Tuesday, 27 February 2018

Q Up Arts announces availability of California Keys™ keyboard collection as cutting-edge KONTAKT sample instruments

World-class sound collections developer/licensor Q Up Arts is proud to announce availability of California Keys™ — compatible with Native Instruments’ industry-standard KONTAKT (5.5 full version or free player) platform as a supremely sampled suite of the finest instruments on the planet for professional keyboardists and composers, centred around a Fazioli 10ft grand piano presented in stereo and surround, scripted and designed for maximum expressivity and playability to fit every style of playing, partnered with a set of vintage keyboards carefully captured at a private Topanga Canyon-sited studio in the Santa Monica Mountains of Southern California.
California Keys’ centrepiece Fazioli 10ft grand — the actual instrument that American jazz pianist, keyboardist, bandleader, and composer extraordinaire Herbie Hancock uses to tour with — was given the Rick Baldassin technician treatment — courtesy of one of the foremost authorities on piano action geometry, and hammer construction and voicing — before being played by concert pianist Candace Winterton and recorded by Q Up Arts Director of Audio Engineering Robert Abeyta in CounterPoint Studios in Salt Lake City, Utah (designed by studio bau:ton, the acclaimed media facilities division of Santa Monica, California-based nonzero\architecture, offering a comprehensive approach to the complex challenges of projects for the creation, recording, production, and distribution of audio and visual media and the live arts).
Watch Q Up Arts co-developer and co-designer Michael Scott’s
in-depth video walkthrough of California Keys™

This impressive instrument was captured in surround with 10 different microphones — one mono Audix SCX25 studio condenser close mic over the hammers and two more of the same model mic over the hammers for stereo; one Neumann U87 under-mounted bass mic; two side Peluso CEMC-6 solid-state pencil mics in a classical ORTF configuration (combining both the volume difference provided as sound arrives on- and off-axis at two cardioid microphones spread to a 110° angle, resulting in a realistic stereo field, following in the inventive footsteps of Office de Radiodiffusion Télévision Française or ORTF at Radio France, collectively responsible for devising this technique around 1960); and two matched pairs of Earthworks Omni QTC1 room mics at both ends of the recording room.
Results are all the more stunning since the sample instrument itself is served up as eight fully discreet channels, with fully user-adjustable Volume and Pan per channel — complete with 7.1 Surround presets (including a choice of two different side mic types) with fully discrete, user-adjustable channels and 5.1 Surround presets with fully discrete, user-adjustable channels! California Keys’ California Grand gifts its users with a piano that can be played more softly than anything else out there! Personally produced by Q Up Arts Founder Douglas Morton, it is deftly designed to dutifully deliver maximum expressivity and playability fit for every style of performance, thanks to some seriously clever KONTAKT programming and scripting by master Michael Scott. Indeed, its dashboard-accessed Microphones control allows anyone to customise the piano for almost any musical application and sound type with pedal sounds, key let-offs, and sustain pedal also controllable. (Contemporarily, this is the talented team that sampled and programmed the critically-acclaimed Williams Digital Pianos and Simmons Electronic Drums for Guitar Center, the world’s largest retailer of guitars, amplifiers, drums, keyboards, recording, live sound, DJ, and lighting equipment.)
California Keys also captured classic keyboards — comprising a vintage Rhodes® E-Piano electric piano, vintage Wurlitzer® W-Piano electric piano, Vox Continental® organ, Farfisa® organ, Clavinet™® D6, and Hammond®™ A100 tonewheel organ — at a private Topanga Canyon-sited studio in the Santa Monica Mountains of Southern California. Curated from performer Arlan Oscar Schierbaum’s stunning collection, carefully restored by master keyboard technician Ken Rich of Los Angeles, Californian vintage vibe abounds as Douglas Morton himself recorded everything at the highest (24-bit/192 kHz) resolution to capture the character and uniqueness of each instrument into a Pro Tools | HD system.
Similarly, California Keys’ set of resulting Clavinet D6, F-ORGAN combo, H-ORGAN A100, R-EPiano, V-ORG Super Continental, and W-EPIANO cutting-edge KONTAKT sample instruments are also compatible with Native Instruments’ NKS™ (NATIVE KONTROL STANDARD) functionality programming, allowing anyone to browse and control real-time parameters such as Mic levels, TONE, REVERB, ENVELOPE ADSR, and much more. Meanwhile, Q Up Arts’ advanced KONTAKT script and dashboard features fast visual access to directly dial in VELOCITY curve, FILTER, ADSR, several REVERB choices, MIC level, and TONE to brighten or darken the instruments. Indeed, all instruments can be configured in many different ways to suit playing styles and genres.
Good vibrations abound as Q Up Arts’ California Keys captures a serious suite of keyboards for professional keyboardists and composers alike. As to their final musical destination, their extreme playability and inspiration can clearly lead to anywhere… as California’s very own Beach Boys’ surf songs showed only too well!
California Keys™ can be purchased and digitally downloaded (as around 8,000 samples needing approximately 40 GB disk space) for a time-limited promo price of $199.00 USD until the end of March 2018 — rising thereafter to $499.00 USD — from here: http://www.quparts.com/California-Keys-Kontakt-Player-vintage-keyboards-p/calikntkt01dl.htm (It is alternatively available on a surfboard-shaped USB memory stick as a collector’s item.)

