This is a renaissance Lute with 8-course strings – tuned in unison. The lute is equipped with nylon strings – it is astonishing how different a lute is used in music. In the Medieval period, it was the most important instrument for secular music. But it is also used in score music, such as in the Jim Jarmusch’s movie “Only Lovers Left Alive”.
The Celtic Nylon Harp is a small warm, and adorable sounding harp. This wooden instrument has a range of three octaves between C2 and C5 and 22 nylon strings which are finger-plucked. We added a script which allows the user to play ‘dynamic detection’ glissandos using the mod-wheel. This makes playing glissandos much more intuitive and flexible than if you had to select scales or chords. Once again, the Celtic Nylon Harp fulfils the tradition of the Strings by sounding charming, organic and inspiring.
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.
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!
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.
RIMAL features an exclusive array of never before sampled instruments and found objects, which provide the backbone behind some it’s most sought after sounds. From hitting glasses suspended in water to bowing large rusty wires, each instrument was hand picked and crafted with the upmost care and attention. Recorded in a quiet corner of the english countryside with some of the best microphones in the business, we wanted to maintain the instruments natural quality and let all of it’s beautiful imperfections shine through. Geared towards film, TV and game composers, this library is the perfect addition to your collection. Ranging from dark, menacing drones, pulsing synths, otherworldly textures and energetic percussion, this library is perfect for Underscore music (thriller/suspense/horror) Trailer Music (especially short stings, risers, atmospheres) Industrial and Atmospheric music (Atticus Ross, Trent Reznor, Johann Johannsson) or even to just to add some interest and originality to your track.
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.
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