Miroslav Philharmonik 2 is feeling. And it's feeling that you can't get with other orchestral collections. Ik Multimedia Miroslav Philharmonik Mac Keygen Cs4. SampleTank 3 is the latest version of the IK Multimedia sound and groove. Android and Mac/PC. Miroslav Philharmonik 2 is a sweeping vision from a master.

Philharmonik's 20-strong effect list — check out lo-fi and phonograph if you want to add that 78rpm feel to your 21st Century productions!Effects processing is probably more obviously useful than subtractive synthesis components in an orchestral plug-in, but IKM's implementation can initially seem rather odd. There are 20 effects on board, and each part has access to up to four inserts, one of which is always EQ/compression; these insert effects are saved with a patch, but can also be modified as part of a Combi. Four further slots are available as auxiliary send/return effects, accessible by all parts. It's a shame that there are no 'insert' effects on the main stereo mix, though. IKM try to tell us that the effects available are 'classic', implying, I think, that they suit the classical environment.

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Five delay and reverb/ambience choices are crowned by the CSReverb, a deceptively simple three-parameter effect that's derive from IKM's forthcoming studio reverb plug-in. On this evidence, that reverb is going to be worth a listen. While nearly all Philharmonik Instruments sound vibrant dry, mixes sparkle even more with a little of this reverb. IKM obviously think so, too, since it's provided as a default process whenever you start up the plug-in: you need to switch it off if you want to start properly from scratch. Modulation effects — chorus, multi-chorus, phaser, flanger, auto-pan, tremolo — make up a big group and then come the creative effects. Lo-fi, distortion, and phonograph seem a little out of place, given that most users will have similar effects elsewhere if they need them. Welcome bread-and-butter processing comes in the shape of tone control, parametric EQ, channel strip, compressor and limiter.

The breadth of this set means highlights are hard to pick out. Even lowlights are relative: I found I didn't take to the choir collection as a group. I can hear that some great recording, editing and collation has gone on, and that attention has been paid to decent SATB vocal ranges, but the result is still a little too artificial, especially for fully exposed work. The organ, on the other hand, is magnificent. I haven't that much use for one personally but it does sound and play fantastic. It can also add even more weight to an arrangement if the context can handle it. And there is delicacy, in the portative organ-like 'Cathedral Organ Flutes', and subtle depth in the fundamentally bass-heavy 'Bass Pedals'.

Amongst the other unexpected instruments, I liked the piano and harpsichord, though the latter is a little too 'baroque' and big-sounding for most of my needs. The classical guitars are quite natural-sounding (some genuine finger noise helps), and the harp set includes a nice range of arpeggios and open tones plus straightforward notes. In the MIDI Control pop-up, any parameter can be assigned to an external MIDI controller.Within the orchestra proper the main low points, for me, are amongst the solo strings. Violins seemed initially to be unconvincing, but one of IKM's audio demos inspired me to persevere and it's worth the effort.

It's not perfect, but the vibrancy that's typical of the whole collection helps it win through in most situations, even fully exposed. You know it's not real, but it's not unpleasantly unreal as the average workstation synth violin might be. Violas have an exaggerated scratchiness that is often attractive but can make it difficult to create a balanced arrangement. I have no complaints at all about the cello collection — true ear candy, with full body right down to the open C. Double basses have some of this weight and presence but work better in ensemble presets. In fact, the ensemble strings — for each section and en masse — are uniformly musical and rich, even the section violins.

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The selection of articulations — spiccato, pizzicato, sul ponte, tremolo and so on — is perhaps not as wide as in some more recent and expensive sets, but it will be more than enough to achieve what most of us are after. Brass and woodwind keep the candy shop open: horns are a slight muddy low point, but there are solo and ensemble examples that blend well in many contexts. The tuba is a big surprise — one seldom hears such attention paid to this instrument in a sample-library context.