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{"id":132782555162,"title":"Soniccouture The Conservatoire Collection","handle":"soniccouture-the-conservatoire-collection","description":"\u003cp\u003e\u003cstrong\u003eSoniccouture The Conservatoire Collection\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eEXPLORE THE SOUNDWORLDS OF THE MASTERS\u003cbr\u003e\u003cbr\u003eThe instruments of the great composers are museum pieces now ; hundreds of years old and not in playable condition. But in recent times period instrument specialists have begun recreating our musical past in the form of reproduction instruments. By sourcing authentic materials and using traditional techniques from the 16th, 17th and 18th centuries, incredibly accurate copies of the finest historical instruments can be produced. \u003cbr\u003e\u003cbr\u003eThese beautiful new instruments bring the soundscape of our musical past to life, showing us how incredibly diverse our modern instruments predecessors were. We are now able to enter into our musical heritage more faithfully, and the new palette of sounds available offers fresh inspiration for composers today.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTHE BIRMINGHAM CONSERVATOIRE\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eBirmingham Conservatoire is an international music school and major concert venue in central England. The school is a renowned centre for Early Music ; The Early Music Programme was set up in 1991 and has led the field in introducing historical instruments and style to as many young musicians as possible for over 20 years. Soniccouture worked with Martin Perkins, Early Music Lecturer \u0026amp; Instrument Curator, and Joshua Sadler, a postgraduate, who acted as consultant producers for the Conservatoire Collection project - choosing the instruments to be sampled, sourcing players and advising on the best way to sample them.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTHE INSTRUMENTS:\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eFrench Harpsichord\u003c\/strong\u003e\u003cbr\u003eThis instrument is a copy of a harpsichord originally made by Paul Taskin in 1762 and later enlarged by Jean Goermanns in 1780.The original instrument is one of the most copied 18th century harpsichords, Michael Johnsons copy is highly regarded as a faithful reproduction.\u003cbr\u003e    \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eFlemish Harpsichord\u003c\/strong\u003e\u003cbr\u003eA Michael Johnson copy of a harpsichord made by Johannes Ruckers, made in 1637.The copy used for the sample library was made in 2000 by Michael Johnson. Generally speaking, 17th century harpsichords are smaller, and, significantly, shorter than those of the 18th century.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTheorbo\u003c\/strong\u003e\u003cbr\u003eA single-strung, 14 course instrument made by Martin Haycock in 2005, after various seventeenth century Italian originals. This late Renaissance invention was the ultimate accompanying instrument of the time - by adding an extension to the neck, thick strings giving low notes were placed alongside the conventional lute meaning a player could play a bass- line and give the rhythm.\u003cbr\u003e    \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eEnglish Theorbo\u003c\/strong\u003e\u003cbr\u003eAlthough there are no surviving original instruments, there are several descriptions, illustrations and paintings of English theorbos dating from the mid- 17th C. This instrumentwas made by Klaus Jacobson in 2005.The English theorbo has much in common with the small 12-course lute, from which it developed, but it takes elements of the larger, Italian theorbo, such as the deep body.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eBaroque Guitar\u003c\/strong\u003e\u003cbr\u003eA French style, five- course instrument: a copy of various seventeenth century originals, made by Martin Haycock. The stringing of the instrument is unusual: the five courses correspond with the top strings of modern guitars, but they are double-strung apart from the top E. During the early 17th C, the guitar was primarily used as an accompanying instrument, playing for dances or\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eHurdy Gurdy\u003c\/strong\u003e\u003cbr\u003eThis instrument is a copy of a sixteenth century original in the Gemeentemuseum, The Hague, and is typical of those of the late Renaissance.