Do you want to switch to the English version of the Best Service website? YES NO
Saxophones

Saxophones

5.0 of 5
(2)
écouter
voir
 
VSL Standard Library / Upgrade

AAX native, AU, Mac, RTAS, Standalone, VST, Win

Téléchargement
après réception de paiement
$ 191.00

 3.50BestCoinBestCoin Bonus 
VSL Full Library / Upgrade

AAX native, AU, Mac, RTAS, Standalone, VST, Win

Téléchargement
après réception de paiement
$ 349.00

 6.40BestCoinBestCoin Bonus 
Education Standard

AAX native, AU, Mac, RTAS, Standalone, VST, Win

Téléchargement
après réception de paiement
$ 191.00

 3.50BestCoinBestCoin Bonus 
Education Full

AAX native, AU, Mac, RTAS, Standalone, VST, Win

Téléchargement
après réception de paiement
$ 349.00

 6.40BestCoinBestCoin Bonus 

Saxophones Header

Take Five

Alt Saxophone FrCette collection est la suite de la collection Horizon Series Saxophones I. Avec cet instrument, les saxophones sont maintenant complets et les algorithmes d´interprétation Vienna Instruments fonctionnent à merveille avec ces samples. Cette collection a été conçue pour fonctionner aussi bien dans un contexte Jazz que classique. Le saxophone est utilisé dans la musique classique avec des morceaux fameux tels que le quartet de saxophones d´Alexander Glasunow, les concerto pour saxophone de Glasunow et Debussy, ou le Castello des tableaux de Mussorgsky. Ainsi donc, de nombreuses articulations pour le jazz et le big band sont incluses telles que les bends, tongue slaps, growling, screams, flageolets étendus, sons de clés, etc. Et il y a bien sûr les fins de phrasés descendants longs et courts. Les sons les plus sensibles ont été joués par les “Barfly sessions” dans le Silent Stage, avec les lumières presques éteintes, pour installer le climat intimiste que les samples reproduisent à merveille sur ces sons doux.

Saxophones - Instrument Collection: Saxophone Soprano, Saxophone Alto, Saxophone Ténor, Saxophone Bariton & Saxophone Basse

ARTICULATIONS

Performances:

  • Interval Performances: Legato with and without vibrato, grace notes (minor second to octave), portamento
  • Fast Interval Performances: Legato, marcato
  • Performance Trills
  • Repetition Performances: Legato (slow and fast), Portato (slow and fast), StaccatoFast repetitions: Staccato
  • Octave runs: Legato, chromatic and whole tone runs, up and down
  • Grace notes: minor second to octave, up and down
  • Bends down: Sustains with and without vibrato, progressive vibrato, „dirty“ (screams); legato with vibrato (grace notes, portamento, glissandi, marcato, trills)

Single notes:

  • Short notes: Staccato, portato (short, medium, long), marcato
  • Long notes: Sustained notes with and without vibrato, with progressive vibrato, slaps normal und muted, key sounds, screams, long and short end phrases
  • Dynamics: Various crescendos & diminuendos; fp, sfz, sffz
  • Flutter tonguing: normal and crescendo
  • Trills: Half and whole tone, crescendo & diminuendo, constant speed and accelerando

Library Content

  • Standard Library: Samples 17.572 | Download Files Size 13,9 GB | Installed File Size 25,1 GB

  • Full Library: Samples 58.786 | Download Files Size 13,9 GB | Installed File Size 25,1 GB

 Plus d'information


 Revues de presse

Flag EN spaceSound on Sound 1/07

Having unleashed their 545GB Symphonic Cube orchestral collection, VSL embark on the second phase of their Vienna Instruments series. Two of the new VI's will ring a bell with VSL followers: Saxophones is an expanded version of the 2004 sound library Saxophones 1, while Elements incorporates the ethereal Glass & Stones, one of the highlights of the company's Horizon series.

Saxophones completes the Vienna saxophone family by adding alto, baritone and bass saxes to the soprano and tenor instruments supplied in Saxophones 1. This 25GB collection was performed single-handedly by Robert Bernhard in VSL's Silent Stage, a controlled room acoustic which suits the saxes' intimate sound. The five instruments perform a huge menu of single-note deliveries, changing dynamic samples and note repetitions as well as fast
octave scales and a comprehensive set of trills and grace notes.

VI's intelligent interval detection software makes legato melody notes join together as nature intended. Sampled at three dynamics, the alto sax's performance legatos sound astonishingly real and can transform simple keyboard melodies into flowing, expressive lines worthy of Wayne Shorter. Now upgraded, the soprano's performance legatos match the high quality of the alto sax. In the full library, there's a choice of vibrato, no-vibrato, marcato and portamento (slide) legatos, the latter producing real played bends which sound far better than anything you can knock up with the pitch wheel.

