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Good afternoon everyone: This month's edition of Recording has a short review of Silk (by Mike Metlay). Couple of quotes: 'The sounds themselves are a delight (.), they're clear, lush, impeccably edited, and mapped together beautifully. New discoveries await in every folder, from the traditional sounds of the Indian tanpura and sarod or the Chinese bawu and dizi, to an amazing 30-piece string section powering through unison lines, to tiny touches like a subfolder of breath noises. (.) PLAY as a player has made a very good impression on this reviewer, doing a great job of showcasing these gorgeous sounds with a lovely mix of expressiveness and authenticity. Give Silk a listen, and be carried away.' Here's the full review.
East West Quantum Leap Silk By Mike Metlay In our January 2009 issue we introduced readers to PLAY, East West’s new sample playback engine. In that article, Devon Brent mentioned PLAY’s innovations, most importantly the ability to load huge amounts of sample data into RAM thanks to its 64-bit capabilities; he noted that after some initial bugs, PLAY (now at version 1.2.05) had settled down and was working very well as a unified engine that could be customized to suit various sound libraries’ particular needs. We’ll round out this issue on beats, loops, and samples, with a quick look at an unusual but beautiful library that does a good job of showcasing PLAY’s powers: Quantum Leap Silk, so named for the Silk Road—and much as the Silk Road meandered from China through India to the Persian Empire, so are those three cultures represented in this library of 25 wind/brass and string instruments.
Installation and getting started Installing Silk is straightforward if you’re careful to have everything you need in hand before you start. While PLAY must be installed on your computer’s system drive, the installer lets you choose a separate drive for the sound library itself—that part of the installation took me about two hours, copying the four dual-layer DVDs’ worth of samples to a 7200 RPM FireWire drive. The installer also gives you a program called Authentication Wizard, which connects to the Internet, prompts you to create or access your user account at soundsonline.com, takes your serial number, and authorizes your iLok. It’s possible to authorize without an Internet connection (see the manual for how), but it’s a slightly more involved process. Once it’s installed, you can check online for updates from inside PLAY—but it doesn’t give you the option to automatically download them, much less install them for you. You get an overall PLAY manual and a Silk-specific manual as PDFs, both very clear and readable.
Silk runs standalone or as a plug-in; in my tests, while disk I/O was pretty burly (you don’t want the Silk library on your OS disk if you can help it, trust me), CPU usage on my 2 GHz Core 2 Duo Mac was very light, never topping 5% except with the heaviest multi-articulated sounds. Silk’s user interface (see the screenshot) is clear, pretty, and easy to navigate. You can enable/disable the built-in delay, reverb, ADT (Automatic Double Tracking effect, a chorus-like thickener), and lowpass filter, switch various articulations on and off as needed, tweak the five-stage loudness envelope, control panning, etc., and view displays of CPU load, disk access, polyphony, and more. The onscreen keyboard shows active notes (white and black), empty notes (tan), and key switches to change articulations (blue). You can activate portamento, legato, and repetition scripts for greater realism in playback. Repetition scripting is particularly clever, as it helps you avoid the “machine gun” effect when retriggering sounds that haven’t been set up with “round robin” samples (multiple samples for each note). It does this with a combination of detuning, time delay, or even grabbing a nearby sample and retuning it to the proper pitch, producing a very effective sense of change and realism.
Unique to Silk (and the PLAY re-release of Quantum Leap RA, originally reviewed October 2005), there’s a selection of nearly 50 authentic microtuning scales, which adjust intervals based on a root note and often limit the player to fewer than 12 notes per octave. The sounds When playing Silk, you never have to look at individual samples—they’re already mapped and grouped into Elements, which feature a particular articulation in an appropriate range. Each instrument has browser subfolders for Elements, Instruments, and Performances.
Instruments (collections of Elements ready to load and use in one go) offer various switching schemes: KS (key switching), DXF (crossfading with the Mod Wheel), Legato (legato sample sets activated by the Mod Wheel), and Live (velocity switched articulations for live play without preloading keyswitch commands). Performances are the most fun and addictive for the new user; they’re preplayed “licks” on a given instrument in a given key, in the traditional style of the instrument—for example, commonly heard phrasings on the ney (Persian/Turkish flute), or fancy glissandi and melodic patterns on the gusheng (Chinese zither), often with the Mod Wheel letting you move the sample’s start point to change how the lick begins. Performances frequently include very complex melodies that would be nearly impossible to program note by note.
The sounds themselves are a delight—recorded at East West’s beautiful studio (formerly Cello, formerly Ocean Way, formerly United Western, as built by Bill Putnam in the 1950s), they’re clear, lush, impeccably edited, and mapped together beautifully. New discoveries await in every folder, from the traditional sounds of the Indian tanpura and sarod or the Chinese bawu and dizi, to an amazing 30-piece string section powering through unison lines, to tiny touches like a subfolder of breath noises. One notable absence: the Indian sitar, which I’m guessing was a deliberate choice—its repertoire is so vast and varied that any sort of decent representation would have doubled the size of Silk, yet would have been impossible for a non-raga player to sort through! Feels like Silk Future reviews will focus on other PLAY libraries with special tools, and an in-depth analysis of PLAY PRO, an open-ended and deeply programmable version of PLAY for high-level sample tweaking.
In the meantime, however, PLAY as a player has made a very good impression on this reviewer, doing a great job of showcasing these gorgeous sounds with a lovely mix of expressiveness and authenticity. Give Silk a listen, and be carried away. Delivery: 25 GB of content on four dual-layer DVDs Format: standalone/VST/RTAS for XP/Vista and OS X 10.4+ (OS X also incl. AU) License: no royalties on music created with the library Copy Protection: iLok USB key (not included) plus Authorization Wizard Documentation: PDF user manuals for PLAY and for Silk on DVD More from: East West, www.soundsonline.com.