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EWQL EastWest Quantum Leap - Voices of passion

torrent ewql gypsy

Powered by East West's PLAY 64-bit sample engine, the Quantum Leap Gypsy collection gives you a touch of the old world with the flexibility of the most modern sampling technology available. The library has three more accordions up its sleeve: the Italian Campana model has a smaller, more friendly sound and its wheezy, warbling 'Musette' stop immediately evokes clichéd images of beret-clad Parisian onion sellers. I found some of the nomenclature a little unhelpful: the 'Malaysian' djembe sounds exactly like the African drum of the same name and the Indonesian 'bongos' sound more like high-pitched clay drums.

torrent ewql gypsy

All of the guitars were sampled with up and down strokes, many velocities and picking styles, release trails, chords and effects. This instrument is a lot of fun if you cheese it up, but it works well for other kinds of music as well. The only one I could find so far is Ethno World 5, which also includes voices.


We catch up with the latest instalments in the eagerly awaited 'Play' series of sample libraries. Photo: Erunsmagazine A bandoneon — one of the many accordion-type instruments offered by the Gypsy sample library. Photo: ErunsmagazineIn last month's SOS I waxed lyrical about EastWest's Beatles-homage sound library, Fab Four, and described the enjoyable ear-bashing I'd received courtesy of Quantum Leap's well 'eavy Ministry Of Rock.

Both libraries run exclusively on EastWest's Play audio engine, which works in plug-in and stand-alone mode on Mac and PC. Accompanying Fab Four and MOR are three more Play-formatted sample collections created by EastWest's partner company Quantum Leap: QL Gypsy, QL Voices Of Passion and QL Stormdrum 2. These libraries were first announced in the spring of 2007, but would-be buyers had to wait until February 2008 to get their hands on Stormdrum 2.

At the time of writing, a sixth Play title, QL Pianos, is still under construction. QL Gypsy shouldn't that be 'QL Person Of Romany Extraction'? Given the ancient origins, complex migratory patterns and wide geographic dispersal of that particular ethnic group, you might suppose this library would have to cover an awful lot of musical territory, but Gypsy avoids excessive globe-trotting by focusing on a relatively limited instrumentation drawn from the gypsy musical traditions of Romania, Eastern Europe and Spanish flamenco.

If accordions are your thing, you're going to love this library. I used to vainly imagine that if push came to shove I could probably get a tune out of an accordion because it has a keyboard attached, but in the case of the bandoneon, that idea's a non-starter: this rectangular squeezebox is played with buttons that produce different pitches depending on whether the bellows are closed or open!

Like certain ghastly war criminals, bandoneons originated in Germany and later appeared in Argentina, where unlike the Nazi fugitives they play a prominent role in tango orchestras.

Thanks to an accomplished sampling job, we can enjoy the bandoneon's wide range and big, stately reedy tones from the comfort zone of our MIDI keyboards. The library has three more accordions up its sleeve: the Italian Campana model has a smaller, more friendly sound and its wheezy, warbling 'Musette' stop immediately evokes clichéd images of beret-clad Parisian onion sellers.

Another Italian make, Excelsior, sounds grander and has a more percussive attack, courtesy of an optional layer of key-click samples, while the American Silvestri model has the most intimate tone of all. These accordions don't just play single notes at one dynamic; the bandoneon has long unlooped notes, short notes, portatos, accents and sforzandos, while the other instruments have 'air in' and 'air out' variants.

A set of basic major, minor and dominant 7th chords are provided in all keys for accompaniment. Photo: ErunsmagazineAcoustic guitar is the other main weapon in Gypsy's armoury. I enjoyed the subtle, natural dynamic response of the nylon-string classical guitar, and found that judicious use of the vibrato and legato samples livened up lines played with its no-vibrato articulations. In a jazzier vein, another acoustic guitar has a perky set of single-note multisamples played in the style of the fabulous Django Reinhardt — and these are supplemented by a comprehensive set of Django-esque chords, which include quite complex voicings.

