Team DECiBEL | 18 Feb 2020 | 1.25GB-1.29GB each
Adam Monroe的立式贝司是从一个咯咯笑的立式贝司手的弹奏中取样的。低音本身是音乐家祖父的继承乐器。低音的确切年龄未知，但它已经有所动作，虽然有些拍打，但听起来仍然很棒！
为了产生这个音乐库，通过对舒尔SM81的近立体声立体声对，AKG D112，Neumann Tlm 102和“ di”桥拾音器采样低音。在混合过程中，确定将SM81与D112混合可以得到最佳的整体色调。在几个小时的测试过程中对贝斯进行了采样，贝斯手演奏了弹奏音符，拍击贝斯和滑音。那些幻灯片过后，男孩的手指烧了！
根据录制环境的性质，样本中会包含很多噪声，因此必须进行去噪，尽管会保留一些噪声，以免过多影响立式低音的音质。作为一种注定要混在一起的乐器，我们并不认为轻微的噪音不是什么大问题，并且对于立式低音的打击乐性质，它往往会很快消失。
该库的目标是在逼真的立式低音和可使用的vst，aax，au插件之间取得平衡，因此，与设计/编程相反，对发音进行“预先录制”。尽管软件模拟可以更好地控制演奏，但听起来没有什么像现场演奏那样。
我们计划在将来的版本中，在声学上令人愉悦的环境（具有封闭和室内麦克风）中对立式低音进行重新采样，以便用户可以在不同数量的自然混响和环境之间进行融合。
工程
Adam Monroe的Upright Bass的Kontakt版本（于2019年12月28日折旧）是跨平台的。 VST，AU和AAX版本由我们编程。也是VST（虚拟仪器），AU（音频单元）或AAX插件的任何示例库中的目标都是尝试匹配Kontakt Player的性能。我们认为此VST，AU和AAX版本的性能可比。
VST，AU和AAX版本包含高性能算法，而Adam Monroe Music发行的每种新虚拟乐器都在改进这些算法。例如，缓冲算法是双缓冲和多线程的，这意味着即使在速度较慢的计算机上，甚至在较低的延迟下，缓冲性能也很快。声音以纯净的C样式阵列进行保留和迭代。 VST版本中的内存使用量比Kontakt版本（已淘汰）中的内存使用量要低（70-130MB）。 VST，AU和AAX版本现在还包括对44.1、48、88.2和96k Hz采样率的本地支持。由于具有可靠的VST，AU，AAX代码库，因此您可以放心VST，AU和AAX版本应与（已弃用的）Kontakt版本一样好。
当涉及到直立的低音时，有一些关于关节的注意事项。您包括什么？它们是如何触发的？与其他一些立式低音采样库不同，我们认为最好分离拍打声音和柔和的自然pizzicato声音，并允许用户使用延音踏板进行控制。我们决定将滑梯限制在大三号和小三号，并可以通过变桨轮控制。在按下音符之前将音高轮稍微抬起将触发小三度，将其高调抬高将触发大三度，向下滑动则相反。然后，您必须将变桨轮移回到“空档”位置以触发另一滑行。我们认为这可以防止用户触发不需要的幻灯片。幻灯片不适用于没有意义的音符（例如从E1上下移动）。还记录了锤子和拉杆，但最终决定它们并没有为库增加太多价值，并且很难在自动化之外进行控制。
* 24位音频样本（带有单独的拍子样本）
*循环10速度层
*混响，幻灯片和拍打音色
*支持44.1、48、88.2和96 kHz
主页
adammonroemusic.com/amuprightbass.html
Adam Monroe’s Upright bass was sampled from the pluckings of a gigging upright bass player. The bass itself was an inherited instrument from the musician’s grandfather. The exact age of the bass is not known, but it had seen some action, and although a little beat-up, still sounded great!
To produce this library, the bass was sampled through a close-miced stereo pair of Shure SM81’s, an AKG D112, a Neumann Tlm 102 and a “di” bridge pickup. During mixing, it was determined that the SM81’s blended with the D112 gave the best overall tone. The bass was sampled over the course of a few 10 hour sessions, where the bass player played plucked notes, slap bass, and slides. Boy did his fingers burn after those slides!
Do to the nature of the recording environment, the samples contained a lot of noise, and had to be denoised, although some of the noise was left in so as not to affect the tonal qualities of the upright bass too much. As an instrument that is more-or-less destined to sit in a mix, we don’t feel that the slight noise is much of an issue, and do to the percussive nature of an upright bass, tends to fade-away quickly.
The goal of this library was to strike a balance between a realistic upright bass sound and a useable vst, aax, au plugin, therefore, the articulations are “pre-recorded” as opposed to engineered/programmed. Although software simulation allows for more control over playing, nothing sounds quite like live articulations.
A future version is planned where we will resample an upright bass in an acoustically pleasing environment (with close and room mics), so that the user may blend between different amounts of natural reverb and ambiance.
ENGINEERING
The (depreciated 12.28.2019) Kontakt version of Adam Monroe’s Upright Bass is cross-platform. The VST, AU, and AAX version are programmed by us. The goal in any sample library that is also a VST (virtual instrument), AU (Audio Unit) or AAX plugin is to attempt to match the performance of the Kontakt Player. We feel the performance of this VST, AU, and AAX versions are comparable.
The VST, AU, and AAX versions include high-performance algorithms that have been improving with each new virtual instrument released by Adam Monroe Music. For example, the buffering algorithm is double-buffered and multithreaded, which means that buffering performance is fast, even on slower computers, and even at lower latencies. Voices are held and iterated over in a pure, C-Style array. Memory use is lower in the VST version than in the (Depreciated) Kontakt version (70-130MB). The VST, AU, and AAX versions also now include native support for 44.1, 48, 88.2, and 96k Hz sample rates. Because of the solid VST, AU, AAX code base and you can feel confident that the VST, AU, and AAX versions should work just as well as the (depreciated) Kontakt version.
When it comes to upright bass, there are several considerations in regards to articulations. What do you include and how are they triggered? Unlike some other upright bass sample libraries, we decided it would be best to separate the slap sounds, and the softer, natural pizzicato sounds, and allow the user to control them with the sustain pedal. We decided to limit slides to major and minor 3rds which can be controlled by the pitch wheel; holding the pitch wheel slightly up before pressing a note will trigger a minor 3rd, holding it more aggressively up will trigger a major third, and the reverse is true for slide-downs. You then have to move the pitch wheel back to the “neutral” position to trigger another slide. We feel this prevents the user from triggering unwanted slides. Slides don’t work for notes that don’t make sense (like up from and down to E1). Hammer-ons and pull-offs were also recorded, but in the end it was decided they did not add much value to the library and would be difficult to control outside of automation.
* 24-Bit Audio Samples (With Separate Slap Samples)
* Round-Robin, 10 Velocity Layers
* Reverb, Slides, and Slap Patches
* Supports 44.1, 48, 88.2, and 96 kHz
home page
adammonroemusic.com/amuprightbass.html
