Our technology allows you to fully control the expression of any virtual acoustic instrument: you will stop listening, and you will start playing for real.Īs a producer, composer or live performer, you can use SWAM Flutes for any musical genre by layering it in a section with no artifacts and simply selecting different timbres for each instance. SWAM Flutes, like all SWAM Engine digitally handcrafted acoustic instruments, is not a simple recording of notes via sample libraries, but a set of real virtual instruments based on their traditional counterparts. ![]() Real-time controllable via MIDI controller, SWAM Flutes requires only the smallest footprint to create the perfect organic consistency resulting from the endless expressive parameters that are unique of every live performance: it’s the set of most expressive and realistic virtual flutes on the market. Developed by Audio Modeling using the SWAM Technology (Synchronous Waves Acoustic Modeling) through a combination of innovative performance techniques and concepts of physical and behavioral modeling with the multi-vector/phase-synchronous sampling technique, the SWAM Flutes bundle includes four instruments: Flute, Alto Flute, Bass Flute and Piccolo. Powered by the SWAM physical modeling engine, this software permits you to control the real-world mechanics of your instrument, such as bow position. Tired of Giga-sized pre-recorded libraries of flutes and of the objective limitations of traditional samplers? SWAM Flutes is the solution. This collection is comprised of four instruments, the Flute, the Alto Flute, the Bass Flute and the Piccolo.
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![]() Everything they've made since then has ranged from good (The Good Dinosaur) to very good (Brave, Monsters University) to great (Finding Dory and Inside Out). I haven't truly forgiven them yet for Cars 2. Ever since then, I've been wary of Pixar. Oh and did I mention that everyone else around Mater thinks he's a super secret spy when he's clearly not. So, essentially, the idea was a giant culture clash and how a country bumpkin would react to being a fish out of water. Driving on the wrong side of the road, figuring out road signs in Japan, the autobahn in Germany. Lasseter traveled around the world and he wondered what Mater would do in those situations. He just wasn't meant for that, he's a diversion, not the lead. Mater can be an entertaining enough character in small doses, but when he's absolutely insufferable when he's pushed to lead character status. He was the one who conceptualized the idea of Mater taking the lead role. He can do what he wants for Disney Animation Studios. At the time I stated that John Lasseter, who directed the film, should never have any direct involvement in the creating process of an animated film ever again, or at least ever again for Pixar. Cars 2 was a movie that did talk down to its audience and assumed that they were as stupid as the characters that inhabited its world. They don't treat your children like they're morons, even though they may be. The thing about Pixar movies is that they are uncommonly smart. ![]() Cars 2 reflected that cynicism with an awful story with terrible characters. Disney saw a cash cow in the Cars franchise, given the popularity of the merchandise for the original movie. Here was a cynical movie produced for cynical reasons. The point is that Cars 2 changed everything, in my mind for Pixar. Ghibli won one for Spirited Away and Aardman for Wallace and Gromit: Curse of the Were-Rabbit. Out of 17 years Best Animated Feature has been a category at the Oscars, only TWICE has a non-American studio won. Both excellent films, but Persepolis, in my opinion, might have slightly edged out Ratatouille. The year Ratatouille won was also the year Persepolis came out. Part of me also thinks that's because the Academy, apparently, refuses to even consider any films by non-American studio. They've won like a gajillion Academy Awards for Best Animated Movie. You could make the argument that they're still above and beyond what anyone else is doing right now. It just turned out that, for the most part, Pixar's level of quality was above and beyond what anyone else was doing at the time. If I saw something I didn't like, I was gonna point it out. ![]() Perhaps I don't think that's fair to say, but you could make the argument. I guess you could make the argument that, prior to Cars 2, I was something of a Pixar apologist. There's can't be a Cars 3 with a second installment, right? That's how sequels work. That elephant in the room, obviously, is Cars 2. I don't think a review of this film can start off without addressing the elephant in the room. Well um I thinking about that lightning mcqueen and sally having kids like about 2 or more and the kids were be like the daughter was red like lightning mcqueen and the son was blue like sally and I think 2 is enough and mater and holley were getting kids too and they would having two kids just like lightning mcqueen and sally and the son was purple like holley and the daughter was brown like mater and then accidently got lost and lightning and the others were looking for them and the kids were in the forest lost and looking the way out but they couldn't get out and then lightning's enemies came out behind the trees and kidnapped them and challenges lightning to race and free the kids but if he wins the race,the kids will be sent to be free but if he loses the race,the kids will stay with the enemies forever and become evil but I know for sure that lightning will win because he is the fastest car in the world and then at the end,they would have a perfect day with family and then the end.I'm starting this review less than 30 minutes after I just finished watching this, so you know I got some shit to say. Listeners: please subscribe and/or leave a review and a rating. His many plays and adaptations, staged in Scotland, London and around the world, include: Europe, Tintin In Tibet, Caligula, The American Pilot, The Bacchae, Midsummer, Charlie And The Chocolate Factory, Lanark, The Lorax, Touching The Void and this summer’s Old Vic production of Local Hero. Join us for a special episode that’s as warming as a wee dram.ĭavid Greig is Artistic Director of the Royal Lyceum Theatre in Edinburgh. Other names lightly dropped include Kris Kristofferson, Robert Burns and David’s recent collaborator Mark Knopfler. ![]() When I first started looking for movie adaptions of Jane Eyre forever ago, I loved the 1996 version with William Hurt. Quotes that leap out of this most Scottish of episodes: “Bob Dylan couldn’t exist except for Edinburgh”, “I secretly love the glorious oddness of his bad rhymes” and his favourite bit of advice from Bob: “an artist should always be in the state of becoming” (from Scorsese’s No Direction Home). Once you watch the masterpiece or pbs adaptions, every other adaption will be ruined for you. ![]() ![]() “That’s it”, he thought, “I’M GOING IN!” He has yet to come out.ĭavid wrote his version of Euripides’ The Bacchae by playing the Hard Rain album over and over while drinking red wine and channelling “Dylan as Dionysius, Dylan as shaman”. Scottish playwright David Greig was first “cracked open” to Dylan when he heard Desire in a remote part of South Africa “under the influence of the most extraordinarily strong dope”.
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