Bela D Media Anthology: Celtic Wind Vol. 01

Good Things In Small Packages

Every once in a while a product comes along that redefines not only a way of working, but does it in such a way as to ask why everyone isn’t doing the same thing. Celtic Wind from the new Anthology series by Bela D Media is such a product.
I can think of no better way to begin my review than to state that I had already purchased and began using Celtic Wind for myself, before contacting audioMIDI with the idea of writing this review. This is the first Bela D Media product I’ve owned, and though I have since developed a relationship with them as a customer, this unsolicited review is an extension of my deep satisfaction with this product.

A Composer’s Dream Toolkit

The concept is surprisingly simple: You sample a small but endearing collection of instruments played by some really incredible performers, and then combine that with the advanced scripting capabilities of Kontakt 2. The result is one of the most intuitive and authentic libraries to come along in a while, particularly for it’s organic and rich sound. It’s the first collection I’ve used with such “heart and soul” that translates into the virtual world so convincingly. Though only the first in the series of Anthology World Instruments, Celtic wind instruments are a great place to start, and as I explain below, these nine jewels are amazingly adaptive to styles far beyond their roots.

Three (Very Magic) Whistles

Like the other instruments in this collection, Bela D Media has taken something as ubiquitous as the whistle, and ingeniously thought out an intuitive approach for getting the most natural performance possible. These whistles, - a low whistle (F), a D whistle, and a penny or tinwhistle (F) - go beyond the usual bait-and-switch key sample approach, providing real-time control over every nuance, including vibrato speed and legato. Simply playing a sustained note, it’s apparent that there’s an undeniable presence and charm in the recording of the every note - also evident in each articulation. Unlike libraries I’ve struggled with to “emulate” a natural performance, the magic in Celtic Wind begins with the sampling, and from there it only gets better.

The authenticity is readily apparent while playing these whistles in real time. There are three considerations here (well, a fourth if you count the human breathing) that makes this possible: First is the layering of the vibrato and non v. sources according to velocity. Second is the usual range of nicely played articulations (rolls, etc.). Third, is the incredible ability to adjust the speed of the vibrato in real-time. It is also possible to adjust the legato for certain instruments as well, and as I explain, all these considerations are applied in various and intuitive ways to each instrument in Celtic Wind.

With the three whistles (as well as the bombarde) the level of velocity used to trigger between vibrato and non vibrato playing is adjusted via a corresponding knob, where a harder attack triggers the vibrato-layered samples, and a softer attack triggers the non-vibrato samples. Practically speaking, this adjustment allows you to move seamlessly between a non-vibrato note into a sustained vibrato, resulting in transitions that not only sound natural, but feel more authentic as you perform. This is especially effective where a staccato phrase ends in a sustained vibrato, and so forth. Alternately, the user can adjust the velocity, say where a longer, non-vibrato performance is needed.

Of course this is only the beginning, and the second consideration is the various articulations, mapped as key switches. These include those things indicative of the instrument such as sustain (the default), variations of rolls (some with that sweet overblown warble), staccato, and both fast and a slow “slurred” attacks. Like other programs, these key switches can either be triggered in real-time with the left hand, or drawn into a MIDI editor. Unlike anything I’ve used before, however, the aforementioned vibrato and non-vibrato also affects articulations, such as the slow slurred notes. This is a particularly nice touch, and anyone who has spent time trying to arrange static samples to create an authentic performance will readily welcome this higher level of performance in Celtic Wind.

Beyond Key Switching

By now it should be apparent that Celtic Wind moves far beyond relying on key switching to get the job done, literally grafting onto the Kontakt 2 environment, features indicative of the instrument itself.

