This Collection opens a whole new world for Orchestral Tools, who are well known for their Berlin Series, a virtual Orchestra that set a new standard and is used by many high-profile film composers in Hollywood and around the world. Everything is designed to be loud, to be bold and boundary-shatteringly epic. METROPOLIS ARK I features the loudest imaginable dynamics starting from mf upwards to ffff. METROPOLIS ARK I contains a huge Orchestra, Choir, Electric Guitars, Percussion, a Grand Piano and a magnificent Drumset, all recorded with first call musicians at the Teldex Scoring Stage. 160 GB of samples (75 GB NCW compressed).DISTRICT IV - BAND: E-Guitars, E-Bass, Drumset.DISTRICT II - CHOIR: Men, Women, Cattle.DISTRICT I - ORCHESTRA: Strings, Woodwinds, Brass.A Berlin original which inspired us to preserve all its strength, greatness and bold exceptional-ism in a monumentally powerful collection to bring it back into the latest cinematic soundtrack productions. The construction of virtual instruments as devices of musical expressivity is, therefore, an evolving, mutually constructed, and performative endeavour.METROPOLIS ARK I is inspired by a cinematic monument from 1927 - The first ever epic science fiction motion picture of our time.
Users also contribute to the recontextualization of human performance by feeding back into the cultures and development cycles of virtual instrument software, where sonic gestures are recurrently refreshed. By feigning the acoustic markers of expressive human musical performance, virtual instrument designers and composer-users encourage the listener to produce, in themselves, the experience of hearing an orchestra or singer. Baudrillard considers that " simulation threatens the difference between the 'true' and the 'false', the 'real' and the 'imaginary' " (1994: 3). In particular, it examines two case studies – virtual orchestral instruments and virtual singing instruments – to consider how their design and implementation seek to express human music performance by adopting the micro and macro sonic variations of timing, pitch, dynamics, articulation, ambience, and other limitations imposed by the physical relationship between the player and the instrument.
This article is concerned with the ways virtual instrument software simulates acoustic human performance.
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