TEST: Eastwest Library

 The story is as old as music itself. Whenever man found an object from which he could produce a melodic or rhythmic sound, he was already looking for how he could expand or supplement this sound. Similar to a pedal nerd on the “the journey is the destination” trip, whose search for the ultimate tone has become more important than actually finding the ultimate tone.

While the synthesizer exploded the imagination of musicians in the 1970s, it was the sampler boom of the 1980s that finally forced any form of sound or noise into a song. In order to be able to access this type of music storage, people remembered the DIN plugs, which the older ones among you will still know from dad's Braun stereo system. 5 conductors in a small space, as expected a German invention, which was far superior to the Japanese Cinch Armada, but only looked a fraction as cool.

However, with the newly introduced MIDI interface, this type of connector experienced a new career. Now it was just a matter of finding the right, preferably polyphonic instrument that would drive the sampler. The decision was made quickly. A guitar, with its diverse modulation options such as vibrato, benings and the possibility of an inaccurately played tone, was quickly ruled out, while the keyboard could only be easily tamed with the volume parameter. From then on, everything associated with “electronic” music was firmly in the hands of keyboardists.

Why this history lesson? Well, the following test report has something of a Mars expedition, which means that we are moving in terrain that is not designed for our nature. If we survive in it, new worlds and unexpected sounds will open up for the guitarist, but first we have to explore the “hostile environment”. Well, how do we get into the macrocosm of sampler management?

Preparations and mechanical modifications

First of all, you have to work on your own instrument, which cannot be used in its original way. To control a sampler, you need a hexaphonic pickup, which is placed as close as possible to the bridge of the guitar. The pickup, which has six individual outputs, does not like large amplitudes in the string vibration, hence the installation close to the bridge. In our case, this is done by the Fishman Triple Play, a combination of pickup, mounting frame and controller, which transmits the data from a guitar transmitter converted into MIDI signals via Bluetooth. The regular pickups can still be used independently of MIDI data dispensers.

The pickup can either be attached to the bridge using various frames or glued to the top of the guitar. The controller, on the other hand, is attached to the strap attachment pin via a magnetic holder and can be used at 2 different angles for both flattop and archtop guitars. The controller receives its operating voltage from an internally installed battery, which is charged via an included power supply.

On the other hand, a USB stick serves as a receiving unit for the computer, which must be paired with the controller at the beginning of the collaboration. The operating systems are Windows 7 and the already quite old OSX 10.7. accepted, but you should also keep an eye on the database used in terms of minimum requirements. The scope of delivery also includes the Triple Play software package, which can be operated both as a host and as a plug-in, for example as a VST or AU plugin. The system also includes some sample packages such as Sample Tank 2.5 and Amplitube, so that you have even more options to choose from in addition to the sample files from Logic or Cubase.

Host or plugin?

We use the EastWest MIDI Guitar Series as our database, which under Volume 1 offers an extensive library of classic instruments that have been specially tailored to the Fishman pickup. I also included some sounds from Eastwest Keys and Percussion Volume 5 in the sound examples.

First you have to be clear about the operating mode. In the Triple Play program, the database is operated as a host and can be used in the studio or live as a normal sound generator. By using the hexaphonic and electromagnetic pickups separately, it is entirely possible to play a regular set with your guitar using the internal pickups and, as an acoustic change, to use the data banks in addition to or instead of the internal pickups. More on this later.

Alternatively, Tripleplay can also be used as a plugin in Logic or Cubase; the formats VST2 / AU and AAXnative are supported. When recording, only the MIDI data is recorded, which feeds the plugin during playback. Important: The database only works in 64-bit mode on the Mac; the sounds are not recognized in the 32-bit version.

Practice

First of all, as a guitarist, you have to completely restart your musical program. Everything that you have laboriously practiced and developed over the course of your training, such as expressive playing with great dynamics, deadnotes or harmonics of any color, must first be banished from your playing and the focus on absolutely even and very clean playing place. It's best to close everything from the Stevie Ray Vaughan camp tightly away and listen to a few Alan Holdsworth records on the right side.

In particular, resonating strings are pure horror for the system. Dampening noises are quickly interpreted as sound-active MIDI events and create disturbing sounds in the background. Similar to some tapping protagonists, it is advisable to place a damping ring near the saddle. This problem can be limited by activating the mono mode, but multitones can no longer be played in this mode.

Furthermore, as already mentioned, it is important to play very cleanly. Rock'n'Roll attitudes are completely out of place here, as they only lead to uncontrolled mud in the end result. Last but not least, you have to keep in mind which instrument you are currently playing and what it sounds like in its natural habitat. Violins, for example, rarely play power chords and the frequency response of a trombone only sounds realistic within a specific range. So you should already have a certain level of familiarity with the sampled instruments before you start working.

You should also bring some time, as converting the guitar and extensively installing the software with download managers, authorizations, optimization and understanding of the system can take 2 days or more. Mind you, we're talking about guitarists. What cold coffee means to electronic producers still needs to be understood and processed by the classic woodworm.

sound

Here we come to the highlight of the test report. Without a doubt, the sounds optimized for the Fishman Triple Play prove to be of consistently high quality. Not only were the individual instruments sampled with several dynamic levels, attention was also paid to the seating position in the orchestra and this was taken into account in the panorama and depth grading. Although some instruments that sound aggressive to biting, such as trumpets, have a touch of artificiality in the high registers, the basic sound of the individual instruments can be seen as soft and natural.

