[Cello Sounds] PulseSetter Sounds Cello Ibrida [KONTAKT] (4.21GB)

P2P | 21 April 2025 | 4.21 GB

Cello Ibrida includes different types of samples and sound design techniques in one advanced GUI. The concept relies not on a single traditional library concept, but on several concepts that, when combined, will bring out a modern sound that preserves the organic sound. The cello part was recorded for "textured" articulation and multisampling. From there, we edited and processed patches in a variety of sound design styles to create low pulses, mixed plucks, percussion pads, and sfx.

Our Matrix GUI contains a two-tier system, each with its own effects chain, LFO, Sequencer and Threshold. But the magic happens in the Performance Matrix page, where two Macros, two Envelope Sequencers, and the Intensity Source Modulator can be individually assigned to different Master Effects, Chord Makers, and a Detuner. This allows even the simplest sounds to be continuously modulated and constantly varied. In addition, we've added CC assignable inputs for crossfade, macro 1/2 and LFO rate/volume, letting composers modulate all of these parameters in real time to create a great performance sound design instrument.

We love sound design, and recording cello parts for later use as a sound playground is just the beginning. There was also a cheap blue cello that Barley spared during the recording. There's also the amazing cello sound of Gabriel Di Marco (Bear McCreary Celist), and we sampled a Moog sub37, an Arturia Matrixbrute, and finally we ran a cello multisample through Euroracks and Cassette decks. We call these patches "sound sources" and there are about 260 of them. From there, we made over 500 snapshots, but we still haven't used all of them! You can mix and match and create your own.

We decided to start by recording the cello part, doingorchestral musicEvolving textures that serve as the foundation of our sound design process. The idea was to expand and create pads from there, but we kept going. We also recorded some basic multisamples and processed each individual note to make it sound crushed, overly distorted, or just run through a granular processor to create short notes and long notes. Since everything is done with loops and multisamples (pitches), it's a time-consuming process, but a rewarding one. For individual notes, textures, and percussion pads, the next step is to create bass loops.

Most of the library is based on the bass and low-midrange frequencies, from which the cello derives its most iconic sound. The raw sound of the cello's low strings provides a very heartfelt feel, perfect for movie sound design. We also recorded a student real-size cello, which is not only ugly, but also sounds very aggressive. Not the tone of an orchestral passage, but perfect for horror sounds. Hemp, sticks, loose tunings and loose screw scrapes provide a very familiar sound reminiscent of many horror scores. These have also been further processed and made into loops that are perfect for rhythm beds.

Once completed, one thing was clear, it needed a different, more present tone to transform it into a more modern sound, so we sampled the Moog sub37, Arturia Matrixbrute and VirusTI. This enhances the sound when used in a dual-layer GUI, allowing composers to choose any of the 260 patches of real cello, hybrid cello, sfx cello, and synthesizer as the sound source to create their own unique snapshots. We've created 500+ snapshots, but we highly recommend making your own.

Another clever feature of our advanced matrix engine is the ability to add MIDI cc's to macro1, crossfades, and LFO's. Paired with the Motion Leap Controller, Cello Ibrida can simply move your hands in the air and enjoy hours of fun "performing" sounds. Motion Leap can also be used with any sample library or synthesizer with MIDI cc capabilities except cc1 and cc11.

We at PulseSetter-Sounds wanted to create an alternative library of orchestral samples for composers working on video games, modern TV and movie scores, so recording real orchestral instruments and using unique sound design techniques was not only fun, but felt like it would be useful for inspiration, as filler, or just to add a bit of modern sound design underneath your "real" orchestral score without drawing unnecessary attention. or just add a bit of modern sound design to your "real" orchestral score without attracting unwanted attention. We hope you enjoy this product and welcome feedback as we prepare to sample a live orchestra. Yes ...... is for sound design only as we know you already have 34 String sample libraries ...... but none as unique and different as Cello Ibrida.

The Main page contains a two-layer engine for loading any of the 260 sounds. The crossfader with LFO enables two rhythmic combinations, or the use of simple mixes or other sources. One assignable macro knob. Two independent sequencers and two LFOs. The Macro1, LFO and Xfade have user-assignable CC MIDI controls. This feature allows composers to modulate multiple parameters through their existing MIDI controllers.

The Effects page contains effects for each layer, Filter, Lofi and Distortion have fx step sequencers for more sound design possibilities, and the Amp modeler has distorion for added firepower. These effects are independent of the Performance Matrix page and the Main page.

The performance matrix page is a complex system based on a past matrix synthesizer. Two Macro parameters, two envelope squencers and note strengths are used as sources to send the main signal to multiple master effects, a chord maker and detuner. Each macro has its own MIDI cc input, allowing the composer to use each macro for different purposes. For example, one macro filters out the signal when scoring a suspense scene, but another is used to destroy the sound during a killer attack! Or any desired combination. Meanwhile, the envelope will be carried through octave modes or minor 9 divisions or fx convolution sounds.

need Kontakt FULL version 5.8.1+!

Cello Ibrida contains different types of sampling and sound design techniques inside one advanced GUI. The concept relies on not focusing on a single traditional library concept but several that when combined will bring out modern sounds that retain an organic sound. The concept relies on not focusing on a single traditional library concept but several that when combined will bring out modern sounds that retain an organic sound. A cello section was recorded to do "texture" articulations and multisample. From there we edited and processed a variety of sound design style patches to From there we edited and processed a variety of sound design style patches to create low pulses, hybrid plucks, pads and sfx.

