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支持系统：Windows.MAC

音源厂商：https://soundiron.com/products/alpha-organ

使用采样器：Kontakt 7. Kontakt 8加载

文件大小：17GB

Alpha Organ 收录了一对精美采样的管风琴，它们分别和一起录制于加利福尼亚州旧金山的圣保罗教堂。每把管风琴都与其他管风琴形成鲜明对比，当两把管风琴同时演奏时，音色十分美妙。我们分别和一起录制了这两把乐器的声音，并使用了多种麦克风类型和位置，为您提供各种美学选择。

“下部”管风琴由密苏里州圣路易斯的 Kilgen Church Organ Company 制造，最初是水力驱动的，但后来改成了电动鼓风机驱动系统。控制台位于侧门附近的南侧通道，其管子隐藏在祭坛后面，鼓风机和机器位于后殿地板下，使最低的踏板音符能够通过地板产生共鸣，似乎震动了地基。

上部管风琴更大、更精致，由旧金山的 Felix F. Shoenstein & Sons Organ 公司制造。它位于两座钟楼之间的夹层中，高高地排列在吊闸和前厅上方。第一架风琴——我们的“阿尔法”风琴——音色甜美柔滑，第二架风琴——我们的“欧米茄”风琴——音色雷鸣般洪亮，气势磅礴，配有更强大的鼓风机、更大的控制台和更多的管子。

我们觉得这个空间具有非凡的声学特性，近乎神秘。每次我们在那里录音，我们都会经历一波又一波奇怪的同步性。整个大厅似乎像一个伟大的活乐器一样歌唱。为了纪念这个空间似乎唤起的高度奇异性，我们在这个图书馆中丰富了非常广泛的声音设计氛围、引线、垫片、嗡嗡声和自定义效果预设，深入研究心理声学和形而上学美学。这座教堂由其信徒们历时二十年建成，始建于 1897 年，因 1906 年旧金山地震而推迟，最终于 1911 年完工，所用石材是从废墟中打捞出来的。它具有郁郁葱葱、纯净的品质，充满宽敞的空气感和水晶般的清晰度，没有一丝浑浊或过饱和。这座混响大厅是我们最喜欢的录音地点之一，这里是我们广受好评的安魂曲轻交响合唱团、Native Instruments 交响乐系列铜管合奏和独奏合集以及许多其他经典的 Soundiron 库的所在地。

我们在用户界面中配备了强大的声音塑造控件，为您提供完全的灵活性。所有预设中都包含音量增大、启动和释放时间、样本起始偏移、颤音和音库选择控件。主预设还具有麦克风混音器和八度音效。分层预设包括 4 个独立的声音层，每个层都有一整套可链接、自动化和自定义的参数。前三层是近距离（麦克风 1）、中距离（麦克风 2）和远距离（麦克风 3）麦克风位​​置。第四层是氛围层。我们使用了各种声音设计技巧，将我们旅途中的声音变形为 30 种不同的音调和不和谐音调、合成音和环境梦境。它们可以单独播放，也可以用来为主要声音添加质感和主体。

在高级设置下拉窗口中，您还可以找到一个可适应的每层 LFO 系统，具有可选的 LFO 形状、调制目标参数、速度、强度、节奏同步和淡入时间。您还可以应用您选择的 13 个低通、高通和 FX 滤波器，以及可分配的调制目标，例如速度、调制轮、表情、触后、键位置和步进音序器表控制。我们的可定制琶音器具有内置速度序列表，可控制琶音方向、音符时序、摇摆、随机化和持续时间。内置模块化 FX 机架窗口提供 27 种不同的 DSP 效果模块，您可以按任意顺序分配到 8 个可用插槽中的任何一个。您会发现经典的相位、镶边、延迟、失真、放大器和驾驶室模拟器、压缩器、均衡器、旋转器等等。混响效果包括 99 个我们自己的卷积混响脉冲预设。我们捕捉了各种不同的房间、大厅、室内和室外环境，以及 139 种独特、奇特和富有创意的特殊效果脉冲，以彻底改变声音并开辟全新的音乐可能性世界。

Alpha Organ features a beautifully sampled pair of pipe organs recorded individually and together at St. Paul's Church in San Francisco, CA. Each organ offers a distinct contrast to the other and when the two are played simultaneously in unison, the sound is glorious. We’ve captured both instruments individually and together in unison, with multiple microphone types and positions to offer you a variety of aesthetic options.

The “lower” organ, built by Kilgen Church Organ Company of Saint Louis, MO, was originally water-powered, but has since been converted to an electric blower-driven system. The console is in the south isle near the side entrance and its pipes are hidden behind the altar with the blower and machinery under the floor of the Apse, allowing the lowest pedal notes to resonate through the floor, seeming to shake the very foundation.

The upper organ, far larger and more elaborate, was built by the Felix F. Shoenstein & Sons Organ company of San Francisco. It is arrayed high above the portcullis and Narthex in a mezzanine between the two bell towers. Where the first organ - our “Alpha” Organ - is sweet and silky in its tone, the second - our “Omega” Organ - is thunderous and mighty in its body and energy, with a more powerful blower, larger console and many more pipes.

We feel that this space has extraordinary acoustic properties bordering on the mystical. Each time we've recorded there, we've experienced waves of strange synchronicities. The entire hall seems to sing as if one great living instrument. To honor the high strangeness that the space seems to evoke, we've enriched this library with a very wide selection of sound designed ambiences, leads, pads, drones and custom effect presets, delving deeply into psychoacoustic and metaphysical aesthetics. The church was built by its own perishoners over a period of two decades, starting in 1897, delayed by the 1906 San Francisco earthquake and finally completed in 1911, using stone salvaged from the ruined city itself. It has a lush, pristine quality full of spacious airiness and crystal clarity, without a hint of cloudiness or oversaturation. This reverberant hall is one of our very favorite recording locations, home to our acclaimed Requiem Light Symphonic Choir, the Native Instruments Symphony Series Brass Ensemble and Solo collections and many other classic Soundiron libraries.

We’ve packed the user interface with powerful sound-shaping controls to give you complete flexibility. Controls for volume swell, attack and release time, sample start offset, vibrato, and sound bank selection are included in all presets. The main preset also features a microphone mixer and an octave effect. The Layered preset includes 4 independent sound layers, each with a full set of parameters that can be linked, automated and customized. The first three layers are the Close (Mic 1), Mid (Mic 2) and Far (Mic 3) microphone positions. The fourth layer is the Ambiences layer. We used various sound-design tricks to morph the sounds from our journey into 30 different tonal and dissonant pads, synth-tones and ambient dreamscapes. They can be played by themselves, or used to add texture and body to the primary sounds.

In the advanced settings pull-down window, you’ll also find an adaptable per-layer LFO system, with selectable LFO shape, modulation target parameter, speed, intensity, tempo-syncing and fade-in time. You can also apply your choice of 13 lowpass, high-pass and FX filters, with assignable modulation targets such as velocity, mod-wheel, expression, after-touch, key position and step-sequencer table control. Our customizable arpeggiator features a built-in velocity sequencer table and control over arp direction, note timing, swing, randomization and duration. The built-in modular FX rack window offers 27 different DSP effect modules that you can assign in any of 8 available slots, in any order that you wish. You’ll find classic phase, flanger, delay, distortion, amp and cab simulators, compressors, EQ, rotator and so much more. The Reverb effect includes 99 of our own convolution reverb impulse presets. We’ve captured a huge variety of different rooms, halls, chambers and outdoor environments, along with 139 unique, strange and creative special effect impulses to completely transform the sound and open up whole new worlds of musical possibility.