About Q Up Arts (www.quparts.com)

Q Up Arts was founded in the central Californian coastal city of Santa Cruz in 1993 by Douglas and Susan Morton fresh from E-Mu Systems and Optical Media International in Silicon Valley, where they developed and licensed samples and audio for the music, computer, film, tv, and game industries. Its goal is to inspire fellow composers, producers, and recording artists with unique and enduring instruments usable for years to come. Currently developing and licensing world-class sound collections for professional music producers, film/tv composers, computer companies, and recording artists across the globe, for licensing enquiries contact Q Up Arts Licensing on 00 1 (310) 714-9547.
© 2018 Q Up Arts.com, LLC

Sunday, 25 February 2018

Spitfire Audio offers apt alternative take on solo strings sample library with ALTERNATIVE SOLO STRINGS

Spitfire Audio is proud to announce availability of ALTERNATIVE SOLO STRINGS — an aptly-titled, alternative take on a sampled solo strings library for Native Instruments’ industry-standard KONTAKT platform, putting performances of four of the most interesting and progressive string soloists in London into an easy-to-use tool to access Violin (Warren Zielinski), Viola (Joel Hunter), Cello (Chris Worsey), and Double Bass (Mary Scully) for detailed compositional work while offering anyone an instant, out-of-the-box virtual collaborative experience steeped in personality, quality, and distinction.

The musicians that Spitfire Audio collectively chose to work with when creatively crafting ALTERNATIVE SOLO STRINGS really represent some of the most exciting and in-demand players on the London orchestral session circuit. Collaborating with many of the biggest recording artists in the world to Oscar award-winning movie score performances, there can’t be many major British recordings in existence that haven’t featured these major players in some shape or form!

Frankly speaking, top violinist and musician Warren Zielinski, award-winning viola player Joel Hunter, professional cellist Chris Worsey, and leading UK double-bass player Mary Scully take some surpassing, having amassed an amazing collection of ‘onscreen’ collective credits between them, including: Captain America (Henry Jackman), Fantastic Beasts And Where To Find Them (James Newton Howard), Victoria & Abdul (Thomas Newman), Jason Bourne (David Buckley/John Powell), Interstellar (Hans Zimmer), Sherlock Holmes: A Game Of Shadows (Hans Zimmer), Inception (Hans Zimmer), Tinker Tailor Soldier Spy (Alberto Iglesias), The Twilight Saga (Carter Burwell), Batman Begins (Hans Zimmer/James Newton Howard), Gladiator (Hans Zimmer/Lisa Gerrard), Lord Of The Rings: The Fellowship Of The Rings (Howard Shore). Meanwhile, musically Nick Cave, Daft Punk, Mark Ronson, UNKLE, Badly Drawn Boy, U2, Goldfrapp, Joni Mitchell, Max Richter, The Divine Comedy, and Christine and the Queens have all benefitted from the aforesaid players’ perfect performance touch(es).