Our matrix GUI contains a two layer system each with its own effects chain, LFOs, Sequencer and gate. But the magic happens in the performance matrix page where two macros, two envelope sequencers and velocity source modulators can be individually assigned to different master effects, chord maker and a detuner. This enables even the simplest of sounds to be continuously modulated and ever changing. Additionally, we added CC assignable inputs for Additionally, we added CC assignable inputs for crossfade, macro1/2 and LFO rate/amount to let composers modulate all these parameters in real time and thus, creating a great performance sound design instrument.

We love sound design and recording a cello section to later use it as a sound playground was just the start. There was also a cheap blue cello involved that barley survived the mangling when recording it. There is also Gabriel Di Marco's (Bear McCreary Cellist) amazing Cello sound and we also sampled a Moog sub37, the Arturia Matrixbrute. sampled a Moog sub37, the Arturia Matrixbrute and finally we also ran the Cello multi samples through Euroracks and Cassette decks . We call these patches "soundsources" and there are about 260 of them. You can mix and match and create your own.

We decided to start of with recording a cello section doing orchestral evolving textures as a basis of our sound design process. The idea was to expand from there and create pads but we kept going and going. We also recorded some basic multi samples and process each individual note so it sounded crushed, overdistorted or just ran it through granular processors to create short runs. We also recorded some basic multi samples and process each individual note so it sounded crushed, overdistorted or just ran it through granular processors to create short and long notes. Since everything was made with round robin and multi sampled ( pitched), this is a time consuming process but also rewarding. With individual notes, textures and pads, the next step was to create bass loops.

Most of the library is based on the bass and lower mids where the Cello gets its most signature sound. The raw sound of the Cello lower strings provide a very visceral feel thats great for cinematic sound design. The raw sound of the Cello lower strings provide a very visceral feel thats great for cinematic sound design. We also recorded a student real size Cello which was not only ugly but sounded very aggressive. tone deem for orchestral passages but great for horror sounds. Scrapes with hemp, sticks, loose tuning and loose screws provide a very familiar sound Scrapes with hemp, loose tuning and loose screws provide a very familiar sound reminiscent of many horror scores. These were also further processed and made into loops that work great for rhythmic beds.

Once we were done, one thing was noticeable, it needed a different more present tone to take it into a more modern sound so we sampled a Moog sub37, Arturia This enhances the sound when used in the dual layer GUI by letting composers choose any of the 260 patches of either real cello, hybrid cello, sfx cello and synth. This enhances the sound when used in the dual layer GUI by letting composers choose any of the 260 patches of either real cello, hybrid cello, sfx cello and synth as a soundsource to create their own unique snapshots. We made 500+ snapshots but we highly recommend making your own.

Another neat feature of our advance matrix engine is the ability of add midi cc to either the macro1, crossfade and LFOs. Paired with the motion leap controller, Cello Ibrida will be hours of fun "performing" the sounds just by moving your hand through the air. controller, Cello Ibrida will be hours of fun "performing" the sounds just by moving your hand through the air. can also be used with any sample library or synth that has MIDI cc capability beyond cc1 and cc11.

We at PulseSetter-Sounds want to create an alternative orchestral sample library for composers who work on video games, modern tv and film scores so that they can use the sound of their instruments to create a soundscape that is not only fun to do but feel this is something that will be immensely popular. recording real orchestral instruments and using unique sound design techniques is not only fun to do but feel this is something that will be immensely useful for inspiration, as filler, or just to add a touch modern sound design under your "real" orchestral score without We hope you enjoy this product and we welcome feedback as we prepare to sample a live orchestra. And yes... just for the sound design, because we've been working on it for a long time. just for the sound design, because we know you already have 34 string sample libraries... but none as unique and different as Cello Ibrida.

Main page contains a two layer engine to load any of the 260 sounds. A crossfader with an LFO enables both rhythmic combinations or use a simple mix of or A crossfader with an LFO enables both rhythmic combinations or use a simple mix of or another soundsource. A big macro knob that's assignable. Two independent sequencers and two LFOs. Macro1, LFO and Xfade have CC MIDI controls that can be user assignable. This feature lets composers modulated several parameters via their existing MIDI controllers.

The effects page contain the effects of each layer. Filter, Lofi and Distortion have fx step sequencer for more sound design posibilities. These effects are independent from the Performance Matrix page and Main page.

The performance matrix page is a complex system based on matrix synths from the past. Two Macro controls, two envelope squencer and note velocity are used as sources to send the master signal to several master effects, a chord maker and detuner. Two Macro controls, two envelope squencer and note velocity are used as sources to send the master signal to several master effects, a chord maker and detuner. Each macro has its own MIDI cc input which enables composers to use each for a different purpose. For example, one macro to filter out the signal when scoring a suspense scene but use the other macro to destroy the sound when the killer attacks! For example, one macro to filter out the signal when scoring a suspense scene but use the other macro to destroy the sound when the killer attacks! Or any combination desired. All while the envelopes progress through octave mode or minor 9th or fx convolution sounds.

Kontakt FULL version 5.8.1+ required!

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