[模拟合成与管弦乐音源]Orchestral Tools x SLATE and ASH MIRRORS [KONTAKT]（20.45GB）

P2P | 10 July 2025 | 20.45 GB

电声反射
MIRRORS 探索声音反射和折射的概念，将模拟合成与原声管弦乐演奏完美结合。MIRRORS 与著名乐器创作者 SLATE + ASH 合作，将合成的音源素材透过管弦乐合奏的听觉视角，发掘电声表达的对称性。

合成与管弦乐的宏伟相遇
MIRRORS 同时探索了实验性模拟合成和传统管弦乐采样。该合集源自我们布里斯托尔合作者的合成源素材——故障纹理、破碎振荡和过度处理的氛围。然后，我们将这些声音放入管弦乐演奏的棱镜中，记录它们精确编排的镜像，始终关注最微小的细节。

当物体靠近镜子时，越来越难以分辨物体在哪里结束，反射在哪里开始。同样在 MIRRORS 中，合成声音无缝地让位于管弦乐演奏，从而产生一套量身定制的工具，用于激发您的创造力、营造氛围或设置场景。

为重新编排而生的声音
SLATE + ASH 在制作能唤起独特声学感受的声音的指导原则下创作了 MIRRORS 的源素材。他们利用错综复杂的跳线、模块化设备和模拟合成器，创造出更加自然的声音世界，塑造出呼吸般的颤动、微音泛音以及随时间演变的温暖音调。

伦敦当代管弦乐团的休·布伦特（Hugh Brunt）随后将这些声音重新编排，用于现场表演，捕捉所有细节——每一种质感、起伏和颤动，甚至音高拉伸的合成特质。这需要传统的弦乐、铜管乐和木管乐，但也需要一些突破常规的乐器，例如弗罗琴、弓弦槌，甚至是沙沙作响的塑料袋。在布伦特的指挥下，以及作曲家兼制作人亚伊尔·埃拉扎尔·格洛特曼（Yair Elazar Glotman）的额外美学指导下，我们在柏林的Teldex录音室录制了管弦乐合奏，并一如既往地注重细节和保真度。

著名合作者

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休·布伦特
休·布伦特为我们的音乐录音重新编曲并担任指挥，他是伦敦当代管弦乐团的联合创始人，曾为Radiohead、Beck和Imogen Heap等家喻户晓的音乐家编曲。作为指挥，他参与了《大师》、《黑客帝国：浴火重生》、《鲸鱼》等多部影片的制作。

亚伊尔·埃拉扎尔·格洛特曼亚伊尔·埃拉扎尔·格洛特曼是一位柏林作曲家兼音乐家，曾为《爬行动物》创作并制作配乐。除了创作个人作品外，他还为《小丑》、《西线无战事》和《曼蒂》等广受好评的电影演奏低音提琴或其他配乐。他为《MIRRORS》制作并指导了录音环节。

在 Teldex 录制
除了在柏林著名的 Teldex 配乐舞台录制《MIRRORS》的管弦乐合奏外，我们还在配乐舞台上对源素材进行了放大，并从相同的麦克风视角进行录制。这意味着，《MIRRORS》中的图像和反射不仅具有出色的凝聚力，而且还易于与其他管弦乐工具合集融合。

亮点
– 45 对合成器和管弦乐音色
– 定制引擎和界面
– 97 个声音设计预设、232 个 Kontakt 快照
– 不断发展的打击垫、长音符和纹理
– 三个可混合麦克风位置，带出血控制
– 由 SLATE + ASH 制作的源合成材料
– 在 Teldex 中采样的管弦乐合奏和合成源材料

需要免费的 NI Kontakt Player 或 NI Kontakt FULL v7.10.5 及更高版本！

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.

Notable collaborators

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Hugh Brunt
Hugh Brunt, who re-orchestrated and conducted our recording session, is the co-founder of the London Contemporary Orchestra and has done arrangements for household names like Radiohead, Beck, and Imogen Heap. As a conductor, he’s worked on films such as The Master, The Matrix Resurrections, The Whale, and many more.

Yair Elazar Glotman
Yair Elazar Glotman is a Berlin-based composer and musician who wrote and produced the score for Reptile. In addition to his own music, he’s played contrabass or provided additional music for critically acclaimed films including Joker, All’s Quiet on the Western Front, and Mandy. For MIRRORS, he produced and guided the recording sessions.

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