A Spanish steel-strung guitar contributes some fine single-note 'strum' patches which, if played in the right way, can do a very decent rendition of strummed chords, while the Flamenco guitar nails the fierce strums and staccato chordal accents of that dance style.

Accompanying this haughty string-flailing are flamenco dancer percussive foot noises, castanet hits and a set of monosyllabic male vocal utterances, evidently intended to encourage the dancer. Thankfully, no-one shouts 'olé'! We now head East. Quantum Leap's Nick Phoenix is right in identifying the cimbalon as a fantastic film score element: the instrument famously performed the The Third Man theme in 1949, was used by John Barry in The Ipcress File and makes an appearance in John Williams' Raiders Of The Lost Ark score.

The cimbalon is an Eastern European 'hammered dulcimer' aka a large zither played with yarn-covered beaters. Its dim, dreamy twang is terrific for melodies and arpeggios, with grace notes and tremolandos adding to the mysterious, slightly oriental atmosphere. I layered two cimbalons and detuned one slightly with some difficulty, as the fine-tune parameter is concealed in a box called 'Current Instrument Advanced Properties'.

The result was a chorused, Leslie speaker-like sound — very nice indeed, an inspirational musical timbre. It has been said that all a Hungarian needs to get drunk is a glass of water and a Gypsy fiddler.

The violinist on this project deserves a drink too, as his legato performances use nearly 7500 samples. This bears witness to the fact that the producers have utilised 'interval sampling', a technique pioneered by the Vienna Orchestral sampling company. There's no doubt in my mind that it's the best way to produce effective legatos from a sampled instrument, and here it adds a silky sheen to the violin's emotional delivery and expressive vibrato.

A similar technique smoothes over the pitch slides of the very presentable solo trombone, whose short staccatos are played with great precision in classic Quantum Leap style.

In addition to these romantic sounds, Gypsy makes sure you will never again have to echo British music hall entertainer Arthur Atkinson's plaintive cry of 'where's me washboard? They go straight into my 'samples I will almost certainly never use' top 10. Ever since Lisa Gerrard did her ethnic-sounding thing in Gladiator, composers have been falling over themselves to hire female vocalists to add a human touch to their TV and film soundtracks.

There's something immediately engaging about a solo voice, even if you don't understand a word the person is singing — and of course Lisa Gerrard, Liz Fraser of the Cocteau Twins and Miriam Stockley of 'Adiemus' fame all invented their own sung quasi-languages anyway, thus ensuring total incomprehensibility.

Le Mystère des Voix Bulgares — a style of singing replicated in Voices Of Passion. Photo: ErunsmagazineQuantum Leap's Voices Of Passion brings you more of the same in the shape of five solo female vocalists from different corners of the world. Naturally, I can't understand the Bulgarian singer's lyrics, but even if it turns out she's actually asking someone to call her a minicab, the sound of her voice is still mighty evocative.

The vowel sounds, occasionally strident 'head' tone and elaborate multi-note ornaments will be familiar to anyone who's heard the amazing female choir on the Le Mystère des Voix Bulgares CDs. This is the sound of the ancient past, evolved through centuries of Thracian, Ottoman and Byzantine history: a fine collection of subtly evolving vowels, ululations, liturgical-sounding melodies and mini-phrases contrast with lovely soft oohs, ohs, eehs and ahs, all sung with great intonation.

Play a string of moody string chords, pick the right vocal phrase, add some reverb, and the effect is absolutely spine-chilling. From Bulgaria to Syria, whose vocal representative performs elaborate phrases with that unmistakable Middle Eastern melismatic delivery. The licks were sung in all 12 keys; many of them feature the characteristic Arabic scale interval of a flattened second, and their exotic, chromatic quality adds to the yearning, expressive effect. There's also some quarter-tone stuff going on which sounds out of tune to our European ears until you realise it's deliberate.

At least, I hope it is! The South Indian vocalist also does some great improvisational stuff but a few phrases seem to have drifted sharp of concert pitch, which means you'd have to employ global pitch correction to make them fit with a backing track. It would be worth the effort, as the performances are excellent. The Welsh singer doesn't sing in her country's language but instead performs a mini-dictionary of random English words such as 'breathe', 'dream' and 'fly' and less cheerfully, 'death', 'drown' and 'hate'.

