Endorsements

Robert Duncan
Primetime Emmy® Award nominee. Composer for The Unit and Buffy the Vampire Slayer TV series.
“What immediately impressed me was the feeling of sonic control and expressiveness – it was surprising to see how competitive synthesis can be in a field dominated by sample libraries. When working with these instruments, I feel like I am much closer to the musicality of a real instrument than with samples.”

Robert Kral
Annie Award winner. Composer for Angel and Duck Dodgers TV series
“I have been hoping for and dreaming of instruments like this for many years, and the reality of what can be musically achieved with this product is truly astounding. From intimate solos to large cut-through-the-mix brass sections, more powerful than any other sample or sound library. These are the most powerful and expressive instruments available on the market today.”

Danny Lux
Multiple Primetime Emmy® Award nominee. Composer for Grey’s Anatomy, Melrose Place, Boston Legal and My Name Is Earl TV series “
Being a very busy composer it is a joy to be able to quickly play in a part and have the instrument respond in such a musical way with no additional “tweaking” needed. I just play what I want and it sounds great as is. The small RAM footprint and super low CPU overhead makes these instruments truly unique.”

Mark Mancina
Three-time Grammy® Award winner and nine-time BMI Film Music Award Winner. Composer of Disney’s Tarzan, Bad Boys, Speed, Twister, Training Day, August Rush, Shooter and Criminal Minds TV series. Co-composer of The Lion King on Broadway.
“Wallander Instruments have become such a staple in my everyday template, due to the sound, ease and most importantly, the ever updated and improved technology! Talk about support and integrity in their product.”

Hummie Mann
Multiple Primetime Emmy® Award winner. Composer of Robin Hood: Men in Tights and Masters of Horror TV series. Professor of film composition at Columbia College Chicago
“Simply Superb! Incredible sounds & amazing flexibility and controllability. I can use these instruments out-of-the-box, but also get complete control over all the parameters I want. The interface makes instrument placement in the stereo field easy.”

Judd Miller
Electronic Wind Instrument Musician and Sound Designer. Credits include Spiderman 1 & 2, Hulk, Waterworld, Last Of The Mohicans, A Few Good Men, Planet Of The Apes, Flags Of Our Fathers, Ghost, Fatal Attraction and Unforgiven.
“Let me just say that the WIVI modules are some of my favorite sounds to play. The sounds have a life to them that samples just don’t have, and the trumpet is outstanding (I used to be a trumpet player). Thanks for a wonderful concept and product.”

Walter Murphy
Primetime Emmy® Award winner. Composer for Family Guy, American Dad! and The Cleveland Show TV series.
“I love the ability to load in a full band template on my laptop, and make really good demos of my cues anywhere I happen to be. The interface is simple and straightforward – if only all my software were like this!”

Theodore Shapiro
Eight-time BMI Film Music Award winner. Composer of Jennifer’s Body, Tropic Thunder, The Devil Wears Prada, Starsky & Hutch, Blades of Glory, Dodgeball and Along Came Polly.
“I have had directors fall in love with mock-up brass solos I have done with WIVI because of their emotional quality. Not bad for a plug-in, especially one with a ridiculously low CPU footprint. Adding to that the outstanding customer support, this is a product I enjoy using in every respect.”

Steve Tavaglione
Electronic Wind Instrument Musician & Sound Designer. Credits include Finding Nemo, Matrix 2, WALL·E, American Beauty, Oceans 11, The People vs. Larry Flynt, Revolutionary
“I am blown away by the expressiveness, programmability and low CPU usage. I haven’t even scratched the surface but have already used WIVI on major motion pictures, TV and recording projects. It is the ultimate wind synth software to be sure.”

James Venable
Primetime Emmy® Award nominee, BMI Film Music Award winner. Composer of Scary Movie 4, Zack & Miri Make a Porno, Clerks II and Foster’s Home for Imaginary Friends TV series
“I must say, I think your software is the future and I was very excited to discover it! The expression of your instruments is truly amazing. I believe these instruments mark the beginning of a new paradigm in virtual orchestration for professional composers.”

Ordering Download Info

What You Get
1. Wallander Instruments
2. Professional Orchestration 2B PDF eBook

When you order from Alexander Publishing you get both Professional Orchestration 2B: Orchestrating the Melody in the Woodwinds and Brass Sections PDF and the Wallander Instruments Orchestral & Band Brass as two (2) independent digital downloads.

Professional Orchestration 2B
After you’ve placed your order you’ll immediately receive the download link for 2B. You have one (1) week to download your book.

Wallander Instruments Download
Once payment is received, you’ll receive the download link for Orchestral & Band Brass usually within one (1) business day.

Instruments

WALLANDER INSTRUMENTS
Below is a list of the instruments coming with Orchestral and Band Brass. Instruments are labeled 1-4. This means that you have four (4) individual instruments that can be used for independent parts, vertical harmony, and unisons (2-instrument, 3-instrument, and 4-instrument unisons).

Using Wallander Instruments drag ‘n drop approach, you literally drag the instrument or instruments that you want to use onto the stage, and then position them so that they blend with a full string section, or act as their own ensembles.