\u003cbr\u003e\u003cbr\u003eA typical hurdy gurdy of the mid-Renaissance era featured three drones strings ( made of gut), two melody strings and a further higher drone string used for rhythm, known as the trompette. This features a buzzing bridge (chien - literally “dog”) which creates a harsh sound when the player increases pressure on the wheel. Traditionally, the player would play turn the wheel to the tempo of the music, using his wrist to effect a rhythm whilst turning the wheel. The last two strings (chanterelle(s)), are the melody strings.\u003cbr\u003e\u003cbr\u003eThe nature of the hurdy gurdy is one of an all-in-one melody, harmony and rhythm instrument. Even without the player consciously playing rhythmically, and playing without the melody strings chanterelles or the buzzing trompette drone, there is a natural rhythmic fluctuations with each cycle of the wheel.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePsaltery\u003c\/strong\u003e\u003cbr\u003ehe Psaltery is one of the oldest of all musical instruments, mentioned in the Bible and in numerous ancient Greek texts. \u003cbr\u003e\u003cbr\u003eA Psaltery is a diatonic instrument, used to play chords or melodies. It is played by plucking the strings with quills, one in each hand. As the notes are not stopped by the player, the long decay time give this instrument an ethereal quality.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eNakers\u003c\/strong\u003e\u003cbr\u003eA naker is a small drum, of Arabic origin, with a metal or wood dome-shaped body and animal skin drum head. Played in pairs, nakers made their way to Europe at the time of the Crusades in the thirteenth century. The instruments sampled were copies of the pair in the Montagu collection.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRenaissance Side-drum\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eThis is a medium large drum with a long shell and skins at either end held in place by wooden rings. The skins can be tightened and on the lower skin there is a snare mechanism made from two gut strings.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eBaroque Timpani\u003c\/strong\u003e\u003cbr\u003eThe successor to the nakers - primarily an outdoor instrument - was the timpani. Used at first for ceremonial occasions with trumpets, by the 18th century the timpani found a new home in the orchestra. The drums are smaller compared to their modern counterparts, they use calf-skin drum heads, and are tuned to different notes without the aid of pedals\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSpecifications:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    23 GB core sample library ( 9 GB on disc with NCW lossless compression)\u003c\/li\u003e\n\u003cli\u003e    24 bit 96 khz stereo sampling\u003c\/li\u003e\n\u003cli\u003e    10 Kontakt Player instruments: French Harpsichord, Flemish Harpsichord, Theorbo, English Theorbo, Baroque Guitar, Psaltery, Baroque Timpani, Renaissance Side Drums, Nakers, Hurdy Gurdy\u003c\/li\u003e\n\u003cli\u003e    Up to 10 velocity layers, 3 alternate Round Robin layers\u003c\/li\u003e\n\u003cli\u003e    Key-off samples and multiple articulations according to instrument\u003c\/li\u003e\n\u003cli\u003e    Real time hand postion control for guitar instruments\u003c\/li\u003e\n\u003cli\u003e    Custom Convolution Reverb Impulse response library\u003c\/li\u003e\n\u003cli\u003e    User selectable scales and tuning control for all pitched instruments\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eTuning Presets :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Equal Temperament\u003c\/li\u003e\n\u003cli\u003e    Pure (ie. Just)\u003c\/li\u003e\n\u003cli\u003e    Overtone 16-32\u003c\/li\u003e\n\u003cli\u003e    Pythagorean\u003c\/li\u003e\n\u003cli\u003e    Pythagorean Middle\u003c\/li\u003e\n\u003cli\u003e    Pythagorean Up\u003c\/li\u003e\n\u003cli\u003e    Mean Tone 1\/4\u003c\/li\u003e\n\u003cli\u003e    Silbermann\u003c\/li\u003e\n\u003cli\u003e    Werkmeister III\u003c\/li\u003e\n\u003cli\u003e    Kirnberger III\u003c\/li\u003e\n\u003cli\u003e    Neidhardt I\u003c\/li\u003e\n\u003cli\u003e    Valotti\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e    Young 1\/6 pC\u003c\/li\u003e\n\u003cli\u003e    Meantone 1\/5\u003c\/li\u003e\n\u003cli\u003e    Meantone 1\/6\u003c\/li\u003e\n\u003cli\u003e    Bach (Barnes)\u003c\/li\u003e\n\u003cli\u003e    French 1\/5\u003c\/li\u003e\n\u003cli\u003e    Handel\u003c\/li\u003e\n\u003cli\u003e    Lambert 1774\u003c\/li\u003e\n\u003cli\u003e    Mersenne I\u003c\/li\u003e\n\u003cli\u003e    Mersenne II\u003c\/li\u003e\n\u003cli\u003e    Neidhard 1724\u003c\/li\u003e\n\u003cli\u003e    Neidhard 1729\u003c\/li\u003e\n\u003cli\u003e    Rameau I\u003c\/li\u003e\n\u003cli\u003e    Rameau II\u003c\/li\u003e\n\u003cli\u003e    Telemann\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003eThe root note that these tunings are calculated from can also be changed.Default is C, but any root key can be set and the tuning is adjusted as necessary.