Januar , von 9. Ende der Servicezeit. Alle Downloads Der neuste Download, der fur verfugbar ist, wird unten aufgelistet. Alle Downloads. Alle Application Treiber. This Driver Package can either fully install Digital Audio System device drivers, or it can update an existing installation.
It does not require that you had previously installed software from an original Digital Audio System CD, only that your system meets the minimum hardware requirements. If the version numbers below are higher than what you see in the About Box, you should proceed with the update. If you have experienced a fault in any audio application, you should reboot Windows before applying this update. Fixes a typo in the Insert Send list when using sample rates of Fixes a rare bug on some computer systems where distortion occurs when using WDM at sample rates of How do they sound?
The first impression is of a slightly austere realism, the Hall ambience creating a sense of location that no reverb unit could quite match. The next impression is that the string ensembles are very good, with perfect loops and tuning, and a strong presence and delivery which extends all the way down to the bottom octave of the basses.
This is not always the case with sampled strings; often one finds good violins undermined by wavery violas, indifferent cellos and hopeless double basses, but here all the string ensembles are well performed. Fearing that my ears were being fooled by some programmer's sorcery, I turned off the effects and stripped away any layering, leaving the raw samples exposed I was able to do this without consulting the manual, always an encouraging sign.
Having completed this ritual, I was pleased to find that the string sections all sounded strong without relying on reverb or chorus. Though the ensembles here were played at one dynamic only, the legato ie.
I enjoyed the pizzicatos very much, and the arco samples sound classy too. The 16 violins and six double basses are especially strong — to hear their combined range requires six octaves, but if your keyboard has only five, the Virtuoso's handy 'Master Transpose' function will help you access the missing octave.
It came as a surprise to find that only four of the string sections '16 Violins legato', '16 Violins pizzicato', '16 Violins tremolando' and '6 Double Basses legato' are presented in true stereo; every other instrumental multisample in the Virtuoso is mono.
This is just one of the compromises programmers have to make when trying to cram a 25Gb library into 64Mb of RAM — to understand the maths involved, imagine trying to fit Anne Widdecombe inside a thimble Solo strings are almost impossible to emulate with samples, the results often ending up so grotesque that composers simply don't bother writing parts for them.
I found the vibrato versions the most convincing, and actually enjoyed the viola, which is a first. The violin's attack is a little exaggerated, but that can be softened by slowing the attack rate. On the plus side, the solo violin and viola pizzicatos are very nice — writing parts for them would be no problem! The solo brass on the Virtuoso was played at three different dynamics, with a 'Hall' version one dynamic only also included.
Though realistic enough, the trumpet is a little disappointing: there is a slight inconsistency of attack in the high notes, and a huge jump in timbre between the medium and loud dynamics trumpets do this in real life, but it comes over as a bit unsubtle here.
The trombone and bass trombone sound pleasantly warm and work well in chords, but the latter lacks the thrilling low end rasp you would hear from time to time in a real orchestral performance — maybe a jazz player would have given it more welly. The French horn and tuba are very useable, the latter often known as the 'fat bastard' of the orchestra played with admirable stability as it descends into its inimitable low register. Apparently, trumpet and French horn ensembles were recorded in Seattle, but lack of space on the Virtuoso's ROMs means that at the time of writing, they are still waiting in the wings.
The whole woodwind family is here, played solo without vibrato at two dynamics, with ambient 'Hall' versions also included. The high notes of the piccolo are suitably sweet yet piercing, and the alto flute's low notes are breathy and mellow. Though the flute samples are technically good, the player's tone in parts of the bottom octave leaves something to be desired. I appreciated the inclusion of the clarinet's very soft, breathy 'p' notes, which would be useful in delivering a quiet melody.
The oboe is OK, but the English horn known to English readers, paradoxically, as the cor anglais is not totally convincing. On the other hand, I was delighted with the low woodwind instruments — bassoon, bass clarinet and contrabassoon are all good and fruity see 'Favourite Presets' opposite.
Overall, I found myself wishing for stronger attacks, which staccato performances would have provided. The Virtuoso has great percussion, both unpitched and tuned — the complete list is given in the 'V2K Instruments' box. All this stuff is superbly recorded, and in a couple of cases an impressively huge ambience thunders in — could this be a taste of Emu's cathedral recordings? The piatti orchestral cymbals include a crescendo roll, and the orchestral bass drum has real clout, for want of a better word.
Though it may seem a trivial point, I really appreciated hearing items like claves, woodblocks and triangles cleanly recorded with just the right degree of ambience. Sampled harps are enjoying a renaissance at the moment, with one or two contemporary sound libraries offering excellent specimens. The Virtuoso's harp has a lovely character of its own, combining strength, delicacy and lyricism in a very playable patch.
There are no arpeggios, but I'm sure you know how to sweep your finger up a keyboard The marimba is reasonable, though I wish some quieter samples, possibly played with softer mallets, had also been included.
Most of the Virtuoso's melodic instruments seem to have been sampled at minor third intervals, which is a good average for a sound module struggling to perform the obscene Anne Widdecombe operation mentioned above. However, some corners have definitely been cut in the tuned percussion department. The xylophone uses only four samples, which renders it a bit brittle — too much tap and not enough note — and the poor celeste has to struggle by with a measly two samples.
It still sounds like an attractive cross between a music box and a vibraphone, but some of the character of this wonderful keyboard instrument has been lost. I put it to Emu that as the Virtuoso is basically a Proteus shipped with two orchestral cards, why bother issuing it as a separate unit?
The answer seemed to boil down to that great word 'marketing' an activity which has taken the place of religion in the Western world. A composer looking to try out MIDI arrangements might be unaware of the Proteus 's orchestral capabilities, but the 'Virtuoso' tag might lure him into a purchase. They have four ROM card slots, so you can mix and match your own menu. With the Flash ROM option, you can even add your own samples if you have access to one of the Emu Ultra range of samplers.
This has not been done in the Virtuoso ; all multisamples play over the full MIDI range, which can produce some very odd noises indeed when, for example, the double basses stray up into the high violin range, or the piccolo falls into contrabassoon territory. If orchestral realism is your goal, be sure to play the instruments in their actual ranges — if in doubt, consult a book on orchestration, or refer to the ranges shown in Part 1 of the series on using orchestral samples, in SOS December The result is a more complex, interesting waveform — which is not necessarily more realistic.
If you want a orchestral sound which is truer to the real thing, you may want to edit some of the presets to use less processed versions of certain instruments. The same thinking applies to layering; given half a chance, programmers will always throw in in a extra layer of sound it justifies their salary, I suppose , often duplicating the same samples in slightly detuned or delayed versions.
Stripping away these layers can sometimes produce a stronger, more focused sound. A very powerful layering of spiccato and sustained strings with timpani doubling in the low octave, which helps my weak left hand! Good for dramatic film music. Sampled bassoon rarely works well for rhythmic lines, but this one speaks quickly and emphatically when played staccato.
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