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Samples, Kontakt
Auddict Master Solo Woodwinds Bundle KONTAKT screenshot
KONTAKT ~ 23 GB
WHAT'S INCLUDED?
+ Over 70,000+ WAV files/samples in this instrument alone!
+ Multiple legato modes at varying dynamics
+ Staccatos and shorter Staccatissimos to craft realistic short note passages
+ Intuitive trills function allowing easy playing of any trills/tremolos up to a perfect 5th in width! (seven chromatic notes - C to G for example)
+ Ability to control level of mechanical noises of the woodwind instruments, which also follows your performance
+ Flutter tonguing, Triple tonguing and much more...

The Ultimate Woodwind Sample Library, with Legato That Can Fool Even a Trained Ear
46.2GB of Astounding Quality Content - Multiple Legato Layers at Multiple Dynamics, Play any Trill up to Seven Notes Apart and Even Control the Level of True Mechanical Noise Heard from the Instruments.

After much recording, production, tireless testing, re-testing and finally refining the end result, we are very happy to bring you the complete Master Solo Woodwinds bundle, which contains meticulously sampled solo flute, piccolo, oboe, clarinet and bassoon sampled Kontakt instruments (will work in Kontakt 4 and all higher versions - but not the free Kontakt "player").

These instruments will take anything you throw at them - with a legato mode that can adapt to slow and extremely fast playing in a single phrase with no extra effort/keyswitching on your part, simply open and play! See our video demos below.






INTRODUCTION TO ANGEL STRINGS
True Legato
Multiple sets of true legato intervals were recorded both with and without vibrato, for the ultimate in realistic sounding performance.

Trills/Tremolos
Select this articulation, and you can play a trill or tremolo between any two notes by holding them down on the keyboard (up to seven notes apart/a perfect fifth). See the video demo below for a demonstration of this.

Key Noises
These woodwind instruments owe part of the character of their sound to the mechanics of the instrument, so we decided to come up with something that allows some form of control over this subtle characteristic in timbre. What we ended up with was a knob that can control the level of mechanical noise that is audible from the instrument. You can turn this up, or off completely in the GUI to set the average level that seems right, and it will then, on top of this, react to the velocity of your own playing, much like it would a real player pressing harder or softer.

ARTICULATION LIST
+ Legato with recorded vibrato
+ Legato without vibrato
+ Polyphonic/Chord playing with vibrato
+ Polyphonic/Chord playing without vibrato
+ Trills/Tremolos
+ Flutter Tongue
+ Triple Tongue
+ Staccato
+ Staccatissimo
+ Key Noises (able to play in isolation if needed as well)

Please note, as vibrato on the Clarinet is not a standard technique, we have not included it, but the other four instruments all include vibrato legato as WELL as non vibrato legato and sustains, all at multiple crossfade-able dynamic layers (MIDI CC1/Mod Wheel).

You are even able to control the level/volume of the key sounds/mechanics of the instruments, and the sound of the flautist pressing the keys will also be louder depending on how hard you press the key on your MIDI keyboard (velocity).

One feature we are exceptionally proud of is the intuitive trills articulation system, which allows you to play any trill/tremolo within the flute's playable range up to a perfect fifth (seven chromatic notes)... See the demo video for an insight in to how this works!

REQUIREMENTS & NOTES
This instrument requires the FULL VERSION of Kontakt 4, or above (so it will also run in Kontakt 5 perfectly). The full version of Kontakt 4, is not the free "Kontakt Player", it is the full retail version which can be purchased from Native-Instruments' website.

Requires approx 60GB of space for installation (zipped and extracted files).

Reuploaded. PiRAT

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comments

  Member 8.05.2015 75
+14
ORCHESTRAL TOOLS or Spitfire Audio - much better !!!
  Resident 20.02.2011 1192
+322
Yeah like im much better than you
You can't have everything; where would you put it?
  Resident 9.12.2010 78 505
+1993
Yeah you're right OT and SF are much better, go buy it and then share with us!
I'm the master of my fate, the captain of my soul. (W. E. Henley)
  Member 30.03.2014 4 88
+155
I do not agree. Orchestral Tools and Spitfire sound very well, but the ambient sound (even with the close position microphones only) it makes them almost unusable for a certain type of music.
Orchestral Tools and Spitfire are not better but different.
  Resident 21.09.2011 15 731
+1111
All of them are still just "still recordings" compared to SM. Any sampled woodwind couldn't hope to compare to well blended PM, modelled in real time. That's the closest we'll ever get to real musicians, not record them over and over again, hoping to capture something that wasn't there the first time.
Thank you for helping us help you help us all.
  Resident 18.07.2013 15 373
+564
And yet only woodwinds could be sample-modeled correctly. The strings are nowhere near such realism the same with most brass instruments. So objectively as always the same applies - you cannot have both sheep and the money; some instruments can be sample-modeled - some cannot. But it is maybe, Andrew, that you have a wind controller and we, well, do not.
It is not what you've got; it's how you use it.
  Resident 21.09.2011 15 731
+1111
I would dare to disagree here. All acoustic instruments can be physically modeled. Done carefully and with attention to detail, the result can be very close to RL.
Instruments done by SM are quite exceptional. All of them are close to perfection (not just WW). But by being too customizable, there's an exceptionally high requirement for player's skills. Suddenly, bashing on the keybeds won't do it, several CCs have to be implied at a given time, and as you hinted out, breath controller is an absolute minimum.

