SYNCHRON-ized Saxophones
All instruments are perfectly positioned at the virtual Synchron Stage Vienna, utilizing the Synchron Player’s convolution reverb based on Vienna MIR technology. Presets such as close, classic, and distant make it easy to place and reverberate the instruments with pre-configured combinations of convolution and algorithmic reverbs. Further mixer presets such as Smokey, Dark, Hard Compressed or Smooth Delay help you dial in the right mood for your project or serve as great starting points for your own timbre creations.
By selecting the “MIR Unprocessed” preset without any reverb or placement, you can use the saxophones completely dry, place them anywhere in the stereo field, and incorporate any reverb of your preference, such as the rooms provided by Vienna MIR Pro 3D.
The possibilities of the Synchron Player bring more flexibility, playability, and liveliness to the sample database, with features such as timbre adjust, time-stretching, and advanced real-time algorithms. Notes such as portato, crescendos, and diminuendos can be played shorter than their recorded length and are still automatically provided with authentic release sounds. This way, for instance, you can use the first part of crescendo notes as soft portato articulations, or the first part of diminuendo notes as an espressivo technique with a slight decrescendo that sounds very musical and natural.
The SYNCHRON-ized Saxophones Collection includes a host of articulations that enable the instruments to be performed in a variety of genres, from symphonic music to jazz, rock and pop. In addition to a large selection of regular articulations including short notes, long notes, legatos, portamentos, glissandos, trills, flutter tongues, runs, repetitions, etc., the library offers specialties such as bends, falls, tongue slaps, dirty notes, key noises, and more.
Robert Bernhard, the virtuosic musician who poured his heart and soul into the recordings using his Selmer Mark VI series instruments (reissues of the famous vintage saxes of the Sixties), has profound experience in orchestral music, as well as in jazz, funk, and blues. His nuanced performances exploit the entire range of the instruments, from sensitive to aggressive, from whispering to all-out screaming.