Watch Spitfire Audio’s informative introductory video for ALTERNATIVE SOLO STRINGS

That all being said, the resulting ALTERNATIVE SOLO STRINGS collaboration creates and adds Double Bass and Viola to Spitfire Audio’s previously-released PP015 ARTISAN CELLO and PP016 ARTISAN VIOLIN libraries, all rewrapped with a new interface and KONTAKT PLAYER compatible — and also Spitfire Audio’s first double-bass library to boot!

Better still, all of these instruments carry with them the signature sound of Spitfire Audio — all artfully designed to provide not only that initial spark of inspiration but also broaden understanding of this particular group of instruments. Indeed, Spitfire Audio always prides itself on making precision tools for composers that deliver effectively on the current demands of the industry alongside a deeply-held belief that creating a series of raw, edgy tools that behave with a certain amount of realistic unpredictability leads to the most exciting results.

Watch Spitfire Audio ‘composer in residence’ Oliver Patrice Weder’s

Recorded at the Spitfire Audio HQ’s ultra-high-spec in-house recording studio and tracked there through the finest equipment, as a result, ALTERNATIVE SOLO STRINGS provides perfect accompaniment to Spitfire Audio’s popular LONDON CONTEMPORARY ORCHESTRA STRINGS, which was recorded in the same location. Let it be said, then, that whilst the spirited and sometimes unpredictable recordings may well pleasantly lead its user into unexpected territory, the sonics of Spitfire Audio’s dry stage provide ultimate control — whether that be an upfront Warren Ellis-style approach, a hyper-produced Hans Zimmer-style overdub on top of a large orchestral bed, or, indeed, a virtuoso performance within the section of a chamber work.

Watch Spitfire Audio Director Paul Thomson’s
‘traditional’ video walkthrough of ALTERNATIVE SOLO STRINGS

With access to each instrument performing spirited longs and shorts as well as a series of ‘artisan’ articulations, who better to provide a fitting closing comment on ALTERNATIVE SOLO STRINGS’ ability to offer anyone an instant, out-of-the-box virtual collaborative experience steeped in personality, quality, and distinction, then, than Spitfire Audio co-founder and active composer Paul Thomson? “You’ve got quite a large variety of sound in there to play with,” he begins, before giving credit where credit’s due: “Obviously one of the most important elements of this is the players… Warren Zielinski on violin, Joel Hunter on viola, Chris Worsey on cello, and Mary Scully on bass — four incredible performers with beautiful instruments. They’ve played on so many film scores and records that you would lose count. You’ve heard their playing, and they really are an essential element in making this a successful and inspirational tool. So it’s a huge privilege for us to have worked with them. This is not a polite string library; it’s very definitely alternative, gritty, inspiring, and different.”

ALTERNATIVE SOLO STRINGS can be purchased and digitally downloaded (as 53,146 samples needing 29.64 GB disk space) for a time-limited introductory promo price of £169.00 GBP (inc. VAT)/$199.00 USD/€199.00 EUR (inc. VAT) until March 1, 2018 — rising thereafter to an MSRP of £249.00 GBP (inc. VAT)/$299.00 USD/€299 EUR (inc. VAT) — from here: https://www.spitfireaudio.com/shop/a-z/alternative-solo-strings/

ALTERNATIVE SOLO STRINGS needs Native Instruments’ free KONTAKT PLAYER (5.6.8) — included in the purchase — to run as a fully NKS™ (NATIVE KONTROL STANDARD) supporting plug-in instrument for Mac (OS X 10.10, 10.11, or macOS 10.12 — latest update) or Windows (7, 8, or 10 — latest Service Pack, 32/64-bit), while Spitfire Audio’s free Download Manager application allows anyone to buy now and download anytime.