The articulation is deliberately blurred and breathy and the words are indistinct, the intention being to provide a set of multi-purpose syllables that can be combined into quasi-phrases. Quantum Leap describe the performances as being in the 'Celtic shoegazer style', which says it all, really. If you like the singer's voice as I did but don't need the words, you can use her portamento slides and sustained vowel sounds, both based on legato intervals, to great effect.

The deliveries comprise a choice of simple and evolving vowel sounds, short ultra-breathy 'ahs', hums, crescendos and drifting-pitch sustains good for spooky cluster chords. All in all, a very varied and colourful 7. This being a product aimed at the Hollywood movie industry, there had to a sequel, and sure enough we now find ourselves confronted by 'Stormdrum 2 — The Next Generation'.

I like to think the subtitle is ironic. The brutal metallic graphics alone are enough to scare anyone half to death, so it was with trembling fingers that I tore open the box and installed the library.

Photo: Erunsmagazine Hang drums — just one of the many types of unusual percussion instruments to be found in Stormdrum 2. Photo: ErunsmagazineWhat I found was a very satisfying mix of ethnic and processed percussion, presented as separate hits and also blended together in various fiendishly clever ways. The variety of sounds is enormous, as can be seen by a quick look at the instrument list above.

Rather than souping up the samples with EQ and compression, the producers concentrated on capturing the natural resonance of the drums and added a very pleasing room ambience.

This means that while the timbales for example don't clang manically like the ones in the theme tune of I'm A Celebrity, Get Me Out Of Here, big drums such as the giant odaiko and large, ambient dumbek really boom out impressively as nature intended.

This boomy quality reaches its zenith in 'Earthquake Ensemble', a collection of low-pitched drums whose seismic rumble is capable of demolishing a row of houses. It's the kind of percussion sound that film composer Hans Zimmer is known for, with a low bass end designed to shake the walls of cinemas equipped with 5. Although culturally aware, the library is by no means purist; the producer thinks nothing of bunging a lot of reverb on a sample if it helps it achieve its effect.

Consequently the massive, reverb-enhanced crescendo hits in the patch 'Rumpfs' sound absolutely devastating. But it's not all big bangs: some of the smaller hand drums sound very tuneful, making it easy to program more delicate grooves.

I found some of the nomenclature a little unhelpful: the 'Malaysian' djembe sounds exactly like the African drum of the same name and the Indonesian 'bongos' sound more like high-pitched clay drums. I thought the intriguingly-named Roman war drum was going to raise the roof, but it turns out to have a rather pacific sound, somewhat like a softly-played tImpani! The drum performances are comprehensive and varied, and it's good to hear brushes as well as sticks used on some of them.

How did they get that in the car on the way to the studio? The stand-out instrument for me was the 'hang drum', a resonant, metal, drum-like instrument that produces tuneful pitches in the manner of a Caribbean steel drum, but with a much softer, more beautiful sound. I found myself jamming along for ages with its attractive, understated, almost gamelan-like tones which are tuned to a D-minor scale. For those who need a drum kit, Quantum Leap have included a scaled-down version of the 'Black' Gretsch kit from Ministry Of Rock.

A set of powerful tom-tom samples from different kits recorded at the MOR sessions but not used in that library are also included. Acoustic percussion is only half the story — a large part of Stormdrum 2 centres on processed 'sound design' percussion, much of it distorted, reversed and generally messed up.

This kind of thing has been done before, but SD2's programmers have a talent for creating hip, contemporary noises that work well for programmed rhythm patterns, especially in conjunction with the library's giant drums. To get you in the programming mood, 106 MIDI files are included, in a variety of tempos.

Each has its own multi-instrument set-up; the moods range from Alien 2-style military snares and bass drums to BT-esque fuzzed-up breakbeats.

