The custom interface provides volume controls for the various spaceship noises, a control for the latching behavior, and controls for the built-in chorus, reverb and delay effects. Special programming allows some of the spaceship noises to latch - you hit the key once and the spaceship rumble starts, and doesn't stop till you hit the same key again, or untill you hit the lowest key, which kills all the drone voices at once. The spaceship noises are on the lowest 11 notes and the pad above that. Several Kontakt NKIs are included: you can have the pad and the spaceship noises as separate instruments, or mapped out for either a 88-key or a 61-key (5-ocatve) keyboard. This Kontakt instrument has a multi-layered spacey, analogy pad, to build your space-opera melodies with, combined with a selection of the grimy, clanky sounds of the spaceship itself: rumbles, HVAC systems, coolant pumps, and clanks echoing through the long metal corridors. Here's the sound of the USCSS spaceship Nostromo, an M-class commercial mining starfreighter. #SINE WAVE 808 KICK NATIVE INSTRUMENTS KONTAKT FULL#You get two NKI instruments, the first where everything is combined and a custom script controls the triggering of note-off noises and scrapes, designed for just playing (this one was used for the Soundcloud demo) and the second where the main notes, note-off's and scrapes are key-switched so you can have full control over when they get triggered. The custom interface provides controls for the amount of attack and for the volume of the characteristic note-off noises, and how often the "string scrape" noises are triggered between notes. Multiple-velocity samples of course, and most samples have round-robin alternates. In addition, playing a high C triggers a "thud" sound like muting the strings on a bass. There are also separate samples for the attacks, for the note-off noises as well as for some string squeaks or scrapes (a noise like dragging a pick along a string). The Hammerbass has two sets of main samples (24-bit), one from a pickup and one close-mic'ed, with the mix being controllable from the custom interface. Lots of character and body - great for bass, but also good in the higher register for more melodic uses. But don't think the twee folky sound of a hammered dulcimer, but rather the jangly, noisy sound of hitting on your heavy-gauge roundwound GHS Boomers with a drumstick. Hammerbass: its somewhere between a bass guitar and a hammered dulcimer.
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