As with the whistles, what sets Celtic Wind apart is the ability to control the speed of the vibrato for select instruments. A range is determined via corresponding knobs, but this can also be controlled and/or MIDI assigned for an absolutely stunning level of real-time performance. This feature is perhaps not only the deal clincher, but a standard-setting implementation that really showcases these instruments as being so playable. Within minutes, I took an older performance, replaced it with a low whistle from Celtic Wind, adjusted the legato, “seating” the whistle in a way that I had not been able to before. The improved performance was dramatic. I then extended that realism on the final note with a compelling and natural change in vibrato via the mod wheel. Of course I then went back - newly inspired - and then began to rewrite the melody from scratch, now that I could actually capture some of the incredible nuances of that instrument.

Behind The Authenticity

I should point out that these authentic features are available by loading up the relative “speed” patches in Kontakt 2 - a considerably larger set than the chromatic-only patches. The chromatic patch may be all that some need for a spot of sound, or a quick “type” or mood, while the speed set provides for all the demands of a nuanced, solo performance. Practically speaking, these speed patches are incredible, but also depend on the user’s own judgment in terms of what would be “naturally” employed in a song. Not every instrument utilizes these speed patches either.

Of course these larger sample sets also use a considerable amount of RAM. As I found, this can add up quickly, depending on how many instances are being employed in a project. By default, every instrument also loads a convolution reverb – the same incredible 18th Century Church captured and utilized for Bela D Media’s Giovani Edition Children’s Choir. This included IRF is a nice perk, and I’m now using it on several instrumental projects via my own reverb in Logic. Of course this can also be disabled while in Kontakt 2, to preserve resources.

A Nuanced Concertina

Celtic Wind includes both an accordion and a beloved concertina. The concertina is perhaps my favorite of the collection because of its compelling tone. As I found, it is highly adaptive for so many different projects, whether layering with other instruments, as an evocative solo line, or as a spirited accompaniment. This particular concertina lends itself to a larger cross-section of ethnic/world genres, as I found, applying it to both an American folk arrangement, as well as a more distinctly European composition. While this series is labeled “Celtic,” it’s apparent that the instruments are not limited to just that genre of music. The rule here is that anywhere you might envisage something like a low whistle or the accordion, it can adapt beautifully.

For fully authentic playing, the concertina’s main notes are mapped to the right hand, while the “squeeze” is controlled via the mod wheel, presumably with the left hand. Essentially, the mod moves between three velocities, resulting in an amazingly natural sound. As suggested in a tutorial posted on the Bela D Media forum, it helps to start with the mod set to a center position, so as to give yourself some room for crescendos, and decrescendos accordion-ly (sorry). It’s a remarkably tight integration of tactile feel with expression.

The fun of this endearing instrument is adjusting three variation knobs that control ambient noises inherent in the instrument itself. These include button noises, the bellows, and the clicking of the keys. But wait, there’s more: While these noises are also mapped for use with key switching, enabling the automatic function allows for these to be triggered in real time - and randomly at that - as they’ve been “scripted” for in Kontakt 2. I have to chuckle here as Bela D Media actually includes a short note explaining - if not justifying - these noises, though anyone playing this for the first time will realize just how intricate these are to the overall character. Simply stated, these are not merely “add-ons” but are sonically married to the instrument in a way I’ve never heard or seen before. They complete the natural expression of the instrument.

The result of this randomization of noise is almost mind-boggling the first time you try it, particularly while hearing the same note played in repetition, with a completely unique, and natural-sounding variation. You can certainly appreciate what’s happening by watching Kontakt’s keyboard display.

After working with an arrangement for any length of time, however, it becomes apparent that less can be more, depending on the overall mix. My personal preference is to turn the volume down for some of these, leaving only the key click more present to complete an overall effect. This is great when being used front-and-center in an arrangement. Layered in the background, or in a more ambient context, I find that the ambient noises are less crucial. One thing to consider here is how one might actually position, and mic, the real thing in a session.

A Highly Expressive Accordion

Tonally, I found the accordion much brighter than anticipated. Like the concertina, it’s suitable for a lot of genres, though this one evokes more of a continental European feel to me. It’s perfect for the local pub number, as well as a wide variety of other “ethnic” styles. I think the higher notes are even vaguely, and sweetly reminiscent of a bandoneon. If there is one caveat here it’s that this is a very specific instrument, and as such, does not employ registers indicative of other models. That said, the quality of this particular accordion, with its character and expression, is more malleable than other sampled accordions I’ve played as it takes on different characteristics to match changes in playing style.

