The Clarinets use samples as a base material, chromatically performed by a professional player over a very wide dynamic range, and recorded with state-of-the-art technology. The resulting timbre is therefore that of the real instrument. But the analogy with a sample based library ends here. The underlying, proprietary technology allows continuous interpolation among different vectors like time, dynamics, pitch and formants. Advanced real time processing techniques yield realistic legato/portamento, vibrato, overblow, ornamentations & trills with phase continuity, constant-formant pitchbends, subharmonics, growl and flutter tongue to be performed in real time.
Stefano's idea is to create realistic musical instruments. The timbral properties should be indistinguishable from real clarinets. They must be played as real instruments, using a keyboard or a wind controller, plus three or four midi controllers, including an expression pedal or breath controller. All articulations are easily shaped by the player, even in real time, using just velocity, pitchwheel, modwheel, an expression pedal or breath controller, a sustain pedal, plus some optional CCs to control overblow, subharmonics, growl and flutter tongue. Virtually any wind controller can be used to play these instruments.
The controllers (CCs)
Real time control of most parameters can be accomplished via midi. The Clarinets exploit several MIDI controllers for optimal performance. The basic controllers are the Pitchwheel, CC11 (or CC7, or CC2) for the dynamics, CC1 (modwheel) for vibrato intensity, CC19 for vibrato rate. Portamento time can be assigned either to the velocity of the overlapped note or to any CC. Special effects are key noise (CC9), Subharmonic intensity (CC20), Growl (CC21), Flutter Tongue (CC23) and Overblow (CC64). Channel aftertouch (CC129) can be used to control several parameters, such as vibrato intensity or rate, subharmonic, growl or flutter intensity.
The graphical interface (GUI)
Here you can modify the default settings for several parameters. You may vary timbre, harmonic structure and formants, choose type of attack, set the intensity of set the intensity of subharmonic, growl, flutter tongue, key noise, and breath noise. You may control random pitch and dynamics fluctuations, pitch response to dynamic changes, overall resonance of the pipe, subharmonic intensity on transitions, release and portamento time. You may also set transposition, master tune, pitchbend response, volume, pan, dynamic compression, intensity and decay of the built-in reverb. A downward fall can be triggered by pressing a button, as well as from a keyswitch or a MIDI
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