There are so many fantastic electronic noises in there I couldn't begin to describe them — suffice it to say that they rock, big time. Both platforms require an iLok key not included. Reviewing these wildly disparate sound libraries gave me the opportunity to get more familiar with the Play audio engine. The absence of on-screen multiple sound slots gives the erroneous impression that it's a single-instrument player, but in fact one instance of Play can handle multiple instruments operating independently on up to 16 MIDI channels.

It's a simple, flexible and effective system that enables you to quickly build complex setups without having to continually look at a cluttered screen. Stormdrum 2 contains 16,000 samples, and I don't even want to think about how long it took to record the countless performances in Gypsy and Voices Of Passion. There's a sense of devotion about these projects, the long months spent recording and programming seeming to go well beyond the call of duty.

As a consequence, each of the three Play titles is an artistic success. Sample libraries don't get much better than these, and any composer with an ear for sound will find much inspirational material in them. Anyone with a sense of rhythm will get a kick from Stormdrum 2 — its exciting sound design elevates it into the highest echelon of sample libraries.

Gypsy and VOP are more specialised, but both contain lovely material with lots of useful variations. The contents of this article are subject to worldwide copyright protection and reproduction in whole or part, whether mechanical or electronic, is expressly forbidden without the prior written consent of the Publishers.

Great care has been taken to ensure accuracy in the preparation of this article but neither Sound On Sound Limited nor the publishers can be held responsible for its contents. The views expressed are those of the contributors and not necessarily those of the publishers.


torrent ewql gypsy

EWQL Gypsy, Voices Of Passion & Stormdrum 2 - torrent ewql gypsy


They do this by a very intuitive articulation implementation and appropriate parameters to tweak such as reverb types several real world convolution based settingsADSR of course, other filters and delays to create exactly the sound you are looking to capture. GYPSY's guitars sound incredible and were played by one of the best session guitarists in Los Angeles, David Kole. Torrent ewql gypsy for a few instruments in certain key ranges, the torrent ewql gypsy here are impeccable. Rather than souping up the samples with EQ and compression, the producers concentrated on capturing the natural resonance of the drums and added a very pleasing room ambience. How did they get that in the car on the way to the studio. The PLAY engine really captures how you play and adapts it to that instrument. This is the sound of the ancient past, evolved through centuries of Thracian, Ottoman and Byzantine history: a fine collection of subtly evolving vowels, ululations, liturgical-sounding melodies and mini-phrases contrast with lovely soft oohs, ohs, eehs and ahs, all sung with great intonation. The 64-bit PLAY engine really brings these recordings to life by not simply reproducing the recording, but truly reproducing the performance. The violinist on this project deserves a drink too, as his legato performances use nearly 7500 samples. My advice is- don't get mad. There is some true character represented in Gypsy, one that I think a lot of musicians will want to inject into their compositions. Also for bowed instruments we have superb legato detection.
East West Quantum Leap Gypsy review

Gypsy is essential for film, TV and game composers. The nylon string guitar, violin and trombone can play in both Gypsy and Classical styles. In the classical realm these three instruments are unparalleled in the sampling world in terms of playability, diversity and sound quality.

The new king of sampled violins has arrived. The violin and trombone feature many articulations, repetitions and even true legato intervals. All of the guitars were sampled with up and down strokes, many velocities and picking styles, release trails, chords and effects. GYPSY's guitars sound incredible and were played by one of the best session guitarists in Los Angeles, David Kole. The accordions feature many different setups, all with air flow in and out samples, as well as expressive samples, chords, and left hand bass.

GYPSY also has a very cool GYPSY percussion program and two flamenco dancers foot stomps, as well as traditional castanets. GYPSY also features an incredible bandoneon and cimbalom, two very rare instruments. With the combination of Gypsy, Ra and Silk collections you have the most detailed and expressive ethnic instruments ever produced. That violin is probably the most high-profile instrument in this library, with its big, rich sound.

The Master program brings up a large variety of keyswitched articulations 24 if anyone's counting , plus there's a legato auto-sensing program; turn up the mod wheel, and instead of playing connected notes in one bow, you'll bring in some serious portmento, the kind that's absolutely essential for a hammed-up gypsy violin part.

