A New Story Unfolds
Featuring full orchestra, choir, smaller ensembles and a wide range of guest instruments, Symphobia 3: Lumina dives into the world of fantasy, mystery and animation, adding depth and delicacy to your musical palette.
Based on more recordings than ever before, this third volume in the Symphobia series is ProjectSAM's most ambitious release yet.
Fully Updated
Experience the fully updated 2.0 version of Lumina.
Dive into the world of fantasy, mystery and animation with a brand-new interface and a ton of new features:
- Completely new engine and spacious design
- All-in-One instrument browser
- Filter by genre, instrument category and articulation
- New Multis
- 10 slot mixer to arrange and design your own Multis
- New legato engine
- Adaptive Sync for crescendos and runs
- All-new envelopes, filters and modulators
ProjectSAM is well-known for its ensemble recording concept, and Lumina trumps this with even finer arrangements.
The warmth and beauty of orchestra and choir performing together has been captured in stunning, playable ensembles.
Moreover, Lumina is packed with superbly orchestrated textures covering the full spectrum of fantasy and mystery. Refined with grand piano, harp and percussion, these recordings are truly luminous.
Lumina's solo and guest instruments range from legato woodwinds, such as oboe and clarinet, to a beautifully sampled celtic harp, tin whistle and… a full bell tower!
The library also pays homage to the playful world of cartoons with dedicated ensembles and phrases for careful tiptoeing and tongue-in-cheek suspense.
Of course you will find ProjectSAM's popular Dystopia section, too, with all-new sound design based on the library's samples.
Lumina is a journey of inspiration… as for each note you play, three more will spring to mind.
Storytelling
Multis are a much cherished feature of the Symphobia series.
Symphobia 3: Lumina builds on this concept by combining ensembles and instruments into thematic "Stories".
Using clever keyboard mapping and controller assignments, Stories give you numerous musical features on one keyboard, all within a single Kontakt track.
In this way, the library’s ensembles, solo instruments and textures all take part in a bigger Story.
Elements within a Story can be individually purged from RAM, or instantly muted using assigned mute keys. Also, the Elements tab allows you to tweak each element separately.
Stories are great sources of inspiration, and useful starting points for a new track or arrangement. Because of the many different musical elements and well-thoughout controllers, they work great for live situations too, such as a theater show or songwriter performance.
Section Splits for Textures
We booked new recording sessions to record individual sections for the library's textures, worth 7 GB of new samples.
In SYMPHOBIA 3: LUMINA 1.1, the majority of orchestral textures now offer the ability to perform the following sections individually: strings, choir, woodwinds, piano/harp/percussion.
The exact sections available differ per texture instrument.
Lumina's Microphones
Symphobia and Symphobia 2 offer two microphone sets: Close and Stage. These were actually mixdowns of a number of microphone positions, including the Wide microphone setup.
In LUMINA, the recorded microphone positions have been split into three fully separate channels named Direct, Ambient and Wide.
Direct: a mix of spot mics, close to the instruments
Ambient: stereo pair located behind the conductor’s spot
Wide: 2 microphones at the very left and right sides of the orchestra
By default, all 3 mic channels are loaded and activated. The LUMINA interface allows you to individually purge them, reducing the instrument´s RAM footprint by 1/3rd or 2/3rds.
Microphone Crossfader
The microphone cross-fader allows you to smoothly morph between the Close and Stage ‘preset mixes’ of the three individual mic channels. To illustrate: in Close position, the Direct mic channel is fully open, Ambient is closed and Wide is slightly open. Half-way, all three mic channels are partly open. In Stage position, the Direct mic channel is closed, Ambient is fully open and Wide is significantly open. As stated in the previous chapter, the Wide mic channel can be used on its own, but it was designed to be mixed with the Direct and Ambient channels to add a sense of extra space and width to the sound.
