Working in this way you can see why the instrument occasionally takes some liberties with instrument ranges, as well as applying some strategic octave-doubling in a few places. Indeed, by using the full Da Capo master patch you can conceivably create a full-size orchestra patch that spreads across the entire range of the keyboard. Rather than being a tool pitched at painstakingly re-creating an existing full orchestral score, Da Capo is clearly designed as a composing tool, providing the all-important symphonic colour of an orchestra rather than precise control over each and every instrument. As you’d expect, there isn’t a great deal of articulations to play with, although each of the principal sections has its own true legato articulation, which is an essential option for expressive melodic lines. It’s on these screens that we find controls to load different articulations for each instrument group, allowing us to assign a sustain to the high strings, for example, while the low strings work with marcato. The choice of the four microphones matches the same approach taken in Tutti and Vivace, allowing plenty of scope in respect to the sound of the orchestra.īranching off from the main interface we find individual pages for the four main instrument groups. On the front page we see the four orchestral sections alongside controls for the four different microphone sets (Close, Decca, Wide and Balcony) as well as the option to add an impulse response to create additional ambience. Once you’ve installed the 10GB of content included with the package, one of the most immediately striking qualities is the interface.
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