Description
Vienna Symphonic Library Studio Bass Flute - Crossgrade from VI Bass Flute Standard Library || Guildwater Gear is an Authorized Vienna Symphonic Library Dealer. If you have any questions about this product, please do not hesitate to contact us. Your digital software registration code and instructions will be sent to you, along with an URL connecting you directly to the manufacturer, who will provide you with your software digitally. Please be aware that software Is non-cancelable and non-returnable.
PLEASE NOTE: This is an upgrade / crossgrade product, which requires that you be a registered user of a qualifying product, in order for it to work for you.
Low Profile
- Bass flute in C
- Recorded at Silent Stage
- Short and long notes, legato, dynamics, flutter tongue, repetitions
- Mixer Presets for authentic placement at Vienna Synchron Stage
- Switch off internal reverb for placement in any virtual acoustic environment
The bass flute sounds an octave lower than the more common concert flute, expanding the flute family to its lowest range. The instrument was recorded in the relatively dry and controlled environment of Vienna’s second studio, the Silent Stage, and offers all common articulations.
Heavy Duty. The bass flute is a very special gem. With its velvety, earthy sound in the flute family’s low register, it evokes mystery and depth in dramatic music. To hold the heavy instrument, flutist Vera Fischer had to suspend it with two slings during the exhaustive recordings at the Silent Stage.
Bent Flute. To enable the player to reach the embouchure hole, the bass flute has a characteristically curved headpiece. Despite its name, its lowest octave is still in the tenor range. In modern music, the bass flute features, e.g., in pieces by Ennio Morricone, Brian Ferneyhough, Morton Feldman, and John Cage.
Sampling. The library features a full set of articulations, offering various short and long notes, legato (including fast legatos that let you play trills), crescendos and diminuendos, sfz, sffz, pfp, flutter tongue, and repetitions. Recording the samples relatively dry at the Silent Stage makes it possible to place them on your virtual stage and in the stereo field wherever you like, but also enables you to integrate them with the Synchron Series by using the internal convolution reverb of Vienna Synchron Stage.