Tempo Synchronisation and NI´s Time Machine
All pre-recorded runs and figures are synchronized to your host tempo. This marks the next step in flexibility in professional sampling. For the Berlin Series, we recorded all tempo-synced runs and figures at different tempos, with the script of the instrument deciding in real-time which sample to use. The chosen sample is then stretched to your host tempo by means of Kontakt‘s Time Machine time-stretching engine.
Note that when using extreme tempos not playable by real musicians, you will hear artefacts and the playback will not be clear. If you use the auto tempo mode, the script will default to half tempo. A 16th run at 200 bpm is not actually playable in reality - there is no recorded sample for this tempo range. The script would then stretch the fastest available sample too heavily, resulting in a bad sound. The auto tempo feature will play the run at half your host’s tempo, and the result will sound much nicer. Be mindful of your tempo when writing with runs. Not every run is compatible with every tempo. If you use the patches in their natural tempo range (meaning: at a speed actually playable by real strings), you will get the best results.
To make the runs in the Berlin Series seamlessly integrate with our own Orchestral String Runs, the complement of Scale Runs is identical to the complement present in OSR. This allows you to play runs from multiple collections at the same time without timing issues or note collisions. You can easily double a string run with a flute section - all notes will sound perfectly together.