Saxophones

Saxophones

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Take Five

Alt Saxophone EnThis Collection offers the complete saxophones family. The performance algorithms of the included Vienna Instruments player work wonders with these samples. The focus has been directed equally to orchestral settings as well as to jazz. Famous examples of orchestral works using these instruments include the saxophone quartet by Alexander Glasunow, the alto saxophone concerts by Glasunow and Debussy, and the Castello from Mussorgsky’s “Pictures”. In addition, a host of articulations for jazz and big band are included, such as bends, tongue slaps, growling, screams, extended harmonics, key sounds, and more. In an unprecedented development, long and short downward ending phrases have been added as release samples for heightened realism. There are even some soft and breathy tones that were captured during the legendary “Barfly Sessions” at the Silent Stage. The lights were dimmed late at night to create that special atmosphere that now lives on in these soulful recordings.

Saxophones - Instruments: Sopransaxophon, Altsaxophon, Tenorsaxophon, Baritonsaxophon & Basssaxophon

ARTICULATIONS

Performances:

  • Interval Performances: Legato with and without vibrato, grace notes (minor second to octave), portamento
  • Fast Interval Performances: Legato, marcato
  • Performance Trills
  • Repetition Performances: Legato (slow and fast), Portato (slow and fast), Staccato
  • Fast repetitions: Staccato
  • Octave runs: Legato, chromatic and whole tone runs, up and down
  • Grace notes: minor second to octave, up and down
  • Bends down: Sustains with and without vibrato, progressive vibrato, „dirty“ (screams); legato with vibrato (grace notes, portamento, glissandi, marcato, trills)

Single notes:

  • Short notes: Staccato, portato (short, medium, long), marcato
  • Long notes: Sustained notes with and without vibrato, with progressive vibrato, slaps normal und muted, key sounds, screams, long and short end phrases
  • Dynamics: Various crescendos & diminuendos; fp, sfz, sffz
  • Flutter tonguing: normal and crescendo
  • Trills: Half and whole tone, crescendo & diminuendo, constant speed and accelerando

Library Content

  • Standard Library: Samples 17.572 | Download Files Size 13,9 GB | Installed File Size 25,1 GB

  • Full Library: Samples 58.786 | Download Files Size 13,9 GB | Installed File Size 25,1 GB


 

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 Reviews

Flag EN spaceSound on Sound 1/07

Having unleashed their 545GB Symphonic Cube orchestral collection, VSL embark on the second phase of their Vienna Instruments series. Two of the new VI's will ring a bell with VSL followers: Saxophones is an expanded version of the 2004 sound library Saxophones 1, while Elements incorporates the ethereal Glass & Stones, one of the highlights of the company's Horizon series.

Saxophones completes the Vienna saxophone family by adding alto, baritone and bass saxes to the soprano and tenor instruments supplied in Saxophones 1. This 25GB collection was performed single-handedly by Robert Bernhard in VSL's Silent Stage, a controlled room acoustic which suits the saxes' intimate sound. The five instruments perform a huge menu of single-note deliveries, changing dynamic samples and note repetitions as well as fast
octave scales and a comprehensive set of trills and grace notes.

VI's intelligent interval detection software makes legato melody notes join together as nature intended. Sampled at three dynamics, the alto sax's performance legatos sound astonishingly real and can transform simple keyboard melodies into flowing, expressive lines worthy of Wayne Shorter. Now upgraded, the soprano's performance legatos match the high quality of the alto sax. In the full library, there's a choice of vibrato, no-vibrato, marcato and portamento (slide) legatos, the latter producing real played bends which sound far better than anything you can knock up with the pitch wheel.

In the '60s, Tamla Motown producers used to largely confine the baritone sax to honking staccato mini-phrases and the occasional spluttering foghorn-like solo, but the instrument in this collection is capable of far more than that. The rich, attractive timbre of its quiet sustains sounds great in isolation but also blends very nicely with orchestral low winds. The rarely-found bass sax is impressive too; it's an expressive, powerful and surprisingly versatile low-range
instrument which handles bass lines, melodies and even chords with aplomb. But if all you want are those Motown bass licks, the baritone and bass sax's blasting sforzando samples will do nicely.

