Not another usual soundset, but a true wishing well. A great soundset, for many genres. Unexpected from an EDM synth, yet perfect for EDM too. My compliments to Alexander Hacke (and U-He that so kindly made it available for free).
I love sound. I make no compromise about it. I cannot be sastisfied very easily by a preset compilation, because like many others here at KVR I own a lot of synths and libraries, sample packs, presets of all kind... but... Enchantment of Absynth Trilogy stands out of the ordinary and makes me simply wish to launch another instance to explore the next sound. It is a masterwork of sound design, that makes Absynth do more (and better) than I could expect.
I can report that after installing and playing many of these patches, I cannot push the "mutate" button without a truly never heard before result, as if my Absynth 5 had, in some mystic way, learned the lesson from Leap Into The Void.
Break Tweaker is definitely a new way of thinking about drum programming and sequencing, it sounds great and it promises to be very flexible and give me a lot of fun while programming my own loops. The first sensation is good, it is easy to understand where everything you need is placed, and starting to program a loop and some variations is definitely very intuitive. There is a lot to discover in there, I am sure... Yet, I miss an effect chain with at least a delay and a reverb. I also do not understand why all iZotopes products are so much CPU consuming... It is a wierd choice to give the priority to the graphics, instead of allowing a broader range of users to play and have fun with all the beautiful features of their softwares.
I just got the Expanded version offer (a very good offer indeed), but there are not so many presets as I expected (which may mean a good starting point to understand in depth the software). I'll start soon to program it using all possible features, yet, the actual presets sound all in a very defined way (the "beats" have a vast number of variations, but the "sounds" - once you get used to the synths-and-beats game - are not so very different from one another). I'd prefer to add a bass/synth on another plugin and concentrate on the drum programming only. At the moment I see there are no sound designers who designed preset packs for Break Tweaker (except for 4 small iZotope's expansions and 1 pluginguru big pack), altough it has been out for more than one year already, so this may mean something about it... but I may be wrong, of course. While running in a non-super-ultra powerful machine, (as said), this software seems to declare "I am not for you, baby!", which is a strange feeling indeed... I'll use it to produce loops I can easily load in other plugins, at the moment, and for very easy affordable "electronic only" rhythm variations tracks while in a hurry with a deadline. Great stuff with great promises, a beast indeed, yet still to become a "best of" plugin IMHO.
First of all, MCE #1.1 Found Sounds is pure fun and a joy to play.
Second, it sounds great (do not expect an 808 like stuff, but this is obvious), and all these "found sounds" are a constant surprise, perfect for minimal and glitchy drum patterns, but also as an add on to other genres rhythmic loops.
Third, programming in the Chaos Engine is easy, intuitive and an endless journey, and if you love discovering and mixing sounds together this is like heaven.
Fourth, just open the "mapping editor" to see what a painstakingly work of patience is living behind this kontakt instrument (all my respect).
Fifth, I love it, use it and dance with it, therefore I simply wish to say "thank you" to Pendle fron Sound Dust.
If you like deep atmospheres and glitch sounds, perfectly blended and balanced, if you dream to mix on the fly and play your game of fun with high quality samples, perfectly tuned and synced, to build endless polyrhythmic variations, do not hesitate to buy the whole Sync serie by Audiomodern. Chapeau!.
We get in the future, at last! "Photosynthesis Vol.1" is one of the new Kontakt libraries that definitely point at the subtle side of sound design.
After years of so many massive, huge, epic sounding releases for Kontakt (some of them truly good, some of them a bit repeating a now too well known path), we finally see appearing more new products for soundtrack/cinematic composers that cleverly explore the world of distant, subtle, ethereal, light and dark, glitched, lo-fi synths, pads and soundscapes. This has been quite an unexplored field in the market of quality virtual instruments until the last year or so, although so many movie soundtracks use extensively the beauty of cinematic subtleties: so, here's a bit of the future, designed in a brilliant release for Kontakt.
In a field of libraries we could name "subtle & cinematic" (which is no contradiction at all) there are no defined stereotypes yet, so we can still (how long?) enjoy a true, magic moment of freedom for the sound designers that take the chance to release such oriented works: "Photosynthesis Vol.1" was conceived with very good taste, and - pretty sure - with the composer in mind. So, you find no useless weirdness here, but sounds made for your musical ideas, simply playable...
"Photosynthesis Vol.1" stands out with a great sound quality and a very simple, yet full of features interface (the scripted GUI is available for free, so don't miss it!), it offers a quite nice sample selection, very good presets and a three layer structure that you can immediately control/tweak as you like. It is such a good surprise (the concept, the sounds, and last but not least the fair price) that makes me wish that "Vol.1" means there's a follow up coming not in a long while.
Simply said, I just started the sketches of four new tracks (soundtracks for theater), immediately inspired by the sounds in this library, and I am designing several instruments in the free "Photosynthesis Engine" concentrating only on the sound, with all the controls I need right there: what more could I ask?
Pros - future/modern sound concept, very good sounds and interface, fair price, light on cpu.
One of the most versatile and surprisingly creative synth on the market. Designing patches on the spectrum image (almost as in a photoshop UI) is intuitive and easy and, most of all, gives the user a different point of view, which often results in very original sounds. Automations, macros, playback and loop settings, together with the graphic design you can make directly on the sound file's spectrum, give endless possibilities to musician's creativity.
A great overall sound quality. Many patches, very well designed. Sound design possibilities in the innovative scripted GUI, are virtually unlimited (works in the free Kontakt 5 player). The "random" and the special "anarchy" functions add pure fun to the efx panel, giving you even more sound design chances, as they deeply transform the original patches (you can choose which efx to route into "anarchy", of course). Although it is a very efx busy library, it is still quite CPU friendly (I'm on 32 bit system, 2,8 Ghz 2 cores, 4 Gb RAM).
If you love adventurous and futuristic sound design, but you need "to play musically" (not a strange need, isn't it?) the patches created, then you'll love Crystal Bowls. The overall mood of the library is not that "epic" to me (but there is so much stuff on that side on the market today), I see it more on the ambient, minimal, techno, acoustic side (the "original" patches features beautiful acoustic bowls sounds), but it can fit to many other genres indeed.
I think its value is mainly on the sound design options it offers, very well represented and explained by the many beautiful factory patches, that point at the future of sound design and do not try to merely replicate (one more time?) existing instruments and sounds. The price is fair and all worth the great quality you get.