长笛 Acousticsamples VWinds Flutes for UVI Workstation

Our final orchestral section in the VWinds series is here at last – we’re very proud to introduce VWinds Flutes!

Consisting of 9 individually-recorded, finely crafted instruments, VWinds Flutes is our biggest VSeries library to date. And just like its predecessors, it delivers unparalleled playability and realism whilst barely making a dent on computer resources. At a total download size of just ~1.6Gb, VWinds Flutes provides the opportunity to use realistic-sounding, ultra-responsive, flexible instruments on virtually any modern set-up, working equally well on laptops for musicians on-the-go as it does for those working on more powerful computers in the studio.

VWinds Flutes is the most advanced library we’ve ever created, and represents a huge leap forward in our methodology and technology. We’ve redesigned a number of old features and added a treasure chest of new ones – the sound itself has been reworked and enhanced, all the way back to the original recorded samples, offering a greater sense of space and depth with no extra strain on the workstation.

New dials have been added to the interface; an ‘extra air’ dial for a breathier sound, an option to add more air to the attacks, and also a dial to control release times. We’ve also incorporated an ‘Overblow’ feature, accessed via the main tab in the interface, which gives the user the option to overblow on attacks alone or on the full instrument (or not at all), giving access to played harmonics when dynamics are pushed to their limits, without any extra effort. On top of all of this, we’ve added a new ‘Smart’ style of legato transition, and even an all-new parameter for controlling the sound of the vibrato.

Along with all the new customisable features, we’ve added a brand new space to our virtual soundstage – taken from recordings at the magnificent Stoller Hall (Manchester UK). This new concert hall regularly hosts some of the world’s finest musicians, and has been described as ‘perhaps the most acoustically perfect concert hall in the country’ (Georgia Mann, BBC Radio 3) and ‘deliver[ing] the music as if every hearer is in the conductor’s shoes’ (Robert Beale, The Arts Desk).