For jazz writing, big band arrangements are possible.

Instruments

French Horns 1-4
No mute, Stopped, Straight mute.

Vienna Horns 1-4

Wagner Tubas 1-4

Piccolo Trumpets 1-3
No mute, Straight mute.

D-Trumpets 1-3
No mute, Straight mute.

C-Trumpets 1-3
No mute, Straight mute.

Bb-Trumpets 1-3
No mute, Straight mute, Cup mute, Bucket mute, Solotone mute, Harmon mute (no stem, inserted & extended), Plunger mute.

Bass Trumpets 1-3
No mute, Straight mute.

Contrabass Trumpets 1-3
No mute, Straight mute.

Alto Trombones 1-3
No mute, Straight mute, Cup mute, Bucket mute.

Tenor Trombones 1-3
No mute, Straight mute, Cup mute, Bucket mute, Harmon mute (no stem, inserted & extended), Plunger mute.

Bass Trombones 1-3
No mute, Straight mute, Cup mute, Bucket mute, Harmon mute (no stem), Plunger mute.

Cimbassos 1-3

F-Tubas 1-2
No mute, Straight mute.

Contrabass Tubas 1-2
No mute, Straight mute.

Soprano Cornets 1-3
No mute, Straight mute
Cornets 1-3
No mute, Straight mute.

Flugelhorns 1-3

Alto Horns 1-3
No mute, Straight mute.

Baritone Horns 1-3
No mute, Straight mute.

Euphoniums 1-3
No mute, Straight mute.  

PROFESSIONAL ORCHESTRATION 2B
Orchestrating the Melody Within the Woodwinds and Brass Sections
Volume 2B: Orchestrating the Melody Within the Woodwinds and Brass is the sequel to Volume 2A focusing on previously undocumented scoring techniques used in the woodwind and brass sections. All techniques are demonstrated with full page/full score examples.

Table of Contents Volume 2B

Orchestrating the Melody Within the Woodwinds and Brass.
Introduction
Chapter 1 - The Woodwind Family
Chapter 2 - Woodwind Section Sizes

Section 1 - Woodwind Unisons
Chapter 3 - Flute Unisons
Chapter 4 - Flute + Oboe
Chapter 5 - Flute + English Horn
Chapter 6 - Flute + Clarinet
Chapter 7 - Oboe Unisons
Chapter 8 - Oboe + Clarinet
Chapter 9 - English Horn + Clarinet
Chapter 10 - English Horn + Bassoon
Chapter 11 - Clarinet + Clarinet
Chapter 12 - Clarinet + Bassoon
Chapter 13 - Bassoon + Bassoon
Chapter 14 - Bassoon + Sarrusaphone
Chapter 15 - Bassoon + Contrabassoon
Chapter 16 - Flute + Oboe + Clarinet
Chapter 17 - Flute + English Horn + Oboe + Clarinet
Chapter 18 - Flute + Oboe + Clarinet + Eb Clarinet
Chapter 19 - Oboe + Clarinet + English Horn
Chapter 20 - English Horn + Clarinet + Bassoon

Section 2 - Woodwind Octaves
Chapter 21 - Piccolo - Flute
Chapter 22 - Piccolo - Oboe
Chapter 23 - Piccolo - Clarinet
Chapter 24 - Flute - Flute
Chapter 25 - Flute - Oboe
Chapter 26 - Flute - Clarinet
Chapter 27 - Flute - Bassoon
Chapter 28 - Oboe - Oboe
Chapter 29 - Oboe - Clarinet
Chapter 30 - Oboe - English Horn
Chapter 31 - Oboe - Bassoon
Chapter 32 - English Horn - Bassoon
Chapter 33 - Clarinet - Clarinet
Chapter 34 - Clarinet - Bass Clarinet
Chapter 35 - Clarinet - Bassoon
Chapter 36 - Bassoon - Bassoon
Chapter 37 - Bassoon - Contrabassoon

Section 3 - Woodwind Combinations in Two- to Five-Parts
Chapter 38 - Two Parts: Low to Medium Registers
Chapter 39 - Two Parts: Medium Register
Chapter 40 - Two Parts: Medium to High Register
Chapter 41 - Two Parts: High Register
Chapter 42 - Two Parts: Very High Register
Chapter 43 - Three Parts: High Register
Chapter 44 - Three Parts: Very High Register
Chapter 45 - Four to Five-Parts

Section 4 - Light Vertical Harmony in the Woodwinds
Chapter 46 - Light Harmony in the Flutes
Chapter 47 - Light Harmony in the Oboes
Chapter 48 - Light Harmony in the Clarinets
Chapter 49 - Light Harmony in the Bassoons
Chapter 50 - Two-Part Light Harmony: Thirds in Unison
Chapter 51 - Two-Part Light Harmony: Thirds in Octave
Chapter 52 - Three-Part Light Harmony: Thirds in Multiple Octaves

BRASS
Introduction
Chapter 53 - French Horns in Unison
Chapter 54 - French Horns in Octaves (Two Parts)
Chapter 55 - French Horns in 3rds and 6ths
Chapter 56 - Trumpets in Unison
Chapter 57 - Trumpets in Octaves (Two Parts)
Chapter 58 - Trumpets in Thirds
Chapter 59 - Trombones in Unison
Chapter 60 - Trombones in Octaves (Two Parts)
Chapter 61 - Trombones in Thirds
Conclusion

More Info/Specs

Introduction
WIVI is a software synthesizer, specializing in recreating the sound and expression of acoustic instruments without the use of samples. It is loaded as an instrument plugin in VST® 2.4, AU™ and RTAS® compatible host programs, such as Cubase®, Logic® or Pro Tools®.

