民族弦乐打击乐采样素材 Sample Diggers Eastern Strings and Things Vol.1 [WAV] 帧资源免费下载-背景音乐-帧资源

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影视配乐电影配乐编曲素材编曲采样

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资源编号M0391丨1.03G丨WAV

民族弦乐打击乐采样素材 Sample Diggers Eastern Strings and Things Vol.1 [WAV] 本系列中的循环和单曲是在混合型乐器上制作的，它们是定制的，在一般的音乐商店或任何其他循环包中都不常见！
关于循环的重要注记
仪器
西图基
Sitouki是一种混合乐器，位于Sitar和Bouzouki之间的走廊。这听起来像是一个sitar，但允许不同的技术，这在sitar上是不可能的。锡塔现在是一种非常受欢迎的乐器，它有许多作品，这些来自锡图基的特殊循环将给你带来优势。
萨祖德酒店
萨祖德（SazOud）或循环包中的“Oud”（乌德）试图将两种土耳其乐器的声音融合为一种乐器；尼龙无摩擦Oud和钢制下拉伸Saz无人机。当敲击尼龙弦时，Saz弦被尼龙弦同情地敲击，这是一种非常独特的声音。这些声音类似于其他东方乐器，如萨罗德。
斯瓦曼达尔和坦普尔拉
这两种乐器都是印度无人机伴奏乐器，因此很少承担旋律职责。Tampoura是一种低音无人机乐器，Swarmandal是印度竖琴的一种形式，这两种乐器在60年代主要通过甲壳虫乐队的音乐流行起来。例如，坦普尔拉在《明天不知道》的赛道上大放异彩，而斯瓦曼达尔是歌曲《草莓地永远》中的一个主要特色。
在这里，两种仪器都被移植到一个物体上，建立了反共振。这两种乐器的许多环路都以比印度古典音乐更现代的方式演奏。
敲击乐器
增加了打击乐环，以增强组合效果，并为环提供节奏感，包括：
•达拉布卡
•博德兰
•表1
•作为打击乐器使用的Sitouki
钥匙还是印度拉加
所有乐器都主要以D调中心为基础，这是Sitouki的一个例外，它使用capo来产生F调。无人机和模式播放（Ragas）是大多数东方乐器的标准。
然而，在D以外的其他键中，有许多方法可以解释这些音调中心的小调和大调变化。
D=主调：可通过以下键播放：
•D大调
•G大调/E小调
•B小调
•A大调/F小调
Dm=DMinor
•F大调
•C大调
•Bb专业
•D和声和旋律小调
一些播放基于其他次要模式，包括：
吕底亚主导音阶或瓦查帕蒂的印度音阶（发音为Vāchaspati，意思是言语之王）是旋律小调音阶的第四种模式，可以在小调和大调之间互换，以产生有趣的张力
弗吕吉亚音阶或印度音阶中的印度音阶，称为瓦库拉布拉南（发音为瓦库）ḷābharaṇam）是和声小调音阶的第五调式，是音阶中最紧张的一种，通常被称为“西班牙吉普赛音阶”，广泛用于阿拉伯语、土耳其和犹太音乐中。
一个关于米、计时和印度塔拉斯的词
东方/印度语短语和小节长度（Talas）很少基于四计数或普通时间。因此，许多循环中的短语正好穿过横线。循环条的长度通常在4/4的4至8条之间，但也有一些较长、较短和不规则的长度，以适应短语的长度，并保持真实性和完整性。强烈建议您在DAW中尝试循环的起点，以设置或抵消anacrusis语法。许多循环遵循更简单、更西方化的节奏和短语，这些可以以更常见的方式使用。
快乐循环！
24位质量
16个80bpm Oud环路
17个80bpm Swarmandal环路
19个100bpm Oud环路
11个100bpm Swarmandal环路
15个120bpm Oud环路
16个120bpm Swarmandal环路
22 140bpm Oud环路
15个140bpm Swarmandal环路
63个冲击环（各种bpm）
32斯瓦曼达尔一枪
36个80bpm Sitouki环路
5个80bpm铃鼓环
29 100bpm Sitouki循环
6个100bpm铃鼓环
33 120bpm Sitouki循环
8个120bpm铃鼓环
28 140bpm Sitouki循环
6个140bpm铃鼓环
14手鼓一杆
45件奖品一杆

The collection of loops and one shots in this selection were produced on instruments that are hybrid in nature they are bespoke and are not commonly found in your average music shop or any other loop packs!

