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A deep sampling of two adjustable mallet types, 6 velocities, and 9 round robins.
$59.00
Earn 159
Many modern xylophone sample libraries record modern instruments intended for orchestral performances, but many classic records and film/TV scores feature older instruments with a distinct sound and character impossible to achieve with samples of a modern instrument.
Worse still, most large orchestral collections treat the xylophone as an afterthought, often only including the hardest mallets or greatly lacking in detail, not to mention often in fixed, wet spaces which don’t fit other genres.
While recording Musicmakers Volume 2, we found this antique instrument in a dark corner of the beautifully quiet Wild Horse Studio. With time left in our final day of recording, we set out to right the “score” and create a xylophone library of decades past.
Utilizing the new VISAGE engine to its fullest, Vintage Xylophone packs in a range of controls over every aspect of the instrument including but not limited to:
Two mallet choices are provided, yarn and rubber. A hardness knob allows you to adjust the strength of the mallet, based on measurements made of a variety of mallets. When yarn is set to its hardest and rubber to its softest, the effect is almost indistinguishable. In this way a smooth gradient of colors are possible while keeping the sample count “vaguely reasonable”.
No effort was made to hide the character of the instrument. All inconsistencies in voicing, rattles, and thumps were allowed through. However, great care was taken to ensure a consistent sample set.
Each velocity layer was recorded a constant dB distance apart within a range of +/- 1.5 dB. This was then normalized to ensure perfectly smooth transitions.
An incredible 9 round robins were recorded of each and every hit, ensuring natural rendering of rolls/tremolo and ostinati. Neighbor-borrowing RR is available if desired.
The entire xylophone is chromatically sampled, providing a more accurate sound than instruments sampled using wholetone or diatonic methods.
Chromatic sampling allows the slightly different positioning of the accidentals (“black keys”) to be audible in the instrument.
Both mallets feature 6VL and 9RR for a natural and dynamic feel.
6 sets of microphones were used to record the vibraphone at various distances and with various sound qualities. These microphones were hand-chosen for their low noise and high accuracy, over more popular recording mics an order of magnitude or two noisier or higher distortion. In doing so, objectionable post-processing such as denoising could be completely avoided.
Up close, the newly-released AEA N28 stereo ribbon mic provides a warm, wide sound while retaining 100% mono compatibility with its coincident Blumlein configuration.
For the critical overhead role, two pairs of SDCs provide two contrasting views: the laboratory reference Gefell M221 measurement omnis vs. supercardioid M310 SDC’s. Space and precision vs. focus and clarity.
Rather than compromise by choosing one or the other, VISAGE lets you mix continuously between the two overheads, creating a “virtual mic” of any pattern between omni and supercardioid, dialing in your perfect overhead sound.
The main position is filled by a pair of Gefell UM930’s. Among the most expensive and rarest solid state mics in existence due to its unique dual-capsule design, this microphone is extremely low noise (7 dBA) with an articulate, present character inspired by vintage designs.
Further out in the room, a pair of Gefell M950 wide cardioids with equally low self noise and spacious but detailed wide cardioid pattern provide the perfect sound for blending with your favorite samples from scoring stages and concert halls.
Underneath the xylophone are a pair of TLM 170’s capturing the resonance and body of the instrument in a configuration mirroring the overheads.
This product is downloaded using Pulse
