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All these performances have alternative takes for most samples.īeret-sporting avant-gardists will take masochistic pleasure from the substantial selection of random-sounding 'cluster' chords. Changing-note samples are represented by some vigorous comedy glissandos (which briskly slide a semitone up to a short note), and, as on SAM Horns, a collection of upward legato intervals of a minor third, major third, fourth and fifth, played at between 65 and 75 bpm - rainy day material. Short, medium and flutter-tongue crescendos, along with useful 'mod wheel cross fade' programs, offer great scope for dynamic variation and expression. Muted sustained notes produce an alternative, rather nasal timbre. The most emphatic attacks come from the short notes, which comprise powerful, four-dynamic staccatos and staccatissimos (in a choice of three alternative takes) and three different lengths of marcato. 'Diminuendo' sustains have a stronger attack, followed by a slight decrescendo. The sustain programs incorporate four nicely graded dynamic layers, all played with decent tuning and good ensemble co-ordination. These ff foghorn blasts are balanced by quieter, more subtle performances, giving a wide dynamic range throughout. Another common criticism is lack of power, but that's not a problem either - the players really let rip with their loud notes, producing forceful samples which are given extra rasp and penetration by the hall acoustic. My standard complaint about orchestral samples is that long notes aren't looped, so I'm glad to report that SAM have sidestepped this gripe by looping the three trombones' sustained notes. For me, it's a no-brainer wallowing in the concert hall's flattering acoustic, the 'far' samples sound big, fulsome and expensive, making the close versions sound rather clinical by comparison. As with the four French horns, the samples were performed in the concert hall of Utrecht Conservatory and recorded simultaneously from close and far mic positions, thereby offering the user a choice of perspectives. Following their excellent SAM Horns title comes a Giga set dedicated to a three-trombone section, augmented by a fruity solo bass trombone. These cheerful Dutch samplists compete by offering high-quality, specialised orchestral samples at a reasonable price. On hearing about the sheer size of the recent Vienna Symphonic Library and upcoming Quantum Leap Symphonic Orchestra, some sound companies quietly shelved their plans for new orchestral sample projects, but not so the SAM team.