Ambient Library | 1.39GB
在城镇教堂中采样教堂风琴时，我制作了这种风琴质的风琴停止组合。
由于这一愿景，我将所有其他声音搁置了一段时间：将更多声源组合在一起怎么办？就像拥有一个巨大的教堂风琴，拥有更多的声音机会一样。
由于某些原因，在编辑声音时，我一直在观看这些北极挪威教堂和巴芬岛上壮观的山脉的照片。最初可能是一个更宽敞的声音创意，它偏向北极光，水晶般清澈的湖泊，冰冷的风景上的阳光反射等。现在已经确定了氛围。
因此，Ethereal Keys的概念就是您拥有一个巨大的键盘创作，并具有相互连接的声源，例如教堂风琴，音轮风琴，电子琴，和声，模拟合成器，独唱家和合唱团，电吉他以及各种管乐器以及标记树。
为了匹配北极主题，声音理想本身并不是“真实的”，而是字符上的“冻结”。有点像90年代的合成器，但具有更大的存储容量和更好的PCM采样。例如，人类的声音并不是要听起来“自然”，而是更像是在北极冰下发现的听觉快照。
请注意：某些预设使用调制轮来访问更多层的声音和参数。永远记得检查出来。各个预设的键范围也不同。由于预设包含分别编辑的各个图层，因此请记住，更改GUI中的旋钮会整体上影响声音。
Kontakt 5的高级用户当然可以随意编辑图层。欢迎来到音乐永冻层！
记录
用5个麦克风以24位96KHz录制教堂的器官，以获得具有自然混响的最真实的样本。在处理阶段，减少了噪音，并添加了磁带模拟器插件。
用两个麦克风以24位44,1KHz录制和声。
合成器以立体声或单声道以24位44,1 KHz进行行记录，除了矩阵12是通过旧的数字混音器以16位44,1KHz以特定的，清晰的声音记录的。 Sub Phatty的记录频率为96KHz，并抖动为44,1 KHz。
用两个麦克风以24位，44,1 KHz指向机柜的旋转扬声器记录L-100风琴。
B20CR以24位，44,1 KHz的频率记录。
DevaLaya在24位，44,1 KHz的人声棚中录制。
Lesjöfors合唱团是在教堂里用四个麦克风以24位，44,1 KHz录制的。
电吉他以24位，44,1 KHz进行行录制。
管乐器等被记录在24位，44,1 KHz的人声棚和录音室。
预设
北极大教堂
以较快的速度演奏时，教堂风琴具有打击垫和脂肪合成器的声音。将音高控制添加到合成器层。
冷块
较快演奏时，教堂风琴带有合唱团。调制轮控制独奏语音层。将音调控制添加到合唱层。
遥远的阳光
合唱，独奏音色和打击垫，以及在较低范围内增加的电子风琴踏板。音调控制是常规的。
空灵的器官
教堂的器官。
光的公平
独奏声音，无环吹瓶。调制轮在ohs和ahs之间变形。音调控制是常规的。
蓬松的云彩
五分之一的双人打击垫，以较快的速度演奏时增加了弦状打击垫。音调控制是常规的。
冰冻的天使
合唱团和独奏声音。音调控制是常规的。
天堂后院
音轮风琴，无环长笛。调制轮控制钟声层。音调控制是常规的。
冰笛
电风琴长笛与弹簧混响。调制轮控制颤音。音调控制是常规的。
最后一口气
非循环吹瓶的吹奏者。音调控制是常规的。
放光
与教会器官和垫的独奏声音。调制轮在ohs和ahs之间变形。音调控制已添加到单独的声音和打击垫层。
白色英里
电动踏板在较低范围内的方波声音。控制颤音和音高控制的调制轮已添加到方波层中。将音高控制添加到方波声音层。
朦胧之夜
五分之二的双垫和以弦状垫和合唱团演奏的编钟，以更高的速度演奏。调制轮控制向下调四分之一的单独语音层。音调控制是常规的。
有机友谊
教堂风琴和音轮风琴。调制轮控制垫层。音调控制被添加到音轮风琴和打击垫层。
多年冻土
无环的长笛，打击垫，方波音，钟声和电子风琴踏板。以更高的速度演奏会增加更多的长笛声。调制轮控制一层非循环的吹瓶声音。音调控制是常规的。
极地经验
类似弦的打击垫，其中含有一点合成音。以较高的速度演奏会打开截止滤波器。调制轮控制LFO。
While sampling the church organ in the town church I made this organ stop combination that had an ethereal quality.
I put all the other sounds aside for a while due to this vision: What about combining even more sound sources together? Like having a giant church organ with even more sound opportunities.
For some reason, while editing sounds I kept watching these pictures of arctic norwegian churches and spectacular mountains on Baffin Island. What was first maybe a more spacey sound idea tilted to northern lights, crystal clear lakes, sun reflections on icy landscapes etc. Now the ambience was set.
So the concept of Ethereal Keys is you having a giant keyboard creation with interconnected sound sources such as church organ, tonewheel organ, electric organ, harmonium, analog synthesizers, solo vocalist & choir, electric guitars and various wind instruments plus mark tree.
