SKU: 24534007934

Vienna Synchron Percussion I Standard

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Description

Vienna Synchron Percussion I StandardStandard Library ('stereo Library Download") includes the complete set of articulations, recorded from 4 individual microphone positions that can be used for stereo mixing: Close Mic " Mono Mid Layer Mic " Stereo (L R) Main Room Mic " Decca Tree Stereo (L R) Main Room Mic " Decca Tree Mono (Center) Please note that the main surround microphone settings may also be used instead of the main stereo room mics in order to achieve a wider, more ambient mix.

Standard Library ('stereo Library Download") -  includes the complete set of articulations, recorded from 4 individual microphone positions that can be used for stereo mixing:

  • Close Mic " Mono    
  • Mid Layer Mic " Stereo (L/R)
  • Main/Room Mic " Decca Tree Stereo (L/R)
  • Main/Room Mic " Decca Tree Mono (Center) 

Please note that the main surround microphone settings may also be used instead of the main stereo room mics in order to achieve a wider, more ambient mix.

Absolutely Striking

This all-new Collection of orchestral percussion instruments ushers in a new era for Vienna Symphonic Library. Synchron Percussion I was recorded at Stage A, the main hall, of Vienna's newly revitalized Synchron Stage Vienna.

Captured in every nuanced detail with an expansive, phase-controlled multi-microphone set-up, it delivers to your studio all the character and vibe of the world's finest percussion instruments, masterfully played in one of the best-sounding scoring stages in the world.

16 Instruments

Synchron Percussion I includes 16 essential orchestral percussion instruments that are owned by Synchron Stage Vienna and permanently housed in climate-controlled rooms in the building's basement. All of the leading prestigious manufacturers are represented in this premium selection of instruments, including Adams, Bergerault, Kolberg, Lefima, Meinl, Yamaha, and Zildjian.

Included Instruments:

  • 5 Timpani (Adams; C2"C#4)
  • Bass Drum (Kolberg "Dicke Bertha" 36"x28")
  • Snare Drum (Kolberg "Piano-Forte" Rosewood 14"x 6,5")
  • 8 Concert Toms (Yamaha CT-9000 series; 6"-16")
  • Xylophone (Adams Artist Alpha; C4"C8)
  • Glockenspiel (Yamaha 2500; C5"E8)
  • Celesta (Kolberg; C3"F8)
  • Suspended Cymbals (Zildjian, 16" & 18")
  • Piatti (Zildjian 20" Constantinople Orchestra Medium Light; Meinl 22" Symphonic Extra Heavy)
  • 2 Tam-Tams (Wuhan; 100cm and 120cm)
  • Tubular Bells (Bergerault Symphonic; F3"F5)
  • Tambourines (2 pc.: Lefima 2091-A, Kolberg 2030 DW)
  • Triangles (7 sizes)
  • Woodblocks (5 pc.)
  • Castanets (2 pairs)
  • Shakers (2 pc.)

12 Microphones

Every instrument was recorded using 12 microphones. You may select from four microphone positions (Standard Library) or seven different microphone positions (Full Library) and mix them to your liking, directly in the Vienna Instruments and Vienna Instrument Pro players, or using the mixing hosts Vienna Ensemble and Vienna Ensemble Pro. Use the included and perfectly fine-tuned presets as a starting point for your own mixes. The natural volume envelopes and the sonic character of the instruments remained untouched during recording and editing. The performances in Stage A were captured in stereo using a Decca Tree, and additional microphone arrays were utilized for 5.1 surround and Auro 3D 9.1.

