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Legato Techniques
Performance Legato (Extended)
A hugely detailed and highly playable legato patch which reacts in realtime to playing speed. This extended Pro version includes all legato styles plus marcato and soft entries for single notes - our most advanced legato ever.
Lyrical Legato (Extended)
A relaxed legato patch for slower moving melody lines. This extended Pro version includes all legato styles plus marcato and soft entries for single notes.
Performance Legato
A hugely detailed and highly playable legato patch which reacts in realtime to playing speed.
Lyrical Legato
A relaxed legato patch for slower moving melody lines.
Legato Runs
A very agile legato patch specifically for very fast passages and flourishes up to a minor 3rd (Legato intervals greater than a minor 3rd will not sound)
Legato Slurred
A legato patch with slurred intervals performed with a 'moderate tempo' feel for sweeping melody lines
Legato Allegro
A legato patch with slurred intervals performed with a sprightly 'uptempo' feel, ideal for quicker or arpeggiated ostinato material.
Long Techniques
Long (Extended)
A polyphonic sustained longs patch - this extended Pro version features additional soft and marcato styles for note entries triggered by key velocity
Long
A polyphonic sustained longs patch for pads and chordal writing.
Long (sfz)
An overblown and strong attack followed by an immediate sustained softer dynamic
Long Flutter
A sustained flutter technique, characterised by a delicate airy sound, achieved by fast articulation close to the embouchure.
Trills (Major & Minor 2nds & 3rds)
Rapid alternating between two notes.
Short Techniques
Staccatissimo
A short and crisp note length, creating a sprightly “all-purpose” short articulation.
Staccato
A general purpose short note length, sounding clearly detached with a slight accent.
Staccato (alt)
An alternative take on a general purpose short note length, sounding clearly detached with a slight accent.
Marcato
A technique performed with a strong accented front to the note - presented as a longer note length than 'staccato' with the option of Timed Release triggers.
Tenuto
A technique performed with a small accented front to the note - presented as a shorter note length than 'marcato'.
Short Double Tongue
A rapid articulation achieved by double tonguing, with different 'landing' note lengths.
Short Triple Tongue
A rapid articulation achieved by triple tonguing, with different 'landing' note lengths.
Short Quad Tongue
A rapid articulation achieved by quad tonguing, with different 'landing' note lengths.
Signals
Mix 1
A full-sounding room mix by Simon Rhodes, formed from Tree 1, Overheads, Outriggers 1, and a curated blend of spots.
Mix 2
A tighter mix by Simon Rhodes, formed from Tree 2, Mids and Outriggers 2 with a curated blend of spots.
Close
Small diaphragm condenser mics placed on each desk and summed capturing a detailed and articulate close image.
Close Ribbons
A combination of ribbon mics placed on each desk capturing a warm and rounded close image.
Pop Main
A cardioid stereo valve mic placed above the section and panned centrally for a flexible image not restricted to the orchestral layout.
Pop Room
Omnidirectional condenser mics placed either side of the section to add additional roominess and space to the Pop Main signal.
Tree 1
A decca tree formed of Abbey Road’s finest trio of classic valve omnidirectional microphones creating a lush and full sound.
Tree 2
A tighter, closer decca tree formed from mics with a more directional pattern, suited to faster, more detailed material.
Outriggers 1
Used in conjunction with either tree to obtain a wider image. This pair utilises omnidirectional mics to reproduce the full width of Studio One.
Outriggers 2
Used together with either tree to obtain a wider image. This pair uses mics with a more directional pattern, pulling the edges of the room inwards.
Mids
A pair of valve REDD mics placed between the conductor and the source which adds extra focus to the sound when combined with the Tree and Outriggers.
Ambients
A pristine pair of small diaphragm omnidirectional microphones to the rear of the room for a natural ambience.
Vintage 1
A pair of original 1940s RM1B ribbon microphones placed in front of the conductor to create a vintage scoring stage sound.
Vintage 2
A pair of classic 44BX ribbon microphones placed by the conductor for an alternative vintage scoring stage sound.
Leader
A single microphone placed on the section leader, used to add additional focus above the full section if required.
Spill
A summation of spot mics placed around the other sections. These capture the natural 'spill' from the source across the orchestra for added realism.