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRequirements\u003c\/strong\u003e\u003cbr\u003eThe latest NI Kontakt Player is included in this product!\u003cbr\u003eThe minimum Kontakt Player version to use this library is specified in the product description. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eWindows\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWindows 7, 8 or 10 (latest Service Pack, 32\/64-bit)\u003c\/li\u003e\n\u003cli\u003eIntel Core 2 Duo or AMD AthlonTM 64 X2, 4 GB RAM (6 GB recommended)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eMac\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMac OS X 10.10, 10.11 oder 10.12 (latest update)\u003c\/li\u003e\n\u003cli\u003eIntel Core 2 Duo, 4 GB RAM (6 GB recommended)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003efor all\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    1GB free disc space for player installation\u003c\/li\u003e\n\u003cli\u003e    additional hard disc space according to the library size\u003c\/li\u003e\n\u003cli\u003e    internet connection for product activation required (on any computer)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eSUPPORTED INTERFACES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Stand-Alone\u003c\/li\u003e\n\u003cli\u003e    VST\u003c\/li\u003e\n\u003cli\u003e    Audio Units\u003c\/li\u003e\n\u003cli\u003e    ASIO\u003c\/li\u003e\n\u003cli\u003e    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The Conservatoire Collection\u003c\/strong\u003e\u003c\/p\u003e\n\u003cp\u003eEXPLORE THE SOUNDWORLDS OF THE MASTERS\u003cbr\u003e\u003cbr\u003eThe instruments of the great composers are museum pieces now ; hundreds of years old and not in playable condition. But in recent times period instrument specialists have begun recreating our musical past in the form of reproduction instruments. By sourcing authentic materials and using traditional techniques from the 16th, 17th and 18th centuries, incredibly accurate copies of the finest historical instruments can be produced. \u003cbr\u003e\u003cbr\u003eThese beautiful new instruments bring the soundscape of our musical past to life, showing us how incredibly diverse our modern instruments predecessors were. We are now able to enter into our musical heritage more faithfully, and the new palette of sounds available offers fresh inspiration for composers today.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTHE BIRMINGHAM CONSERVATOIRE\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eBirmingham Conservatoire is an international music school and major concert venue in central England. The school is a renowned centre for Early Music ; The Early Music Programme was set up in 1991 and has led the field in introducing historical instruments and style to as many young musicians as possible for over 20 years. Soniccouture worked with Martin Perkins, Early Music Lecturer \u0026amp; Instrument Curator, and Joshua Sadler, a postgraduate, who acted as consultant producers for the Conservatoire Collection project - choosing the instruments to be sampled, sourcing players and advising on the best way to sample them.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTHE INSTRUMENTS:\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eFrench Harpsichord\u003c\/strong\u003e\u003cbr\u003eThis instrument is a copy of a harpsichord originally made by Paul Taskin in 1762 and later enlarged by Jean Goermanns in 1780.The original instrument is one of the most copied 18th century harpsichords, Michael Johnsons copy is highly regarded as a faithful reproduction.