A new set of growling 'dirty' samples and pitch falls help make these top-quality sax samples suitable for pop, jazz and big-band arrangements as well as orchestral settings. Although Saxophones contains no pre-configured melodic phrases, having such a wealth of lively performance samples under your fingers makes it inexcusable not to program your own. Throughout, Mr. Bernhard plays with commitment and lots of feel, effortlessly covering the emotional
range of these highly versatile and mobile instruments. After performing 58,000 samples the poor chap deserves a holiday - let's hope that VSL bought him some lip salve for Christmas.

The 11GB Elements occupies more of a niche market, but it's a pretty nice niche. The beautiful instruments from Glass & Stones are all here, augmented by several more elemental creations. The largest is an oversized tam tam so tall that Ronnie Corbett could hide inside it. Its small menu of conventional loud hits sound like slow-motion explosions, and it has also been scraped, rubbed, stroked and otherwise molested by a variety of implements, producing a range of mysterious atmospheric noises, suitable for horror film soundtracks and experimental modern music.

Glass & Stones' musical glasses now have alternate samples with an extended range, and also offer mallet hits which reminded me of chiming clocks, toy pianos and Javanese gamelan metallophones. Unfortunately the element of fire is absent, but the liquid world is represented by a fantastic bass waterphone, a mad-sounding contraption that creates a wonderfully spooky set of slithering, other-worldly noises, indeterminate random notes and crazy overtones. A set of blown bottles completes the line-up. Unfortunately, their upper range is rather limited, but hopefully that will be sorted out when someone from VSL next goes to the off-licence. 

The third new Vienna Instrument is the only title in VSL's catalogue not to have been recorded in the Silent Stage, but there's a good reason for that: the instrument is built into the fabric of the Great Hall of the Vienna Konzerthaus and it would have been rather inconvenient to move it to another location! Built in 1913, the Konzerthaus organ boasts five manuals and over a hundred stops. The Vienna boys sampled every note of 39, using the organ's retro-fitted MIDI interface to speed up the job. Each note has its own reverb release sample, and although VSL claim the hall acoustic gives the instrument a more defined sound than your average cathedral organ, its reverb tails are still pretty prominent.

The two things I look for first in a pipe organ are a simple flute stop and a big, multi-octave sound to scare the congregation. I found the former quickly enough - 'Bordun 16' and 'Lieblich-Gedakt 16' are both pure, plain flute timbres, which sound lovely on their own, or can be used as building blocks in the construction of more complex sounds. I enjoyed the tremolo effect of 'Unda Maris', which gives it something of the floating quality of a Hammond/Leslie combo, while the brighter, reedier 'Trumpet 16' and 'Krummhorn 8' have a much more triumphant and declamatory tone. If you want to add high frequencies, there are plenty of 4', 2', 'quint' (ie. sounding a fifth higher) and 'mixture' stops, all sounding bright and transparent.

For an instant big organ sound, you can simply select one of the 36 pre-layered multi-stop 'registration' patches, the most massive-sounding of which is the 'Large Principalplenum + Reeds', combining nine different stops. If that apocalyptic racket doesn't put the fear of God into your flock, nothing will! The Konzerthaus Organ is highly playable, extremely versatile and sonically beautiful. The only minor inconvenience is that some bass notes take a while to
develop, so if you want these particular low notes to 'speak' in time with your track, you'll just have to play or sequence them a bit early!

5 STARS  Review: VSL SAXOPHONES, ELEMENTS & KONZERTHAUS ORGAN  Sound on Sound, January 2007

Having unleashed their 545GB Symphonic Cube orchestral collection, VSL embark on the second phase of their Vienna Instruments series. Two of the new VI's will ring a bell with VSL followers: Saxophones is an expanded version of the 2004 sound library Saxophones 1, while Elements incorporates the ethereal Glass & Stones, one of the highlights of the company's Horizon series.

Saxophones completes the Vienna saxophone family by adding alto, baritone and bass saxes to the soprano and tenor instruments supplied in Saxophones 1. This 25GB collection was performed single-handedly by Robert Bernhard in VSL's Silent Stage, a controlled room acoustic which suits the saxes' intimate sound. The five instruments perform a huge menu of single-note deliveries, changing dynamic samples and note repetitions as well as fast
octave scales and a comprehensive set of trills and grace notes.

