by Soundiron
Sonespheres 2 Origins draws from lush symphonic woodwind recordings, and is thoughtfully sound-designed into nuanced layers, emotional weight and fluid textures.
Sonespheres 2 Origins includes a full array of essential user controls to unlock virtually limitless creative potential.
Please note: FULL retail version of Kontakt 5.5.2 or later is required. NOT for Kontakt Player.
$ 35.40 $ 59.00
Sonespheres is a series of uniquely sound-designed atmospheric synths, textural pads, evolving soundscapes, nuanced drones and tonal ambiences for Native Instruments Kontakt.
Each volume explores film and tv composer and long-time Soundiron collaborator Blake Ewing’s unique creative vision, delving into deeper aesthetics, stylized niches and specialty production concepts.
Sonespheres 2 Origins was crafted using lush symphonic woodwind recordings, with a full array of essential user controls to unlock virtually limitless creative potential.
Blake brings to his craft a brilliant ear for nuanced layering, rich detail, fluid textures and powerful emotional weight.
Blake is an American composer with a concentrated interest in creating music for visual media.
His compositions have been commissioned, licensed and well received by film directors, producers, videographers, sample developers, advertising firms, music supervisors and fans from around the world.
He believes in music – and in its wonderful power to support and elevate storytelling.
Our intuitive user interface gives you flexible control features for two independent sample source modules, with category and preset selection menus for each.
Both modules provide automatable controls for volume, attack, start offset, release, bass, treble, pitch, pan, filter type, filter resonance, filter frequency, LFO shape, LFO rate, LFO tempo-sync, LFO target parameter, LFO depth and LFO attack time.
The LFO can be routed to Volume, Bass, Treble, Pitch, Pan, Resonance and Frequency.
There’s also a cross-fader, legato glide system, and a step-sequencable arpeggiator system, as well as our full FX rack system that allows you to select from 18 creative effect plugins, including convolution reverb with over 100 of our favorite custom reverb impulse responses covering everything from bunkers and undulating sci-fi effects to piano strings and concert halls.
Effects options include Amplifier, Cabinet Simulator, Chorus, Compressor, Delay, Distortion, EQ, Filters, Flanger, Jump Amp, Lo-Fi, Phaser, Convolution Reverb with 100+ custom impulses, Rotator, Skreamer, Stereo, Tape, Saturation, Transient Master and LFO with routing to Volume, Bass, Treble, Pitch, Pan, Resonance and Frequency.
This library is designed for the full retail version of Native Instruments Kontakt 5.5.2 or later.
Kontakt is an industry-standard advanced virtual instrument software platform.
Check out screenshots of our custom graphical user interface for Kontakt in the image gallery above.
They provide a wide range of sound shaping parameter controls, each one totally automation-ready in your host environment or Kontakt’s stand-alone mode.
Learn more about Kontakt by Clicking Here.
This is a standard Kontakt open-format library, so the free Kontakt Player does not fully support it and can only run it in a limited “demo mode”.
However, the sample directories are unlocked so you can use them in other wav-compatible software, sampler and synth formats.
The special Libraries tab doesn’t support this open-format Kontakt library, but you can use the standard File browser tab, or import this library into the Kontakt database and Quickload tools for easy navigation, loading and organization.
“In my mind, with few exceptions, music supports and invokes a certain storytelling.
Hearing certain timbres and frequencies together triggers something in most of humanity.
A place. A time. A memory. An emotion. A sense of urgency or hope. A needed comfort. A broken heart. Real or concocted, the effect is universal.
This belief and these experiences affect me not only as a person, but inspire me as an artist.
To that end, I’m proud to have helped create a set of tools that will hopefully act as a starting canvas for your own productions.
My hope is that you as musicians will use these sounds as the hazy, ethereal, ambiguous base, on which to bring into sharp focus your own artistic visions – Be it in support or your stories, or those of the others with whom you work.
In Distance, I’ve tried to be thorough without being repetitive – to offer sounds that might work in a range of production styles and musical sensibilities.
From longing solo instruments and heartbreaking pads to tense bowed textures and forward-leaning rhythms, I truly hope there’s something here for everyone.“
