The erhu needs to be sensitive to every nuance, and respond at instant touch to every thought of the performer. Performers at this level usually require an Erhu made with the sensitivity and touch, as well as dyamics, volume and tone and they usually costs over $800. One of the earliest violin piece transcribed by Chen Gang, Sunshine in Tarxkorgan is graded as a Diploma Level performance piece. To find out more about the Thai Rosewood Erhu, click here. Using the often under-rated Thai Rosewood (usually known as Hong Tan), we have proved once again that with EcoErhu membrane, perhaps, there is no such thing as a bad wood. Demanding of the performer to execute fast bowings, and yet the ever-desired mellow basses, it surprised most that we created EcoErhu to match and better this demand and priced it way under $200. Liu Wen Jin's Capriccios of the Three Gorges was all the rage in the early 1980s, when it was one of the first major pieces for all performers. For more information of the Cambodian Scented Rosewood Erhu that Spring in Jiangnan was performed with, click here. This piece is placed at Grade 5 - 6 under most major conservatory syllabus, meaning this erhu is actually good enough for the intermediate performers, but priced for the most basic beginner. ![]() ![]() Mellow low notes and crystal clear harmonics which needs to be executed in massive sequence. Requires Native Instruments Kontakt 6.4.Spring in JiangNan - A piece that requires an extremely good tone in traditional erhu.Based on Riot Audio’s proprietary BIONIC TRANSIENT SPLICING ENGINE.20 Presets: Tap Celesta, Tap Bell, Mr Android Pluck, Plastic Pizzicato Bass, Breathy Stab, Expansive Xylophone, Rhodesian Scholar, House Organ, Vibey House Organ, Steel Drum Baby, Music Box, Starlight Swoosh, A Gong or Two, Plucky Squelchy Bass, White Noise Organ Stab, Pillow Harp, Gamelan, Hammond Bass, Electric Bass, Heavy Tines.Vibrato, Velocity Sensitivity (Volume, Low Pass and High Pass) and Humanize Controls for in-depth realism.Extensive sound sculpting controls, including crossover fade (between transient and tail samples), crossover point, tail envelope, transient attack curve (shape).4 layers of sound: 2 transient layers and 2 tail layers.The effects page includes filters, EQ, saturation and delay + reverb controls. There’s also a sophisticated velocity mapping section which allows for realistic mapping of velocity to HP/LP filters and volume. A range of controls allow shaping of the crossfade curve, point of crossover and initial transient, as well as filters for the transient and envelope shaping for the overall sound. The settings page (page 2) is where the details of the engine are determined. ![]() Each layer contains sample offset and tuning controls as well as a “humanize” function which introduces subtle to not-so-subtle random pitch variations (especially helpful for making non-tonal transients more realistic). Levels can be adjusted as balance between each of the tail/transient layers respectively, and globally between transients and tails. There are four layers, accessible on page 1: two transient layers, and two tail layers. A range of bass sounds including a “reconstructed” pizzicato upright bass.Some of the “bionic” sounds included in this initial version of the product (Lite): Creative, inventive sounds that push the combinations of previously unrelated sounds into new territory.Hybrid recreations of classic sounds with mostly organic attacks (taps, mallets, plucks, brush) and a mix of organic and synth/pure sine tails.it is designed to give detailed control over a range of parameters needed to mix and match a number of different initial transients to another set of tails/longer sounds. ![]() Bionic is a “transient splicing engine”, i.e.
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