Cinesamples CineHarps Kontakt Latest Free Download
Cinesamples CineHarps is a collection of deeply sampled orchestral harps that’s easy to use and loaded with techniques and features that will make this a classic in any composer’s template. Recorded with a wide variety of perspectives at the MGM Scoring Stage at Sony Pictures Studios in Los Angeles, CineHarps Crack will fit nicely into any mix.
For the 10th anniversary of our landmark product CineHarps. Cinesamples is proud to present the completely re-imagined, deeply-sampled sequel – CineHarps. Recorded at the historic MGM Scoring Stage at Sony Pictures Studios in Los Angeles, CineHarps captures the ease of use and varied techniques of the original CineHarp while adding pristine audio fidelity and improved features that will make this a classic in any composer’s template.
Recorded in three distinct positions on the scoring stage, CineHarps includes multiple articulations and timbres – plucked patches, precise glissandi, and incredibly robust effects. Whether a composition calls for classical harp techniques or a hybrid sound design approach, CineHarps offers composers the richest harp sounds available.
As with all CineSymphony libraries, the CineHarps library does not require you to purchase any additional sample playback software and is licensed to work with the Native Instrument’s free Kontakt Player. All you need is a sequencer like Logic, Cubase, Digital Performer, LIVE, Pro Tools, Cakewalk, or even Apple GarageBand and you’ll be up and running.
The Perspective Fader
CineHarps Free Download includes the addition of a new Perspective Mode. When Perspective Mode is turned on, a slider appears that performs a smooth crossfade between the Close, Room, and Surround microphone perspectives. This slider is automatically mapped to the mod wheel, giving you the ability to instantly control the relative depth of the instrument.
Gliss Mode transposes all of the white keys according to the selected notes and pedal diagram. This allows for easy playing of glissandi on the white keys. When the Gliss Mode button is active, note attacks in faster phrases. The faster you play, the softer the attack.
Tip/Trick: Turning on Gliss Mode and leaving the pedals set to C major allows you to play chromatically. But still softens the onset of each note in faster phrases. Which can result in more realistic trills, bisbigliando, and other types of playing.
Close Delay Button
Above the Close microphone perspective is a small yellow button mark with a “D”. Activating this button delays the sound of the Close perspective by approximately 15ms, which time aligns the Close with the Room and Surround Perspectives, resulting in a tighter sound. Turning off the Close Delay gives the instrument more depth and definition, which can be useful for featuring it in the mix.
The Velocity Curve control can be used to dial in exactly the dynamic you are looking for. Bias Forte makes it easier to play louder dynamics, and Bias Piano makes it easier to play soft dynamics. Linear allows the velocities to pass through unaffected. The Velocity Curve control can also be used to compensate for a MIDI keyboard with undesirably hard or soft action. You can custom-draw a velocity curve by clicking and dragging with the mouse.
The Release Mode knob changes the way released. “Muted” simulates the harpist immediately dampening the string at the note release, and “Let Vib.” allows the string to ring out for its full duration ignoring any note releases. “Normale” provides a moderate decay to the release.
Round Robin Borrowing
The RR Borrowing knob employs surrounding notes as additional round robins. A value of 6 results in up to +/- a tritone of borrowing providing up to an additional 12 round robins per note. A value of zero only plays two round robins-per dynamic level. Higher values result in more round robins and more tonal variation.
The Dynamic Range knob can increase or decrease the overall dynamic range of the instrument. With the knob turned all the way up, low dynamics are almost completely inaudible and higher dynamics are very loud. With the knob turned all the way down the instrument plays all of the recorded dynamic layers. But at the same perceived volume.
- Produced by: Michael Barry and Michael Patti
- Project Director: Tim Starnes
- Kontakt Scripting: Ben Chrisman
- Recording Engineer: Adam Michalak
- Mix Engineer: Tim Starnes
- Sample Editors: Elan Hickler, Casey Merhige, Elvis Bates
- Quality Assurance: Elisa Rice
Requires Kontakt 5.6.8 and above (Works with both the free Kontakt Player and the paid, full version of Kontakt)