For more in-depth information, including several superb-sounding audio demos, please visit the dedicated ALTERNATIVE SOLO STRINGS webpage here: https://www.spitfireaudio.com/shop/a-z/alternative-solo-strings/

About Spitfire Audio (www.spitfireaudio.com)
Spitfire Audio is a British music technology company producing high-quality virtual instruments and sample libraries. The company collaborates with the world’s best composers, producers, engineers, and studios to create detailed and realistic recordings of instruments and sounds for use in computer-based music production. Prominent collaborators include Hans Zimmer, Air Studios, Eric Whitacre, and many more.
© 2018 Spitfire Audio Holdings Limited

Saturday, 24 February 2018

Pittsburgh pens love letter to the analogue monosynth with Microvolt 3900 desktop delight

Having turned heads and opened ears at The 2018 NAMM Show last month in Anaheim, CA, electronic instruments-maker Pittsburgh Modular Synthesizers is proud to announce that it is taking preorders on its Microvolt 3900 — duly destined to delight desktop synthesizer supporters anywhere as a modern, semi-modular synthesizer inspired by the instruments designed by the company’s heroes, though taking a new approach to building a contemporary analogue monosynth with a host of innovative and unconventional features that makes it stand out from the sound of the crowd.

Thanks to Pittsburgh Modular Synthesizers’ new temperature-stabilised, dual-VCA (Voltage Controlled Amplifier) oscillator core, the analogue audio engine of the Microvolt 3900 feeds a set of timbral wave-shapers carefully crafted for deep harmonic shaping, allowing a layer of additive synthesis alongside the classic synthesis waveforms. Waveforms are fed into the binary filter, a custom state-variable filter architecture allowing for near-infinite resonance — with or without self-oscillation. Sonically speaking, this creates a juicy, fluid filter, adding depth and energy to the oscillator that can capably scream on demand!

Deeper still, Pittsburgh Modular Synthesizers’ new dynamic vca lies at the heart of the Microvolt 3900’s sound world. Whereas  a standard VCA works in two dimensions, the dynamic vca technology adds a third dimension — duly welcomed. When the dynamic vca closes, decreasing the amplitude, harmonics are removed from the source; whereas when the dynamic vca opens, the harmonics are restored. Reality dictates that this mimics the behaviour of sounds in nature. Needless to say, the result is a lively, organic-sounding synthesizer, full of energy. The design of the dynamic vca also allows the instrument to be plucked or struck, so-to-speak, opening up another set of musically percussive possibilities.
Watch Pittsburgh Modular Synthesizers’ inviting introductory video for the Microvolt 3900

Putting more sonic architecture into its intrepid users hands, the semi-modular Microvolt 3900 includes a 39-point Eurorack format-friendly 1/8-inch jack patchbay for complete signal routing control over a full complement of audio and modulation options with several self-explanatory sections clearly categorised: clock, external, midi, output, waveform generator, envelope, filter, vca, modulation, function, and inverting mixer / splitter / offset.

On top of that, a highly-tuned, four-stage (attack, decay, sustain, and release) envelope generator; multitasking function generator (which works as a voltage-controlled envelope, LFO, and oscillator); wide-ranging lfo (Low Frequency Oscillator); chaotic random source (random complexity); multi-mode sequencing arpeggiator; and MIDI-to-CV (Musical Instrument Digital Interface to Control Voltage) control are also available to create dynamic sounds unique to the Microvolt 3900.

With concluding crowning additional achievements including a voltage-controlled, West Coast-style wavefolder (fold timbre); switchable harmonic sine wave; external preamp with 30 independent gain and output level controls; classic Pittsburgh Modular Synthesizers lowpass filter with extended resonance; dynamic vca with standard vca and lpg (Low Pass Gate) modes; variable overdrive on output; chaotic (random) rnd cv and rnd gate generator; and that 39-point Eurorack format-friendly patchbay… put it this way: with the feature-packed Microvolt 3900 Pittsburgh Modular Synthesizers is definitely destined to delight desktop synthesizer supporters anywhere as a modern, semi-modular synthesizer inspired by the instruments designed by the company’s heroes, though taking a new approach to building a contemporary analogue monosynth with a host of innovative and unconventional features that makes it stand out from the sound of the crowd!

