WREMENA.TWO
the adventure
The selection of guitars WREMENA was created to be soft, vintage and melodious. It has an intimate, almost invisible tone. We tried to make it as natural as possible and without any unnecessary functionality which in our opinion turned out to be an unusual alternative to the rest of the virtual guitars and sample libraries existing on the market today.
One of our main goals was to create instruments that anyone who doesn't really know how to play a guitar, could still without any effort make sound beautiful, natural and with character.
Our very first sampled guitar was PRS and of course it couldn't be left alone for a long time. Already at the very beginning of the recording process of PRS, we thought about instruments with which, in the future, it would be possible to form a company for it. The strategy was to bring together guitars that would be quite different from each other and find their similarities, combine them into one whole: something thoughtful, intimate and mysterious, but at the same time confident and daring. This time our choice fell on Fender Jazz Bass 1971.
We found the instrument by a mere accident. For almost 20 years it had been laying in a Palace of Culture in a small Belarusian town literally just accumulating dust and no one was playing it.
One of our main goals was to create instruments that anyone who doesn't really know how to play a guitar, could still without any effort make sound beautiful, natural and with character.
Our very first sampled guitar was PRS and of course it couldn't be left alone for a long time. Already at the very beginning of the recording process of PRS, we thought about instruments with which, in the future, it would be possible to form a company for it. The strategy was to bring together guitars that would be quite different from each other and find their similarities, combine them into one whole: something thoughtful, intimate and mysterious, but at the same time confident and daring. This time our choice fell on Fender Jazz Bass 1971.
We found the instrument by a mere accident. For almost 20 years it had been laying in a Palace of Culture in a small Belarusian town literally just accumulating dust and no one was playing it.
€39
or
FENDER JAZZ BASS 1971
This bass was recorded in a completely different way from our other guitar. While it has only 2 sound lines, it's not that simple.
The first line is a clean one - from the guitar straight to the tube preamp and compressor and then to the tube equalizer and 2 consecutive Soviet transformers. Having gone through this rich chain, it seemed as if the sound had travelled to us from the 70s, becoming juicy, dense, but at the same time gentle.
In the second line we used specially selected bass and guitar pedals on the sound. If at this point you have a question: 'what's new and unusual could be found in a bass guitar?', the answer is the unique tenderness of this instrument, which we managed to achieve.
The first line is a clean one - from the guitar straight to the tube preamp and compressor and then to the tube equalizer and 2 consecutive Soviet transformers. Having gone through this rich chain, it seemed as if the sound had travelled to us from the 70s, becoming juicy, dense, but at the same time gentle.
In the second line we used specially selected bass and guitar pedals on the sound. If at this point you have a question: 'what's new and unusual could be found in a bass guitar?', the answer is the unique tenderness of this instrument, which we managed to achieve.
the mechanics
Jazz Bass contains 3 articulations: sustain, mute and harmonics.
The sustain was recorded in such a way so that you'd be able to 'whisper' with this guitar, instead of 'talking' . But despite this extreme softness, you shouldn't worry if you're looking for a more confident sound - it can do that too.
Mute is more daring here, but not too aggressive. Its sound can be described as funky or bass in slow experimental or quiet music.
In harmonics we have made a lot of velocity layers for a flexible and soft sound.
If for some reason the atmosphere of the 70s would be not enough and you'd want to move to the 60s or even 50s - everything's in your hands. For such a purpose, all X patches of this bass guitar were passed through a cassette machine 3-4 times.
The sustain was recorded in such a way so that you'd be able to 'whisper' with this guitar, instead of 'talking' . But despite this extreme softness, you shouldn't worry if you're looking for a more confident sound - it can do that too.
Mute is more daring here, but not too aggressive. Its sound can be described as funky or bass in slow experimental or quiet music.
In harmonics we have made a lot of velocity layers for a flexible and soft sound.
If for some reason the atmosphere of the 70s would be not enough and you'd want to move to the 60s or even 50s - everything's in your hands. For such a purpose, all X patches of this bass guitar were passed through a cassette machine 3-4 times.
the skills
the recording language
We always aim to make all instruments sound as lively as it can be. So when you try to process your recorded samples as little as possible to keep them natural, it intuitively becomes very important how they are played, as well as the atmosphere in which they were recorded. In this regard, it's important to note that both guitars were played by a wonderful musician and our good friend Victor Pshanichny. The feeling of trust based on our long-standing friendship, which was constantly present in the studio during the recording process, undoubtedly reflected in the quality, character and naturalness of the sound of WREMENA.
the form
| The design of the plugin itself was inspired by Suprematist art. If you look at some of Kazimir Malevich's paintings, such as ‘Suprematist composition’ or ‘White on White’, they are all to some extent chaotic, but on the other hand united. We tried to embody exactly the same feeling of opposition and unity in the sound of our instruments. |
•3 articulations (Sustain, Harmonics, Mute)
•Custom tape designed patches
•6 RR per note
•Up to 6 velocity per note
•VST3/AU plugin for macOS (10.11+) and windows
•1.2 GB compressed
•2.8 GB uncompressed
•Custom tape designed patches
•6 RR per note
•Up to 6 velocity per note
•VST3/AU plugin for macOS (10.11+) and windows
•1.2 GB compressed
•2.8 GB uncompressed
Use the PULSE app for the installation. It's free and has the fastest speed for downloading. You'll have your own watermarked copy of the instrument. The whole process is described in the Manual.
Once you become my client you'll have all the future updates for free. These updates will include not only the technical fixes, but also new patches and sounds. Furthermore, as a bonus you'll receive discounts on every new instrument.
Features:
Installation
Support and Updates
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We're working on new plugins all the time. Even now while you're reading this sentence. Don't miss the moment when it's ready for you to use.
