《MIRRORS》是 Orchestral Tools 與聲音設計團隊 SLATE + ASH 的聯合創作,將模擬合成聲源與現場管弦樂演奏深度結合,探索聲音的「反射」與「折射」概念。套件以 SLATE + ASH 於英國布里斯托錄製的合成器素材為基礎,涵蓋經過失真、切割與高階處理的氛圍與顆粒聲,再由倫敦當代管弦樂團(London Contemporary Orchestra)指揮 Hugh Brunt 重新為弦樂、銅管、木管與特殊樂器(如 Verrophone、擦奏 Crotales、塑膠袋摩擦聲)配器,於柏林 Teldex Scoring Stage 進行高保真錄製,呈現獨特的電聲交響融合音景。
音源收錄 45 組合成器與管弦配對音色、97 組聲音設計預設與 232 個 Kontakt Snapshot,涵蓋漸變 Pad、長音與多層次氛圍質感。每個音色都擁有三種可混合麥克風收音位置與 Bleed 控制,並提供專屬播放引擎與介面,方便即時創作與聲音塑造。合成器原聲與管弦錄音均在 Teldex 以相同麥克風配置收錄,確保音色的融合與空間感一致,無論用於電影配樂、遊戲音樂或實驗性聲音設計,都能輕鬆打造既真實又超現實的聽覺體驗。
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Orchestral Tools x SLATE and ASH MIRRORS KONTAKT
KONTAKT – 20,45 GB
下載連結:https://www.52timbre.com/1203.html
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Electroacoustic reflections
Exploring the concept of sonic reflections and refractions, MIRRORS is the harmonious marriage of analog synthesis and acoustic orchestral performance. A collaboration with celebrated instrument creators SLATE + ASH, MIRRORS sends synthesized source material through an aural looking glass of orchestral ensembles, unearthing the symmetries of electroacoustic expression.
Synthesis meets orchestral grandeur
MIRRORS explores both experimental analog synthesis and traditional orchestral sampling. The collection originated from synthesized source material from our Bristol-based collaborators—glitched textures, fractured oscillations, and hyper-processed ambiances. Together, we then put these sounds through a prism of orchestral performance, recording their precisely orchestrated mirror images, all with unwavering attention to the minutest details.
As an object approaches a mirror, it becomes harder to tell where it ends and its reflection begins. Likewise in MIRRORS, synthesized sounds give way seamlessly to orchestral performances, resulting in a set of tools tailor-made for sparking your creativity, creating atmospheres, or setting scenes.
Sounds made to be reorchestrated
SLATE + ASH created the source material for MIRRORS under the guiding principle of making sounds that evoke a distinctly acoustic feel. With their labyrinth of patch cables, modular devices, and analog synths, they tapped into more organic soundworlds, sculpting breath-like fluttering, microtonal harmonics, and warm tones that evolve over time.
Hugh Brunt of the London Contemporary Orchestra then re-orchestrated these sounds for live performance, capturing all the minutae—every texture, swell, and flutter, and even the synthetic idiosyncracy of pitch stretching. This called for traditional strings, brass, and woodwinds, but also out-of-the-box instrumentation like verrophone, bowed crotales, or even rustling plastic bags. With Brunt conducting, and additional aesthetic guidance of composer-producer Yair Elazar Glotman, we recorded the orchestral ensembles at Teldex Studios in Berlin with our typical attention to detail and fidelity.
Recorded at Teldex
In addition to recording the orchestral ensembles for MIRRORS at the storied Teldex Scoring Stage in Berlin, we amplified the source material on the scoring stage, recording it from the same microphone perspectives. This means, not only are the images and reflections in MIRRORS remarkably cohesive, they are also easy to blend with other Orchestral Tools collections.
Highlights
– 45 pairs of synth and orchestral sounds
– Bespoke engine and interface
– 97 sound design presets, 232 Kontakt snapshots
– Evolving pads, long notes, and textures
– Three mixable mic positions with bleed control
– Source synth material made by SLATE + ASH
– Orchestral ensembles and synthesized source material sampled in Teldex