SM strings have a great potential, but in order to achieve good results, adequate midi controller has to be used - either linnstrument or roli seaboard (given that the stringed instruments are not pitch defined like piano keys).

It's much better idea to invest into such hardware, understandingly expensive, than to be stuck in an endless loop of fishing for the one sampled library, which will never come BTW. My 2c
Thank you for helping us help you help us all.
  Member 20.05.2014 758
+117
What brand/model are you talking about ? what means:
RL
BC
SM
?
Thanks !
  Resident 21.09.2011 15 731
+1111
:)
Real Life
Breath Controller
Sample Modeling (now Audio Modeling)
Thank you for helping us help you help us all.
  Resident 21.09.2011 15 731
+1111
There's a middle ground between spending $1000 on Roli and getting realistic instruments, such as only getting the BC I got. 199 EUR isn't a small amount, but if you compare that to the prices for even mid-range MIDI controllers (Native Komplete Kontrol, MPK88, A88, ...), it's a good value for what you're getting.
Thank you for helping us help you help us all.
  Resident 18.07.2013 15 373
+564
But I have to ask you - why oh why don't we play real instruments then instead of all this ordeal with controllers? Do you mean this way one skill could play many instruments of the same type? But still it would seem the skill required for these special controllers is harder to develop than the skill to play a real instrument...
It is not what you've got; it's how you use it.
  Resident 21.09.2011 15 731
+1111
Well, learning a new instrument takes years. Mastering BC takes 2-4 weeks. Also woodwind instruments aren't exactly cheap, if they are concert quality. $10000 would be the average. You'd also need a space for recording, and recording gear.
Even with all set in place, how long would it take you to sequence woodwind part lasting 8 measures? With BC, it's done in 5 minutes.
Thank you for helping us help you help us all.
  Member 17.10.2013 1 269
+141
Your ears failed you bro!
  guest -- 0
0
Thanks for the share Talula
look forward to trying it out
  Resident 29.12.2014 91
+24
Actually, this serves its purpose..Orchestral Tools and Spitfire (while they may sound better) are made for slow brooding compositions, and can perform quite terribly under faster tempo music pieces. I say, use all of them, layer etc
  Member 30.03.2014 4 88
+155
Totally agree.
People often say "better" when they should say "I like them better"
  Resident 4.10.2013 6 641
+285
Once again, I won't download this, but thanks for the effort of uploading it guys, sounds cool!
fashion is temporal / style is forever
  Resident 22.01.2012 71 270
+540
THanks a lot Talula
  Member 16.11.2013 260
+76
If every person that is comparing sound packages really took a good look at their own libraries and the mixture of similar instrumentation that they have in their own hard disks, they would notice that they use different libraries for different reasons and different projects.

I am yet to find a "one-size-fits-all" library.
Some have better legato or articulations, or breathiness or....or...or.. etc etc
It's like strings... some have great marcato or sordino or staccato but are not as good as others which also lack in one or more areas.
SO - we get a mixture of libraries that fulfil whatever the project we are working on needs at that point in time.

Auddict make good sounds. Their Octohorn is great. It actually sounds like a French Horn section. Their winds are not as good as Berlin in many cases, but they have some great solo articulations that Berlin does not. Spitfire is great but it lacks when you do certain faster articulations but excels where this library does not.

Horses for courses. Many composers also fall down because they utilise the instrument samples in the areas where it is not the strongest, so they do not sound real. Comparing sample libraries as to how real they sound as Orchestral instruments is silly. If anyone wants "real", then hire and pay for the players. Human expressiveness varies from player to player. So far nobody has done anything other than closely approximate a real instrument.
Some libraries will always approximate better, but the way someone uses the sounds in a library determines how real or processed the sound is.
I did not make these rules - They are pretty much widely accepted.
  Member 16.11.2013 260
+76
*NOTE:
If anyone wants to hear a great example of using a sound sample library with real players, listen to the outtake music on "Black Panther"
It is done so well in the African mix orchestral score that it is difficult to hear where the real musicians end and the samples begin. It is ultimately how any of us choose to use what we have. :)
  Resident 21.09.2011 15 731
+1111
So far nobody has done anything other than closely approximate a real instrument.

