5 questions to:
Eduardo Tarilonte, spiritual father of Celtic ERA 2.
Beat / What aspect of creating sample instruments do you enjoy the most?
Eduardo / My favorite part of creating a sample library is developing the soundscapes. It‘s definitely the most interesting and creative part. I also enjoy putting all the samples together and making the instrument playable. When you get to play it for the first time and find that the instrument sounds as good as expected (or better), it‘s a truly fulfilling experience.
Beat / What inspired you to develop Celtic ERA 2? Eduardo / I have been playing Celtic music for many years. I used to play accordion, keyboard and Celtic harp in Celtic bands, so I know this musical language very well. Celtic music is truly magical and inspiring, and the good thing is that the instruments are absolutely useful in many other genres as well. As a lover of this kind of music and its instruments, I just had to create such a library.
Beat / What new instruments and functions does Version 2 offer?
Eduardo / The new version offers a new GUI: cleaner, clearer and more modern than the previous one. It includes three new folk whistles, a wooden low whistle and a new ancient instrument from the Bronze Age associated with Ireland (the Dord), a Scottish snare drum with lots of loops, a small skin snare, a tom and a bass drum. There‘s also a new acoustic guitar that‘s softer and nicer sounding than the previous one, so now you have two very different timbres. It‘s recorded and programmed exactly like the previous guitar, so you can mix it and split it in the stereo panorama to get amazing results. In addition, two Celtic zithers with a very long decay and a beautiful, inspiring sound are on board. In the Pipes section there is a Breton Bombarde, a Gaida, a Galician Bagpipe, Scottish Smallpipes and new powerful and atmospheric Highland Pipes. And, of course, new soundscapes!
Beat / What was the recording and development process like and what were the biggest challenges?
Eduardo / It was slow going because it wasn‘t easy to schedule the recordings, but when they were done, the rest was as good as could be expected. The recordings were difficult because it‘s not very pleasant listening to individual whistle sounds for a long period of time (laughs), but the rest went smoothly. Development, in general was also easy, since I already knew very well from Celtic Era 1 what I wanted. The biggest challenge is always to get the best sound and playability once everything is programmed. I am very happy with how this library turned out.
Beat / Can you give our readers some tips on how to get the most out of the library?
Eduardo / Yes, it is important to know a few things about some of the instruments. Let‘s start with the guitars. Since the library now contains two different guitars, you can use the rhythms of both guitars, one on the left and one on the right, to preserve the special character of the guitar recordings. The Scottish snare drum and the small skin snare have five and three different patch positions, respectively. It‘s really cool to change them with the mod wheel while playing the loops or your own rhythms. Another very important point is the Pipes. Usually, I find that people who play pipes in the Celtic period don‘t sound realistic, and that‘s only because of one small detail. Pipes always play contiguously between notes. There are no rests, only legato or ornaments between the notes, but no silence from the beginning to the end ... In general, I would say that you should not use too many ornaments, but also not too few! The richness of Celtic music is, among other things, the large number of articulations. And never forget the most important thing: close your eyes, play and fly with the sounds of Celtic Era 2 to make great music!
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