The same can be said about the Keyboards Library. Representing an extensive selection of realistic and deliberately alienated sounds, a church organ, a Steinway grand piano and a clavinet / spinet provide a very good idea of the quality of the instruments. A complete list would go far beyond the scope of this test; there are no real qualitative outliers to report.

Conclusion

With the EastWest MIDI Guitar Series, the manufacturer offers a lot for the money with the database optimized for Fishman Triple Play Wireless Guitar Controller. The consistently excellent-sounding instruments impress with their high level of detail and very good depth.

If you want to expand your sonic horizons and are not afraid of making profound changes to your playing technique, you should definitely try out the combination of controller and database.

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Additional Informations:

The realm of music production has undergone significant transformations over the years, with technological advancements playing a pivotal role in shaping its landscape. Among these advancements, the emergence and evolution of sample libraries have revolutionized how musicians, composers, and producers create music. From humble beginnings to the sophisticated libraries of today, the journey of sample libraries is a fascinating narrative that mirrors the evolution of music technology and production techniques.

Origins of Sampling:
The roots of sampling can be traced back to the mid-20th century when experimental musicians and composers began manipulating recorded sounds for artistic expression. Early pioneers like Pierre Schaeffer and Karlheinz Stockhausen explored the concept of musique concrète, which involved manipulating and rearranging recorded sounds to create new compositions. These early experiments laid the groundwork for what would eventually become the art of sampling.

Early Sampling Instruments:
In the 1960s and 1970s, advancements in technology led to the development of early sampling instruments such as the Mellotron and the Fairlight CMI. The Mellotron used tape loops to reproduce pre-recorded sounds of various instruments, allowing musicians to access a wide range of sounds in a single instrument. Similarly, the Fairlight CMI (Computer Musical Instrument) introduced digital sampling technology, enabling users to record, manipulate, and play back audio samples with unprecedented flexibility.

The Rise of Digital Audio Workstations (DAWs):
The 1980s saw the emergence of digital audio workstations (DAWs), which further democratized music production by bringing powerful recording and editing capabilities to home studios. Software such as Pro Tools, Cubase, and Logic Pro provided musicians with intuitive interfaces for recording, arranging, and mixing music. With the integration of sampling capabilities into these DAWs, musicians gained access to vast libraries of digital samples, laying the foundation for the sample-based production techniques that would become prevalent in popular music.

The Birth of Sample Libraries:
As digital technology continued to advance, dedicated sample libraries began to emerge in the 1990s. Companies like EastWest, Spectrasonics, and Native Instruments pioneered the development of high-quality sample libraries, offering musicians access to realistic instrument sounds, orchestral arrangements, and electronic textures. These libraries were often distributed on physical media such as CDs or DVDs, with users loading the samples into their DAWs for use in their compositions.

Expansion of Sample Library Content:
With the advent of the internet and broadband connectivity, the distribution of sample libraries underwent a significant shift. Companies began offering downloadable libraries, allowing users to access vast collections of samples instantly. This led to an explosion of content, with sample libraries covering a wide range of musical genres, instruments, and production styles. From orchestral ensembles to vintage synthesizers, the diversity of sample library content expanded rapidly, empowering musicians to explore new sonic possibilities.

Advancements in Sampling Technology:
The past two decades have seen continuous advancements in sampling technology, driven by innovations in software and hardware development. Improved sampling algorithms, advanced scripting languages, and sophisticated sound design tools have enabled sample library developers to create more realistic and expressive virtual instruments. Techniques such as round-robin sampling, velocity layers, and dynamic articulations have enhanced the realism and playability of sampled instruments, blurring the line between virtual and acoustic sound sources.

Integration with Virtual Instruments:
In addition to standalone sample libraries, virtual instruments have become increasingly popular in modern music production. These instruments combine sampled sounds with advanced synthesis techniques, offering musicians unprecedented control over sound shaping and manipulation. Sample-based synthesizers such as Omnisphere, Kontakt, and Serum have become staple tools in the arsenals of producers and composers, allowing for the creation of intricate soundscapes, intricate melodies, and dynamic rhythms.

The Future of Sample Libraries:
As technology continues to evolve, the future of sample libraries looks promising. Advancements in artificial intelligence and machine learning are poised to revolutionize how samples are created, manipulated, and integrated into music production workflows. Real-time audio processing, adaptive sampling techniques, and interactive interfaces are just a few of the innovations that hold the potential to redefine the possibilities of sample-based music production.

Conclusion:
The evolution of sample libraries in music represents a journey marked by innovation, creativity, and technological advancement. From the early experiments of musique concrète to the sophisticated virtual instruments of today, sample libraries have transformed the way musicians create, compose, and produce music. As technology continues to push the boundaries of what is possible, the future of sample libraries holds endless possibilities for musicians and creators alike.