Orchestral Tools – Berlin Woodwinds [KONTAKT] Full Version ‘LINK’ 💻
Orchestral Tools – Berlin Woodwinds [KONTAKT] Full Version
the free version of berlin woodwinds will give you theskeleton of the library with the other two important features, the articulation manager and legato workflow, disabled. exported sampler instruments can be used with other applications and libraries including reaktor, as kontakt sampler instruments can be used with other samplers like sine in order to provide all the advanced articulations, sampler instruments and legato controls that kontakt traditionally offers. if you want to compare and contrast how sines approach and compare to what was previously offered in kontakt, then i strongly suggest you check out this reorganized version of kontakt for instance. this is the one and only orchestral library that i would seriously consider purchasing, but its a hefty investment and isnt for everyone – if youre a diehard kontakt user thats sick of the default instrument, this version of berlin woodwinds will eventually become your new, favorite kontakt instrument.
berlins entire library features 16 quintessential orchestral woodwind instruments with playing examples for every new instrument, each instrument has its own full track and all the patches are recorded with two top notch professional woodwind masters. each of the instruments features exquisitely authentic percussive attack and perfect legato traces, all recorded at 140 bpm. berlin woodwinds even includes a powerful library of well over a thousand custom instrument samples and effects that you can instant-access from the library itself.
orchestral tools truly is an industry standard and is by far the most extensive orchestral library on the market. this library can be played from 5khz up to 120khz and is loaded with over 30,000 samples for a wide array of woodwinds, brass, strings, percussion, and more with more to come. the samples are dynamically built and updated by live session playback at 16-bit and 24-bit sampling rates. it can support just about any instrument and configuration and is completely customizable. this includes dynamic layer selection, different mic positions, audio filters, legato performance, bridging, polymap/pitch mapping, panning, etc. this unique interface is one of the most time consuming aspects of the orchestral tools program and with this update, tweaking it has never been easier. it is also packed with several useful features to aid in creating, editing, and performing professional orchestral mockups.
due to this, as well as the fact that they serve as a fine demonstration of the quality of the original recordings, these samples have been my favorite ones since 2012 and have been a staple in my template for more than three years now. this is only a partial list of what they can offer and as always, i encourage you to expand upon this by sampling other instruments for yourself, or perhaps get even closer to reality by sampling the actual orchestra right there on-stage. i hope these samples and this review give you some insight into their potential, or perhaps remind you of your first encounter with orchestral tools. it is this simple documentation that makes this library indispensable, paving the way for the next generation of templates.
being a metronome-assisted instrument makes it a bit tricky to say that the tempo of the runs can be adjusted. in fact, orchestral tools’metronome follows the tempo of your recording, so you can pick an arbitrary speed if you wish. in production, the best way i’ve found to achieve the desired tempo is to play the runs while counting notes in the scale, in conjunction with the metronome. doing this seems to result in the fastest tempo for a “right” feel; if you have problems, you can play the runs on a piano or synth in order to adjust the tempo.
one of the things that struck me when i first started playing with orchestral tools was its easiness of use. it took me only a few minutes to learn to play all of the runs with a fluidity and spontaneity that i’d never achieved on a keyboard. each of the strings parts has its own dedicated pedal input, meaning that you can modulate the timbre and dynamics of a single part by changing the amount of pressure on your foot. it’s not often that you can say you’ve created a musical instrument that can be played easily with your foot, but i do believe it can and that it has been done here. it’s too early to say for sure, but i am looking forward to learning more about this instrument in the coming months.
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