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In terms of editing and effects, there are 20 ambiences, a phrase sequencer, swell control, and a comprehensive effects section (chorus, compression, distortion, EQ, delay, reverb, amp and speaker emulations).Ī total of 176 NKI instrument banks (12GB of content) are included in the library, which works inside the free Kontakt Player. The content is organized by mood, key, and tempo. Six female singers were recorded for this library consisting of over 20,000 samples and 7,000 melodic phrases.
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The Voices of Wind Collection isn’t about stringed instruments for a change – it’s about the human voice. The library costs USD 29 for a short while, down from the regular price of USD 59.
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Kontakt 6.6.1 is required in the full version for Polyscape 2. Additionally, the Advanced Smart Random Bar lets you randomize up to 160 controls at once for instant surprising results. You can mix these sections and further tweak them with analog filters and effects such as delays, chorus, reverbs, EQ, modulation, compressor, and master limiter. Four sound modules and an additional layer with a sub-synthesizer are at your disposal. It’s a hybrid sound design instrument, primarily based on cellos heavily processed with modular effects. Running in Kontakt, Polyscape 2 follows a similar approach to Polaris. It’s currently sold at an introductory price of EUR 269, down from EUR 349. Polaris runs as standalone and plug-in ( 64-bit AAX, VST2, VST, AU) under macOS 10.13+ and Windows 7+. There are 421 presets and a whopping 44.7 of samples content. The so-called eDNA engine and a new granular processor produce the final sound out of 129 possible articulations, two layers, and internal effects. Polaris has three sections – Organic Strings Orchestra, Classic Synths and Vintage Resampling. The synthesizers used include the CS-80, Lexicon 224, Prophet T8, Oberheim OB-Xa, Matrix 12, Jupiter 8, and Prophet 5. The recordings were processed with vintage samplers like the venerable EMU E-II, Fairlight, and Ensoniq Mirage – as well as cassette and VHS recorders. The goal was to make strings sound like synths and synths sound like strings with all sorts of interesting nuances and happy accidents happening in-between. Spitfire merged the sounds of a string orchestra with vintage synthesizers under the direction of Brian Transeau (known as BT).