[dead] Sonic Implants - Symphonic Brass Collection Trumpets for Kontakt
On to the samples, starting with the ensembles called 'three trumpets'. Their four main styles (legato and marcato sustains, staccato and double-tongue short notes) are not actually recordings of three trumpets playing together, but three-player 'virtual ensembles' constructed by layering two-trumpet samples with the library's solo trumpet. That said, these performances sound very strong and convincing, and the layering in no way distracts from their musical power and realism.
The legatos and marcatos sound bright, confident and imposing, the latter given extra weight by a heavier, emphatic attack which subsides into a quieter sustain. Both styles have four dynamic layers, and sound nicely in tune throughout the trumpets' three-octave range (E3 to E6). Layering the legatos and marcatos creates a majestic fanfare sound, fit to greet the arrival of the Queen of Sheba.
si 2 Manual.s
The three layered trumpets' tight staccatos also comprise four dynamic levels, and their timbral nuances and precise, energetic delivery will enhance any arrangement. The staccatos' abrupt cut-off enables Sonic Temple's hall ambience to be heard clearly, its bright, natural acoustic perfectly suited to the tone of brass instruments. The same goes for the 'double-tongue' performances — a recurring feature of the library, these are very short notes with a clearly articulated attack. The sound (designated 'ta', 'ka' or 'spit') is determined by the player's tongue position. Users can play these short attacks on their own (the 'spit' variety being particularly effective), or use them as an overlay to add definition to the front of legato notes.
The remainder of the three trumpets' performance styles are performed by three unison trumpets. Their bright, raspy sforzando samples come in three flavours: 'sfz hit only' (a shortish stab), 'sfz soft hold' (the same layered over a quiet, three-second sustain), and a 'sfz mod wheel crescendo' option where the sforzando hit is combined with a long sustain, the level of which is controlled by the wheel. This programming trick enables the simulation of the dramatic 'sfz crescendo' effect beloved of brass arrangers — but sadly, the layering introduces some minor tuning issues.
more info: http://www.soundonsound.com/sos/feb05/articles/sibrasscollection.htm