■Software sound source
■Choir
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Music that sounds like the human voice resonates the most with the hearts of humanity. The most anticipated release from SPITFIRE AUDIO right now is the choir sound source that expands the sound of the existing SPITFIRE AUDIO library. This choir sound source, produced and conducted by Grammy-winning American composer and conductor Eric Whitacre, and performed by an elite choir, will enrich your music. But at some point, a devilish sound will blow away the music. With this work, which allows you to freely control everything from angelic sounds to devilish sounds at your fingertips, you will start thinking about the human voice.
This work was recorded at Lyndhurst Hall at AIR Studios, a world-renowned recording studio in London. This means that this work is a perfect match for the existing SPITFIRE AUDIO library.
To get the secret gem
Eric Whitacre: ""The human voice carries terabytes of emotional information. I'm just amazed at the idea that a composer can have these sounds at their fingertips.""
When SPITFIRE AUDIO co-founders Paul and Christian met Eric with the idea of sampling a choir, he took some time to consider the project. In the end, Eric agreed to the project because he thought it would free composers from their ""voice preconceptions"" and make music better. This work, ""ERIC WHITACRE CHOIR,"" is a huge library of 200GB of uncompressed samples, but it is not designed to be used only in tricky ways. This work contains majestic choir sounds, so please use it with your SPITFIRE AUDIO library.
""I write orchestras for voices. That's the way I think,"" says Eric. From delicate whispers to throaty rasps, from hazy harmonic clouds to a rich overtone palette, this album offers a much wider range of possibilities than a typical choir recording.
After accepting the project, Eric quickly found the ideal recording method for choir sampling at home. This method reflects his compositional approach, where every timbre has its own musical integrity. He calls this ""hyper-musicality."" Over the course of several weeks of recording, Eric captured the vast majority of vocal technique possibilities, from onsets with varying harmonic content with vowel changes to open vocalizations and unusual articulations with shorts and rhythmic passages.
Eric: ""Sometimes a simple minor triad is enough music and you don't have to dress it up. It's very simple and sophisticated, but it's also got a lot of weight to it. That's why I like writing for the voice.""
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