This instrument is a lot of fun if you cheese it up, but it works well for other kinds of music as well. It might be miked a little close-up for classical, but you can move it back by adding some reverb.

And the close-up sound is just right for a gypsy violin, plus the default EW Fat Hall sounds really good on it. The trombone is another highlight, and it's also quite versatile. Its Master program has eight different articulations, and its legato program has real recorded slides between notes.

The accordians are all really good and full of character, with air in and out samples, and lots of other goodies. They can sound remarkably real. Gypsy's flamenco guitar has a lot of characteristic strums and noises recorded and assigned to keyswitches—taps, tremolo, etc. For the most part they want to be overdubbed and turned down, because they're at the same level as the notes. The Django guitar has several chord types assigned to keyswitches, and it makes it easy to create surprisingly Django-like parts.

Then there's a Spanish steel guitar, the percussion and flamenco dances, a cimbalom…and finally what for me personally is the hit of all four libraries: the classical guitar.

That instrument is absolutely lovely, and the programming is excellent. Between the velocity layers, auto-round robin samples, release samples, and above all the overall sound, it's a real joy to play. I personally would find Gypsy worth the price just for that instrument, but it has a lot of other great stuff too. I was assigned Gypsy, a collection of Mid-Eastern and European instruments. From what I've experienced so far, it is a remarkable tool with extremely high production values, an attention to detail, and an even greater consideration to the end-user experience.

In the box is two DVD's. Yet on those two DVD's are some exquisitely captured instruments, an intuitive interface and implementations, and a robust, powerful playback engine, aptly titled PLAY. So you get 11GBs of ethnic guitars, accordions, trombones, rare percussion, and just about the best sampled violin and violin performance you'll find anywhere.

The 64-bit PLAY engine really brings these recordings to life by not simply reproducing the recording, but truly reproducing the performance. They do this by a very intuitive articulation implementation and appropriate parameters to tweak such as reverb types several real world convolution based settings , ADSR of course, other filters and delays to create exactly the sound you are looking to capture.

About the articulation implementation: Very nice. Initially, it's hard to describe because…well, you'd expect it to be a lot more complicated to evoke the exact performance you want.

Intuitive is definitely the word. Typically, playing any of these instruments at default settings is just amazing, you almost don't want to mess with the settings too much because the presets are great. The PLAY engine really captures how you play and adapts it to that instrument. Guitars, for instance have a second sampled note when the same note is played again to differentiate between the first and second strum. This simple idea really opens up the world of MIDI-based guitar at least for me, and will save me a ton of editing time when playing in some guitar lines in the future.

Also for bowed instruments we have superb legato detection. On the interface itself is a representation of all the articulations available to a particular instrument and what key that switch may be mapped.

Double that with on-screen key switch highlighting, and it seems like you can never be lost, or want of directions on what does what or why. In a word, intuitive! Really, when looking at the product, was there anywhere else to go? I listen to a ton of soundtracks and work as an audio engineer, so I can spot samples versus true performance regardless of recording techniques, usually. Save for a few instruments in certain key ranges, the performances here are impeccable.

When you pair this up with the top-notch PLAY engine, you get an unbeatable duo. There is some true character represented in Gypsy, one that I think a lot of musicians will want to inject into their compositions. Even more than that, I'm always enthralled when something inspires me to create, which is what I believe this library does beautifully. Please read the documentation for more information and support details.

Interface Gypsy is powered by EASTWEST'S PLAY 5 64-bit Advanced Sample Engine This VIRTUAL INSTRUMENT combines intuitive handling with excellent sound quality, and functions as a plug-in instrument, without the need for a sampler.

PLAY 5 is a 64-bit Advanced Sample Engine. For 32-bit compatibility, please use PLAY 4. Sounds Online uses cookies. By using our services, you are agreeing to the use of cookies and our Privacy Policy. We do not accept liability for incorrect spelling, errors including prices , incorrect manufacturer's specifications, release dates, or changes, or grammatical inaccuracies in any product included in the Sounds Online website. Prices and specifications are subject to change without notice.

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