WIVI uses a combination of additive synthesis/resynthesis and behavioral modeling. The first step in creating a WIVI instrument lies in making recordings and measurements of real acoustic instruments, as played by professional performers. The results are used to build a “sound model” that forms the basis of virtual instrument. The second step is modeling the behavior of the instrument, including randomness, attack behavior, note transitions, envelopes, vibrato etc. Combined with the sound model, if correctly configured, this produces a playable virtual instrument with the sound and behavior of the real instrument, as played by a professional performer.

WIVI is particularly useful for the job that samples usually fail to do – traditional musical writing. Basic elements of music such as expressive melodies and phrases, well-balanced harmonies and dramatic music with combinations of swells, rapid notes and smooth phrases can be very difficult to achieve with samples. You often need to patch together samples from various patches, spend endless time tweaking it, and make rewrites to your music in order to fit the tools at hand.

WIVI tries to close the gap between computers and the professional composer, by providing a tool where you get all the expressive control you want over your instruments. In the real world most instruments have the expressive capabilities to carry any melodies and harmonies you can come up with. So creatively you want to be able to simply hear the music in your head and write it out for any instrument in your arsenal in front of your computer. This is what WIVI provides, by turning acoustic instruments into expressive, playable virtual instruments for the professional producer, composer or orchestrator.

Samples & Dynamics
Even a modern sample-library is limited by a fixed number of velocity levels. This means you usually have only 3-4 dynamic levels to choose from, nor do you have any control over the dynamic changes within the individual note. If you want to fade in or out a note realistically, a traditional sample library will not be able to do this.

Furthermore, velocity levels in a sample library are never perfectly even. This makes it almost impossible to play a well-balanced chord. When playing a chord, you will almost certainly hear one of the notes stick out.

WIVI instruments have continuous dynamics, and can be controlled in real-time. You can control dynamics using key velocity, the modulation wheel, an expression pedal, a breath controller or any other MIDI compatible device. All instruments have a smooth dynamic response, and a very extensive dynamic range. WIVI allows you to change dynamics at any time, also in the middle of a note. You can draw dynamics curves in your sequencer and the sound will change in real-time; not only in volume but the actual timbre of the instrument changes. Most of the dynamic change in an instrument actually lies in shaping the timbre of the instrument, and not in changing the volume.

Chords & Harmonies
Sample libraries rely on section samples. These are special recordings where multiple musicians play the same note at the same time.

The problem with section samples is that they only work well for single-note(unison) playing, because that is how they were recorded. If you play a chord with a sample library every note will add a full section, but in a real-world ensemble the musicians would divide the notes of the chord between them. So when playing chords of varying sizes with a sample library section, you have instruments jumping in and out of the mix. This causes jumps in overall volume, and the buildup muddies the mix.

WIVI builds sections from modeled solo instruments, and sections are built from combining solo instruments - just like in the real world.

When playing a chord with a section in WIVI, the musicians will spread out across the note. This keeps the performance balanced even when alternating between playing variable sized chords and solo notes with a section, neither is there any limit to how you design your section. You can easily make a blended section from trumpets, trombones, saxophones, and they will automatically divide over chords of any size.

Computer Requirements
A modern sample library will use all your ram memory if allowed to do so. It also competes with other sample players for hard drive access time, because the rest of the library must be streamed from your hard drive in real-time. Even if your computer passes minimum requirements you are often presumed to have a farm of modern slave computers running non-stop, and a computer engineering assistant to keep that setup running. You are also expected to purchase additional licenses and dongles for your slaves.

Sample libraries should be easy on the CPU, but this is no longer the case. Modern sample libraries heavily rely on scripting, release samples, crossfading, overlaps and interval samples, pushing polyphony and CPU consumption up even for solo instruments.

A Wivi instrument uses only a few megabytes in memory, and even large projects load in seconds. No data is streamed from your hard drive, and instruments use so little CPU even a moderately powerful computer can run hundreds of instruments at once.

You are allowed to install your WIVI software on multiple computers, making it possible to work from your home, studio and laptop. You are also allowed to install it on all the slave computers you need.

Bundled Software
WIVI Standard Edition

Platforms
PC, Mac

Formats VST®, AU™, RTAS®

Requirements
PC: Pentium 4 or Athlon 64 (or SSE compliant Athlon XP) running Windows XP or higher, 350 MB hard drive space, 256 MB RAM and a VST 2.4 or RTAS compatible host.




Mac: PowerPC G4 or higher or Intel Mac running OS X 10.4 or higher, 350 MB hard drive space, 256 MB RAM and an AU compatible, VST 2.4 or RTAS compatible host.