We are proud to present Octohorn, the first release from our brass series, with an eight-player French Horn ensemble, boasting no less then seven mic positions, with the aims of giving you absolute and ultimate control over your soundscape. This instrument was created with the intentions of producing something in a completely new league of sonic sculpt-ability, able to sit in a track with the depth and spread of a real ensemble recording. We have achieved this through multiple new and innovative features, including the seven mic positions, carefully set to cover the whole soundscape, recorded chords and octaves to minimize “sample layering” in tracks, which kills the depth of a track, and much more…
Mix between the perspectives; Decca tree sides and mid, flanks, room, woodwind spots (see more about this below!), close ribbons and close LDCs, with the flexibility aimed at replicating a real scoring session. Now you have control over the different mic and perspective levels in the session, enabling you to morph your own sound in your scores, as if you were at the studio with the console at your fingertips.
You might have noticed that one of the perspectives included is “woodwind spots”. While this is not a woodwind library, the mics that spot the woodwinds were set up and included in the recording. The reason for this, is that a lot of the brass sound bleeds heavily into the woodwind mics in scoring sessions, adding
No Legato (allows polyphonic playing) Legato – normal slurred legato (piano and forte dynamic layers crossfade-able) Oct Legato – True octave legato Fst Legato – Fast legato specially for fast playing Stutter (a quick stuttered grace note before the main sustain) Chords – Diminuendo major, minor and open 5th chords Staccato – Short notes, with up to 5RR per dynamic layer (three layers)
Three True-sampled Legato Styles
The instrument comes with three true legato modes – a normal slurred legato, a sample octave legato, and a fast legato, for faster passages,which will allow you to play virtuoso runs and scale passages.
The reason we included octave sustains and legato, is because when you play octaves by layering the same instrument twice, what you are hearing is no longer a real octave passage, but two sets of the exact same horns, in the exact same position, layered on top of one another. When an ensemble plays real octave, every note has it’s own sonic space and position in hall, and therefore in the perceived depth/stereo field, and you lose this by layering samples. For this reason, we recorded octave sustains and legato specially for a completely true and real sound.
Not only did we just record the octaves, we recorded major and minor chords in various positions, as well as open fifths (combined gives you the ability to also create MAJ7, min7 and other chords… again for the reason that each note has it’s own little space in the sonic field, and it is this separation that is one of the major things we miss from a real recording, and a track with layer upon layer of samples. With this instrument, you can achieve that real spacious sound.