Immersive Sound and Auro 3D

Auro 3D is an immersive audio technology that allows for three-dimensional sound perception. The Belgian company Auro Technologies developed this technology based on a special speaker configuration, adding four additional speakers to a 5.1 surround configuration. These speakers (so-called "Heights") are situated above the front and surround speakers and generate acoustic reflections that are perceived naturally due to the fact that sounds originate from around as well as from above the listener. Thanks to the comprehensive selection of discrete audio channels of Synchron Percussion I (Full Library) you may mix your instruments in Auro 3D as well as in Dolby Atmos.
128 Variations per Hit

A tremendous amount of time and effort was spent in order to record all 16 percussion instruments. This tour de force was only possible because all of the instruments, as well as the Synchron Stage Vienna itself, were owned by the Vienna Symphonic Library company. The results are truly impressive. Synchron Percussion I over-delivers with its huge dynamic range and liveliness. With up to 16 velocities and up to 8 variations of each hit, and open, secco (stopped release) and coperto (damped) articulations, there are a staggering 128 variations of each single hit! Additionally the Vienna team utilized several types of mallets, sticks, rods, brushes, hammers, and more to achieve a comprehensive library of transients and timbres.

One hundred hours alone were spent on capturing all the subtle nuances of the five timpani. Since each timpani drum was sampled over its complete playing range, any given pitch may now be reproduced by up to three different instruments. As a result of Vienna's exclusive, brand-new release sample technology, crescendo and diminuendo rolls that are available in various lengths and intensities can be stopped at any time with the matching release sample being triggered. Glissandos are provided up to a major sixth in three speeds, and the innovative "Performance Interval Rolls" enable unlimited legato playing of up to a fifth interval.

The celesta was played using a sampling robot, which captured the subtlety of this beautiful instrument with 36 meticulously sampled velocity layers.

Extensive Resources for Sound Design

Special FX sounds were recorded for almost all of the instruments that lend themselves well to creating all-new, organic soundscapes. For example, a rubber 'superball" was stroked against the head of the bass drum, and the rims of the concert toms were treated with rasping sticks. The glockenspiel, xylophone and the tamtams were played with a double bass bow, as another of many examples. The results are unique sounds that will entice you to experiment and will serve as a source of inspiration for your compositions.

The Recording Stage as an Instrument

Synchron Stage Vienna, located on the "Wiener Rosenh¼gel", is large enough to accommodate a 130 piece orchestra and has proven to be a remarkable space, not only for film music recordings, but also for sampling sessions. During the 1960s, eminent classical artists such as Karl Böhm, Herbert von Karajan, Yehudi Menuhin, Sviatoslav Richter and Mstislav Rostropovich loved to use the outstanding acoustics of this former 'synchronhalle" for their now-legendary recordings.

The colossal room-in-room construction, built upon a massive concrete foundation, combined with sound insulation and a specially designed air conditioning system, results in a ridiculously low noise-floor of 16 dBA, even with the air conditioner running!

The main Stage A features a reverb time of 1.6 to 1.8 seconds, and in contrast to other scoring stages, there is no masking effect on the low frequencies. All instruments sound punchy and warm, while at the same time providing excellent localization, both in depth and in the stereo panorama. Especially at low and medium levels, the room itself becomes a marvelous instrument. Its high energy level on the very low frequencies was harnessed beautifully for the bass drum, which was recorded at its normal tuning, then loosened to capture thunderous lows that reverberated though the hall. But be mindful of the volume " these ultra low frequencies may damage your speakers if the volume is set too high!

Perfect Climatic Conditions

Synchron Stage Vienna is equipped with a sophisticated system for heating, ventilation and air-conditioning that provides absolutely consistent air quality (humidity and temperature) between the large Stage A and the percussion storage room. So every instrument is in pristine condition for performance, day and night, session after session.

Features:

