Sample Modeling – The Trombone 3.0 (KONTAKT)

The package includes three different timbres of the instrument: tenor (Tenor Trombone), Valve Trombone (Valve Trombone) and bass trombone (Bass Trombone). The main material of the instruments consists of 741 MB of samples, performed on chromatic lines by a professional trombonist, practically on the whole range of the instrument. All samples are not looped. The minimum duration of sampling is 8 seconds. The Trombone engine is structured according to an adaptive model based on the reproduction of the “fingerprints” of a real instrument. The main goal of the model is to minimize the differences between “live” phrases played on a real instrument and the sound of a virtual instrument.

What’s new in Trombone 3?
Trombone 3 includes several interesting features:

A new algorithm for early reflections. The new ER algorithm uses information about the direction of the multi-microphone in recording conditions in a muted room in order to transmit a full, rich tone, including its directional pattern and add “to taste” of the virtual space.

Virtual Soundstage. This new feature allows precise positioning of tools in a “dimensionless” virtual space, using early reflections, pre-delay, complex panning, and distance algorithms are perceived even in real time. This gives you the freedom to add a suitable acoustic environment, avoiding the occurrence of multiple space problems. This can be done within the framework of a single Kontakt Player that provides high quality convolution reverb.

Real time Timbral Shaping. This revolutionary new function adds an almost infinite timbral variety to individual instruments, acting on the amplitude of individual harmonics, or groups of harmonics, even in real time. This is not a graphic equalizer. Variable segments are not tied to certain frequencies, but to the first 10 harmonics of the note being played. As a consequence, the affected frequencies change according to the selected area. So, for example, the added compartment # 1 will increase the fundamental frequency (the first harmonic) of each sounding note, making the sound rounder. The growth of compartments # 3, # 4, # 5 will increase the intensity of the corresponding harmonics making the sound more “nasal”, etc.

Microtuning. This completely new function meets the requirements of musicians using non-tempered builds, so necessary for example in the music of the Middle East and Asia.

Expression Mapping. The user is able to independently draw changes in the response of the SS, which allows you to better control the dynamics. Especially with input devices such as breath and wind controllers.

Breathy Attacks. Just play on very low dynamics and low pitch, and you will get a very real hoarse noise, immediately preceding the sound of the trombone.

“For Unison Ensemble” IR. A specially designed impulse response significantly reduces the phasing problems that can occur when several instruments are controlled from under the same MIDI track (ie in unison).

Unison Ensemble Multi. Particular attention was paid to creating realistic ensembles of solo instruments. Like when used on separate tracks in MIDI format, and when you play in unison in a single MIDI track. The advanced ensemble maker was designed to influence the temporal, dynamic and static pitch changes, the phase, the response of the dynamic parameters pitchbend, velocity, portamento time in such a way that if the instrument is used from under one MIDI track, each instrument will sound As if another musician is playing. Ready-to-use Multi, in which three specially designed trombones, the ensemble maker and the corresponding reverb, are suitable for playing in unison. Included with the tool.