The CP-70 used strings like a real piano, instead of the metal reeds and tines found in Rhodes in Wurlitzers. A very specific one that hasn’t enjoyed the same level of reverence as the Rhodes or Wurlitzer, but isn’t without its merits. The other completely new instrument, CP-70 V, is a lot more straightforward. You can even completely disable the sample layers and go woodwind-less, though, you might as well use one of the other plugins at that point. They all have a suite of advanced controls where you can build almost any sound you want from its four layer engine (two samples and two synths). That’s not to say you can’t find a use for them in a pop song or jazz arrangement, but these are all about atmosphere and texture, and there’s a healthy dose of sounds that would only be appropriate in the tensest moments of a cosmic horror film. Like the rest of the Augmented series, Woodwinds, Brass and Grand Piano feel built especially with scoring in mind. (With the exception of a few presets that seem to come undone when faced with MPE input, at least.) You’re never going to convince anyone that the sounds coming out of it are from a flesh-and-blood woodwind ensemble, but the soft cinematic pads and leads you can coax out of it are compelling, especially when paired with an MPE controller like the Push or Seaboard Rise 2. Yet, Arturia pulls it off, largely by leaning into the synth side of things pretty strongly. I think Augmented Strings and Grand Piano are excellent, but have found little use for Brass and Voices so far, and woodwinds often feel like some of the most difficult acoustic instruments to get right in a sample library. I’ll admit to being somewhat skeptical of Augmented Woodwinds at first.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |