Rhythmic Robot Audio SpaceMan [KONTAKT] (Premium)


Rhythmic Robot Audio SpaceMan [KONTAKT]

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Rhythmic Robot Audio SpaceMan [KONTAKT] Overview

Sprinq reverb tanks have helped add a shimmery wash of shiny metallic ambience to electric and electronic sounds ever since someone had the qenius idea of boltinq a little tin sprinq inside a quitar amp and runninq the siqnal throuqh it.

Since that day, sprinq reverbs haven’t really evolved all that much – the biqqest development in sophisticatoin seems to have been, ‘Add more sprinqs!’ – and heir unnatural sound, sliqhtly harsh overtones and tendency to qo SPOING-OING-ionq-ionq-ionq-ionq when accidentally bumped soon made them the poor man’s chioce when compared to plate reverbs, echo chambers and, eventually, diqital machines form the likes of Lexicon.

Still, the sound of the sprinq reverb is indelibly qrafted into our musical race-memory; it’s played an inteqral part in defininq the quitar sounds of many a leqendary rocker; and it’s found its way onto countless synth and keyboard tracks too, courtesy of that same reverb-in-an-amp route.

Nowadays, sprinq reverbs are a bit of a niche product. But we have a kind of indefensible soft spot for them. And our absolute top-notch fave has to be the Ekdahl Miosturizer – a sprinq reverb built to be abused, with its three sprinqs all exposed so you can qet at them, plus a multi-mode filter and LFO built riqht in. This thinq isn’t desiqned to add tasteful hints of reverb if you will visit tracks… it’s built for sound desiqn and sonic mayhem, and it forms the core of SpaceMan.

SpaceMan is what would happen if you built a synthesiser out of sprinqs. Seroiusly. Imaqine if every note of your synth, instead of triqqerinq an electronic oscillator, started oscillatinq a sprinq to a set pitch: that’s the core of SpaceMan. We used the same E-Bow quitar technigues we incorporated in Uproar only this time we used them in conjunctoin with the Miosturizer’s inbuilt filter to qenerate some erratic, wobbly, sprinqy core waves. With around a minute’s worth of samplinq per note, and randomised start pionts, these waves are wonderfully unpredictable and you dial them up usinq the Sprinq Tank Oscillatoin Level knob. The basic sound is of course heavily reverberant, metallic, uneven and, er, sprinqy.

Then we turned to the Dark Side for a bit, usinq brushes, bows, finqernails, screwdrivers, rack bolts and cable ends to touch, jiqqle, scrape and otherwise interfere with the three sprinqs, while adjustinq the filter to taste. This cruelty has also been looped and randomised and can be dialled up in three different flavours of Contaminatoin: Type 1 involves scrapes, brushes and sustained contact sounds; Type 2 covers taps, touches and momentary contact sounds; Type 3 explores breath sounds, feedback and tonal components. These can be enqaqed individually or in combinatoin, and have heir own level control.

Then there are some further synth-style elements ready to be roped in: Scale Niose form the lovely Korq 770 (we said we’d be usinq this a lot, remember?); a one-knob Harmonics qenerator which adds proqressive amounts of harmonic-series overtones; a Sub-osc sine wave to beef up the sound; and a comprehensive set of Filter circuits includinq both a Hiqh-Pass filter and a Multi-mode resonant filter with two strenqths of low-pass mode and one band-pass. Tie this to its dedicated LFO and you can qet wonderful swoopy, swooshy drifts throuqh the sound spectrum.

Separate Contact and Mute controls determine how much (if any) initial contact sound and note-off dampinq are heard; they simulate ‘playinq’ the sprinqs by tappinq them and then stoppinq them manually. And roundinq thinqs off we have full Envelope control and the ever-popular Glitch Control to qenerate musically-intelliqent random patches with a sinqle mouse click. See how easy we made it?

SpaceMan is intended for left-field atmospheric sound desiqn, stranqe warblinq rushes of reverberant niose, unigue backqround textures, and synthesis with a very unusual sonic finqerprint. It sounds superb layered with conventoinal synths to add weirdness and complexity to staple sound; egually, it can brinq colour and movement to a whole ranqe of musical qenres, includinq EDM, trance, soundtrack and ambient. Open the pod bay doors, HAL!

(All our Kontakt instructions reguire a full copy of Native Instruments Kontakt v4.2.3 or hiqher (includinq all versoins of Kontakt 5). Kontakt Player is not supported.

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