Native Instruments has announced the release of Expansions, a new series of sound packs that contains everything musicians need to make a track in a range of modern genres. Based on the acclaimed MASCHINE Expansions series, these 50+ genre-based sound packs contain everything a musician needs to create a full track in a specific style. […]
Native Instruments has launched a sale on Sonokinetic NKS instruments, offering discounts of up to 85% off for a limited time only. From phrase-based cinematic tools to rare and exotic instruments, all Sonokinetic products combine instant playability with exquisite sound. This special offer includes a 25-product bundle with two new, exclusive instruments, and Noir – […]
Native Instruments has announced that future versions of Maschine 2 software will be 64-bit only.… Read More Native Drops 32-bit Support For Maschine 2
Published on Oct 14, 2017 Benn and Gear
“Let’s clone an instrument’s timbre using nothing but sine waves and mathematics on our first plunge into the deep, powerful world of additive synthesis.
Aforementioned Reaktor Additive Synth: https://drive.google.com/file/d/0B_9K…”
And one more on FM synthesis. I didn’t see the one he refers to for subtractive synthesis.
FM Synthesis: How does it
You’ve got your synth sounds. You’ve got your orchestral sample libraries. And they’ve always been separate – until now.
Output, the California-based sound design shop, have already built a reputation around sound libraries that mix this with that and bank on novel and on-trend sound design concepts. And roughly this time last year, they took this approach to combining string orchestras and synth strings.
But bringing the analog + acoustic blend to wind and brass may be even more vital because, well, brass and winds are a fairly particular thing to have to design… I mean, let’s be honest, how many people really look forward to brass and winds?
So, what you get are sounds that will genuinely get you excited instead of make you cringe. And oddly, combining in tape loops and vintage instruments makes this category sounds more contemporary.
As per usual, the Output experience isn’t just about calling up a preset you like, but being able to easily dial in exactly the blend and flavor you want.
Let’s break down that interface. Even from the overview screen and macro controls, you get a view to the layered sample-based sound engine beneath (plus some pretty abstracted brass wind bodies):
As in past Output products, once you get into Sources, you see the core of the sounds. Output’s products start with a wide arsenal of sounds that feel a bit like getting to steal a top producer’s hard drive. (Please don’t do that. But you get the idea.) Here, this includes one-shots, more continuous textures (“pads”), and crunchy tape loops, which basically involve the acoustic sources, the vintage synth sources, and then “everything else” / more off-the-wall bits (categorized as “creative”). That’s what gives the resulting stew a forward-thinking sound.
“Rhythm” is where invariably you can go from “oh, isn’t this sound cool” to “oh, I can actually finish this entire track with this plug-in.” Note that you have both synchronized and free (“flux”) modes, and the ability to layer modulations atop your modulated sounds.
This is, again, why Output stuff so nicely merges between preset-dialing and creative sound design – just changing an individual element can have an enormous impact, if you like.
There’s also the usual, tasty-sounding effects section.
If there’s any criticism here, it’s that Output have stuck with their existing sample-based architecture, rather than open up the possibility of, say, some physical modeling. (Underneath the hood here, it’s all the Kontakt sampler.) On the other hand, those models can be processor-intensive and unpredictable, whereas you can dump all of Output’s products on a quick external drive (which is inexpensive these days) and be assured of reliable sound results. I am curious what Output may have next, though, whether they’ve got more ideas for this approach or something else altogether.
Oh, one more thing – this all supports Native Instruments’ NKS, which means I’ll give it a try with the likes of Maschine and the new Komplete Kontrol keyboards, as there’s some interesting potential for live performance with the snapshots and such. Stay tuned for that!
Cost: US$199. But betcha earn that back on a good commission with it.
Requisite video walkthrough:
The post Output’s Analog Brass & Winds is an orchestral library for synth lovers appeared first on CDM Create Digital Music.
Published on Feb 3, 2018 Outsider Sound Design
Native Instruments Flair Mod Pack Demo / Outsider Sound Design Bug on the Line
Native Instruments Choral Mod Pack Demo / Outsider Sound Design Bug on the Line
Native Instruments Flair Mod Pack Demo / Outsider Sound Design Pedal Drone
Native Instruments Choral Mod Pack Demo / Outsider Sound Design Pedal Drone
Native Instruments has announced the release of a collection of three classic modulation effects with additional new features to give each effect its own unique twist. The Mod Pack consists of three VST/AU/AAX plugins: A flanger called Flair, a chorus called Choral, and a phaser called Phasis. Each of the plugins offers new creative possibilities, […]
Published on Jan 30, 2018 Endless Scroll
Pad – Prophet REV2
Drums – Battery
Controllers – Push & XONE:K2
Software – Live
Native Instruments has announced availability of the first NKS-ready effects at the annual NAMM trade show. As of Q2 2018, key effects manufacturers, including Waves, Softube, Eventide, and Sugar Bytes will adopt the Native Kontrol Standard (NKS) format, with dozens more planned for 2018. These platform partners have configured their effects plug-ins for use with […]