Wide Blue Sound Orbit v1.3.0 KONTAKT

93079557

Wide Blue Sound Orbit v1.3.0 KONTAKT（830 MB）

ORBIT的音乐合成器设计大胆，精悍，受到全世界制作人和作曲家的称赞。 ORBIT广受赞誉的界面以脉冲，独特的音乐垫和氛围的形式为您带来指尖动听的电影级，制作就绪的声音。其革命性的声音变形引擎可产生无限演变的声音，同时保留了驱动现代电影音乐的音乐性。 ORBIT的声音范围从明亮，微弱到黑暗，神秘和前卫。不要错过Harry Gregson-Williams（纳尼亚传奇，天堂王国，史莱克纪事）称之为“独特而鼓舞人心的”和Jack Wall（质量效应，使命召唤）称其为“华丽而有​​意义”的合成器。

在此版本中，ORBIT成为Kontakt Player库，与外部遥控器兼容，并拥有重要的新功能和工作流程增强功能-使用户能够以前所未有的速度创建新的独特声音。
综合引擎

Orbit背后的核心引擎由四个离散的合成器通道组成，这些通道以用户确定的速度不断循环（如果您愿意，也可以称为“轨道”）。每个声道都包含其自己的干净循环的样本，该样本是从101种声音的工厂库中选择的，分类为“黑暗”，“梦幻”，“神秘”或“激进”。从那里开始，通过五个简单的参数处理声音：音量，声像，调音（以半音为增量），滤波器截止频率和共鸣。至于滤波参数，还有一个选项可以为每个通道选择不同的滤波类型：低通，带通，高通和陷波。可以关闭每个通道，在四步循环中创建“休息”，并且可以通过通道顶部的交换箭头快速重新排列声音。

乍一看，这似乎是一个简单的四步音序器-从某种意义上讲是正确的-但当您操作屏幕底部的轨道“模式”工具时，事情会变得更加有趣。该系统实际上不是从简单的序列中进行选择，而是从三种不同的淡入淡出模式中进行选择。对于节奏性，舞蹈性的纹理，有锯齿和方形选项，可以赋予打击乐或切碎的性格。对于扫荡的，空灵的音景，正弦波模式在每个通道之间平滑过渡。除了循环的模式和节奏外，还有影响总放大器包络的起音和释放控制。总而言之，这是一种非常聪明的方法，以一种使人联想到Korg Wavestation或Sequential Prophet VS等数字波合成器的方式来处理变形和有节奏的纹理。实际上，采用一种非常简单明了的方法来获得“坏”的声音几乎是不可能的。

特效

在我增加Kontakt界面的大小并发现Orbit还包含集成效果和附加的步进音序器之前，我只对合成器引擎产生了冲击。处理工具的选择非常标准，具有两种不同的失真效果，即合唱/镶边/移相器，延迟，混响以及在链末端应用的最终低通滤波器。这些都按预期执行，在任何给定预设中听起来都很可靠。还值得一提的是，混响中包含许多非常好的卷积选项，在合成器功能的上下文中听起来非常好。唯一的警告是您无法更改效果的顺序。幸运的是，除了最奇特的应用程序外，Orbit的硬连线系列已经智能地组织了起来。

步进音序器

四个独立的步进音序器增加了Orbit的变形功能，每个音序器最多16个步幅。您还可以更改每个音序器的音符值，并可以使用较长的持续时间来适应不断变化的细微音色。每个序列都可以分配给一个参数，重点是合成器的全局功能，例如轨道模式，速率和深度，以及相当多的效果参数。此外，每个定序器都包括一系列步进处理选项，可以进行反演，随机化，在奇数和偶数之间交替以及向左或向右移动整个序列。而且，这四个序列都可以同时显示（一个巨大的优势），因此您可以快速查看极其复杂的节奏，这要归功于能够看到每种模式彼此之间的关系。

结论

考虑到Orbit的设计血统，我从一开始就期望很多，这证明了Jeff Rona和Nathan Rightnour的丰富经验，认为这种软合成器应有尽有。我安装它的第一天晚上，我迷失了数小时来尝试它的可能性，而且我尝试过的几乎所有东西听起来都很精致和专业。对于舞蹈音乐制作人来说，Orbit能够提供一些真正令人印象深刻的节奏技巧。对于配乐作曲家来说，它是真正的获得巨大声波音景的秘密武器。如果您喜欢这些音乐中的任何一种，请下载演示并准备好信用卡。

