Beautifully warm and rich Bb trumpet performed by a seasoned professional jazz player.
The New Standard method of sampling. Over 2,000 samples per note for a level of detail and realism never before possible. Goes beyond simple round-robins and legato transitions to a truly unprecedented number of note variations.
2 microphone positions (close and room), with custom bleed convolution reverb.
“Smart Delay” feature which analyzes dozens of details about the played phrase and intelligently selects the appropriate samples. Works in tandem with our New Standard sampling method, to eliminate the need for auditioning countless keyswitches just to create a realistic melodic phrase.
“Real Acoustic Mute Sampling” (RAMS) technology for adding numerous trumpet mutes to the sound.
“Reconstructed Vibrato” the recreates the timbral embouchure characteristics of a real player’s vibrato.
All the standard articulations required of a trumpet player in this style (legato, staccatos, falls, trills, scoops, glisses, etc).
Birth of the Trumpet
Solo jazz trumpet for expressive melodies or blistering solos in any style with extreme realism - includes all mutes, vibrato control and multiple mic positions.
On Sale For Only $104
Includes the free Kontakt Player and does NOT require any additional software.
Reg. Price $129.99
VIDEOS & DEMOS
A major hurdle we really wanted to solve with this next series of libraries was simple: be able to play normal melodic phrases in a pop/jazz style and have it sound realistic. It’s a simple enough idea, but very difficult to achieve. As we’ve all heard in the plethora of jazz/pop horn libraries over the decades now, it’s very difficult to get right. Why is this? The reason it is so difficult can be boiled down to: the countless tiny variations and changes that happen as the player moves from one note to the next. Basically, once the first note is played, as the player approaches the next note, all kinds of things happen to pitch, timbre, volume and idiosyncratic sounds that are different for every instrument (and every individual player!). These changes are different depending on things like the tessitura that the instrument is currently in, the dynamic at which it’s played, where in the phrase the note is, the length of the note and the interval they’re coming from as well as the interval they’re about to play.
The main additions in The New Standard method of sampling are:
1. We recorded different lengths of notes. 9 different lengths. Players actually articulate and sustain notes very differently depending on how long they play them. Moreover, standard sustain samples, where the player performs an isolated long note, are only realistic and useful once the notes get to a certain length. If these standard long sustains are used for these shorter legato notes, the result is a flat, life-less and altogether fake sounding representation.
2. We recorded legato in and out of every note. So much of what gives each note of a phrase it’s unique sound, and why it’s so hard to replicate, is the preparation for the next note. Players do so many small changes as the next note is coming. Not only that, but it’s mostly involuntary and happens without them thinking (especially as the rhythm gets faster), so asking a player “play an 8th note” in a sampling won’t even close to get you the breadth of possibilities of what that same player might play in any given situation.
- To illustrate it more clearly, for every pitch there is a sample with a note from a whole step to a whole step, and from a whole step to a 3rd, and from a whole step to a 6th. Conversely, there’s sample from a 3rd to a whole step, and from a 6th to a whole, etc, etc...
Example of full-length sample with transitions on both the beginning and end of notes. Notice all the interesting, almost random, dynamic changes throughout the body of the note.
3. We recorded different samples for where they are in the phrase. To use the 8th note example again: if you had a musician play three 8th notes in a row. Even if they’re identical length, pitch, dynamic, they will be performed totally differently. And neither of the 3 samples would suffice and sound realistic as a replacement for the other two instances.
ABOUT THE PERFORMER
Taylor Barnett is the coordinator of musicianship studies and an instructor of trumpet, jazz arranging and jazz history in the Department of Music. He is a member of No BS! Brass, with whom he has performed at Lincoln Center, the Kennedy Center, the Monterey Jazz Festival and on NPR’s Tiny Desk Concert. He has also performed with the Woody Herman Orchestra, and with artists such as Dave Douglas, Steve Wilson, Gladys Knight, The Temptations, and Frankie Avalon. As a composer and arranger, Barnett's work is published by UNC Jazz Press and has been commissioned by the Richmond Symphony Orchestra and trumpeter Rex Richardson for performances in Australia, Greece, Portugal, and China. Barnett’s most recent albums as a leader are Loose Ends, a 2018 album of original compositions for big band, and Two Quartets: 2 For One, a 2019 album of original compositions for jazz quartet. Barnett earned his DMA in performance, pedagogy and literature at James Madison University, and his MM in trumpet performance and BM in jazz studies from Virginia Commonwealth University.