Studio Percussion

^{previously "SYNCHRON-ized Percussion"}

Introduction

Studio Percussion is based on the original VI Percussion Collection and includes the updated sample database of instruments that were recorded in the tight and controlled ambience of our second studio, the Silent Stage. All drums and percussion instruments can therefore be placed in any acoustic environment and at any position in a room, from dry closets to halls and venues such as the rooms provided by Vienna MIR Pro 3D.

The collection's six separately available Percussion Packs correspond to the instruments of the Synchron Percussion Packs, with equal mappings to make it easy to exchange and try out instruments from both Series. However, the instruments of the Studio Percussion Collection were not only recorded in a different acoustic environment, they're also different makes of the same instruments with their own individual sound characteristics, and were played by different musicians, providing your own percussion arsenal with more flexibility and variety.

The entire sample database was optimized for the Vienna Synchron Player and its advanced algorithms and features. The instruments were furnished with customized impulse responses so that they can easily be placed in their ideal spot on the virtual Vienna Synchron Stage. The volume levels of all articulations such as single hits, dynamic rolls and many more have been precisely adjusted and matched, balancing the dynamic ranges of all instruments for seamless, natural performances when switching through various articulations. Moreover, the dynamic rolls of timpani, bass drums and taikos can be played shorter than their original length due to the release sample algorithms of the Synchron Player.

All instruments offer a broad spectrum of meticulously sampled articulations, from single hits with various beaters to static rolls, crescendo and diminuendo rolls, upbeats and repetitions, depending on the styles and variations each instrument has to offer.

Mixer Presets

For a perfect sound "out of the box" the instruments come with customized Mixer Presets such as Close, Classic, Distant, without reverb, short reverb with and without the Synchron Player's included MIR convolution technology, which guarantee a perfect sound and match the acoustic placement of the Synchron Series instruments that were recorded on the large Stage A of our Hollywood-approved scoring stage.

There also is a MIR Unprocessed Mixer Preset for use with the concert halls and studios of our renowned convolution engine.

Concert toms, Taikos, and Rails offer additional "Wide" sets of Mixer Presets where the instruments are placed in different positions througout the Synchron Stage, allowing you to let several players play in cinemascope, so to speak.

Patches and mapping

Patches can be used to build your own custom Presets and adapt the Synchron Libraries to your specific requirements. For further information on constructing Presets, please see the Synchron Player manual.

Many of the unpitched percussion instruments have single strokes, rolls, und dynamic rolls distributed to different patches, which are then stacked in the Presets. This had the advantage of allowing different treatment in their mapping. For instance, it was thus possible to create VelXF Rolls Presets where the dynamics of rolls can be controlled with velocity crossfading, while the dynamics of single strokes react to keystroke velocity.

Repetitions (with the exception of dynamic repetitions) are generally mapped to two adjacent keys. For best effect, these should be played alternately.

Timpani

The timpani, or kettledrum, an established member of the symphony orchestra since the 17th century, is the percussion instrument with the longest tradition. It is a skin-covered instrument with definite pitch. As the loudest of all orchestra instruments it requires tremendous precision of the timpanist.

In Romantic and modern works four timpani are usual. In the Classical period one pair was standard. The kettledrum has a range of about a sixth. A timpani group composed of several instruments covers approximately two octaves (B1–C3).

In modern-day notation the timpani part is written non-transposing, always in bass clef.

Timpani A

Single strokes
Performance repetitions
Static rolls
Dynamic rolls medium and strong
Glissando rolls
Glissandos
Upbeats
Range: Single strokes, rolls, upbeats C2–C4; glissandos according to interval.
Articulation switches: F1–B1.
Type switches: starting at C7.

Single strokes

Single strokes open and secco; performance repetitions slow and fast.

Mapping: left hand C2–C4; right hand C5–C6.

Static rolls

Static rolls, normal and short release.

Dynamic rolls

Dynamic rolls, medium and strong, 1/2/3/4/6 sec.

Cresc/dim: A0/B0.

Glissando rolls, glissandos

Glissando rolls and glissandos, 4th and 5th, up and down.

Play range: fourth up C2–G3, down F2–C4; fifth up C2–F3, down G2–C4.
Interval: E7/F7.
Up/down: A0/B0.

Upbeats

1–3 upbeats.

TIMPANI B

Medium soft, medium hard, hard, wood, and felt mallets, fingers
Single strokes
Rolls static
Rolls dynamic
Glissando rolls
Glissandos
Upbeats
Articulations according to beater
Range: Single strokes C2–A#5 (split left/right hand); rolls and upbeats C2–A#3; glissandos vary according to interval.
Mallets: C1–E1
Articulations: F1–B1.
Type switches: starting at C7.

Medium soft mallets, Wood mallets

Single strokes; static rolls; dynamic rolls; glissando rolls; glissandos; upbeats.

Single strokes

Single strokes open, secco, and coperto; performance repetitions slow, medium, and fast.