The accordion is actually mapped out in two patches - one for the left hand that triggers the chord buttons, while the right hand plays the main keyboard. Like the concertina, the mod wheel acts as the push and pull of the box itself, and is essential for giving this its life. When using the mod wheel with either the concertina or the accordion, it's helpful to visualize just how the real movement of the bellows would interact with each. As the single buttons on a concertina are also located on the end of the instrument, both hands constantly provide the push and pull of the bellows while playing. With the accordion, only the left hand is used for the push or pull, while the right hand plays the keyboard. Essentially, the strength of the bellows works the same with both instruments, with the player providing all the expression via the mod wheel. Incidentally, the producer is the actual accordion and concertina player on this project.

Having just described a three-handed (or even four) scenario, it should come as no surprise that I was initially confused how to go about creating a performance from these patches. Obviously, these are played independently, and I found myself wishing for a wider mapping range to somehow accommodate everything in one environment. Though this is not physically possible (there would be overlap, even with 88-keys), the best way is to lay down the chords independent of the melody, and then add the chording (or vice-versa). To further compound things, the mod wheel has to be applied equally to both left and right handed patches, though I found that a simple copy and paste of MIDI data gets this done.

I’m imagining that some users will find ways to consolidate the playing of the left and right patches, say using another controller and/or keyboard assigned to the chords. The producer tells me he even uses a cross-fade technique to basically get the performance down piano style, then assigning the chords to the left hand patch. Even so, the modulation wheel still has to be integrated, at some point, if not after the fact. The effort is worth it, and the sonic performance exceeds all expectations. Anyone who’s ever picked up an accordion will tell you that a third hand is a good thing anyway.

Playing The Piper

The innovative approach used with other instruments is applied to the Highland and Uilleann pipes respectively, with additional controls that define these particular instruments. Incidentally, the Highland Pipes are of a more limited range, with a fixed (mixolydian) scale, while the Uillean covers a two-octave range with its “sweeter” classic sound. The inherent difference in how these two instruments are inflated also comes through (one blown, one by squeezing bellows).

Common to both pipes in Celtic Wind is the drone feature whereby a drone note stays constant so long as the melody (right hand) plays a continuous legato. This is not only intuitive, but is completely natural in feel when performed via a MIDI keyboard, and it frees up the left for articulations in real time. The drone can be turned off or triggered independently as well.

Like the whistles, velocity controls the change between sets of samples in the right hand, in this case, between sustained and grace notes. For ultimate variation, however, the range of articulations also includes yet a second set of articulations, activated by adjusting a threshold knob. This threshold knob works on the same principle of using velocity to trigger the alternative set of articulations for a given note. Not all articulations have this “hidden” layer, however, and it takes a little getting used to identifying where these are. To be honest, many of these sound random to me anyway, not being a piper myself.

As for the Highland pipes, these are straightforward to play, being mapped to a specific mode (the samples are not chromatic, but authentically pitched). Users who have taken liberty with other libraries or even synths featuring pipes (remember the Roland JV series?) might interpret this “authentic” touch as more of a limitation, though I found it refreshing to see just how this instrument should be pitched. The producer has also indicated a future update that would allow retuning this, though I think most users will be so enamored with the sound, they will want to base their composition around it’s natural key and character. As is, this key is well suited for Bb, F, and relative keys (major and minor).

As basic as the Highland pipes are in Celtic Wind, the Uilleann pipes are perhaps the most involved (next to the accordion) of the whole collection. Some of this is due, in part, to the range of articulations, and for purists, to the fact that any two articulations should never sound exactly the same in contiguous play. All the tools are available for infinite variations, though it does take a little practice. Loaded with its corresponding “speed” patches, the Uilleann pipes provide additional control over the natural “waver” produced by the instrument, once again propelling the performance toward an uncanny natural sound. Did I say magical?

