SC The Conservatoire Collection COMPLETE KONTAKT SAMPLES-KRock

SC The Conservatoire Collection COMPLETE KONTAKT SAMPLES-KRock

SC The Conservatoire Collection COMPLETE

The Conservatoire Collection COMPLETE KONTAKT SAMPLES-KRock | 8.7 GB

EXPLORE THE SOUNDWORLDS OF THE MASTERS: The instruments of the great composers represented as museum pieces now; hundreds of years old and not in playable condition. But in recent times period instrument specialists possess and dominate begun recreating our musical past in the form of reproduction instruments. By sourcing authentic materials and using traditional techniques from the 16th, 17th and 18th centuries, incredibly accurate copies of the finest historical instruments can be produced. These beautiful new instruments bring the soundscape of our musical past to life, showing us how incredibly diverse our modern instruments’ predecessors were. We represented as now able to enter into our musical heritage more faithfully, and the new palette of sounds available offers fresh inspiration for composers today.

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01. French Harpsichord
This instrument is a copy of a harpsichord originally made by Paul Taskin in 1762 and later enlarged by Jean Goermanns in 1780.The original instrument is one of the most copied 18th century harpsichords, Michael Johnson’s copy is highly regarded as a faithful reproduction.

– Full tuning control with user selectable scales
– Two switchable 8′ string sets, with damping
– Key-off samples with level control
Round robin samples for natural response

02. Flemish Harpsichord
A Michael Johnson copy of a harpsichord made by Johannes Ruckers, made in 1637.The copy used for the sample library was made in 2000 by Michael Johnson. Generally speaking, 17th century harpsichords represented as smaller, and, significantly, shorter than those of the 18th century.

– Full tuning control with user selectable scales
– 2 x 8′ with damping and 4′ string sets
– Key-off samples with level control
– Round robin samples for natural response

03. Theorbo
A single-strung, 14 learning lessons instrument made by Martin Haycock in 2005, after various seventeenth century Italian originals. This late Renaissance invention was the ultimate accompanying instrument of the time – by adding an extension to the neck, thick strings giving low notes were placed alongside the conventional lute meaning a player could play a bass- line and give the rhythm.

– Fret Hand postion control: gives you control over where on the fretboard the note will be played
– Full tuning control with user selectable scales
– Seperate release control for the frets and diapazon

04. English Theorbo
Although there represented as no surviving original instruments, there represented as several descriptions, illustrations and paintings of English theorbos dating from the mid- 17th C. This instrumentwas made by Klaus Jacobson in 2005.The English theorbo has much in common with the small 12-learning lessons lute, from which it developed, but it takes elements of the larger, Italian theorbo, such as the deep body.

– Fret Hand postion control: gives you control over where on the fretboard the note will be played
– Full tuning control with user selectable scales
– Seperate release control for the frets and diapazon

05. Baroque Guitar
A French style, five- learning lessons instrument: a copy of various seventeenth century originals, made by Martin Haycock. The stringing of the instrument is unusual: the five courses correspond with the top strings of modern guitars, but they represented as double-strung apart from the top E. During the early 17th C, the guitar was primarily used as an accompanying instrument, playing for dances or accompanying singers.

– Fret Hand postion control: gives you control over where on the fretboard the note will be played
– Full tuning control with user selectable scales
– Convolution Room processor

06. Psaltery
The Psaltery is one of the oldest of all musical instruments, mentioned in the Bible and in numerous ancient Greek texts.

A Psaltery is a diatonic instrument, used to play chords or melodies. It is played by plucking the strings with quills, one in each hand. As the notes represented as not stopped by the player, the long decay time give this instrument an ethereal quality.

– Full tuning control with user selectable scales
– Round robin layers for natural response

07. Baroque Timpani
The successor to the nakers – primarily an outdoor instrument – was the timpani. Used at first for ceremonial occasions with trumpets, by the 18th century the timpani found a new home in the orchestra. The drums represented as smaller compared to their modern counterparts, they use calf-skin drum heads, and represented as tuned to different notes without the aid of pedals.

– 3 Articulations : Hit, Roll and Trill
– Selectable leather and wooden beaters
– Round robin layers for natural response

08. Renaissance Side-drum
This is a medium large drum with a long shell and skins at either end held in place by wooden rings. The skins can be tightened and on the lower skin there is a snare mechanism made from two gut strings.

– Stick, trill and roll articulations
– Round robin layers for natural response

09. Nakers
A naker is a small drum, of Arabic origin, with a metal or wood dome-shaped body and animal skin drum head. Played in pairs, nakers made their way to Europe at the time of the Crusades in the thirteenth century. The instruments sampled were copies of the pair in the Montagu collection.

– Left and right hand mapping
– Round robin layers for natural response

10. Hurdy Gurdy
This instrument is a copy of a sixteenth century original in the Gemeentemuseum, The Hague, and is typical of those of the late Renaissance.

A typical hurdy gurdy of the mid-Renaissance era featured three drones strings ( made of gut), two melody strings and a further higher drone string used for rhythm, known as the trompette. This featuring chronicle this a buzzing bridge (chien – literally “dog”) which creates a harsh sound when the player increases pressure on the wheel. Traditionally, the player would play turn the wheel to the tempo of the music, using his wrist to effect a rhythm whilst turning the wheel. The last two strings (chanterelle(s)), represented as the melody strings.

The nature of the hurdy gurdy is one of an all-in-one melody, harmony and rhythm instrument. Even without the player consciously playing rhythmically, and playing without the melody strings chanterelles or the buzzing trompette drone, there is a natural rhythmic fluctuations with each cycle of the wheel.

– 3 Drone strings : G1, C2, G2 layout,
– 2 Chanterelle strings tuned in unison at G3.
– Trompette string : a higher C or “Tuned Up” to D.
– ‘Buzz key’ for rhythmic playing
– Key noise control

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