Muze Eclipse is a huge and inspiring collection of innovative new sounds and atmospheres, textures, pads & synths for music, sound design, and cinematic composition. Developed for use with the full version of Kontakt 5.8 or higher, Eclipse is an all-in-one tool for crafting soundtracks, cinematic music, epic music trailers – in fact, any music that requires powerful, inspirational, hybrid synth sounds.
A selection of complex warm electronic textures made with an unusual combination of 1972 Eminent 310U, a rehoused 1978 Polymoog Resonator Section, 1976 Minimoog Model D and 1938 Novachord all processed with vintage classic analog and tube technology and brought together in the same proven 4-voice layering engine as the S-VX library….
PHAEDRA Redux replaces the previous version which ran in the free Kontakt Player and required an activation serial. PHAEDRA Redux requires the full version of Kontakt 6.6.0 and will not run in the free Kontakt Player. All of the sounds from the original PHAEDRA are available in the new version. The main difference is the updated Kontakt GUI. PHAEDRA Redux comes with a stunning new interface that gives the user amazing sound-shaping capability. Featuring over 4GB of sounds, 20,000 samples and 720 patches – PHAEDRA is the ultimate virtual analogue synth. Unhappy with the lack of raw sonic power in virtual emulations of VSTi analogue synths producer set out on a three-year journey to make the ultimate synth and ended up creating a monster in PHAEDRA.
Gothic Sister does not incorporate sampled vocal phrases but a selection of sustained vowels or vocal elements – Ee Die, Oh Tens, Zai Lah, etc. Characteristically designed for tonal enhancement, Gothic Sister encompasses a vocal-based scoring pad and authentic stage performance ambience. The option to implement only the natural voice is available at the musical discretion of the composer. Special features include time-based polyphonic legato, subtle vibrato control, the creation of custom vocal verses, and real-time playback.
The German Spinet 1767 library features one of the few preserved original German spinets; a beautiful sounding instrument by Johann Heinrich Silbermann. The instrument was built in Strasbourg in 1767 and features a bell-like treble response with clear impulse response and a full-bodied sound. Residing at the Germanische Nationalmuseum in Nuremberg, the harpsichord remains in great playable condition. Just like harpsichords, the instrument is not touch-sensitive like a piano. However, even if the differences are minuscule, not any given note will sound the same twice due to different resonances of body and strings. When repeatedly playing a note (e.g. playing trills), triggering off the exact same sample will create a sterile and unpleasant impression. Therefore, we captured every note with 8 variations. The sounds of the key releases are also of major importance for a thorough impression of the instrument. Those were recorded with 4 release samples per note.
Continuing our obsession with 80s low-bit-rate sampling gear, let’s introduce the big grey slab that is the RZ-1. Casio’s built-like-a-brick RZ-1 was one of the early brigade of sampling drum machines, offering twelve onboard PCM sounds plus the opportunity for the user to sample their own sounds to four assignable pads. Admittedly, these pads only offered 0.2 seconds of sampling each, but there was the cool option of chaining all that sample memory together to get one, single, massive 0.8-second burst of sound. Bitchin’! All right, the sampling time was pretty limited. But the sonic specs were better: 20kHz sampling frequency, which at least let some top end through, plus a fader-bank to allow you to balance the sounds, and a decent onboard sequencer to chain patterns together. The RZ-1 has a sonic signature all of its own: very brisk and crisp, with enough grit to slam through a mix but an undeniably lo-fi tone to its kit which has made it something of a cult hit among Hip Hop and House producers.
The concept of the mandolin is very simple. You can play any note on any string between the open string (0 fret) and the 12nd fret using key switches. I made this kontakt instrument so I can have the ability to play any note that I want, that way I can play the mandolin and have the same spacing of the chords that the mandolin has and the same tone that the strings has. It’s very important to have the right TONE OF THE STRING so it will sound the right way. In the mandolin you can select always the right note on the right string or you can select the open strings if you like that sound. you can decide what is right to you it’s your choice. You can hear it clearly if you play arpeggio notes, but also if you play fast chords up and down strokes.
The concept of the venson bass like the mandolin is very simple. You can play any note on any string between the open string (0 fret) and the 22nd fret using key switches. I made this kontakt instrument so I can have the ability to play any note that I want, that way I can play the bass and have the same spacing of the chords that the bass has and the same tone that the strings has. It’s very important to have the right TONE OF THE STRING so it will sound the right.
The Premier Artist Maple Drums were recorded in a tight and dry environment with normal drum sticks 1 velocity layer and 24 round robin. The snare drum is black beauty. I wanted to leave the drums sound un touched as much as possible, so I did a minimal prosses to the sound to keep the drums sounding real but to have power so you can use it out of the box in your music. The drums can be processed as you like it without a lot of problem when you mix, you can put your compressors or eq …with ease, there is no process that you need to fight in order to get your sound. I love my drums to be un processed so I can shape my own sound.
Seiko DS250 – A strange and extremely rare Additive synthesiser from the 1980’s and used by J.M Jarre on his Rendezvous album. The DS250 has a set of presets built into it and it allows for you to stack two presets by pressing a dual function key to select layer 1 and layer 2; it is a little awkward pressing these buttons, so our version just has two sets of 16 preset select buttons which is much easier. The D-250 relies on some form of additive synthesis to create its sound and produces tones that are not clean and pristine, but instead have a wonderful earthy, organic and grainy sound that have bags of character.
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