I'd say AM is really close to how a real instrument would sound. Big sample libraries are there only to generalize and simplify process of layering.
AM woods could be indeed one-size-fits-all, given enough attention.
Thank you for helping us help you help us all.
  Member 17.09.2018 27
+10
Auddict typically records in venues smaller or much smaller than Spirfire/AIR studios and that's a good thing
  Resident 2.10.2013 322
+87
Start all 5 videos at the same time and you will ear something GREAT.
At least, I did liked it after a few seconds, seriously...
Do the experiment and give your comments.

Or maybe I had too much beer ?
  Resident 31.01.2017 598
+179
I agree that creating a ranking doesn't make sense but we can point out to the objectively determined weaknesses of each library, and you can decide what is more (or less) important for you.
So far I downloaded and tested Oboe and clarinet and one easily recognized weakness is the staccato, it sound more like a marcato, but even worse, it really sounds attackless.
I liked the sound of the oboe (however there is a lapping issue between notes when the release tail of the first note keeps playing after the second note started, so you have to turn down Release time), but of the clarinet not really, it sounds almost like Westgate Studios Modular Series which is an old staff but much lighter in size (therefore Westgate was very good at that time weighing up the sound for its size).
I find totally useless having 6 mics for this library, it's much better to have a close mic (or two differently positioned) and another one stage mic for the boldness of the sound and you can use a decent reverb of your taste.
  Member 16.11.2013 260
+76
I remember an actual recording of a Cello and piano playing a Mozart piece and a cellist said it was a sample. It wasn't, it was a real player.
So your point is extremely valid in the scope of today's' sample libraries versus real players.
It seems that no matter how good anyone's ears are, each person not only hears things their ears are tuned in to grasp, but often, no matter how good those ears are, miss some things.

As for microphones, placements so on and so forth, I see it more simply.
Does the library do what I want it to do?
I think realistically, each person should consider looking at it that way because for example, I tried the oboe and while I agree totally with you on the attack, I find the tone moderately harsh. Generally a great Oboeist can get some real beauty and subtlety in their tone and definitely, more than one type of tone when soft or loud harsh or subtle.... which this library is a little lacking in. The Berlin winds have these tonal differences. But in saying that, as part of a complete wind section, this functions really well.

We can find flaws in anything if that is the MO. These days there is so much out there, I suppose that is normal. Ultimately, we end up with quite a lot of libraries :)
  Resident 31.01.2017 598
+179
yeah, Oboe is lacking dynamic variety, they should have recorded more layers and less mics. That's why I compared it with Westgate which suites for playing in section instead of solo.
This "new" auddict library sounds so old. But it's not that small of a size, because of those mics, however it loads really heavy even when you just activate 2 mics from the 6. Even if it lacks more layers.
But why I said that Oboe sounded relatively well is probably because oboe is easier to sound decent than for example clarinet that is really difficult to capture well, the only library so far (I don't know about the most recent VSL and EastWest ones) that I also find closer to be realistic, just like you, is Berlin Woodwinds but that's true that BWW is rather good for creating mockups with a lot of tweaking due to the delayed legato transitions, than for realtime playing or using with compositions in Finale. That's a pitty because Berlin sounds really superior from the others.
But there is room for everyone, there are people who just compose playing on a midi keyboard into a DAW and prefer Spitfire (that I really hate) for its ready bold soundscape (yes, I would also find it nice sounding but other aspects of them I dislike).
 Spoiler

Oh, why it loads so heavy is because it doesn't use Kontakt's compressed, proprietary sample format, instead it uses wav format that explains it. That's so old school.
  Member 16.11.2013 260
+76
I agree with you completely.
The libraries are too big for the time and load they add. However, I tried the Bassoon library and it's good. It might be the better along with the piccolo of the batch. The piccolo is not ear piercing from it's midrange and only mainly where it actually is, in its upper register.
  Resident 21.06.2013 599
+228
Usefull comments, guys, thank you.
  Member 6.05.2014 318
+24
bring on the other orchestral libs!

btw there is much to be said in favor for smaller sketchpad and light libs for my laptop...
  Resident 31.01.2017 598
+179
The Flute sounds quite good, apart from the lack of more dynamic layers.
Actually comparing with Flutes from Chris Hein Winds this Auddict sound more natural.
However in Chris Hein flute I found a trick, go to the instrument settigs and add an internal EQ increasing the extreme highs and booom, it becomes more silky, thus more natural. Why it sounds synthetic in default is because they cleaned the sound from noise too much. I'm speaking about Chris Hein, not this Auddict which sounds good.

Just forget the staccato articulation, reduce Release time and deal with the lack of dynamic range.
One other detail that shows this library is old, it doesn't apply Kontakt's improvements about tempo sync, the trills articulation is clearly lacking it.

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