Important notes on the loops
The instruments
The Sitouki

The Sitouki is a hybrid instrument which is hallway between a Sitar and a Bouzouki. It sounds like a sitar but allows for different techniques that are not possible on a Sitar. The Sitar is now a hugely popular instrument which features in many compositions, these particular loops from the Sitouki will give you the edge.

The SazOud
The SazOud or just ‘Oud’ in the loop packs is an attempt at fusing the sound of two Turkish instruments into one; with nylon fretless Oud and the steel understrung Saz drones. When striking the nylon strings the Saz strings are struck in sympathy by the nylon strings, a very unique sound. The sounds are akin to other eastern instruments such as the Sarod.

Swarmandal and Tampoura
These are both Indian accompaniment drone based instruments and as such seldom take on melodic duties. The Tampoura is a bass drone instrument and the Swarmandal is a form of Indian harp both of which were popularised in the 60s primarily through music of The Beatles. For example Tampoura features heavily on the track Tomorrow Never Knows and the Swarmandal is a prime feature in the song Strawberry Fields Forever.

Here both instruments are grafted on to one body which sets up counter resonances. Many of the loops for both of these instruments are played in a more contemporary way than is normally the case in Indian classical music.

Percussion Instruments
Percussion loops have been added as a bonus to enhance the pack and provide rhythmic context for the loops, these include:

• Darabouka
• Bodhran
• Tabla
• The Sitouki used as percussion instrument

Keys or Indian Ragas
All instruments are predominantly based around the tonal centre of D which the exception of the Sitouki where a capo is used to bring about an F tonality. Drones and modal playing (Ragas) is the norm for most eastern instrumentation.
However there are many ways of interpret these tonal centres in other keys outside of D both in minor and major variations.

D = Major: Can be played over the keys of:
• D Major
• G major/E minor
• B Minor
• A major/F# Minor

Dm = DMinor
• F Major
• C Major
• Bb major
• D Harmonic and Melodic Minor

Some playing is based around other Minor modes Ragas these include:
Lydian Dominant or the Indian scale of Vachaspati (pronounced Vāchaspati, meaning Lord of speech) is the fourth mode the melodic minor scale and can be interchanged between minor and major tonalities to create interesting tensions

Phrygian Dominant or the Indian scale of Indian scale called Vakulabharanam (pronounced vakuḷābharaṇam) is the fifth mode of the harmonic minor scale and is the most tense sounding of the scales often referred to as the ‘Spanish Gypsy Scale’ it is used in Arabic, Turkish and Jewish music extensively.

A word on meter and timings and Indian Talas
Eastern/Indian phrasing and bar length (Talas) is seldom based on a four count or common time. As such the phrasing on many of the loops run right across bar lines. The lengths of the loop bars are normally between 4 and 8 bars of 4/4 but there are some longer, shorter and irregular lengths to suit the length of the phrase and maintain authenticity and integrity. It is highly recommended that you experiment with the start point of loop in your DAW to set up or counteract anacrusis phrasing for example. Many of the loops follow simpler more western based rhythms and phrases and these can be use in a more usual manner.

Happy looping!
    24 Bit Quality
    16 80bpm Oud Loops
    17 80bpm Swarmandal Loops
    19 100bpm Oud Loops
    11 100bpm Swarmandal Loops
    15 120bpm Oud Loops
    16 120bpm Swarmandal Loops
    22 140bpm Oud Loops
    15 140bpm Swarmandal Loops
    63 Percussion Loops (various bpm)
    32 Swarmandal One Shots
    36 80bpm Sitouki Loops
    5 80bpm Tamboura Loops
    29 100bpm Sitouki Loops
    6 100bpm Tamboura Loops
    33 120bpm Sitouki Loops
    8 120bpm Tamboura Loops
    28 140bpm Sitouki Loops
    6 140bpm Tamboura Loops
    14 Tamboura One Shots
    45 Bonus Instrument One Shots

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