is a sensitive touch-tip of the finger on an array of emotional chords, progressions and melodies of one line. Completed and recorded with sophistication and depth, this loop library can establish the foundation or the completion of an existing idea for those who create gentle and expressive music.
Content:
Size: Approximately 1 GB for each format when uncompressed; inclusive of the Bonus Set
Parts: 384; inclusive of the Bonus Set
Sound: Dry. Kontakt users have a menu of reverb types and other effects that can be applied and modified.
Quality: Stereo 24 bit 44.1kHz
Available Formats: Kontakt, Apple Loops, Acid Wav, REX, Stylus RMX. Additional format information is available here.
Requirements: The Kontakt format of the library requires the full-retail version of Native Instruments’ Kontakt 5.1 or higher.
Parts: 384; inclusive of the Bonus Set
Sound: Dry. Kontakt users have a menu of reverb types and other effects that can be applied and modified.
Quality: Stereo 24 bit 44.1kHz
Available Formats: Kontakt, Apple Loops, Acid Wav, REX, Stylus RMX. Additional format information is available here.
Requirements: The Kontakt format of the library requires the full-retail version of Native Instruments’ Kontakt 5.1 or higher.
Additional Information:
Soundtrack Acoustic Guitar presents a sensitive finger-tip touch to an array of emotive chords, progressions and single line melodies. Performed and recorded with sophistication and expressive music.
Imagine this: You’re in the movie theater, the lights are dim and the screen is dark. An acoustic guitar begins playing a melody as the first scene begins. Moving with richness and simplicity, the guitar sets a tone that is carried through to the film’s end. A soundtrack talks about as much as possible. It’s the stage for what you will feel.
PRODUCER’S NOTES
“We wanted to give the composer options.” So we came up with a layout that offers lots of parts for each suite and has the ability to seamlessly combine melodic lines with chordal passages for a “two player” sound.
After a few parts were written for each suite, we would identify the overall feel: bittersweet, contentment, expectant, mournful, etc., going as far as discussing the type of scene or visual the music could accompany.
To achieve a broader range of tones and feel, almost every suite had its chordal passages recorded with a capo placed at a different fret of the guitar’s neck. The whole range of the neck was used for the melody lines.
The guitar used on this project was a Lowden O25C. All chordal passages were recorded in stereo using a Neumann KM184 cardioid condenser microphone paired with a Studio Projects T3 vacuum tube microphone. All melody lines were recorded in stereo using a pair of KM184s. Everything was recorded through a Benchmark PRE420 preamp. “
Imagine this: You’re in the movie theater, the lights are dim and the screen is dark. An acoustic guitar begins playing a melody as the first scene begins. Moving with richness and simplicity, the guitar sets a tone that is carried through to the film’s end. A soundtrack talks about as much as possible. It’s the stage for what you will feel.
PRODUCER’S NOTES
“We wanted to give the composer options.” So we came up with a layout that offers lots of parts for each suite and has the ability to seamlessly combine melodic lines with chordal passages for a “two player” sound.
After a few parts were written for each suite, we would identify the overall feel: bittersweet, contentment, expectant, mournful, etc., going as far as discussing the type of scene or visual the music could accompany.
To achieve a broader range of tones and feel, almost every suite had its chordal passages recorded with a capo placed at a different fret of the guitar’s neck. The whole range of the neck was used for the melody lines.
The guitar used on this project was a Lowden O25C. All chordal passages were recorded in stereo using a Neumann KM184 cardioid condenser microphone paired with a Studio Projects T3 vacuum tube microphone. All melody lines were recorded in stereo using a pair of KM184s. Everything was recorded through a Benchmark PRE420 preamp. “
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