In the '60s, Tamla Motown producers used to largely confine the baritone sax to honking staccato mini-phrases and the occasional spluttering foghorn-like solo, but the instrument in this collection is capable of far more than that. The rich, attractive timbre of its quiet sustains sounds great in isolation but also blends very nicely with orchestral low winds. The rarely-found bass sax is impressive too; it's an expressive, powerful and surprisingly versatile low-range
instrument which handles bass lines, melodies and even chords with aplomb. But if all you want are those Motown bass licks, the baritone and bass sax's blasting sforzando samples will do nicely.

A new set of growling 'dirty' samples and pitch falls help make these top-quality sax samples suitable for pop, jazz and big-band arrangements as well as orchestral settings. Although Saxophones contains no pre-configured melodic phrases, having such a wealth of lively performance samples under your fingers makes it inexcusable not to program your own. Throughout, Mr. Bernhard plays with commitment and lots of feel, effortlessly covering the emotional
range of these highly versatile and mobile instruments. After performing 58,000 samples the poor chap deserves a holiday - let's hope that VSL bought him some lip salve for Christmas.

The 11GB Elements occupies more of a niche market, but it's a pretty nice niche. The beautiful instruments from Glass & Stones are all here, augmented by several more elemental creations. The largest is an oversized tam tam so tall that Ronnie Corbett could hide inside it. Its small menu of conventional loud hits sound like slow-motion explosions, and it has also been scraped, rubbed, stroked and otherwise molested by a variety of implements, producing a range of mysterious atmospheric noises, suitable for horror film soundtracks and experimental modern music.

Glass & Stones' musical glasses now have alternate samples with an extended range, and also offer mallet hits which reminded me of chiming clocks, toy pianos and Javanese gamelan metallophones. Unfortunately the element of fire is absent, but the liquid world is represented by a fantastic bass waterphone, a mad-sounding contraption that creates a wonderfully spooky set of slithering, other-worldly noises, indeterminate random notes and crazy overtones. A set of blown bottles completes the line-up. Unfortunately, their upper range is rather limited, but hopefully that will be sorted out when someone from VSL next goes to the off-licence. 

The third new Vienna Instrument is the only title in VSL's catalogue not to have been recorded in the Silent Stage, but there's a good reason for that: the instrument is built into the fabric of the Great Hall of the Vienna Konzerthaus and it would have been rather inconvenient to move it to another location! Built in 1913, the Konzerthaus organ boasts five manuals and over a hundred stops. The Vienna boys sampled every note of 39, using the organ's retro-fitted MIDI interface to speed up the job. Each note has its own reverb release sample, and although VSL claim the hall acoustic gives the instrument a more defined sound than your average cathedral organ, its reverb tails are still pretty prominent.

The two things I look for first in a pipe organ are a simple flute stop and a big, multi-octave sound to scare the congregation. I found the former quickly enough - 'Bordun 16' and 'Lieblich-Gedakt 16' are both pure, plain flute timbres, which sound lovely on their own, or can be used as building blocks in the construction of more complex sounds. I enjoyed the tremolo effect of 'Unda Maris', which gives it something of the floating quality of a Hammond/Leslie combo, while the brighter, reedier 'Trumpet 16' and 'Krummhorn 8' have a much more triumphant and declamatory tone. If you want to add high frequencies, there are plenty of 4', 2', 'quint' (ie. sounding a fifth higher) and 'mixture' stops, all sounding bright and transparent.

For an instant big organ sound, you can simply select one of the 36 pre-layered multi-stop 'registration' patches, the most massive-sounding of which is the 'Large Principalplenum + Reeds', combining nine different stops. If that apocalyptic racket doesn't put the fear of God into your flock, nothing will! The Konzerthaus Organ is highly playable, extremely versatile and sonically beautiful. The only minor inconvenience is that some bass notes take a while to
develop, so if you want these particular low notes to 'speak' in time with your track, you'll just have to play or sequence them a bit early!

5 STARS  Review: VSL SAXOPHONES, ELEMENTS & KONZERTHAUS ORGAN  Sound on Sound, January 2007

Having unleashed their 545GB Symphonic Cube orchestral collection, VSL embark on the second phase of their Vienna Instruments series. Two of the new VI's will ring a bell with VSL followers: Saxophones is an expanded version of the 2004 sound library Saxophones 1, while Elements incorporates the ethereal Glass & Stones, one of the highlights of the company's Horizon series.

