Product Description for the Spitfire Grand Cimbalom
The cimbalom has been used in many film scores over the years: famously, John Barry used it in the title theme for the film The Ipcress File, as well as in the main theme of the 1971 TV series The Persuaders. But it's most famous (and coolest) use was probably on the 1994 Portishead track "Sour Times". An example of how the instrument can be used as a mournful exotic sound not just it's often stereotypical use against East European backdrops, spy intrigue and cold war thrillers. Aside from being an amazing featured or solo instrument. It is also great as a textural element; doubling pianos and other tuned percussion instruments. It is particularly interesting in unison with pizzicato passages. A fantastic new colour for your palette and with this level of detailed sampling, something that can sit proud and exposed in your mixes and honestly and realistically express the emotion of your composition.
Greg is an exceptional musician, having worked with artists as diverse as Roger Norrington, Michael Nyman, Hans Zimmer, Mark Anthony Turnage, Pierre Boulez, John Taverner, Harrison Birtwhistle, and Sir Peter Maxwell Davies. He has performed on film scores including Harry Potter, Lord Of The Rings trilogy, Spy Game, Band of Brothers, and Borat. He has held the role of principle percussionist in a number of internationally renowned orchestras.
Spitfire’s Definitive Range aims to offer the world a one-stop shop for classic and esoteric instruments played by the greats. As all these instruments are recorded in situ, in the same room, they’re designed to lock together sonically whether it be some timpani from the percussion range coupled with your Sable libraries. Or indeed a more curious band made up of the Hg20, a plucked piano and a harp, it is designed to sound like they’re together in the same room.
We provide a series of detailed mixing options that allow you to dry the sound up or make it more ambient, whilst preserving the acoustic integrity and perspective of a consistent microphone set up and room configuration. The instruments are all sampled in great detail but designed to play easily out-of-the-box, with simple integration into larger arrangements and templates without risk of demanding too much from your system resources.
Recorded by Jake Jackson at Lyndhurst Hall – Air Studios, on one of the finest scoring stages in the world, through an array of vintage microphones via Neve “Montserrat” pre-amps, to a beautifully serviced Studer 2” tape machine and then into digital at 96k via Prism AD converters: this is an unparalleled signal chain.