\u003cbr\u003e    \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eFlemish Harpsichord\u003c\/strong\u003e\u003cbr\u003eA Michael Johnson copy of a harpsichord made by Johannes Ruckers, made in 1637.The copy used for the sample library was made in 2000 by Michael Johnson. Generally speaking, 17th century harpsichords are smaller, and, significantly, shorter than those of the 18th century.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eTheorbo\u003c\/strong\u003e\u003cbr\u003eA single-strung, 14 course instrument made by Martin Haycock in 2005, after various seventeenth century Italian originals. This late Renaissance invention was the ultimate accompanying instrument of the time - by adding an extension to the neck, thick strings giving low notes were placed alongside the conventional lute meaning a player could play a bass- line and give the rhythm.\u003cbr\u003e    \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eEnglish Theorbo\u003c\/strong\u003e\u003cbr\u003eAlthough there are no surviving original instruments, there are several descriptions, illustrations and paintings of English theorbos dating from the mid- 17th C. This instrumentwas made by Klaus Jacobson in 2005.The English theorbo has much in common with the small 12-course lute, from which it developed, but it takes elements of the larger, Italian theorbo, such as the deep body.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eBaroque Guitar\u003c\/strong\u003e\u003cbr\u003eA French style, five- course instrument: a copy of various seventeenth century originals, made by Martin Haycock. The stringing of the instrument is unusual: the five courses correspond with the top strings of modern guitars, but they are double-strung apart from the top E. During the early 17th C, the guitar was primarily used as an accompanying instrument, playing for dances or\u003cbr\u003e\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eHurdy Gurdy\u003c\/strong\u003e\u003cbr\u003eThis instrument is a copy of a sixteenth century original in the Gemeentemuseum, The Hague, and is typical of those of the late Renaissance.\u003cbr\u003e\u003cbr\u003eA typical hurdy gurdy of the mid-Renaissance era featured three drones strings ( made of gut), two melody strings and a further higher drone string used for rhythm, known as the trompette. This features a buzzing bridge (chien - literally “dog”) which creates a harsh sound when the player increases pressure on the wheel. Traditionally, the player would play turn the wheel to the tempo of the music, using his wrist to effect a rhythm whilst turning the wheel. The last two strings (chanterelle(s)), are the melody strings.\u003cbr\u003e\u003cbr\u003eThe nature of the hurdy gurdy is one of an all-in-one melody, harmony and rhythm instrument. Even without the player consciously playing rhythmically, and playing without the melody strings chanterelles or the buzzing trompette drone, there is a natural rhythmic fluctuations with each cycle of the wheel.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003ePsaltery\u003c\/strong\u003e\u003cbr\u003ehe Psaltery is one of the oldest of all musical instruments, mentioned in the Bible and in numerous ancient Greek texts. \u003cbr\u003e\u003cbr\u003eA Psaltery is a diatonic instrument, used to play chords or melodies. It is played by plucking the strings with quills, one in each hand. As the notes are not stopped by the player, the long decay time give this instrument an ethereal quality.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eNakers\u003c\/strong\u003e\u003cbr\u003eA naker is a small drum, of Arabic origin, with a metal or wood dome-shaped body and animal skin drum head. Played in pairs, nakers made their way to Europe at the time of the Crusades in the thirteenth century. The instruments sampled were copies of the pair in the Montagu collection.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRenaissance Side-drum\u003c\/strong\u003e\u003cbr\u003e\u003cbr\u003eThis is a medium large drum with a long shell and skins at either end held in place by wooden rings. The skins can be tightened and on the lower skin there is a snare mechanism made from two gut strings.