The Microvolt 3900 is scheduled to ship to Pittsburgh Modular Synthesizers’ growing global network of authorised dealers and resellers (https://pittsburghmodular.com/dealers) on April 27, 2018, when it will become available to purchase with an RRP of $629.00 USD.

For more in-depth information, please visit the dedicated Microvolt 3900 webpage here: https://pittsburghmodular.com/microvolt

About Pittsburgh Modular Synthesizers (www.pittsburghmodular.com)
Pittsburgh Modular Synthesizers make electronic instruments for musicians and sonic architects. As such, its innovative designs promote unrestricted, interactive synthesis for maximum control of maximum sound. Sold through the company’s growing global network of authorised resellers, its instruments include the flagship Lifeforms line of complete synthesizers and individual modules, professional-grade Structure enclosures, and a full line of Eurorack modules and accessories. Established in 2012, Pittsburgh Modular Synthesizers takes its notable name from Pittsburgh, Pennsylvania, where it is both based and hand builds/tests all of its products. Founder and chief designer Richard Nicol sold Pittsburgh Modular Synthesizers’ first module design, the VILFO (Voltage Influenced Low Frequency Oscillator), out of his basement to fund his crippling synthesizer addiction. Since then, he has somewhat obsessively worked to create meticulously designed, beautiful instruments, which are both accessible to starting-out sound experimenters, as well as infinitely extendable for professional musicians and producers.

© 2018 Pittsburgh Modular Synthesizers LLC

VERMONA releases remarkable randomRHYTHM randomized trigger sequencer / clock divider Eurorack module

Electronic sound tools creator VERMONA is proud to announce availability of the randomRHYTHM randomized trigger sequencer / clock divider — duly representing the company’s latest Eurorack entry to the small-format modular system world as a remarkable random-based dual-channel trigger sequencer with four sliders per rhythm section with which to set the probability of quarters, eighths, sixteenths and triplets making an appearance to form sequences.
Unlike traditional step sequencers, VERMONA’s just-released randomRHYTHM randomized trigger sequencer / clock divider does not allow its users to set steps manually — or tap in a rhythm, for that matter, but rather work with four fanciful LED-lit sliders labelled 1/4, 1/8, 1/16, and 1/3 to set the probability of quarters, eighths, sixteenths and triplets making an appearance to form sequences in its two rhythm sections. Each rhythm section works in realtime or DICE mode, meaning that the module is either continuously generating new random values for each note value in realtime, whereas in DICE mode it generates them for a complete 3/4 or 4/4 bar. But in both modes the sliders still influence the resulting sequence — even if a bar has been ‘diced’, so-to-speak.

Still better, beside the sequence output of each rhythm section are individual outputs for those quarters, eighths, sixteenths and triplets. These can be used with or without the randomness that inspired this extraordinary Eurorack module’s made-to-measure name; needless to say, the latter lets the randomRHYTHM randomized trigger sequencer / clock divider become a precise tool to generate or multiply clocks. Concerning clocks, the randomRHYTHM randomized trigger sequencer / clock divider can create its own or work with external clocks — per rhythm section, if required!

Additional music-making merriment is guaranteed by the flexible RESET IN (input) that lets users mute the outputs (RESET: MUTE ALL) or restart the ‘diced' bar (RESET: RESTART DICE). Again, as is the case with all parameters, functionality can be individually set per rhythm section.
Standing out from the sound of the Eurorack pack crowd, the randomRHYTHM randomized trigger sequencer / clock divider effectively encourages endless creativity in itself. Indeed, it is equally easy to create complex rhythms or straight-ahead four-on-the-floor beats. Better still, its foolproof interface lets users play it without thinking about randomness and probabilities — though that is, of course, the central concept behind the module! Stochastic geniuses need not necessarily apply themselves when working with the randomRHYTHM randomized trigger sequencer / clock divider — though that would not necessarily do any harm!

