSION
5 Timpani with Calf Heads
Bass Drum
3 Snares
4 Anvils
Vibes
Crotales
Glockenspiel
Xylophone
3 Suspended Cymbals
4 Cymbal pairs
Band Cymbal
5 ft. Gong
2 Normal Gongs
Bell Tree
Mark Tree
Orchestral Chimes
Triangle
Lots of toys
PROF. KEITH O. JOHNSON
Prof. Keith O. Johnson has spent over 30 years developing a reputation for innovative thinking, technical achievement and musicianship which has elevated him to a position in the audio industry occupied by only a handful of visionaries. His intensive investigation of electronic behavior and acoustic perception have led most recently to his development (with digital engineer Michael Pflaumer) of the revolutionary High Definition Compatible Digital encoding process, produced and marketed by Pacific Microsonics (recently acquired by Microsoft). HDCD is widely considered to be the most accurate recording process ever invented.
His 90-plus recordings have long been considered the standard for high fidelity, and include two GRAMMY award-winners and eight additional GRAMMY nominations.
SOME REVIEWS OF HIS RECORDINGS –
“Its sonic quality is most impressive in stereo spread, depth, presence, and resolution of detail, with rock-solid image stability, in a spacious ambiance — a demonstration-quality recording if there ever was one.” –McKelvey, AMERICAN RECORD GUIDE
“This may be some of the best sound Keith Johnson has ever gotten out of Symphony Hall in Minneapolis, and certainly Oue’s most convincing work with the Minnesota players, who sound for all the world more like the Philadelphia than that orchestra does these days . . . how Johnson got that huge climax at the end of the Dances cleanly onto tape transcends engineering and goes into the realm of magic.” — Harry Pearson, THE ABSOLUTE SOUND
“Once again, Keith Johnson has raised the bar of excellence in the recording of a symphony orchestra. . . It’s a fabulous recording and a super performance of the SYMPHONIC DANCES, and a testament to the brilliance of Keith Johnson and his associates.” — Anthony Kershaw, Audiophilia.com
“Keith Johnson’s engineering, mastering and production have, in this case, produced the finest orchestral recording I have ever heard. It is instantly among that handful of CDs I will carry with me to audition sound systems, or that I will play to show off my own. Listening to this recording is one of those exultant musical experiences that will remind you why you got into the audiophile game in the first place.” — Russell Lichter, Soundstage.com
“I recommend it highly to those who love the sound of the symphony orchestra in all its glory, and to those who love to show off what their audio systems can do when asked to reproduce first-class orchestral showpieces.”” – Karl Nehring, THE SENSIBLE SOUND
“Stunning audiophile sonics…the clarity, transparency, and firm definition of individual orchestral timbres are unequaled in my listening experience.” — Lawrence A. Johnson, FANFARE
“These people really know how to record an orchestra.” — Richard Freed, WETA Radio
AWARDS AND NOMINATIONS
GRAMMY NOMINATION, 2002 (“Best Engineered, Classical”):
RESPIGHI (RR-95) was engineered by Keith O. Johnson using HDCD (High Definition Compatible Digital) technology, which he co-invented. It was produced by J. Tamblyn Henderson, Jr., 1998 Grammy nominee for Best Classical Producer. Recording sessions with Eiji Oue and the Minnesota Orchestra were in Orchestra Hall in Minneapolis, September 28-29, 1999; the release date was March 14, 2000.
Earlier GRAMMY-nominated titles:
MALCOLM ARNOLD OVERTURES (London Philharmonic Orchestra conducted by the composer), RR-48
BOLERO (Eiji Oue/Minnesota Orchestra), RR-92
STRAVINSKY: The Rite of Spring, The Song of the Nightingale, The Firebird Suite (Eiji Oue/Minnesota Orchestra), RR-70
BRUCKNER: Symphony No. 9 (Stanislaw Skrowaczewski/Minnesota Orchestra), RR-81
GRAMMY WINNER:
CHICAGO PRO MUSICA (“Best New Classical Artist’), RR-2102
THE ABSOLUTE SOUND GOLDEN EAR AWARDS:
RACHMANINOFF: Symphonic Dances, etc. (Eiji Oue/Minnesota Orchestra), RR-96
RIMSKY-KORSAKOFF: Scheherazade, etc. (Jose Serebrier/London Philharmonic Orchestra), RR-89
THE ACADEMY ADVANCING HIGH PERFORMANCE AUDIO & VIDEO AWARDS:
BRUCKNER: Symphony No. 9 (Skrowaczewski/Minnesota Orchestra), RR-81
FROM THE AGE OF SWING (Dick Hyman), RR-59
ARNOLD OVERTURES (Arnold/London Philharmonic Orchestra), RR-48
NAIRD “INDY” AWARDS (“Best Original Recording”):
RESPIGHI: Belkis, Queen of Sheba, etc. (Eiji Oue/Minnesota Orchestra), RR-95
TRITTICO (Frederick Fennell/Dallas Wind Symphony), RR-52
[toggle title=”Home page”]https://tinyurl.com/y52gr4al[/toggle]
http://alfalink.to/63716cfe15f32f1d8299
Please REPORT in Comment Broken Links
