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For each key class you can define an interval as a fraction, typically the Root key is set to 1/1, but this is not required by the script.

You can shift the Root key with the knob and keep the interval relationships constant.

If no other scripts are running in your instrument, you will hear your tuning and can make adjustments as necessary. If other scripts are present however, it’s not possible to guarantee you will hear the results of the script.

For example, most legato scripts do not account for microtuning and will overwrite any tunings you create here.

There is an Options menu with two command: Initialise the tuning (to a 7-limit chromatic scale), and Export the Tuning. The format of the exported tuning is the same as that you can Import/Export from many other Soniccouture instruments that support microtuning.

Download:
Just Intonation Script

Requires Kontakt 6.2.0 or later.

Grand Marimba has been completely rebuilt into our new intelligent round-robin system. The old sample set was 15 velocity layers x 5 round robins. This has now been combined into one ‘high-res’ stack of 70 velocity layers. To prevent sample repeat adjacent samples in the stack are used when required.

Additionally, to both instruments we now add our Generative Tools: Weaver and Jammer for inspirational jamming, and our micro-tuning module for the interval-curious.

No new sample data has been added.

These new updates are free and require Kontakt 6.2. Available now in your User Account

He tells it like it is.

All Saints Choir Webpage

We got in touch with Hannah last year when she tweeted about The Attic 2. Her sound has such an original combination of modern classical elements with synthesis that she seems to perfectly represent Soniccouture’s sensibilities. So we really wanted to hear what she could do with All Saints Choir. Hannah repaid our persistent nagging with two tracks, immediately exceeding expectations by 100%.

Hannah Peel: “This a beautiful library with high quality recordings, a great range of spaces to play with and a lot of flexibility within the sampler to play with. I also love to find ways of creating sounds that wouldn’t be possible if using a live choir and so enjoyed using techniques that could test that. ”

 The Lost Manor at St Marie

“I used the ‘Sing’ controller to expand parts and to play with textures. Gentle at first with an Ooh vowel on Sopranos and Altos. Then erratic in the middle section using cluster on all voices. I added some extra plugin effects here too, like the Soundtoys Crystallizer, distortion and a long shimmer reverb on the loudest parts.
The ending was on a Mm with a close mic. When the music is composed within the breathing restraints of the human voice, and the dynamics of the Sing Controller are used, it feels very real. ”

A screenshot from Hannah’s Logic session, showing the Cluster modulation programming.

The Sing controller modulation lane

Beyond The Door

Hannah’s second track builds Reich-like layers and synth bass to show All Saints Choir’s versatility with modern styles.
“I really like the cluster function – contrasting the pure choir voices with the more out of the ordinary adding drama and tension was fun to play with. Especially using this with the filters and choral effects in the effects panel, alongside a midi triggered arpeggiator.
I played with these functions for the end of Beyond The Door – a track written with some layers of a Juno 60 and Model D MiniMoog. This library works really well when layered within textures and other instruments too.”

Hear more of All Saints Choir here

In fact, it was once so busy as a recording venue that a dedicated ‘control room’ outbuilding was constructed, with pipes into the main hall for microphone cables.

In recent years it has fallen out of favour with the classical industry. But Dan, through a friendship with a Sony recording engineer, had always been aware of this forgotten gem, languishing in the depths of South London.

In the summer of 2018 we went to All Saints to make a test recording of the huge pipe organ there. The sheer size of the hall bowls you over as you enter – it doesn’t look so big from the outside. In fact, if this church were in any other city than London, it would be a cathedral. The acoustic is also immediately apparent. Sparkly, open and clear, yet with a long rich tail if excited.

We completed a recording of the pipe organ in a day, and made plans to return in the spring of 2019 with a full choir.

The New London Chamber Choir joined us at All Saints in May 2019, recording basses, tenors, altos and sopranos – 32 voices in all – in different sessions over 4 days.

The results were stunning, and will be available April 2020 as ALL SAINTS CHOIR, a full virtual instrument for Kontakt.