A Private Tutor

With the Uilleann, as with other instruments in Celtic Wind, the true mechanics of the instrument has been given full consideration, especially in allowing the performer to image, if not imagine his/herself in the role of the piper. True to his vision for this product, the producer has posted tutorials for playing techniques, complete with notation tips. In many respects, this not only underscores Bela D Media’s philosophy of affordable and authentic instruments, but the tutorials are really an extension of the product itself (for registered users). Of course some may simply disregard these and proceed according to their own whims (nothing wrong with that), though as these tutorials indicate, the truly authentic playing of the something like the pipes rests in what a real player would do. These tutorials provide such a roadmap for the die-hard composer. As of this review, the producer had just posted tips on the left-hand playing for the accordion.

Near Perfection

If I had to pick a minor complaint with Celtic Wind, it would be in the way that MIDI assignments are made via the loaded instrument in Kontakt 2. In short, any assignable knob (like the speed control, for example) actually displays a second knob beneath that for dialing in a MIDI cc value. It’s not only tedious to dial in these numbers, but would seem more logical to be able to click directly on the controller knob itself when making an assignment. It would also be great to type in these values.

As of this writing, Celtic Wind requires the latest version of Kontakt 2, though a Giga version is in the works. The producer tells me that the Giga version won’t be able to take advantage of scripting in the way that Kontakt 2 does. Because of the inherent connection between Celtic Wind and Kontakt 2, it’s hard to imagine these limitations, and as such, the producer has also indicated a possible lower-priced version for the Gig release. My personal recommendation, however, is that anyone serious about sampled work, should look into investing in Kontakt 2 anyway, particularly as other products continue to take advantage of these Kontakt’s functionality.

Last, But Not Least

The final two instruments I’ve yet to mention from this great collection are the Bombarde, and a unique offering called the Celtiberic War Horn. The horn itself really comes with no “rules” in terms of playing, and it includes a nice range of rich articulations, great for adding a distinct low tone, with a wildly organic feel. The resonant (clay) properties of this unique archeological find are just plain fun, and it even works great as a pad.

As for the Bombarde, this nasal-toned shawm has an endearing place in medieval music, and perhaps more than any instrument in the collection, provides that definitive period feel. I’m a big fan of recordings by Oni Wytars and the Unicorn Ensemble, and love this instrument playing fast-paced melodies, particularly in conjunction with hand percussion and drums. As a playing tip, this instrument works really well doubled with other instruments.

Technically, the bombarde utilizes the same features as the whistles, with control over vibrato speed (in the speed patch), as well as fine adjustments for the legato. Earlier, I eluded to “human breath,” and like the whistles, the bombarde also comes with volume-adjustable breaths, triggered by the sustain pedal when there is a break in a given line. Like the whistles, there is an option for either male or female breathing. Though at first I was skeptical of using these, I found that pulled back in the mix, these completed the bombarde performance in a subtle, yet perceptible way. I found the same true with the whistles, where once the breathing had been engaged, it seemed strangely lacking when taken away. As a real bombarde takes a huge effort to play, it seems right to mix this in ever so subtly. Nice touch.

Kudos For Anthology, Volume One

Producer Eduardo Tarilonte has done a remarkable job with this first in a series offering by Bela D Media. His talents as a composer and performing musician are clearly evident throughout Celtic Wind, and his vision for “real-time playability of complex content,” has resulted in a truly intuitive and groundbreaking approach to world/ethnic sounds.

I personally am thrilled to have this as part of my collection, particularly as it allows the musician in me to focus on the performance, more than the editing. Of course there is still work to be done in this area, though anyone using Celtic Wind for the first time will quickly realize it’s the performance aspect of Celtic Wind that elevates this product far above more expensive options. With the scripting advancements in Kontakt 2, I have no doubt others will be following a similar path for future libraries, but something tells me that the intimacy of these samples, and the organic quality of these instruments will be hard to beat.

I can’t wait to see what the next release in the Anthology series will be.

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