Nine new demos have been posted. The first 4 use Bardstown Audio \"Bosendorfer Imperial Grand Model 290\" using the latest 24 bit Kontakt version. The second four examples are from Dan Dean Productions. They include patches from the Solo Brass (Bass Trombone) and the Brass Ensembles (Close Perspective French Horn).
A couple of the demos include a Reverb Impulse from the Great Pyramid. These libraries work well with the Pure Space Reverb Impulse Series because of the minimal amount of ambience in the original instrument patches.
I personally feel that instrument patches with minimal levels of ambience is a more versatile approach because the user can add their own type of reverberation that suits each individual musical application instead of living with a built in perspective. With the Pure Space RI series one has 110 different perspectives. Several other sampler developers have also recorded libraries in this manner - GOS comes to mine.
There also are a couple of Clyde Stubblefield drum loops with ambience added. This was to illustrate the clarity that the Purse Space RI have on the top end - especially noticeable on the Hi Hats and Ride.
The demos are in the bottom half of the page <a href=\"http://www.numericalsound.com/purespac.html/>Ernest Cholakis
Numerical Sound www.numericalsound.com
Loading those impulses in a Sony might be difficult. I once tried the opposite (getting a sony impulse in Altiverb) but they are encrypted by a memory stick.
The easiest way would probably be to re-sample the impulse with the Sony....
Are the impulses on CD just wav files, or is there an edition coming out esp. for Altiverb?
BTW Nick, did you \'catpure\' the famour Hall you recorded QLSO at while you were there? [img]images/icons/smile.gif[/img]
Ernest, I realize that I would have to buy the impulses. If you could get them into Sony format, you might get a bunch of sales from that crowd. Sony hasn\'t put out any new impulses in the past 2 years. How about some demos of horns playing a faster melody, dry and then with some impulses? [img]images/icons/smile.gif[/img]
I have all of the Altiverb and Samplitude 7 acoustic impulses that are provided by these companies, and I must say that these beautiful impulse responses that you have produced have more of a pleasing effect than the others mentioned. I hear more of an illusion of a distant ambient effect with your acoustic impulses on instruments that have been mic\'ed with close proximity techniques than what I am able to detect with the other acoustic impulses mentioned above, and I must say that the effect of your impulses is gorgeous. Through your several years of hard work on this project, you have produced revolutionary acoustic impulse responses that I am sure will be used in many major productions in the music and film industries!
I very much agree that sampled instruments recorded without excessive ambience do take to acoustic impulse responses much nicer than instruments that have been sample recorded with a significant amount of room ambience, though a small degree of natural room ambience while tracking these instruments for sampling purposes is necessary in order to capture the true character of an instrument or instrument sections.
I have always taken great care with all of my recordings for sampling projects, in order to keep signal to noise levels at a bare minimum, including the Bardstown Bosendorfer Imperial Model 290, Vintage Jazz Guitars and Tenor Banjos, and Classic Accordions. This has been accomplished with careful mic placements of appropriate mic\'s, allowing just enough space for necessary acoustic ambience without going to excess, and also allowing for breath and character of the instruments. Professional state of the art equipment has always been used, including the best and most appropriate mic\'s, pre-amps, and converters for the projects. Because of these techniques and professional equipment used, I have never had to use any form of noise reduction in any of my sampled instrument projects, thus being able to retain complete life and character of the instruments without having to resort to these destructive techniques that make for lower quality.
All sampled instruments produced by Bardstown Audio are totally unprocessed and every individual sample has been completely edited by hand and with maximum gain levels set on all individual samples by hand without the use of any batch processing, and especially without normalization batch processing, which has a negative detectable effect on sampled instruments that is definitely heard without having to listen very close.
These hand editing techniques are extremely time consuming and take many months in order to produce, as opposed to being able to produce a sampled instrument within a few weeks by using \"stream-lined auto batch processing techniques.\" Chromatic sampling of all notes at all velocity levels and articulations, as opposed to sample recording fewer notes and then pitch shifting them, makes a huge difference in quality as well.