Embertone Joshua Bell Violin Recensione



Embertone set out to create a new standard in virtual solo strings, offering plenty of inspiration without sacrificing flexibility… and with the unmistakable, iconic sound of internationally acclaimed violinist Joshua Bell.

The instrument offers a huge variety of standard articulations, like sustains, pizzicatos, staccatos, spiccatos, and more, along with a number of sample sets you’re not likely to find anywhere else. Joshua performed an incredible set of eerie harmonics transitions, and a set of “ultra-flautando”, a special technique he can harness from his 300+ year-old violin.

Though this VI is incredibly complex, featuring almost 20,000 individual samples, it’s designed to be simple to use. Play it straight out of the box and it will inspire and surprise you! This virtual violin utilizes intelligent and predictive programming using a diverse array of musical tendencies and rule sets. And with 12 complete “legato”/transition types, you can perform the Joshua Bell violin at various tempos, dynamics, in different styles, while retaining an authentic performance!

Grammy® winner Joshua Bell is one of the most celebrated winning violinists of his era, and his restless curiosity, passion, and multi-faceted musical interests are unparalleled in the world of classical music. With more than 40 CDS recorded of classical repertoire as well as soundtracks including the Oscar® winning score for The Red Violin, Bell has been embraced by wide television audiences with appearances ranging from The Tonight Show, Tavis Smiley, Charlie Rose, to CBS Sunday Morning and Sesame Street. He was one of the first classical artists to have a music video on VH1 and he was the subject of a BBC Omnibus documentary.

Bell has appeared in publications ranging from The Strad and Gramophone to Time, The New York Times, People Magazine’s 50 Most Beautiful People, USA Today, The Wall Street Journal, GQ, Vogue and Reader’s Digest among many. Bell performs on the world’s most precious stages from Carnegie Hall 33 times to the Hollywood Bowl with his 1713 Huberman Stradivarius violin and his late 18th century French bow by François Tourte.

The 1713 ‘Huberman’ Stradivari violin now owned by Joshua Bell has a thrilling history. Formerly known as the ‘Gibson’ Strad, the violin was twice stolen from the Polish violinist Bronislaw Huberman and for nearly 50 years remained undiscovered in plain sight, disguised by its thief – a café violinist named Julian Altman who made a deathbed confession to his wife.

After Altman’s death, his wife had the violin authenticated and reported to the proper authorities. The fiddle was then sold to Norbert Brainin, an acclaimed English violinist, who later decided to sell the violin to a dealer who had an investor eyeing it for a museum piece. Then Joshua stepped in, showing great empathy for its rightful owner, Bronislaw Huberman, who had passed away in 1947, and for the instrument which he felt must be played.

In Bell’s words, “The idea of the violin resting silently in a vault made me ill. This was an instrument meant to be played, not just admired.” He purchased the violin for nearly $4 million, selling his own $2 million 1732 Tom Taylor Strad in the process. The rest is history, and Joshua uses the instrument exclusively to this day!


Spitfire–Bernard Hermann Composer Toolkit–Recensione





€509 inc VAT

Spitfire’s first dry scoring stage ensemble library, inspired by the electric genius of Bernard Herrmann. Renowned for his groundbreaking scores including Citizen Kane, Journey to the Centre of the Earth, Psycho, Vertigo and Taxi Driver, his legacy continues to inspire the work of composers today. We’ve worked exclusively with Bernard Herrmann’s estate to curate and assemble a unique set of studio orchestra ensembles, informed directly by the composer’s legendary orchestration aesthetic. Recorded at Studio 1 Air Lyndhurst by Simon Rhodes (Avatar, Grand Budapest Hotel, Spectre, Harry Potter, There Will Be Blood), we’ve captured players performing as Herrmann would have had them – boisterous, lively and upfront, with patches featuring selected groups, unusual instrumental combis, chords, effects and much more. Fire-up this versatile Toolkit for lively and distinctive scoring.