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eBaroque Timpani\u003c\/strong\u003e\u003cbr\u003eThe successor to the nakers - primarily an outdoor instrument - was the timpani. Used at first for ceremonial occasions with trumpets, by the 18th century the timpani found a new home in the orchestra. The drums are smaller compared to their modern counterparts, they use calf-skin drum heads, and are tuned to different notes without the aid of pedals\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eSpecifications:\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    23 GB core sample library ( 9 GB on disc with NCW lossless compression)\u003c\/li\u003e\n\u003cli\u003e    24 bit 96 khz stereo sampling\u003c\/li\u003e\n\u003cli\u003e    10 Kontakt Player instruments: French Harpsichord, Flemish Harpsichord, Theorbo, English Theorbo, Baroque Guitar, Psaltery, Baroque Timpani, Renaissance Side Drums, Nakers, Hurdy Gurdy\u003c\/li\u003e\n\u003cli\u003e    Up to 10 velocity layers, 3 alternate Round Robin layers\u003c\/li\u003e\n\u003cli\u003e    Key-off samples and multiple articulations according to instrument\u003c\/li\u003e\n\u003cli\u003e    Real time hand postion control for guitar instruments\u003c\/li\u003e\n\u003cli\u003e    Custom Convolution Reverb Impulse response library\u003c\/li\u003e\n\u003cli\u003e    User selectable scales and tuning control for all pitched instruments\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eTuning Presets :\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Equal Temperament\u003c\/li\u003e\n\u003cli\u003e    Pure (ie. Just)\u003c\/li\u003e\n\u003cli\u003e    Overtone 16-32\u003c\/li\u003e\n\u003cli\u003e    Pythagorean\u003c\/li\u003e\n\u003cli\u003e    Pythagorean Middle\u003c\/li\u003e\n\u003cli\u003e    Pythagorean Up\u003c\/li\u003e\n\u003cli\u003e    Mean Tone 1\/4\u003c\/li\u003e\n\u003cli\u003e    Silbermann\u003c\/li\u003e\n\u003cli\u003e    Werkmeister III\u003c\/li\u003e\n\u003cli\u003e    Kirnberger III\u003c\/li\u003e\n\u003cli\u003e    Neidhardt I\u003c\/li\u003e\n\u003cli\u003e    Valotti\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cul\u003e\n\u003cli\u003e    Young 1\/6 pC\u003c\/li\u003e\n\u003cli\u003e    Meantone 1\/5\u003c\/li\u003e\n\u003cli\u003e    Meantone 1\/6\u003c\/li\u003e\n\u003cli\u003e    Bach (Barnes)\u003c\/li\u003e\n\u003cli\u003e    French 1\/5\u003c\/li\u003e\n\u003cli\u003e    Handel\u003c\/li\u003e\n\u003cli\u003e    Lambert 1774\u003c\/li\u003e\n\u003cli\u003e    Mersenne I\u003c\/li\u003e\n\u003cli\u003e    Mersenne II\u003c\/li\u003e\n\u003cli\u003e    Neidhard 1724\u003c\/li\u003e\n\u003cli\u003e    Neidhard 1729\u003c\/li\u003e\n\u003cli\u003e    Rameau I\u003c\/li\u003e\n\u003cli\u003e    Rameau II\u003c\/li\u003e\n\u003cli\u003e    Telemann\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003eThe root note that these tunings are calculated from can also be changed.Default is C, but any root key can be set and the tuning is adjusted as necessary.\u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eRequirements\u003c\/strong\u003e\u003cbr\u003eThe latest NI Kontakt Player is included in this product!\u003cbr\u003eThe minimum Kontakt Player version to use this library is specified in the product description. \u003cbr\u003e\u003cbr\u003e\u003cstrong\u003eWindows\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eWindows 7, 8 or 10 (latest Service Pack, 32\/64-bit)\u003c\/li\u003e\n\u003cli\u003eIntel Core 2 Duo or AMD AthlonTM 64 X2, 4 GB RAM (6 GB recommended)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003eMac\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003eMac OS X 10.10, 10.11 oder 10.12 (latest update)\u003c\/li\u003e\n\u003cli\u003eIntel Core 2 Duo, 4 GB RAM (6 GB recommended)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003efor all\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    1GB free disc space for player installation\u003c\/li\u003e\n\u003cli\u003e    additional hard disc space according to the library size\u003c\/li\u003e\n\u003cli\u003e    internet connection for product activation required (on any computer)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cbr\u003e\u003cstrong\u003eSUPPORTED INTERFACES\u003c\/strong\u003e\u003c\/p\u003e\n\u003cul\u003e\n\u003cli\u003e    Stand-Alone\u003c\/li\u003e\n\u003cli\u003e    VST\u003c\/li\u003e\n\u003cli\u003e    Audio Units\u003c\/li\u003e\n\u003cli\u003e    ASIO\u003c\/li\u003e\n\u003cli\u003e    CoreAudio\u003c\/li\u003e\n\u003cli\u003e    WASAPI\u003c\/li\u003e\n\u003cli\u003e    AAX Native (Pro Tools 10 or later)\u003c\/li\u003e\n\u003c\/ul\u003e\n\u003cp\u003e\u003cstrong\u003eProduct activation:\u003c\/strong\u003e\u003cbr\u003eAn internet connection on any computer is required to authorize \/ activate the product (Challenge\/Response).\u003c\/p\u003e"}

