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Symphonic Orchestra Samples - Solo Instruments II

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Kurzweil CD-ROM Directory

INFORMATION
We recommend you use unlooped instruments during mastering if you don’t need very long sustains. The sound quality of these unlooped samples, we believe, is much higher and more realistic.

TECHNICAL INFORMATION
All instruments include stereo and mono samples. The mono versions of the presets are denoted with a small “m” at the end of the file name. All instruments are tuned to ‘A’=440. INFINITY Jupiter Systems software was used for creating loops in this library. Preset programming:Kevin Wakefield, Master Conductor Productions.

CONTROLLER ASSIGNMENTS/VELOCITY CURVES
A great deal of thought has gone into the controller assignments for these presets. I encourage you to experiment with all of the presets. I have made extensive use of the mod/wheel, after touch, and data slider. This provides you with control over effects, envelope control, panning, eq...it’s in there. There are many useful applications for the controller assignments, for example when the mod wheel is assigned to amplitude you can get very expressive with your playing. Another example would be the programs that have a bit of pitch assigned to aftertouch to help create a more realistic imperfect performance. The velocity assignments are tailored for a relatively hard plating style. To tailor it for your own style, simply go to the midi receive page and select velocity map. Then chose or write a velocity curve that suits you.

ABBREVIATIONS
A.Flt Alto Flute
Ob Oboe
E.Horn English Horn
Picc Piccolo
Vin Violin
* Denotes a loopwd patch
Nv Non Vibrato
Ft Flutter
f forte
Port,Pt Portamento
Mu,Mte Mute
Trem,Trm Tremolo
Pizz,Pz Pizzicato
P Piano
M Mono
Lo Low (Low range)
Flt,Fl Flute
Fr.H French Horn
Tu Tuba
C.Bass Double Bass
# Sharp
Stc,St Staccato
Exp,Ex Expressivo
ff fortissimo
Drk Dark
Det Detache
Spic,Spc Spicato
Shrt,Sh Short
Sp Sul Ponty
Lt Lite (Less Samples)
Hi High (High range)

Note: Many of the names have multiple abbreviations.
Examples-C.Bass PizzSh+Contra BassPizzicato Short

DIRECTIORIES
SOLO II-Multi-load presets
SOLO BANK-Multi-instrument presets

SOLO II (dir)
A Flt .K25
30mb
A.Flute*
A.Flute
A.Flute Nv
A.Flute Ft
A.Flute Pt
A.Flute St
A.Flute*Ln/Porta
A.Flute Porta/St
A.Flute*Ln/Pt/St
C Bass1 .K25
24mb
C.Bass*
C.Bass* Lo
C.Bass Hi*
C.Bass
C.Bass Lo
C.Bass Hi
C.Bass2 .K25
36mb
C.Bass Det
C.Bass Trm
C.Bass Pizz
C.Bass Pizzsh
C.Bass St
C.Bass*
C.Bass*Ln/Det
C.Bass Det/St
C.Bass*Ln/Det/St
EHorn .K25
13mb
E.Horn*
E.Horn
E.Horn Exp
E.Horn St
E.Horn*Ln/Exp
E.Horn Exp/St
E.Horn*Ln/Exp/St
FHorn .K25
25mb
F.Horn*
F.Horn
F.Horn Mt
F.Horn Pt
F.Horn Pt drk
F.Horn St
F.Horn*Ln/Pt
F.Horn Pt/St
F.Horn*Ln/Pt/St
FHorn F .K25
25mb
F.Horn*
F.Horn
F.Horn Mt
F.Horn Pt
F.Horn Pt drk
F.Horn St
F.Horn*Ln/Pt
F.Horn Pt/St
F.Horn*Ln/Pt/St
FHorn F .K25
28mb
F.Horn f*
F.Horn f
F.Horn ff
F.Horn Ft
FHornLnk .K25
8mb
F.Horn*Ln/Pt
F.Horn Pt/St
F.Horn*Ln/Pt/St
Flute .K52
25mb
Flute
Flute Nv
Flute Ft
Flute Pt1
Flute Pt2
Flute Stcc
Flute 1 .K25
11mb
Flute*
Flute Nv*
FluteLnk .K25
8mb
Flute*Ln/Porta
Flute Port/St
Flute*Ln/Pt/St
Oboe .K25
31mb
Oboe*
Oboe1*
Oboe
Oboe Exp1
Oboe Exp2
Oboe St
Oboe*Ln/Exp
Oboe Exp/St
Oboe*Ln/Exp/St
Violin .K25
23mb
Violin*
Violin
Violin Low
Violin To
ViolinDt .K25
13mb
Violin Det#
Violin Det# f
Violin DetSht
VlnLnk .K25 13mb
Vln*/Det
Vln Det/St
Vln*/Det/St
VlnMisc .K25
22mb
Violin Spic
Violin Det&Spc
Violin Pizz
Violin Pizz Low
Violin Pizz H
SOLO BANK (dir)
Bank 1 .k25 23mb
C.Bss Det/FltPt
C.Bss P/FrH Mu
C.Bss P/OboeEx
Bank 2 .K25
30mb
C.Bass*/A.Flute*
Flute Pt1/Tuba*
Flute/F.Horn Pt
Violin Pizz Mt
Violin St 1
Violin St 2
Violin Trills
Violin Gliss 1
Violin Gliss 1/2
VlnTrm .K25
31mb
Violin Trm
Violin SpcTrm
Bank 3 .K25
26mb
F.Hrn/Tu/Ob/FlSt
F.Horn/C.Bass*
F.Horn/Oboe*
F.Horn/Tuba*
Bank 4 .K25
36mb
Tuba St/Picc*
Tuba*/Flute/Oboe
Tuba/E.Horn

 

The sounds are the result of an intense and uncompromising process of playing and recording and many, many hours of editing. Each instrument was played in a variety of ways in the studio and the symphonic hall itself to achieve the spatial positioning of a true symphonic experience.
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