Saxophones completes the Vienna saxophone family by adding alto, baritone and bass saxes to the soprano and tenor instruments supplied in Saxophones 1. This 25GB collection was performed single-handedly by Robert Bernhard in VSL's Silent Stage, a controlled room acoustic which suits the saxes' intimate sound. The five instruments perform a huge menu of single-note deliveries, changing dynamic samples and note repetitions as well as fast
octave scales and a comprehensive set of trills and grace notes.

VI's intelligent interval detection software makes legato melody notes join together as nature intended. Sampled at three dynamics, the alto sax's performance legatos sound astonishingly real and can transform simple keyboard melodies into flowing, expressive lines worthy of Wayne Shorter. Now upgraded, the soprano's performance legatos match the high quality of the alto sax. In the full library, there's a choice of vibrato, no-vibrato, marcato and portamento (slide) legatos, the latter producing real played bends which sound far better than anything you can knock up with the pitch wheel.

In the '60s, Tamla Motown producers used to largely confine the baritone sax to honking staccato mini-phrases and the occasional spluttering foghorn-like solo, but the instrument in this collection is capable of far more than that. The rich, attractive timbre of its quiet sustains sounds great in isolation but also blends very nicely with orchestral low winds. The rarely-found bass sax is impressive too; it's an expressive, powerful and surprisingly versatile low-range
instrument which handles bass lines, melodies and even chords with aplomb. But if all you want are those Motown bass licks, the baritone and bass sax's blasting sforzando samples will do nicely.

A new set of growling 'dirty' samples and pitch falls help make these top-quality sax samples suitable for pop, jazz and big-band arrangements as well as orchestral settings. Although Saxophones contains no pre-configured melodic phrases, having such a wealth of lively performance samples under your fingers makes it inexcusable not to program your own. Throughout, Mr. Bernhard plays with commitment and lots of feel, effortlessly covering the emotional
range of these highly versatile and mobile instruments. After performing 58,000 samples the poor chap deserves a holiday - let's hope that VSL bought him some lip salve for Christmas.

The 11GB Elements occupies more of a niche market, but it's a pretty nice niche. The beautiful instruments from Glass & Stones are all here, augmented by several more elemental creations. The largest is an oversized tam tam so tall that Ronnie Corbett could hide inside it. Its small menu of conventional loud hits sound like slow-motion explosions, and it has also been scraped, rubbed, stroked and otherwise molested by a variety of implements, producing a range of mysterious atmospheric noises, suitable for horror film soundtracks and experimental modern music.

Glass & Stones' musical glasses now have alternate samples with an extended range, and also offer mallet hits which reminded me of chiming clocks, toy pianos and Javanese gamelan metallophones. Unfortunately the element of fire is absent, but the liquid world is represented by a fantastic bass waterphone, a mad-sounding contraption that creates a wonderfully spooky set of slithering, other-worldly noises, indeterminate random notes and crazy overtones. A set of blown bottles completes the line-up. Unfortunately, their upper range is rather limited, but hopefully that will be sorted out when someone from VSL next goes to the off-licence. 

The third new Vienna Instrument is the only title in VSL's catalogue not to have been recorded in the Silent Stage, but there's a good reason for that: the instrument is built into the fabric of the Great Hall of the Vienna Konzerthaus and it would have been rather inconvenient to move it to another location! Built in 1913, the Konzerthaus organ boasts five manuals and over a hundred stops. The Vienna boys sampled every note of 39, using the organ's retro-fitted MIDI interface to speed up the job. Each note has its own reverb release sample, and although VSL claim the hall acoustic gives the instrument a more defined sound than your average cathedral organ, its reverb tails are still pretty prominent.

The two things I look for first in a pipe organ are a simple flute stop and a big, multi-octave sound to scare the congregation. I found the former quickly enough - 'Bordun 16' and 'Lieblich-Gedakt 16' are both pure, plain flute timbres, which sound lovely on their own, or can be used as building blocks in the construction of more complex sounds. I enjoyed the tremolo effect of 'Unda Maris', which gives it something of the floating quality of a Hammond/Leslie combo, while the brighter, reedier 'Trumpet 16' and 'Krummhorn 8' have a much more triumphant and declamatory tone. If you want to add high frequencies, there are plenty of 4', 2', 'quint' (ie. sounding a fifth higher) and 'mixture' stops, all sounding bright and transparent.

For an instant big organ sound, you can simply select one of the 36 pre-layered multi-stop 'registration' patches, the most massive-sounding of which is the 'Large Principalplenum + Reeds', combining nine different stops. If that apocalyptic racket doesn't put the fear of God into your flock, nothing will! The Konzerthaus Organ is highly playable, extremely versatile and sonically beautiful. The only minor inconvenience is that some bass notes take a while to
develop, so if you want these particular low notes to 'speak' in time with your track, you'll just have to play or sequence them a bit early!