  • 16 Essential orchestral percussion instruments from the Synchron Stage Vienna collection
  • Recorded at the 540 m2 (5,813 sq.ft.) Stage A of Synchron Stage Vienna
  • More than 475,000 Samples (Full Library)
  • Over 450 GB of installed sample data
  • Extensive recording time " up to 100 hours per instrument group
  • Pristine sound with 1.6 through 1.8 sec. natural reverb time
  • All instruments captured with 12 microphones (Full Library) or 6 microphones (Standard Library)
  • Up to 128 samples per pitch and per hit
  • Unique release sample technology for crescendo and diminuendo rolls
  • New: Performance Interval Rolls " play true legato (roll) lines up to a fifth interval on the timpani
  • Extra low tunings on the bass drum " for highly energetic low frequency recordings
  • Many FX articulations " a source of inspiration for all-new sound combinations
  • Free Vienna Ensemble mixing host and Vienna Instruments player included (fully compatible with Vienna Ensemble Pro and Vienna Instruments Pro)
  • Includes presets of well-balanced microphone setups for the players Vienna Instruments and Vienna Instruments Pro, and for the mixing hosts Vienna Ensemble and Vienna Ensemble Pro.
Shipping Notes
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SKU: 24534007934

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4.6 ★★★★★
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anonymous name
Charlottesville, US
★★★★★ 5
Blessed Ruin: Lessons on the Stages of Love
Format: Paperback
Having already been enchanted by Daniel Ladinsky's previous rendererings of Hafiz in _I Heard God Laughing_ and _The Subject Tonight is Love_, Ladinsky's present effort is worthy of no less acclaim. In fact, his choices this time from the _Divan_(250 poems) bring home with exquisite precision that Hafiz, the Perfect Master is in fact, a Master of Love. The reader gets the clear message in Ladinsky's portrait that Hafiz has intermalized to perfection his teacher's (Mohammad Attar)lessons on the manifold levels of love and its demands: "I saw it was Hafiz who wrote all your notes of sadness, But also etched and gave you Every ecstatic wince of joy your face, body and heart has ever known." (p.38). This is no "New Age" nonsense, which at its worst hails the light and avoids the shadow, Hafiz (though seducing the beginner lover by his promises of sweetness and tenderness, that God could actually "become an infant in your arms"[p,56]) cautions that he "hold's the Lion's Paw whenever I dance."(p.57). Western culture has not received such lessons on divine love since Jesus and Plato, and unfortunately, the fresh images of their teachings on love have all been but lost to humanity, save a small remnant of sketches. Ladinsky's Hafiz both assures and challenges the seeker because any fully-alive being with such capacity for loving as Hafiz dwarfs our puny notions of western romantic love without shaming or condemning it. Only encouraging like a true teacher with compassion would: "You ask for a few words of comfort and guidance. I quickly kneel at your side offering you this whole book . . . Here's a rope, tie it around me, Hafiz will be your companion for life."(p83). Hafiz's language of love utilized the metaphor of his time and culture as Jesus incorporated the images of parable. Ladinsky courageously steps out of line (as surely did Hafiz) and takes the risk to be mundane without being irreverent when describing the labyrinth that is the heart: "There are different wells within your heart. Some fill with each good rain. Others are far too deep for that." (p76) Ladinsky's Hafiz teaches us of a divine being who walks among and talks with and celebrates his creation; yet challenges it to stretch beyond its boundaries of self-interest: " I want both of us to start talking about this great love. As if you , I, and the sun were all married and living in a tiny room, helping each other to cook, do the wash, weave and sew, care for our beautiful animals."(p.180). Ladinsky's fine portrait of this 14th century Perfect Master gives the West the certain bugal cry that God is not dead, but it is we who are dead to God. The success of this book will measure how many of us are indeed alive here, and how many are really interested in the more mature lessons of loving.
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Reviewed in the United States on July 27, 2001
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Verified Purchase
L. D. Weimer
Boise, US
★★★★★ 5
One need not be Christian or Muslim or whatever to appreciate his poetry with its deep feelings of connectedness and love of lif
Format: Paperback
