We sampled Electric Cellos, Guitars, Basses, Synthesizers, Ethnic Instruments, Percussion, and Human Voices for The Source. With source-based synthesis, users will encounter a beautiful balance between 50 Melodic and Effect–Driven Patches, which flow easily between styles and scoring applications.
You’ve just moved into an old house, you’ve settled in, got your stuff unpacked and you decide to have a rummage around the attic to clear out some of the junk left behind by the previous occupants. In the process of doing this, you stumble across a curious looking box of electronics. Intrigued, you dust it off, observe the slight stains of verdigree on the chipped hardboard fascia, you smile at the badly applied Dymo tape labelling and take it downstairs for closer examination. It all looks very promising – obviously very badly made by someone with few construction skills and who ran out of matching knob caps but it seems to be some kind of home-made synthesiser. With eager anticipation, you fire it up only to be greeted by chaotic, squealing, stuttering noises of machinery in pain. It’s broken and doesn’t work properly… it probably never did!
The Metasonix S-1000 Wretch Machine is the only commercially available synthesizer to use gas-tube oscillators as the fundamental sound source. This technology predates most of the recognized synthesis advancements of the 20th century, and was abandoned in favor of integrated circuits. The waveforms generated by these gas-filled wonders of yesterday are a beauty unto themselves – wildly variable, inherently unique, and filled with atmosphere. At the helm of this recording is Michael Weeks, who has been involved with the S-1000 Wretch Machine since its inception. Brought to life at Metasonix with help from Michael’s constant prodding to create an integrated rack mount synthesizer, and named after his band The Wretch, Michael has clocked more hours behind the wheel of the Wretch Machine than anyone outside of Eric Barbour. The goal of this library is simple: provide the most comprehensive and raw presentation of the heart of the Wretch Machine to sound designers via painstakingly recorded samples of its oscillators. Utilizing a scripted interface in Kontakt 4, we provide basic building blocks for sound designers to truly integrate these incredible waveforms into their studio environment.
The Forgotten Keys FK11 Kontakt instrument is a close virtual re-creation of the Korg Rhythm-55B (AKA KR-55B) analogue drum machine which was the 1982 follow-up to the Rhythm-55 released in 1979. The sound generation of the 2 models was identical but the KR-55B saw a doubling of preset rhythms, intros and fill-ins as well as a major overhaul to the existing rhythm patterns. There were actually 2 versions of the KR-55B with rhythms suited to different geographical locations (presumably).
Native to Finland and Estonia, the Kantele is a traditional plucked string instrument. The Kantele is part of the Zither family and has a distinctive bell-like sound and diatonic tuning. Our Kantele has five strings tuned in G-A-B-C’ and D’.
LIMINAL: CHAMBER STRING TEXTURES VOLUME 1, a library of intimately recorded Violin, Viola and Cello samples – playable using the full version of Kontakt 6.6.1+. The library’s articulations are aleatoric, long and evolving, with the performer imparting character and movement into each sample. Recorded closely and dry, the sounds are great for adding unpredictable nuance, detail and creative imperfection. This library is not intended for fast passages or soaring melodies. It is especially suited as a collection of naturalistic pads, perfect for underscoring or ethereal soundscapes. The user-interface allows articulations to be layered, mixed and reversed. LFO controls can be enabled, allowing your DAW’s tempo to dictate the modulation of an individual layer’s volume. This opens the door for tempo-synced swells and unleashes even more creative possibilities for evolving texture.
Comrades! For too long imperialist pigs of West have luxuriated in capitalist drum machines, built on blood of oppression and stained with sweat of poverty, while laughing up sleeves at inferior Soviet Socialist drum machines. No longer! Loyal Soviet scientists working in Party laboratories now reveal to you magnificent Lel PSR, glorious triumph of superior Soviet engineering. Unlike decadent so-called “doctors rhythm” and other Western indulgences, Lel is built like a tank. So it should be! It is built in same factory as tank! Lel contains 8-bit samples of real drums. Not for Soviet citizens poor-quality analogue imitations of drums. Real drums only! And 8-bit! Capitalist pigs of the West, look upon Lel and weep into your podgy, girlish hands! Not only Lel has 8-bit drum sounds, but also 16 onboard preset rhythms. Party leaders told scientists at Lel fabrication plant to gather 16 best rhythms from all of Mother Russia and our United Soviet Socialist Allies. Result is 16 awe-inspiring rhythms from both decadent West (Rock, Heavy Metal, Reggae!) and also from Motherland herself: authentic Russian rhythms for sword-dance, vodka festival, Red Army Missile Corps march-past and more. You look for American drum machine with Kazachok rhythm or Lezginka rhythm.
Pluggotic Synth Bundle, synths with a retro digital flavour for Kontakt 4.2.3 or newer versions.
Pluggotic ToyBoy is a rompler based on four sampled toy-keyboards with distinct sonics and soundsets. 64 PCM instruments can be played, and edited through two twin layers with multimode filtering, envelopes, retriggered lfos and fxs. ToyBoy features several pianos, brasses, strings and keyboards, tuned and detuned synths, percussives like celesta, kalimba, vibes, bells, music boxes, xilophones as well as choir, hawaiian guitar, telephone tones, distorted guitar and pizzicato strings. All instruments can be played raw, edited, filtered, detuned, enhanced with five effects, layered to build different sounds. Ancient pad-machines, percussive arpeggios, chemical nonsense, glossy keyboards, degraded polysynths, pure plastic.
The Hammered Dulcimer is a high fidelity sounding string instrument with 31 pairs of strings. Its sound is well-known in film scores and in ethnic Arabian music. It is a wonderful instrument to enrich your music with lovely strings’ shining and glimmering sound. The Hammered Dulcimer is a stringed instrument with 31 string pairs stretched over a trapezoidal soundbox. Usually, the Hammered Dulcimer is set on a stand in front of the musician, who holds small wooden mallet hammers to strike the strings. The dulcimer has two bridges, a bass bridge near the right and a treble bridge on the left side. The bass bridge holds up bass strings, which are played to the left of the bridge. The treble strings can be played on either side of the treble bridge; playing them on the left side gives a note a fifth higher than playing them on the right. The strings of a Hammered Dulcimer are found in pairs, two strings for each note. Each set of strings is tuned in unison and is called a course. As with a piano, using multiple strings per course makes the instrument louder. However, as the courses are rarely in perfect unison, usually it results in a chorus effect – such as with a mandolin.
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