Pendleonium4

Pendleonium 4 contains strange guitars, spring reverb, tape echo, vacuum tubes and a broken viola.

The library excels at creating complex sounds, pianos, strings, smooth synth-like pads, rumbles, and unfathomable noises. At lower registers the Pendleonium4 can produce seismic movement and deep rich textures. In high registers it can be configured to produce sounds like ripples passing through mercury.

$ 36.00

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Developer

Sound Dust

Size

1.53 GB

Format

Pendleonium4 by Sound Dust

1 Videos

It is a Pendleonium and as such, it sounds like only a Pendleonium can

After a period of evolutionary development, the new PENDLEONIUM4 is here. The control panel has undergone a complete re-think. The new look is sharp and purposeful and the layout of instruments and functions is intuitive and user-friendly. A total of 6 sampled source instruments are arranged left to right across the main panel – two baritone guitars, two infinity guitars, Spring Viola and an additional instrument based on samples created with a vintage Roland Space Echo.

Each individual source instrument comes with greatly enhanced editing tools, offering wave shape, ADSR, effects, and volume. To the right of the instrument panel is a dedicated editing bay offering yet more capability. Here you will find reverb and delay sends, reverb, rotor, EQ and dirt for gnarly lo-fi effects.

A second interface window can be opened for velocity and round-robin. The best thing about the P4 though, is playing it. With its unique sounds and easy editing, The P4 is an absolute pleasure to play and tweak as you go. It must be stated that this instrument is not attempting to sound like anything else or even to offer any faithful reproduction of its source instruments.

The P4 excels at creating complex sounds, pianos, strings, smooth synth-like pads, rumbles, and unfathomable noises. At lower registers the Pendleonium4 can produce seismic movement and deep rich textures. In high registers it can be configured to produce sounds like ripples passing through mercury.

Whats Inside?

  • Baritone Guitar x 2 – amped through custom Laney VC15 valve amp – 2 articulations clean plucked and edgy plucked – 4 velocity layers
  • Tape Baritone Guitar – recorded wet through Roland Chorus Echo RE501 with lots of chorus
  • Fernandes Sustainer Infinite Guitar x2 -amped through custom Laney VC15 valve amp – 2 articulations clean plucked and edgy plucked – endlessly looped
  • Spring Viola -mic-ed and pushed completely wet through a noisy Vermona RetroVerb spring reverb.
  • 700 24bit mono samples = 1.53GB with Native Instruments’ propriety compression
  • Note Jitter – randomises note on/off timing, velocity values and tuning between articulations
  • Chord and Key quantise – selectable to fix scale and chord type across all keys
  • Sample start and loop length control per instrument (except infinite guitars)
  • BPM synced pan and volume modulation per instrument
  • BPM synced vibrato and chorus per instrument
  • 24 custom convolution reverbs per instrument
  • 4 fully controllable insert effects – dirt, eq, rotor, phaser and master algorithmic reverb
  • 2 fully controllable send effects – delay and algorithmic reverb
  • Keyboard Velocity and Round Robin modelling page
  • 97 instrument snapshots
  • Handy build in instructions in RTFM page

The P4 truly inspires. During an afternoon creating sounds with the PENDLEONIUM4, I found myself playing funky 70’s freak out soul and Victorian fairground music alongside electronica and environmental hardcore. The instrument’s ability to seamlessly merge organic and electronic elements in rhythmic time kept me playing for hours. The echo and sustain editing controls allow for some truly wonderful development when notes are held. Beside pitch and mod wheels, if your keyboard features aftertouch you are in for an additional treat. Set up to control tuning, the extra expression this allows while playing is superb. To sum up, the Pendleonium4 is a prime example of what makes the Sound Dust world a place of wonder and discovery. The instrument’s sound, versatility and editing capabilities should make it a first choice for those wishing to create highly original music and sound design.

Dean - Quietland

This is great! Went right into a cue. Thank you so much, great work as always. And I’ve used a ton of “Lost and Found” on the score to “Collateral Beauty”. Thanks for all the great stuff.

Theodore (Teddy) Shapiro - composer : Ghostbusters, Zoolander, Trumbo, St. Vincent.

Each snapshot is like a composition, just sit back and listen to the mysterious and beautiful musical layers unfold.

Jonathan Whitehead - composer : Brass Eye, Black Books, Nathan Barley, Mount Pleasant

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