The book has a lovely, reasonably long, introduction to Hafiz, his time, and fellow poets which helps to create an open and curious mind for the poems that follow. Although I was familiar with several Hafiz poems before, most of this book was new to me. It is a fairly thick book, with the poems spread lightly on the pages. Plenty of white space surrounds and set off the poems so that although there are many, many poems in the book, they are not crowded. Hafiz celebrates god in a way that is rich and exuberant. One need not be Christian or Muslim or whatever to appreciate his poetry with its deep feelings of connectedness and love of life. In fact, as a Buddhist, I find it is exactly that sensitivity to life, to joy, to the world around, and to other beings around us that offers the greatest illumination. This poetry is wonderful to read just before sleep, or any time, and is a fine addition to any library.
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Reviewed in the United States on April 4, 2015
C
Verified Purchase
charles d barber
Alexandria, US
★★★★★ 4
Absolutely beautiful poetic translation occasionally marred by silly attempts at contemporary relevance
Format: Paperback
Poetry is something I seldom read, but the range of philosophical and religious reflection in Hafiz' writing is amazing, delightful, and life-affirming. Not every poem is equally rewarding, but how could they be? The translations make these ancient short poems speak to the present day, but sometimes too much so--using terms that have only come into our language in the 20th or 21st centuries at times borders on "cutsie", which distracts from the true meaning. When Ladinsky sticks to standard and time-tested language and grammar, his translations have much deeper impact, for me anyway. I have not read other translations of Hafiz, but I imagine previous ones are full of "thee's" and "thou's", and less erudite perspectives. I highly recommend this book--for me is has more understanding and depth concerning daily living than Rumi, for instance. Just beware that there are some shockingly off-the-mark, if sincere, attempts to make this ancient poetry relevant to us now. Ladinsky apparently spent years working on this book, so my hat is off to his scholarship.
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Reviewed in the United States on April 16, 2017
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Farinaz Parsay
San Leandro, US
★★★★★ 5
I love The Gift of Hafiz by Daniel Landinsky I am ...
Format: Paperback
I love The Gift of Hafiz by Daniel Landinsky I am Persian and I love the poetry of Hafiz but the book Gift is the first book I read in English language translated by Daniel Ladinsky. As a Persian who is born and raised knowing the poetry of Hafiz by heart and in their original tongue, I really enjoyed reading the book and appreciated the interpretations and translation. Daniel Ladinsky is an American poet known as interpreter of mystical poetry born and raised in Saint Louise. He has said “the poet who I have worked most with is the 14th century Persian poet Hafiz. And Goethe has said, Hafiz has no peer. And I think Goethe knew what he was talking about”. Daniel Ladinsky has written many other books about Hafiz which are unique and many have come to know about this great Persian Master more glorious in the English language. In a rare interview on October 2013 with the Sun Magazine, Daniel Ladinsky shares about his spiritual longing, his encounter with a living saint in India who inspired him to work on Hafiz. In his preface of “The Gift” he invites us to join him in his fantastic applause of life and says “I vote to inscribe these words of Hafiz on every flag, church bell, temple, mosque, and politician’s brain: Dear ones, let’s anoint this earth with dance! I recommend the book "Gift" to everyone who enjoys poetry.
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Reviewed in the United States on June 11, 2016
M
Verified Purchase
Miranda
Boise, US
★★★★★ 5
Do God a favor
Thanks to ladinsky for making the essence of Hafiz accessible to the English reader. For a select some, the purpose of Hafiz's poems is the supernal transportation that takes place in the heart, mind and soul of the seeker. A simple reader of Hafiz may appreciate a more mundane rendition; but a Lover comes to Hafiz to be lost in his drunkenness. ladinsky's interpretations above and outside of translations renders the Realm for the English reader. For hearts seeking higher service to the Friend this indeed is all that matters and yes, our hearts do joy at the criticism of those who yet court the kiss of the King for they are still engaged in the evolution back into essence and oh how the heart does dance at the thought of these. Wayfarer, do God, the "field of holiness" and all creation a favor, purchase this friend's every interpretation of Hafiz and devotionally devour massive morsels until the Final Friend causes YOU to spit out spontaneous sputterings of His own. But don't hurry or worry, for the process may take months or millennia but eventually all will evolve back home to Him. In joy enjoy in-Joy. Dear one read through that last line again, breathe through that last line again. It is far far deeper than most know.
WAS THIS REVIEW HELPFUL?YesReportShare
Reviewed in the United States on October 10, 2021

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