Overview
10 Instruments each with 12 Layers of Sound – Outstanding Quality!
LAYERS
Riot Audio’s acclaimed CLOUDS engine generates organic movement between different sample sources and groups. It contains two layers, A and B, each of which in turn contains a base sublayer and a target sublayer, i.e. four layers in total.
MORPHING: This section controls the morphing parameters of the engine. The engine is configured to modulate from the base sublayers of layer A and layer B to their target sublayers over time.
Amount: This controls how much the base layers morph into the target layers. This can be controlled for A and B separately.
Speed: Controls the speed of the morphing from the base layers to the target layers. Low settings equal speeds of ~300ms, while higher settings result in a morphing speed of around 9 seconds.
OCTAVES: Each layer (A, B) contains three octaves, each within their own Kontakt group and with subtle individual differences, such as different recording takes, pitch shift variations etc. This section allows for volume control of each of the octave groups. Choose one group only for a simple, thin sound, or dial them all in for a full, organ-like multi-octave spread.
X-FADE: This fader allows you to transition between the main layers A and B. We recommend automating this or controlling it via MIDI CC (modwheel etc) as this gives you maximum expressivity during playing.
FX
The effects section contains controls for Distortion, BP (Bandpass) Filter, Delay and Reverb.
Distortion toggle button: Turns Tape distortion/saturation on and off.
Distortion: Regulates the amount of saturation/distortion. At the higher end of the control you will hear tape compression kicking in – this stops the levels going all out of proportion.
BP Filter Freq(uency): Controls the centre of the Bandpass filter. We’ve opted for a fairly wide BP filter with smooth curves for a natural, warm sound. Nevertheless, you can use it to sweep through the frequency spectrum up to a very narrow high band.
Delay: Controls the amount of delay return.
Time: Controls the time of the delay intervals. The delay is tempo-synced, with 8ths/quavers as the base unit. The possible range is from 1 8th to 12 8ths.
Reverb: Controls the amount of reverb return. The reverb is a modelled Lexicon 480 digital reverb unit with a long hall setting (9.0s).
Length: Controls the size of the reverb – both early reflections (ER) and late reflections (LR) are adjusted with this control.
EQ
Low, Mid and High
Controls gain of low, mid and high bands of a parametric EQ. The EQs have wide Qs for a musical, soft attenuation or enhancement effect.
PRODUCTION
The source sounds for DIGITAL ANALOG CLOUDS were produced using a state of the art hybrid digital/analog signal chain, including outboard gear such as
+ Make Noise Shared System Plus
+ Telharmonic
+ MI Plaits & Warps
+ Intellijel Rainmaker
+ Arp Odyssey
and in-the-box sound design tools including Reaktor, Serum, Sugar Bites Aparillo.
Normally $109.00
“I love making my synths talk and using The Orb by @audiothing is one of the coolest ways to do it!”
Jordan Rudess – Dream Theather Keyboardist and Composer.
“Give any sound that vocalised vibe with the well-rounded latest effect from this fast-rising star of plugin development. The Orb is a must-hear creative processor for any electronic music producer. 9/10”
Computer Music Magazine – The world’s best selling magazine dedicated to making great music with your Mac or PC.
“I haven’t come across an audio plugin like this. It functions as a Phaser, Talkbox, Step Sequencer, Filter and Vocal synth. Depending on how you use it, you can get surprising results.”
Matthew Sims – Audio Engineer / Producer who has worked with artists Pusha T, Usher, Frank Ocean, J Cole, Bon Jovi, Kai, Jennifer Lopez, Pentatonix, Lewis Hamilton, Craig David, Elle King, Post Malone, Lauryn Hill, Mike Posner, Keith Richards and more.
Overview
10 Instruments each with 12 Layers of Sound – Outstanding Quality!
LAYERS
Riot Audio’s acclaimed CLOUDS engine generates organic movement between different sample sources and groups. It contains two layers, A and B, each of which in turn contains a base sublayer and a target sublayer, i.e. four layers in total.
MORPHING: This section controls the morphing parameters of the engine. The engine is configured to modulate from the base sublayers of layer A and layer B to their target sublayers over time.
Amount: This controls how much the base layers morph into the target layers. This can be controlled for A and B separately.
Speed: Controls the speed of the morphing from the base layers to the target layers. Low settings equal speeds of ~300ms, while higher settings result in a morphing speed of around 9 seconds.
OCTAVES: Each layer (A, B) contains three octaves, each within their own Kontakt group and with subtle individual differences, such as different recording takes, pitch shift variations etc. This section allows for volume control of each of the octave groups. Choose one group only for a simple, thin sound, or dial them all in for a full, organ-like multi-octave spread.
X-FADE: This fader allows you to transition between the main layers A and B. We recommend automating this or controlling it via MIDI CC (modwheel etc) as this gives you maximum expressivity during playing.
FX
The effects section contains controls for Distortion, BP (Bandpass) Filter, Delay and Reverb.
Distortion toggle button: Turns Tape distortion/saturation on and off.
Distortion: Regulates the amount of saturation/distortion. At the higher end of the control you will hear tape compression kicking in – this stops the levels going all out of proportion.
BP Filter Freq(uency): Controls the centre of the Bandpass filter. We’ve opted for a fairly wide BP filter with smooth curves for a natural, warm sound. Nevertheless, you can use it to sweep through the frequency spectrum up to a very narrow high band.
Delay: Controls the amount of delay return.
Time: Controls the time of the delay intervals. The delay is tempo-synced, with 8ths/quavers as the base unit. The possible range is from 1 8th to 12 8ths.
Reverb: Controls the amount of reverb return. The reverb is a modelled Lexicon 480 digital reverb unit with a long hall setting (9.0s).
Length: Controls the size of the reverb – both early reflections (ER) and late reflections (LR) are adjusted with this control.
EQ
Low, Mid and High
Controls gain of low, mid and high bands of a parametric EQ. The EQs have wide Qs for a musical, soft attenuation or enhancement effect.
PRODUCTION
The source sounds for DIGITAL ANALOG CLOUDS were produced using a state of the art hybrid digital/analog signal chain, including outboard gear such as
+ Make Noise Shared System Plus
+ Telharmonic
+ MI Plaits & Warps
+ Intellijel Rainmaker
+ Arp Odyssey
and in-the-box sound design tools including Reaktor, Serum, Sugar Bites Aparillo.
Normally $109.00
Media
NO-BRAINER ALERT! AN INSANE VALUE FOR SUCH A COMPLETE SOLUTION
- 10 Instruments:
- Airy Factory
- Atonal Evolution
- Diamond Flux
- Glass Tower
- Harmonious Overtones
- Jitter Bleeps
- Nostalgic Mist
- Organ Failure
- Refrigerator
- Tranced Sentence
- 12 layers of sound in each instrument: A/B layers with two sublayers each and a 3 octave spread
- 6 presets per instrument = 60 sound presets in total
- Lexicon Reverb Modelling
- Based on Riot Audio’s proprietary CLOUDS engine using Kontakts AET Filter morphing capabilities
- Total size of sampled content: 2.64 GB
- Requires the full (paid) version of Kontakt 5.8 or higher. WIll not work in the free Kontakt Player!
Offer Ends: [wpdevart_countdown text_for_day=”Days” text_for_hour=”Hrs” text_for_minut=”Min” text_for_second=”Sec” countdown_end_type=”date” end_date=”17-11-2021 06:00″ start_time=”1474291377″ end_time=”0,1,1″ action_end_time=”hide” content_position=”center” top_ditance=”10″ bottom_distance=”10″ ][/wpdevart_countdown]
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