![]() Distortion, motion (chorus/phaser/flanger), pitch, compressor, delay, and reverb are some of these effects. The FX page then contains six effect processors per layer. Similar to this, the Filter page has high-pass and low-pass filters for the global output in addition to multi-mode filters for each layer. For the low and high bands, you can select either shelf mode or peak mode. Each layer’s EQ on the EQ page has three bands, and the global output EQ has four. This library’s three mixing-specific pages are EQ, Filter, and FX. Four macro faders, each of which varies depending on the preset or your assignments, are located on the outer perimeter of the circular pattern. You can see the category of the sound source you’ve selected outside of this section, and the logo corresponds to that category. After that, by clicking on the source name, you can choose from a variety of sound sources. You can access each layer’s volume by moving out a step. The power buttons to mute/enable the layers are located in the middle of the arrangement. The Bass Engine user interface’s main screen features a strange arrangement of three instrument layers, their controllers, and macro faders that enable you fast alter the sound.Īdditionally, you can add a MIDI CC to the macros so that your MIDI controller can control them. Output SubstanceĪ full-featured bass sound production tool called Substance includes built-in samples of authentic acoustic instruments and gritty analog synth sounds. This is one of the Best Kontakt Libraries in 2023. Also, if you need to slightly hype things up when you’re producing, consider turning up the exclusive Punisher knob. Similar to how utilizing each sound engine and experimenting with the buttons and knobs gets you up to speed, even though the method isn’t immediately evident. Almost everything you’d need to create big hybrid cinematic scores is available. This library is what I would call a complete sound module for movie or trailer music. You become more aware of how many audio possibilities there are as you make more attempts to explore this collection. Additionally, depending on your preference, you can alter the dynamics using either your modulation wheel or your velocity. You may change the sounds and articulations of each of these by utilizing key switches. You can select from a variety of instrument types using the Performer Engine, including Traditional, Hybrid, Damaged, Soundscapes, Hybrid Pedals, Damaged Guitars, etc. Keep take mind that the envelope, filters, and effects editors are accessible by clicking on each parameter. The Macro Sequencer operates in a similar manner, modulating the Macro knob in the center of the interface, which controls six parameters: the Envelope, EQ, Filter, Drive, Gate, and Space. You can use a sequencer to modify each channel’s start position, velocity, and panning on the Cycle page. The top right corner of the UI also has three menus: Cycle, Macro Sequencer, and Master FX. The Source menu is located at the upper left of the interface and allows you to examine, load, and distribute samples over the keyboard. There are three channels on each patch where samples can be loaded. Of course, you can create new patches using a variety of factory presets and samples. You can create a wide variety of sound palettes using the Designer Engine, from complex horror drones to hybrid strings that resemble pads. ![]() ![]() Using the library is a snap thanks to this feature. The ability to manipulate many settings with the turn of a knob or your modulation wheel is another benefit of macros. The many capabilities offered by each engine in the library enable you to adjust and personalize the samples or loops as you see fit. However, Symphonic Destruction is more than just a compilation of samples and loops. ![]() ![]() You’ll find them all, from sinister and ominous staccato sections to action-packed horns and hits. Engines and equipment for specialized trailer/film score needs are contained in each folder. Instrument engines are divided into two categories in the library: designers and performers. The peculiar processing from Damage 2 percussions makes the samples from Heavyocity’s Novo strings, Forzo brass, and Vento woodwinds libraries as bombastic as possible. It blends classic and hybrid orchestral sounds with synths, powerful guitars, and impact noises. Symphonic Destruction by Heavyocity is a highly functional toolset for contemporary film and trailer score. ![]()
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