Includes the free Kontakt Player and does NOT require any additional software.
Based on the same sampling concepts as "Birth of the Trumpet." our tenor saxophone library marks the first truly realistic library of its kind. Dripping with vibe and personality, Tenor Colossus fills a much-needed gap in everyone's sample arsenal.
Beautiful vintage Mark VI tenor saxophone performed by a seasoned 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.
“Reconstructed Vibrato” the recreates the timbral embouchure characteristics of a real player’s vibrato.
All the standard articulations required of a saxophone player in this style (legato, staccatos, falls, trills, scoops, glisses, etc).
VIDEOS & DEMOS
Kontakt 6.5.2 (Free Player Version or Full Version)
macOS - 10.12, 10.13, 10.14 or 10.15 (latest update), i5, 4 GB RAM
Windows - 7, Windows 8, or Windows 10 (latest Service Pack), Intel Core i5 or equivalent CPU, 2 GB RAM
6.03GB installed (uncompressed)
At least 8 GB RAM recommended
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.