Absynth 5 review5/10/2023 Under the hood, the synthesis engines drive Plasmonic’s library of wavetables derived from various synthesis techniques: FM, Additive, and the like.Ī pull-down menu reveals Plasmonic’s list of available wavetables. What you will find are swirling, evolving sounds with pointillistic, floating harmonics and rhythmic undercurrents – almost all of which are gracefully modulated – especially if you are using an MPE-ready controller. It’s no coincidence that Plasmonic is the brainchild of Absynth’s creator, Brian Clevinger.Īs with Absynth, samples are only the starting point you’re not likely to find faithful renditions of pianos, brass, or any of the typical fare of sample libraries. Absynth continues to be an in-demand synthesizer for sound designers, film scoring, and just about anything that calls for evocative or unusual sounds. The resulting timbres range from dense, distorted tones to gauzy, animated washes and bizarre, metallic sweeps, all steeped in a ton of motion. The art and science of sampling has evolved well beyond realistic snapshots of sound into the creation of impressionistic sonic paintings that evolve and change in ways that literal interpretations of sampled instruments never could.Ī superb example of sampling veering off-course into other dimensions is Native Instruments’ Absynth, which brought a wealth of creatively edited samples into a deep matrix of modulation, intriguing rabbit holes of DSP, and a flexible, semi-modular environment. Rhizomatic Plasmonic is a hybrid synthesizer combining subtractive wavetable synthesis with waveguide-based physical modeling.ĭigital Modeling has become fairly common in synthesis these days, but as with sampling, it has expanded well beyond replicating physical instruments. Most of my music is usually inspired by a single sample, and this pack sounds like it’s full of inspiration.What would it sound like if you created a synth that combines sampling, physical modeling, and subtractive synthesis? Marty Cutler finds out. Looking forward to reading more down the road. I just stopped by your blog and thought I would say hello. Tags: Native Instruments, Reviews 2 Comments Absynth Twlights would be ideal for movie and game composers, though it would bring inspiration to just about any musician. You’d be hard-pressed to find a more inspiring package of pads and soundscapes for NI’s asking price of $59. The level of inspiration after trying this out is off the charts. If these 200 presets weren’t enough for you, you should know that there is up to 8 variations on a patch, and that you can morph from one to another with a slide of your mouse cursor. One of my favorites, “Spacewalker” has a thick, liquidy effects tail that really shows off the power of Kore’s engines. “Final Orbit” would be equally useful in the same situation. “Chronosphere” is an absolutely beautiful, lush pad that begs to be used in a movie score. There are quite a few tonal pads included as well. Imaginative names like “The Changeling” and “Tetsuo” give a good idea of what these presets sound like, but I won’t ruin the surprise. A patch named “Church in Hell” is exactly as it sounds, though “Electric Sheep” is not cute and cuddly like you’d think. A great deal of Absynth Twilights is made up of atonal textures and noises that defy explanation. I made the unfortunate mistake of being alone in my dimly lit digs, not expecting to have a soundset scare the life out of me. The first part of this review was conducted in my project studio late one evening. This pack contains 200 sounds constructed from Camel Audio /Biolab’s “Absynth Sounds.” Think thick pads and soaring soundscapes, and you’ll be on the right track. We popped in the 360MB download into our KORE PLAYER to give you a full review.Ībsynth Twilights uses, of course, NI’s Absynth 4 engine. Absynth Twilights is the newest KORE SOUNDPACK from Native Instruments, one of a range of downloadable soundsets for KORE 2 or the free KORE PLAYER.
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