5 STARS 

 Ratings

Les commentaires présentés ici sont des clients qui ont acheté ce produit chez nous. Tous les évaluations ont été donnés sur le grand portail Internet indépendant d’eKomi.

5.0 of 5  
26.07.2016 Sprache: deutsch

VSL Saxophones (Full): die Qualität ist ausgezeichnet: sehr realistisch, ich werde sie in meinen Kompositionen für Blasmusik verwenden.

5.0 of 5  
20.08.2015 Sprache: deutsch

VSL eben, und die Saxophone sind super

 Prix

SoundOnSound 5 Stars
SOS, 5 Stars

 Mentions

Alexandre Desplat
Alexandre Desplat

Harry Potter and the Deathly Hallows Part I & II, The Curious Case of Benjamin Button, Coco avant Chanel, The Queen, The King’s Speech, Carnage, Renoir

“Since I’m working in Hollywood it requires a vast library and that’s why VSL is really useful.”

David Foster
David Foster

16-time Grammy Award winner, composer and producer of Chicago, Earth, Wind & Fire, Al Jarreau, Chaka Khan, Michael Jackson, Barbra Streisand, Natalie Cole, Whitney Houston, Céline Dion, Seal, Michael Bolton, Peter Cetera

“To have the magic of a full orchestra in breathtaking 3D sound at your fingertips is the best luxury someone like myself could hope for. Thank you VSL for an amazing product.”

Danny Elfman
Danny Elfman

Men in Black, Good Will Hunting, Planet of the Apes, Spiderman, Batman Returns, Corpse Bride, Alice in Wonderland, Mars Attacks!,The Simpsons, Desparate Housewives, Oingo Boingo)

“Vienna Symphonic Library has been the center of my orchestral sample library for several years now. I go to their library first every time I create an orchestral template when I´m beginning each film I score. And my demos sound great. I recommend this library to anybody getting into film scoring.”

Herbie Hancock
Herbie Hancock

Oscar and multiple Grammy Award winner

“Using Vienna Instruments puts authenticity into your pallet of sounds.”

Jochem van der Saag
Jochem van der Saag

Michael Bublé, Andrea Bocelli, Jackie Evancho, Josh Groban, Seal

“Vienna Symphonic Library is way ahead of the curve in terms of their sounds and their software; the combination of both musical expression and technical excellence is truly superb and unrivaled“

 Specs techniques

VSL poweredYour purchase of any VSL library entitles you to download the free Vienna Instruments Player software that includes the Vienna Ensemble mixing host.

  • PC Windows 7/8/10 (latest update, 32/64-bit), Intel Core 2 Duo or AMD Athlon 64 X2
  • macOS 10.10 (latest update) or higher, Intel Core 2 Duo
  • 2 GB RAM (4 GB recommended)
  • VIENNA KEY (Vienna Symphonic Library USB protection device) or other USB eLicenser (e.g., from Steinberg or Arturia)
  • eLicenser Control Center software (get the latest version from www.eLicenser.net)
  • free hard drive space according to This Library Size Chart

Other configurations may work but are not actively supported.

Recommended

  • Windows 7/8/10 (latest update, 64-bit), Intel i5/i7/Xeon
  • macOS 10.12 (or higher), Intel i5/i7/Xeon
  • 4 GB RAM
  • SSD (M2, Sata 6 or USB3/3.1 UASP Support) or separate HDD (7200 rpm or faster)
  • AU/VST/AAX compatible host (also works stand-alone)
  • AAX version requires Pro Tools 10.3.5 or higher
  • 88 key master keyboard

Please notice: To use the "Extended Library" you need to have the corresponding "Standard Library" already registred in your account."Standard Library" plus "Extended Library" result in a "Full Version"

elicenserProduct activation:
Vienna Instruments require the ViennaKey!
This USB protection device by eLicenser (by Steinberg, formerly Syncrosoft) is not included in any collection, it is a separate item you have to get additionally. So you’ll have to order at least one ViennaKey with your first purchase. It will be put inside the shopping basket automatically but can be deleted if not required. Customers who order the complete SYMPHONIC CUBE will get one ViennaKey for free (not shown in the basket). If you already own another eLicenser USB protection device (e.g., from Steinberg or Arturia), you can use it for the VIENNA INSTRUMENTS, too. Each dongle can store up to 100 product licenses.
Additionally an internet connection on any computer is required to authorize a VSL product.