AudioImpressionsConductorEvery desk of the orchestra is a discrete recording, so one MIDI chord divides itself across real players. Add or remove players in real time, while you perform.
Conductor is the software instrument Audio Impressions built to play its own orchestral libraries, in which every desk of every section is a discretely recorded performance. The recording method and the processing were designed together, which is why the processes work at all.
Three processes, covered by patents, make those recordings behave as an orchestra. None of them is an effect applied afterwards to a blended stereo section.
All three processes are ours, and the libraries were recorded for them from the very first session. Each depends on the desks being recorded separately.
Distributes incoming MIDI notes across the individually recorded desks, in real time. The section divides the way a real section divides, and re-divides as notes are added and released.
Models mute types. The dynamic slider ties mute character to the performance's own dynamic, so the instrument's voice changes as the players push.
Simulates the microphone bleed that binds separate players into one ensemble in one room, and places the result in space.
A chord arriving at Conductor is allocated across discrete desks as you play. Because every desk is its own recording, the number of sounding players can change while music is sounding.
High-resolution control is what lets divisi re-allocation, ensemble-size changes and IR/IIR sweeps read as musical gestures rather than stepped ones.
One chord is allocated across discrete desks in real time, and re-divides as notes are added and released beneath your hands.
Continuous control maps to the number of sounding players. A controller move adds or removes real players rather than fading a layer.
Varies the individual desks against one another, by the same means. Provisional patent.
Each section becomes individual stems with shifted play ranges, transpose, added octaves and foldback. One keyboard, a full orchestral split.
Reads overlapping notes across the whole chord rather than one line at a time, so real playing produces real legato.
Conductor publishes the Note On Orchestral Articulation Profile, so a MIDI-CI initiator can discover each section's articulations.
Build ensembles from the library, section by section. Every desk is a channel in the mixer, and the controllers deck puts the joystick, faders and presets under one hand.
The library on the left, the ensembles on the right. Drag a patch into a section and it becomes a desk.
Every desk is a strip. Every folder is a MIDI stage. Third-party DSP and MIDI plug-ins go in as inserts.
This one is live. It is the articulations panel from Conductor's deck: nine articulations under one hand, blended by a joystick or run as a ramp.
Conductor plays through Orchestral Art Live, the sample engine we built ourselves rather than a hosted third-party sampler. It speaks UMP end to end, so articulations, attributes and high-resolution control arrive at the note, not the preset.
From the first session, every section was captured desk by desk, with DIVISI, mute simulation and Room in mind.
Filings covering the processes inside Conductor. PDF: open or download.
Studied composition with Nadia Boulanger, and conducting and orchestration in Vienna. His first film score, in the mid-1960s, made him the youngest member of ASCAP.
Since then, more than two thousand television episodes and numerous films, and multiple ASCAP awards for most-performed background score, earned while scoring five series at once.
He composes by watching the picture and improvising to it live, direct to the DAW. Conductor exists to serve that way of working.
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