Soniccouture The Conservatoire Collection

Product Description
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Maximum quantity available reached.

Soniccouture The Conservatoire Collection

EXPLORE THE SOUNDWORLDS OF THE MASTERS

The instruments of the great composers are museum pieces now ; hundreds of years old and not in playable condition. But in recent times period instrument specialists have begun recreating our musical past in the form of reproduction instruments. By sourcing authentic materials and using traditional techniques from the 16th, 17th and 18th centuries, incredibly accurate copies of the finest historical instruments can be produced.

These beautiful new instruments bring the soundscape of our musical past to life, showing us how incredibly diverse our modern instruments predecessors were. We are now able to enter into our musical heritage more faithfully, and the new palette of sounds available offers fresh inspiration for composers today.

THE BIRMINGHAM CONSERVATOIRE

Birmingham Conservatoire is an international music school and major concert venue in central England. The school is a renowned centre for Early Music ; The Early Music Programme was set up in 1991 and has led the field in introducing historical instruments and style to as many young musicians as possible for over 20 years. Soniccouture worked with Martin Perkins, Early Music Lecturer & Instrument Curator, and Joshua Sadler, a postgraduate, who acted as consultant producers for the Conservatoire Collection project - choosing the instruments to be sampled, sourcing players and advising on the best way to sample them.

THE INSTRUMENTS:

French Harpsichord
This instrument is a copy of a harpsichord originally made by Paul Taskin in 1762 and later enlarged by Jean Goermanns in 1780.The original instrument is one of the most copied 18th century harpsichords, Michael Johnsons copy is highly regarded as a faithful reproduction.
    

Flemish Harpsichord
A Michael Johnson copy of a harpsichord made by Johannes Ruckers, made in 1637.The copy used for the sample library was made in 2000 by Michael Johnson. Generally speaking, 17th century harpsichords are smaller, and, significantly, shorter than those of the 18th century.

Theorbo
A single-strung, 14 course instrument made by Martin Haycock in 2005, after various seventeenth century Italian originals. This late Renaissance invention was the ultimate accompanying instrument of the time - by adding an extension to the neck, thick strings giving low notes were placed alongside the conventional lute meaning a player could play a bass- line and give the rhythm.
    

English Theorbo
Although there are no surviving original instruments, there are several descriptions, illustrations and paintings of English theorbos dating from the mid- 17th C. This instrumentwas made by Klaus Jacobson in 2005.The English theorbo has much in common with the small 12-course lute, from which it developed, but it takes elements of the larger, Italian theorbo, such as the deep body.

Baroque Guitar
A French style, five- course instrument: a copy of various seventeenth century originals, made by Martin Haycock. The stringing of the instrument is unusual: the five courses correspond with the top strings of modern guitars, but they are double-strung apart from the top E. During the early 17th C, the guitar was primarily used as an accompanying instrument, playing for dances or


Hurdy Gurdy
This instrument is a copy of a sixteenth century original in the Gemeentemuseum, The Hague, and is typical of those of the late Renaissance.

A typical hurdy gurdy of the mid-Renaissance era featured three drones strings ( made of gut), two melody strings and a further higher drone string used for rhythm, known as the trompette. This features a buzzing bridge (chien - literally “dog”) which creates a harsh sound when the player increases pressure on the wheel. Traditionally, the player would play turn the wheel to the tempo of the music, using his wrist to effect a rhythm whilst turning the wheel. The last two strings (chanterelle(s)), are the melody strings.

