This allows the player to play glissandos by swiping across the white keys and thus get as close as possible to emulating a natural harp glissando. The black keys and keys outside the harp’s playing range serve as function keys, e.g., to tune all C’s up as mentioned above. These tunings required by a piece are called pedalings. In Pedal mode, the harp’s 7 strings per octave are mapped to the keyboard’s white keys, and can be tuned to different scales.
Therefore, the Vienna Synchron Harp has two modes, Pedal and Chromatic. On the keyboard, it would probably be rather confusing if we had merely attempted an analog implementation of this system. These allow the player to tune individual notes of a scale up or down by a half tone – for instance, tuning from C to C# on all octaves.
#VSL VIENNA SYMPHONIC LIBRARY PERFORMANCE SET HARP FREE#
Soni Musicae Le Blanchet 1720 (Jeu1, Jeu2, Luth) Free Kontakt Instrument available here. ERA Medieval Legends Virginal (product also has an organetto and spinet) Miroslav Orchestra (Harpsichord 1 & Harpsichord 2) SoniVox DVI Harpsichord (Harpsichord, Lo Dulci, Compressed & Lite) Precision Sound Blanchet Harpsichord (Blanchet1, Blanchet2, Alternat and Uniti) Native Instruments (NI) Kontakt5 Harpsichord (uses "dry", reduced VSL samples) Garritan Personal Orchestra (Plug-in Version, not from Finale or Sibelius)
Steinberg Halion (Ambient, Baroque, 8'+4' ) East West/Quantum Leap Symphonic Orchestra Gold (16 bit) Stage, Close, & Stage/Close Mix Notion (8' Long, 8' Lute, 8' Nazzard, 8' Short) Currently on iPad version only (See Discuss the Piece for more information) VST settings for plug-ins were kept at their defaults instead of trying to tweak each for an optimal sound as there would be to much variance there. No other processing is used (compression, EQ, noise filtering, etc). Reverb varies as I can not totally control that to make it exactly the same. All normalized to -6dB (I did not want to overly amplify as the levels between different sample sets vary widely so I chose a dynamic value that should not make the examples seem too loud in relation to normal recordings). The goal of this page is to present a comparison of a variety of digital and sampled harpsichords. Keyboard Sonata in D major, K.96, by Domenico Scarlatti A Comparison of Digital & Sampled Harpsichords