  • 186742 SAMPLES
  • KONTAKT VERSION REQUIREMENTSKontakt Player 5.5 or higher


Bernard Herrmann is one of the great modern composers. His work for TV and film is nothing short of iconic, and is truly synonymous with mid-20th Century cinema. Collaborating with Orson Welles on Citizen Kane, Martin Scorsese on Taxi Driver, and in long-term partnership with Alfred Hitchcock for scores such as Vertigo, Psycho, The Birds, Marnie and beyond, the sheer magnitude of critical works produced is breathtaking. Not only did his work cause significant impact on culture at the time, but more recently those works have been used to invigorate contemporary scores, for example the use of the Twisted Nerve theme in Quentin Tarantino’s Kill Bill – an eerie whistle which is now instantly recognisable worldwide.
Herrmann had a unique and trailblazing compositional style. His orchestrations were entirely original, daring and inventive; always appropriate for the context and subsequently incredibly influential in film scoring (Psycho is an obvious example of a totally new way to score a thriller). The bold selection of specific instrumental ensembles (his Psycho score was famed for being strings-only, and the infamous Torn Curtain featured 12 flutes) and choice of interesting combinations (harp and vibraphone in Vertigo, stopped horns and pizzicato strings in North by Northwest) challenged the status quo. Equally his experimentation of electronic instruments in scores was pioneering – the ondes Martenot in The Day The Earth Stood Still and amplified Moog synths in Sisters/Endless Nights brought sounds previously unheard to cinemas. He also went as far as to effect change in the performance style of players, requesting that players not play in the traditional, somewhat overblown nature that other Hollywood composers would traditionally employ.
He had a limitless curiosity and love of new music, championing the careers of several composers who became household names as a result of his hard work. His work as conductor of the CBS Symphony Orchestra, and the many radio broadcasts he made with them, helped to bring a huge and often little heard variety of music to a wide audience.
His was a truly individual voice and he stood firm against what he saw as the dilution of the art form and he continues to be massively respected and influential among film composers today.
So, of course, when the opportunity arose for Spitfire Audio to collaborate with his estate, we crumbled with excitement. We hope to have developed a unique library that provides working composers with a broad variety of new sounds and possibilities, albeit rooted in the genius of Herrmann and his approach to film scoring.



Gives you a quick and easy way to access, view and load the different articulations, mic mixes and essential controller functions which you can then re-assign to suit your workflow.


A deeper but still simple UI panel that allows you to tweak the general settings. How many round robins you would like and how you would like them to behave. How would you like memory to be organised alongside pitch options and how velocity works.


Quite simply a little inspiration machine. Not quite an arpeggiator, not quite a sequencer. This intuitive device allows you to build up complex patterns that react to your playing to achieve wild systems results tantalising Zimmeresque tension beds or cheeky multi-tonguing effects!


Included in the “advanced” folder are over 30 synth patches inspired by Herrmann’s use of sythesisers in combination with orchestral material. These can be controlled using our Mercury Synth GUI. It is an ingenious user interface that allows you to have instant fun without having to roll up your sleeves and go under the Kontakt hood. All of the controls are assignable to your control surface giving you the immediate ability to make our sounds your own.

Recensione Ancient Era Persia by Best Service



Ancient ERA Persia – The Sound of Fairy Tales in Ancient Orient
A collection of sounds from forgotten places of the middle east.
Create your own melodies with 28 (!) fully playable instruments, deep sampled, with true legato and glissandi, different dynamics and lots of articulations

Once again, Eduardo Tarilonte seduces you into almost forgotten sounding worlds. This time, he moves to capture the sounds of the birthplace of magic and mystic of some of the oldest civilizations. Experience arcane sounds such as being heard in Arabian Nights, the soundtrack of desert sand trickling away in time and music that makes the Prince of Persia dance.

Following his works of Forest Kingdom, Desert Winds, Epic World and ERA Medieval Legends, Eduardo Tarilonte has dedicated this library to the sound of the ancient orient: Ancient ERA Persia.