VI's intelligent interval detection software makes legato melody notes join together as nature intended. Sampled at three dynamics, the alto sax's performance legatos sound astonishingly real and can transform simple keyboard melodies into flowing, expressive lines worthy of Wayne Shorter. Now upgraded, the soprano's performance legatos match the high quality of the alto sax. In the full library, there's a choice of vibrato, no-vibrato, marcato and portamento (slide) legatos, the latter producing real played bends which sound far better than anything you can knock up with the pitch wheel.

In the '60s, Tamla Motown producers used to largely confine the baritone sax to honking staccato mini-phrases and the occasional spluttering foghorn-like solo, but the instrument in this collection is capable of far more than that. The rich, attractive timbre of its quiet sustains sounds great in isolation but also blends very nicely with orchestral low winds. The rarely-found bass sax is impressive too; it's an expressive, powerful and surprisingly versatile low-range
instrument which handles bass lines, melodies and even chords with aplomb. But if all you want are those Motown bass licks, the baritone and bass sax's blasting sforzando samples will do nicely.

A new set of growling 'dirty' samples and pitch falls help make these top-quality sax samples suitable for pop, jazz and big-band arrangements as well as orchestral settings. Although Saxophones contains no pre-configured melodic phrases, having such a wealth of lively performance samples under your fingers makes it inexcusable not to program your own. Throughout, Mr. Bernhard plays with commitment and lots of feel, effortlessly covering the emotional
range of these highly versatile and mobile instruments. After performing 58,000 samples the poor chap deserves a holiday - let's hope that VSL bought him some lip salve for Christmas.

The 11GB Elements occupies more of a niche market, but it's a pretty nice niche. The beautiful instruments from Glass & Stones are all here, augmented by several more elemental creations. The largest is an oversized tam tam so tall that Ronnie Corbett could hide inside it. Its small menu of conventional loud hits sound like slow-motion explosions, and it has also been scraped, rubbed, stroked and otherwise molested by a variety of implements, producing a range of mysterious atmospheric noises, suitable for horror film soundtracks and experimental modern music.

Glass & Stones' musical glasses now have alternate samples with an extended range, and also offer mallet hits which reminded me of chiming clocks, toy pianos and Javanese gamelan metallophones. Unfortunately the element of fire is absent, but the liquid world is represented by a fantastic bass waterphone, a mad-sounding contraption that creates a wonderfully spooky set of slithering, other-worldly noises, indeterminate random notes and crazy overtones. A set of blown bottles completes the line-up. Unfortunately, their upper range is rather limited, but hopefully that will be sorted out when someone from VSL next goes to the off-licence. 

The third new Vienna Instrument is the only title in VSL's catalogue not to have been recorded in the Silent Stage, but there's a good reason for that: the instrument is built into the fabric of the Great Hall of the Vienna Konzerthaus and it would have been rather inconvenient to move it to another location! Built in 1913, the Konzerthaus organ boasts five manuals and over a hundred stops. The Vienna boys sampled every note of 39, using the organ's retro-fitted MIDI interface to speed up the job. Each note has its own reverb release sample, and although VSL claim the hall acoustic gives the instrument a more defined sound than your average cathedral organ, its reverb tails are still pretty prominent.

The two things I look for first in a pipe organ are a simple flute stop and a big, multi-octave sound to scare the congregation. I found the former quickly enough - 'Bordun 16' and 'Lieblich-Gedakt 16' are both pure, plain flute timbres, which sound lovely on their own, or can be used as building blocks in the construction of more complex sounds. I enjoyed the tremolo effect of 'Unda Maris', which gives it something of the floating quality of a Hammond/Leslie combo, while the brighter, reedier 'Trumpet 16' and 'Krummhorn 8' have a much more triumphant and declamatory tone. If you want to add high frequencies, there are plenty of 4', 2', 'quint' (ie. sounding a fifth higher) and 'mixture' stops, all sounding bright and transparent.

