Abbey Road Orchestra: Cellos Professional

Legato Techniques

Performance Legato (Extended)

A hugely detailed and highly playable legato patch which reacts in realtime to playing speed. This extended Pro version includes additional legato styles (portamento and detaché) plus marcato and soft entries for single notes - our most advanced legato ever.

Lyrical Legato (Extended)

A relaxed legato patch for slower moving melody lines. This extended Pro version includes additional legato styles (portamento and detaché) plus marcato and soft entries for single notes.

Performance Legato

A hugely detailed and highly playable legato patch which reacts in realtime to playing speed.

Lyrical Legato

A relaxed legato patch for slower moving melody lines.

Legato Runs

A very agile legato patch specifically for very fast passages and flourishes up to a minor 3rd (Legato intervals greater than a minor 3rd will not sound)

Legato Detache

A legato-style patch in which all the connecting notes have broad but separated bow strokes, ideal for strong and impactful statements

Legato Portamento

A legato patch in which all the intervals are performed in a 'portamento' style with an intentional slide between notes

Legato Slurred

A legato patch with slurred intervals performed with a 'moderate tempo' feel for sweeping melody lines

Legato Allegro

A legato patch with slurred intervals performed with a sprightly 'uptempo' feel, ideal for quicker or arpeggiated ostinato material

Long Techniques

Long (Extended)

A polyphonic sustained longs patch - this extended Pro version features additional soft and marcato styles for note entries triggered by key velocity

Long

A polyphonic sustained longs patch for pads and chordal writing.

Flautando

A sustained note performed with a fast bow speed playing close to the fingerboard (sul tasto) creating a delicate and airy flute-like sound

Tremolo

A technique performed with rapid continuous bowing, creating delicate flurrying textures at lower dynamics with increasing intensity at louder volumes

Harmonics

Sustained notes produced from the overtones of the string (artificial harmonics) sounding higher than the fundamental to create glassy, suspenseful textures

Trills (Major & Minor 2nds & 3rds)

Rapid alternating between two notes.

Tremolo (Measured - 150 & 180 BPM)

Tremolo performed with a specified number of repeated notes which may be sync’d to the host DAW's tempo.

Short Techniques

Spiccatissimo

An extremely short note length performed by quickly bouncing the bow on the string - an agile technique for very fast, articulate material

Spiccato

A very short and crisp note length performed by bouncing the bow on the string creating a sprightly 'all-purpose' short articulation

Staccato

A short note length performed with the bow starting on the string, sounding clearly detached with a slight accent

Marcato

A technique performed with a strong accented front to the note - presented as a longer note length than 'staccato' with the option of Timed Release triggers

Pizzicato

A short note produced by plucking the strings with the fingers. ‘Bartok pizzicato is recorded at the very highest dynamic.

Col Legno

A technique performed by tapping the string with the back of the bow or a pencil, producing a light and woody sound

Signals

Mix 1

A full-sounding room mix by Simon Rhodes, formed from Tree 1, Overheads, Outriggers 1, and a curated blend of spots.

Mix 2

A tighter mix by Simon Rhodes, formed from Tree 2, Mids and Outriggers 2 with a curated blend of spots.

Close

Small diaphragm condenser mics placed on each desk and summed capturing a detailed and articulate close image.

Close Ribbons

A combination of ribbon mics placed on each desk capturing a warm and rounded close image.

Pop Main

A cardioid stereo valve mic placed above the section and panned centrally for a flexible image not restricted to the orchestral layout.

Pop Room

Omnidirectional condenser mics placed either side of the section to add additional roominess and space to the Pop Main signal.

Tree 1

A decca tree formed of Abbey Road’s finest trio of classic valve omnidirectional microphones creating a lush and full sound.

Tree 2

A tighter, closer decca tree formed from mics with a more directional pattern, suited to faster, more detailed material.

Outriggers 1

Used in conjunction with either tree to obtain a wider image. This pair utilises omnidirectional mics to reproduce the full width of Studio One.

Outriggers 2

Used together with either tree to obtain a wider image. This pair uses mics with a more directional pattern, pulling the edges of the room inwards.

Mids

A pair of valve REDD mics placed between the conductor and the source which adds extra focus to the sound when combined with the Tree and Outriggers.

Ambients

A pristine pair of small diaphragm omnidirectional microphones to the rear of the room for a natural ambience.

Vintage 1

A pair of original 1940s RM1B ribbon microphones placed in front of the conductor to create a vintage scoring stage sound

Vintage 2

A pair of classic 44BX ribbon microphones placed by the conductor for an alternative vintage scoring stage sound

Leader

A single microphone placed on the section leader, used to add additional focus above the full section if required.

Spill

A summation of spot mics placed around the other sections. These capture the natural 'spill' from the source across the orchestra for added realism.