To match the arctic theme the sound ideal is not “authentic” by itself but rather more “frozen” in character. A bit like having a synth from the 90’s but with much larger memory capacity and better PCM samples. The human voices, for example are not intended to sound “natural” but more like aural snapshots found under the arctic ice.
Please note: Some of the presets use the modulation wheel to gain access to more layers of sound and parameters. Always remember to check it out. The key range is also different across the presets. As the presets contain various layers edited individually, please remember that altering the knobs in the GUI will affect the sound as a whole.
The advanced Kontakt 5 user can of course edit the layers separately at will. Welcome to the musical permafrost!
RECORDINGS
The church organ was recorded with 5 microphones at 24 bit 96KHz to obtain the most realistic samples with natural reverb. At the processing stage noise was reduced and a tape simulator plugin was added.
The harmonium was recorded with two microphones at 24 bit 44,1KHz.
The synthesizers were line recorded in stereo or mono at 24 bit 44,1 KHz except for the Matrix 12 that was recorded in 16 bit 44,1KHz through an old, digital mixer with a specific, crisp sound. The Sub Phatty was recorded at 96KHz and dithered to 44,1 KHz.
The L-100 organ was recorded with two microphones pointing at the rotating speaker of the cabinet at 24-bit, 44,1 KHz.
The B20CR was line recorded at 24-bit, 44,1 KHz.
DevaLaya was recorded in a vocal booth at 24-bit, 44,1 KHz.
The Lesjöfors Choir was recorded in a church with four microphones at 24-bit, 44,1 KHz.
The electric guitars were line recorded at 24-bit, 44,1 KHz.
The wind instruments etc were recorded in a vocal booth and studio room at 24-bit, 44,1 KHz.
PRESETS
Arctic cathedral
Church organ with added pad and fat synth sounds when playing at harder velocity. Pitch control is added to the synth layers.
Cold mass
Church organ with added choir when playing at harder velocity. The modulation wheel controls a solo voice layer. Pitch control is added to the choir layer.
Distant sun
Choir, solo voice and pad with added electric organ pedals in the lower range. Pitch control is general.
Ethereal organ
Church organ.
Fairness of light
Solo voice with non-looped bottle blow. The modulation wheel morphs between ohs and ahs. Pitch control is general.
Fluffy clouds
Double pad in fifths with string-like pad added when playing at harder velocity. Pitch control is general.
Frozen angels
Choir and solo voice. Pitch control is general.
Heavens backyard
Tonewheel organ with non-looped flute. The modulation wheel controls a chimes layer. Pitch control is general.
Ice flute
Electric organ flute with spring reverb. The modulation wheel controls vibrato. Pitch control is general.
Last breath
Non-looped harmonium with non-looped bottle blow. Pitch control is general.
Let there be light
Solo voice with church organ and pad. The modulation wheel morphs between ohs and ahs. Pitch control is added to the solo voice and pad layers.
Miles of white
Square wave sound with electric organ pedals in the lower range. The modulation wheel that controls vibrato and pitch control is added to the square wave layers. Pitch control is added to the square wave sound layer.
Night of obscurity
Double pad in fifths and chimes with string-like pad and choir added when playing at harder velocity. The modulation wheel controls a solo voice layer tuned down a fourth. Pitch control is general.
Organic friendship
Church organ and tonewheel organ. The modulation wheel controls a pad layer. Pitch control is added to the tonewheel organ and pad layers.
Permafrost
Non-looped pan flute, pad, square wave sound, chimes and electric organ pedals. Playing at harder velocity adds more pan flute. The modulation wheel controls a layer of non-looped bottle blow sound. Pitch control is general.
Polar experience
String-like pad that contains a bit of synth noise. Playing at harder velocity opens the cutoff filter. The modulation wheel controls LFO. Pitch control is general, 1 octave.
Stratosphere
Non-looped electric guitars, tonewheel organ and pad. The modulation wheel controls vibrato and pitch control is also added to the guitar layers.
Sweet memories
Solo voice and pad. The modulation wheel morphs between ohs and ahs. Pitch control is general.
The fabulous five
Church organ, tonewheel organ, pad, choir and solo voice. Pitch control is general.
Tubular world
Non-looped electric guitars, tonewheel organ, pad and choir. The modulation wheel controls vibrato and pitch control is also added to the guitar layers.
Weightless
Non-looped pan flute and pad. Playing at harder velocity adds more pan flute. Pitch control is general.
Wind sweeper
White noise to create polar wind effects. The modulation wheel controls a combination of cutoff filter and resonance which affects the intensity.
SAMPLED INSTRUMENTS
Church organ Built in 1790 and modernized 1981. Newly renovated and expanded in 2015. The timbre sampled is a secret stop combination.
Hammond L100 (Slow Leslie)
Yamaha Electone B20CR (Flute and Bass Pedals)
Harmonium Synthesizers
Roland JX-10
Moog Sub Phatty
Oberheim Matrix 12
Female vocalist: DevaLaya Guleng (Ohs & Ahs)
Choir: The Lesjöfors Choir (Ahs)
Additional sources: Large bottle (with various amounts of water), Pan pipes, Flute, Mark tree, White noise, Electric guitars, Fender Stratocaster, Hagström Viking