For an instant big organ sound, you can simply select one of the 36 pre-layered multi-stop 'registration' patches, the most massive-sounding of which is the 'Large Principalplenum + Reeds', combining nine different stops. If that apocalyptic racket doesn't put the fear of God into your flock, nothing will! The Konzerthaus Organ is highly playable, extremely versatile and sonically beautiful. The only minor inconvenience is that some bass notes take a while to
develop, so if you want these particular low notes to 'speak' in time with your track, you'll just have to play or sequence them a bit early!

5 STARS 

 Ratings

The following reviews have been placed by customers who also bought this product from us. All reviews are provided through eKomi, Europe’s largest independent customer review company.

5.0 of 5  
26.07.2016 Sprache: deutsch

VSL Saxophones (Full): die Qualität ist ausgezeichnet: sehr realistisch, ich werde sie in meinen Kompositionen für Blasmusik verwenden.

5.0 of 5  
20.08.2015 Sprache: deutsch

VSL eben, und die Saxophone sind super

 Awards

SoundOnSound 5 Stars
SOS, 5 Stars

 Endorsements

Alexandre Desplat
Alexandre Desplat

Harry Potter and the Deathly Hallows Part I & II, The Curious Case of Benjamin Button, Coco avant Chanel, The Queen, The King’s Speech, Carnage, Renoir

“Since I’m working in Hollywood it requires a vast library and that’s why VSL is really useful.”

David Foster
David Foster

16-time Grammy Award winner, composer and producer of Chicago, Earth, Wind & Fire, Al Jarreau, Chaka Khan, Michael Jackson, Barbra Streisand, Natalie Cole, Whitney Houston, Céline Dion, Seal, Michael Bolton, Peter Cetera

“To have the magic of a full orchestra in breathtaking 3D sound at your fingertips is the best luxury someone like myself could hope for. Thank you VSL for an amazing product.”

Danny Elfman
Danny Elfman

Men in Black, Good Will Hunting, Planet of the Apes, Spiderman, Batman Returns, Corpse Bride, Alice in Wonderland, Mars Attacks!,The Simpsons, Desparate Housewives, Oingo Boingo)

“Vienna Symphonic Library has been the center of my orchestral sample library for several years now. I go to their library first every time I create an orchestral template when I´m beginning each film I score. And my demos sound great. I recommend this library to anybody getting into film scoring.”

Jochem van der Saag
Jochem van der Saag

Michael Bublé, Andrea Bocelli, Jackie Evancho, Josh Groban, Seal

“Vienna Symphonic Library is way ahead of the curve in terms of their sounds and their software; the combination of both musical expression and technical excellence is truly superb and unrivaled“

 Requirements

*Upgrades and User Discounts: You already own VSL Products?

After the login you can check in the shopping cart if you are entitled for a VSL User-Discount and apply it. This works for Upgrades, Crossgrades, EDU products and also when you complete Bundles. Simply add the desired products to your shopping cart and then check for the VSL User-Discount.

Please note that all discounted user-specific orders must be processed manually by our sales team and therefore may take up to one business day to be completed.

Your purchase of any VSL library entitles you to download the free Vienna Instruments Pro player software that includes the Vienna Ensemble mixing host.

Mac:

  • macOS 10.13 or higher
  • 64 bit
  • Intel Core i5 (Intel Core i7/i9/Xeon/M1/M2 recommended)
  • RAM: min. 8 GB (16GB recommended)

Windows:

  • Windows 10/11 or higher
  • 64 bit 
  • Intel Core i5  / AMD Athlon Pro (Intel Core i7/i9/Xeon recommended)
  • RAM: min. 8 GB (16GB recommended)

Free hard drive space according to the library size.

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Vienna Symphonic Library products require you to register with the manufacturer at www.vsl.co.at and with www.ilok.com to activate your license.

This product requires an activation!

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You can either "soft" activate the software on your computer without addditional hardware or transfer the license to an iLok USB dongle which has to be purchased separately. The iLok dongle can be used to run the protected software on different computers. Your licenses can be easily manged using the iLok Licence Manager. To protect your investment against theft or loss we recommend the iLok Zero Downtime protection with TLC.

An internet connection on any computer and a free user-accout at www.ilok.com is required to authorize the product. In order to download and install your software products and sample libraries authorized via iLok, please use the Vienna Assistant.

Please check with the software manufacturer which iLok version is required at least if you want to use a hardware iLok!