Synchron Orchestral Percussion II is part of the Synchron Percussion II Collection. It offers a wide range of unique instruments. Thundersheets, developed for theater thunder sounds, were recorded in two sizes with various articulations like being beaten with sticks, brushes, hands, rubber mallets, gong mallets, an iron chain, shaken, bowed, and rubbed with a super ball. Wind machines, invented in the 19th - century for theater, opera, and concerts, can simulate wind and storm sounds. We captured steady sounds, crescendos, decrescendos, and free performances, with and without the extra noise from the 'rumble lever'. The Rainmaker, a tube - shaped rattle from northern Chile, can mimic rain sounds and was recorded in three speeds with four variants each. The quijada, the predecessor of the Vibraslap, made from a donkey's lower jawbone, has loose teeth that rattle. We sampled two Vibraslaps of different sizes. Ratchets, used in central European regions since the late Middle Ages for Holy Week, were recorded in three sizes and two speeds. Slapsticks, used in the orchestra to create whip - like sounds, were recorded in three sizes with five dynamic layers and four round robins. The Lion’s Roar, an African friction drum, produces growling sounds by rubbing a string on the skin. The Waldteufel, a smaller and higher - pitched version of the Lion’s Roar, was recorded with many effects. Log Drums, or slit drums, used in various cultures as ritual instruments, were sampled with up to six dynamic layers using hard and soft mallets. Anvils, with a long history, were sampled as rectangular steel pipes with a nearly two - octave tonal range, recorded with up to six dynamic layers, eight round robins, open and muted sounds, and rolls. Every instrument was recorded with 12 microphones. You can choose from four microphone positions in the Standard Library or seven in the Full Library and mix them in the Vienna Synchron Player. Use the pre - tuned presets to start your own musical creations. The Stage A performances were captured in stereo with a Decca tree, and additional arrays were used for 5.1 surround and Auro 3D 9.1.
Using this product is a breeze. First, open the Vienna Synchron Player. You can start by choosing from the presets included with the product. These presets are already fine - tuned, so they're a great starting point for your musical work. If you want more customization, you can select different microphone positions. For the Standard Library, you have four positions to choose from, and the Full Library gives you seven options. Just mix them according to your preference to get the sound you want. When it comes to the instruments, each one has its own unique sound characteristics. For example, if you're using the thundersheets, you can experiment with different articulations like beating them with different tools or shaking them to create different thunder - like sounds. The same goes for other instruments like the wind machines and the Rainmaker. As for maintenance, since this is a digital product, there's no physical maintenance needed. But make sure your computer system meets the requirements for the Vienna Synchron Player to ensure smooth operation. Keep your software updated to get the best performance and access to any new features or improvements.