GUI and Box

Ancient ERA Persia was created over a period of two years and comes as an extensive library with popular and less known instruments from the Middle East inspiring your fantasy by its touching sounds.

Therefore, this library is the best possible choice for movie soundtracks and television documentaries of this region. At the same time, the library is suited for traditional music productions and also provides a perfect background for games taking place in the Middle East.

For Ancient ERA Persia, Eduardo Tarilonte has recorded 28 percussion-, wind- and stringed-instruments in highest quality and finest detail. In addition, you will find authentically performed phrases as well as inspiring sound atmospheres. The instruments offer all articulations being used in the phrases. Several microtunings allow the use of every desired tuning for the instruments.

video demos

Just for the percussions, there are 1.000 loops in different tempos and rhythms beside the playable instruments.

percussion instruments

Ancient ERA Persia brings the sounds and musical atmosphere of the Middle East, as it sounded in former times, into the modern DAW-supported production environment. The carefully programmed user-interface of the Engine player allows easy and fast work with this library in a way that musicians can be inspired by the sounds and fully unfold their creativity.

Ancient ERA Persia is suited for different applications and genres. The spectrum covers scoring for antique compositions with authentic timbres, fantasy-games, movie soundtracks and new age songs.

The sounds of Ancient ERA Persia are really unique and cannot be found in any other library. The excellent choice of instruments, articulations and sound atmospheres provides the musician and producer with an extensive compendium with as good as no sound missing.

In detail, Ancient ERA Persia contains:


  • Bendhir
  • Daf 
  • Darbuka 
  • Davul
  • Dayre
  • Riq
  • Riq plastic
  • Tombak


  • Turkish Mey High
  • Turkish Mey Low (combined in a single instrument)
  • Turkish Clarinet
  • Kaval
  • Turkish Ney
  • Persian Ney
  • Zourna
  • Duduk

Strings bowed:

  • Turkish Violin
  • Lyra 1
  • Lyra 2

Strings plucked:

  • Kopuz
  • Dutar
  • Santur
  • Oud
  • Baglama Big
  • Baglama Small
  • Tambur
  • Rabab
  • Tar

The instruments of this 17 gigabytes spanning library consist of extensive multisamples (24 bit, 44.1kHz) with several dynamic layers, multiple articulations, round-robins as well as real legato- and glissando-samples.


Ancient ERA Persia was recorded at Eldana Studios in Dueñas, Spain by Jorge Calderón and Eduardo Tarilonte. All instruments have been played by virtuosos of the subject including Efrén López, Michalis Kouloumis, Stellios Petrakis, Jerome Salomon and Iván Karlón.

For the recording of the instruments, selected Kahayan U47- and Neumann U87-microphones were used with API-preamplifiers and Kahayan Epsilon summing amplifiers. In this library, the instruments were being captured intentionally close without significant room ambience, giving the user full control of the following sound-design and effect selection. This is why the sounds of Ancient ERA Persia may easily be combined with other libraries of Eduardo Tarilonte.


Recensione–VST RINASCIMENTO–Strumenti Medioevali e Rinascimentali


Rinascimento features 3 bowed string instruments, 2 brass instruments, 8 reed instruments, 5 recorders of different sizes, 2 other kind of flutes, 7 kind of lute instruments (with a auto-strumming engine), 5 percussion, harpsichord, virginal, a positive organ and a complete organ with 10 registers.
All the non-polyphonic instruments feature full sustained legato transitions and staccato and there is a special and unique scripting engine for some complex instruments like the hurdy gurdy, the percussion, the organ or the lutes. 


  • 36  Renaissance and Medieval instruments
  • 29 gb installed (compressed in NCW format)
  • 3 Mic Positions
  • Sampled in a warm hall
  • 24 bit / 48 kHz stereo
  • 20 legato instruments
  • Auto-Strummer for Lute instruments
  • 4 RRs for Staccato and Plucked Instruments
  • Custom scripting for the Hurdy Gurdy, Zampogna, Organ and Percussion
  • Sleepless nights of editing and scripting