However, regardless of any user’s understanding and appreciation of its core values, it does not matter if the randomRHYTHM randomized trigger sequencer / clock divider is used as the sole rhythmic device in a modular system setup or in conjunction with other sequencers as a valuable extension. Either way, working with the randomRHYTHM randomized trigger sequencer / clock divider sheds a whole different light on rhythms and ways to generate them.

Thinking different with the 24 HP-wide randomRHYTHM randomized trigger sequencer / clock divider is surely space well filled and money well spent in the ever-expanding Euroack small-format modular system world!

Shipping now, the randomRHYTHM randomized trigger sequencer / clock divider is available to purchase through VERMONA’s growing global network of dealers (http://www.vermona.com/en/dealer/) with an RRP of €299.00 EUR (Europe) and $349.00 USD (USA).
For more in-depth info, please visit the dedicated randomRHYTHM randomized trigger sequencer / clock divider webpage here: http://www.vermona.com/en/products/modules/product/randomrhythm/
About VERMONA (www.vermona.com)
VERMONA is located in idyllic south-eastern Vogtland in Germany, well known for its extraordinary musical instrument-building skills since the 18th Century, where it has manufactured electronic musical instruments and processors displaying the highest level of craftsmanship for over 25 years. Since its revival in 2001, the traditional established VERMONA brand name is synonymous with realising its sonic vision with uncompromising clarity, creating electronic sound tools in close cooperation with experienced musicians and dedicated sound smiths. From initial design concepts through to final polish, perfected engineering art goes hand in hand here with fulfilling creative users’ dreams and demands!
© 2018 HDB electronic GmbH

Impact Soundworks makes meditative musical moods perfectly possible with aptly-titled VI release

Audio software creator Impact Soundworks is proud to announce availability of MEDITATION — an aptly-titled and affecting collection of supremely-sampled acoustic mallet, gong, and glass sounds, creatively combined with a revolutionary KONTAKT-based additive synthesizer allowing adventurous users to craft an endless variety of evolving and subtle tones, perfect for film scoring applications alongside ambient and atmospheric music creation.

Conceptually, MEDITATION is a revolutionary sampled virtual instrument library for Native Instruments’ industry-standard KONTAKT platform, perfectly positioned to produce an infinite variety of unique mallet, bell, and key tones. Creatively, it cleverly combines a treasure trove of unique acoustic sound sources — such as Aquarion, Boltophone, Brass Urn, Crotales, Gamelan Ensemble, Glass Gong, Glockenspiel, Kenong, Koto Harmonic Pluck, Marimba, Muted Prayer Bowl, Pipe Harp, Pot Lids, Rubber Mallets, Shou Drum Brushed, Stonaphone, Toy Piano, Tubular Bells, Vibraphone, Violin Pick, and Waterglasses (hand-picked from other critically-acclaimed Impact Soundworks libraries like CURIO, MOMENTUM, and RESONANCE, along with some new material) — with an additive synthesis layer, representing the first of its kind in a KONTAKT instrument!
Though the MEDITATION library itself includes in-depth synth parameters with modulation tweaking aplenty, average users do not need to be an additive synthesis expert to enjoy it. Included are a wide variety of presets to affect and inspire; indeed, adjusting basic parameters of each sound is very easy, thanks to the always-admirable design work of Impact Soundworks Lead Designer Andrew Aversa and his sterling scripting team (Mario Krušelj and Nabeel Ansari).

As such, MEDITATION’s gorgeous GUI (Graphical User Interface) is as easy on the eye as it is easy to use. Duly divided into two primary layer panels, the left one contains controls for the Acoustic Layer — centred around a SOUNDSOURCE menu (revealing all available acoustic sound sources) with associated knobs for adjusting its VOL (volume), PAN (panning), TUNE (tuning), and TRANS (transposition), while additive synthesis-centric controls reside in the right layer.