The nature of the hurdy gurdy is one of an all-in-one melody, harmony and rhythm instrument. Even without the player consciously playing rhythmically, and playing without the melody strings chanterelles or the buzzing trompette drone, there is a natural rhythmic fluctuations with each cycle of the wheel.

Psaltery
he Psaltery is one of the oldest of all musical instruments, mentioned in the Bible and in numerous ancient Greek texts.

A Psaltery is a diatonic instrument, used to play chords or melodies. It is played by plucking the strings with quills, one in each hand. As the notes are not stopped by the player, the long decay time give this instrument an ethereal quality.

Nakers
A naker is a small drum, of Arabic origin, with a metal or wood dome-shaped body and animal skin drum head. Played in pairs, nakers made their way to Europe at the time of the Crusades in the thirteenth century. The instruments sampled were copies of the pair in the Montagu collection.

Renaissance Side-drum

This is a medium large drum with a long shell and skins at either end held in place by wooden rings. The skins can be tightened and on the lower skin there is a snare mechanism made from two gut strings.

Baroque Timpani
The successor to the nakers - primarily an outdoor instrument - was the timpani. Used at first for ceremonial occasions with trumpets, by the 18th century the timpani found a new home in the orchestra. The drums are smaller compared to their modern counterparts, they use calf-skin drum heads, and are tuned to different notes without the aid of pedals

Specifications:

  •     23 GB core sample library ( 9 GB on disc with NCW lossless compression)
  •     24 bit 96 khz stereo sampling
  •     10 Kontakt Player instruments: French Harpsichord, Flemish Harpsichord, Theorbo, English Theorbo, Baroque Guitar, Psaltery, Baroque Timpani, Renaissance Side Drums, Nakers, Hurdy Gurdy
  •     Up to 10 velocity layers, 3 alternate Round Robin layers
  •     Key-off samples and multiple articulations according to instrument
  •     Real time hand postion control for guitar instruments
  •     Custom Convolution Reverb Impulse response library
  •     User selectable scales and tuning control for all pitched instruments


Tuning Presets :

  •     Equal Temperament
  •     Pure (ie. Just)
  •     Overtone 16-32
  •     Pythagorean
  •     Pythagorean Middle
  •     Pythagorean Up
  •     Mean Tone 1/4
  •     Silbermann
  •     Werkmeister III
  •     Kirnberger III
  •     Neidhardt I
  •     Valotti
  •     Young 1/6 pC
  •     Meantone 1/5
  •     Meantone 1/6
  •     Bach (Barnes)
  •     French 1/5
  •     Handel
  •     Lambert 1774
  •     Mersenne I
  •     Mersenne II
  •     Neidhard 1724
  •     Neidhard 1729
  •     Rameau I
  •     Rameau II
  •     Telemann


The root note that these tunings are calculated from can also be changed.Default is C, but any root key can be set and the tuning is adjusted as necessary.

Requirements
The latest NI Kontakt Player is included in this product!
The minimum Kontakt Player version to use this library is specified in the product description.

Windows

  • Windows 7, 8 or 10 (latest Service Pack, 32/64-bit)
  • Intel Core 2 Duo or AMD AthlonTM 64 X2, 4 GB RAM (6 GB recommended)

Mac

  • Mac OS X 10.10, 10.11 oder 10.12 (latest update)
  • Intel Core 2 Duo, 4 GB RAM (6 GB recommended)

for all

  •     1GB free disc space for player installation
  •     additional hard disc space according to the library size
  •     internet connection for product activation required (on any computer)


SUPPORTED INTERFACES

  •     Stand-Alone
  •     VST
  •     Audio Units
  •     ASIO
  •     CoreAudio
  •     WASAPI
  •     AAX Native (Pro Tools 10 or later)

Product activation:
An internet connection on any computer is required to authorize / activate the product (Challenge/Response).

Sku: 0073681
Vendor: Soniccouture

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