瞬间判断

PROS直观而平易近人的界面，无论您的综合经验如何。大量的源样本。四个步进定序器可应用于各种参数。综合效果。

CONS效果和调制工具很容易错过，除非您的Kontakt播放器窗口尺寸正确。效果系列是硬连线的。

底线

深刻的灵感和歌曲发源人，可以满足舞蹈相关的节奏和配乐相关的大气需求。

注意：

这里更新了NKR，NKI，Nicnt等。
FANTASTiC | KONTAKT | 830 MB
ORBIT is being lauded by producers and composers worldwide for its bold, no-nonsense approach to musical synth design. ORBIT’s acclaimed interface brings to your fingertips a universe of cinematic, production-ready sound in the form of pulses and distinctive musical pads & atmospheres. Its revolutionary sound-morphing engine creates sounds that infinitely evolve, while retaining the musicality that drives modern cinematic music. ORBIT’s sounds range from light and shimmering to dark, mysterious and edgy. Don’t miss the synth that Harry Gregson-Williams (The Chronicles of Narnia, Kingdom of Heaven, Shrek) calls “distinctive and inspirational” and Jack Wall (Mass Effect, Call of Duty) proclaims as “gorgeous and meaningful”.

In this release, ORBIT becomes a Kontakt Player library, gains compatibility with external remotes, and boasts significant new features and workflow enhancements – enabling users to create new, unique sounds faster than ever before.
Synthesis Engine

The core engine behind Orbit consists of four discrete synth channels that constantly cycle (or “orbit” if you prefer) at a user-determined tempo. Each channel contains its own cleanly looped sample, selected from the factory bank of 101 sounds, which are categorized as either Dark, Dreamy, Mysterious, or Aggressive. From there, the sounds are processed via five straightforward parameters: volume, panning, tuning (in semitone increments), filter cutoff frequency, and resonance. As for the filtering parameters, there’s also an option to choose a different filter type for each channel: lowpass, bandpass, highpass, and notch. Each of the channels can be switched off, creating a “rest” in the four-step cycle, and the sounds can be quickly reordered via swap arrows at the top of the channels.

At first glance, this would appear to be a simple four-step sequencer—and in a way, that’s true—but things get more interesting as you manipulate the orbit “mode” tools at the bottom of the screen. Instead of a simple sequence, the system actually selects from three different cross-fade modes. For rhythmic, dance-oriented textures, there are sawtooth and square options that impart a more percussive or chopped character. For sweeping, ethereal soundscapes, the sine wave mode smoothly transitions between each of the channels. In addition to the mode and tempo of the cycling, there are attack and release controls that affect the overall amp envelope. All in all, this is a really clever way to approach morphing and rhythmic textures in a manner that’s reminiscent of digital wave synthesizers such as the Korg Wavestation or Sequential Prophet VS. In fact, it’s almost impossible to get a “bad” sound with an approach that’s so blissfully straightforward.

Effects

I was having a blast with the synth engine alone, before I increased the size of Kontakt’s interface and discovered that Orbit also includes integrated effects and additional step sequencers. The selection of processing tools is pretty standard, with two different distortion effects, a chorus/flanger/phaser, delay, reverb, and a final lowpass filter that’s applied at the end of the chain. These all perform as expected, sounding solid as part of any given preset. It’s also worth mentioning that the reverb includes a bunch of really nice convolution options that sound extremely good in the context of the synth’s features. The only caveat is that you can’t change the order of the effects. Fortunately, Orbit’s hardwired series is intelligently organized for all but the most exotic applications.

Step Sequencers

Adding to Orbit’s morphing capabilities are four independent step sequencers, with up to 16 steps each. You can also change the note value for each sequencer, with longer durations available for subtle, evolving patches. Each sequence can be assigned to a single parameter, with an emphasis on the synth’s global functions like Orbit mode, rate and depth, as well as quite a few of the effects parameters. In addition, each of the sequencers includes a wide array of step processing options, allowing for inversions, randomization, alternating between odd and even, and shifting the entire sequence left or right. What’s more, all four sequences are visible simultaneously (a huge plus) so you can create extremely complex rhythms quickly, thanks to the ability to see each pattern in relationship to the others.

Conclusions

Considering Orbit’s design pedigree, I was expecting a lot from the outset, and it’s a testament to Jeff Rona and Nathan Rightnour’s vast experience that this soft synth lived up to its hype. The first night I installed it, I was lost for hours experimenting with its possibilities, and pretty much everything I tried sounded very polished and professional. For dance music producers, Orbit is capable of some truly impressive rhythmic tricks. For soundtrack composers, it’s a veritable secret weapon for massive sonic soundscapes. If either of those types of music is your specialty, download the demo and get your credit card ready.

Snap Judgment

PROS Intuitive and approachable interface, regardless of your synthesis experience. Great array of source samples. Four step sequencers can be applied to a wide range of parameters. Integrated effects.

CONS Effects and modulation tools are easy to miss, unless your Kontakt player window is sized correctly. Effects series is hardwired.

Bottom Line

A deep source of inspiration and song starters for both dance-oriented rhythmic and soundtrack-oriented atmospheric needs.

NOTE:

Here updated NKR, NKI, Nicnt and other.