 Watch Samplecast’s Reuben Cornell’s short overview video of MEDITATION here: 
Like its acoustic counterpart, the so-called Synthetic Layer features a row of straightforward settings, starting with a WAVEFORM menu for selecting one of three (sine, sawtooth, or square) waveforms alongside associated knobs to adjust its VOL and PAN. Four more controls are dedicated to INHARMONICITY — the degree to which the frequencies of overtones (or partials) depart from the fundamental frequency (harmonic series). Saying that, the ODD and EVEN knobs set the detuning of the odd and even partials — perfect for creating more gong-like tones. The ‘leaf’ button initiates an Eco Mode, preventing triggering of partials that are initially silent, while the ‘tuning fork’ (Pure Partials) button adjusts the base tuning of all partials to just/pure intonation. 

Digging deeper, the Synthetic Layer’s central section houses VOLUME and PAN tables for the partials. Users can draw in their own curves for one of two states (STATE 1 and STATE 2) and even morph between those states by activating the MORPH button. Beyond that, the ‘gearwheel’ button brings into play another menu of preset options while the ‘dice’ (Randomize) buttons randomise the curves for each table. In short, 24 partials can be adjusted in real-time, along with per-partial panning!

Both layer panels also feature filter and envelope controls for further shaping the sound sources. There are envelope controls for PITCH, FILTER and AMP, including: A (attack), H (hold), D (decay), S (sustain), and R (release) sliders, a VEL (velocity) knob, a CURVE control, and an AMT (amount) knob (for PITCH and FILTER envelopes only).

Of course, those controls may sound complex to some, yet Impact Soundworks collectively encourages MEDITATION users — average or otherwise — to give them a try. The resulting sounds are sure to impress!
In keeping with many of its Impact Soundworks software siblings, MEDITATION includes the company’s trademark easy-to-use FX Rack — featuring EQ, COMPRESSOR, TRANSIENT DESIGNER, SCREAM, BITCRUSHER, DELAY, REVERB, and LIMITER — that also creatively connects to the Mod Matrix, itself allowing for highly-flexible routing of modulators — such as generated LFOs (Low Frequency Oscillators) and MIDI CC (Continuous Controller) messages — to all the FX controls.

To conclude: creating instant variation without any prior experience is a given with MEDITATION, yet it also offers experienced users so much creative control. Combined with that powerful analogue/digital FX Rack, making meditative musical moods or simply crafting beautiful sounds is, indeed, perfectly possible — regardless of experience! Another amazing balancing act from a class act.

MEDITATION can be purchased and digitally downloaded directly from Impact Soundworks for $49.00 USD from here: https://impactsoundworks.com/product/meditation/#purchase
Note that MEDITATION requires the full version of Native Instruments KONTAKT (Version 5.5.2 or higher).
For more in-depth information, including several superb-sounding audio demos, please visit the dedicated MEDITATION webpage here: https://impactsoundworks.com/product/meditation/#details
About Impact Soundworks (www.impactsoundworks.com)
Impact Soundworks creates audio software designed with composers in mind: sample libraries, virtual instruments, and plug-ins. As passionate about creating music tools as its customers are about making music, the company was founded in 2008 by composers Andrew Aversa and Will Roget, II at a time when there were several large virtual instrument companies already around, but few developers creating affordable, flexible, and focused libraries featuring more unusual and unique sounds. Shrewdly, the dynamic duo noticed much in the way of in-depth orchestral offerings, but more unusual instruments were not being sampled with much detail at all. As such, the company’s first two releases were Impact Steel, a collection of found metal objects played as percussion, and Sitar Nation, a set of instruments from North India. It has since been collectively working hard to address the needs of modern composers, successfully striking the balance between depth and ease of use. Ultimately, Impact Soundworks is proud to call tens of thousands of musicians around the world its customers, intelligently investing time to study suggestions and review requests. After all, that is how a number of its best-loved libraries started… from the smallest seed!
© 2018 Impact Soundworks