I released new Kontakt based instrument today. Orchestra Enigmatica is build around vintage orchestral analog synthesizer theme, a nod to times when emulating acoustic instruments with plain sawtooth wave was the thing. The base sounds come from Siel Orchestra (first version), 1979 Italian synthesizer, they are full of little quirks and imperfections, which makes them more alive. I tried to preserve their nature using long detailed samples. Sustained sounds are looped by hand without any crossfading, a task which proved to be quite challenging at times. Raw sounds can be combined and shaped in Kontakt, essentially this is more a synthesizer than a library.
In this instrument, I introduced multi-arp function, an advanced arpeggiator, which can populate up to eight patterns from a single chord. You can combine and transpose different arpeggio algorithms to create complex, evolving evolving dynamically, depending on notes being played.
Here's a sound demonstration video, where I play around with different patches:
The instrument requires full version of Kontakt 5.6.6 or newer.
Unpacked files take nearly 2GB space, samples are in WAV format.
It comes with 56 snapshot presets.
The interface takes 1000x750 pixels of screen space (it is bigger than in standard Kontakt instruments).
I have released new music machine at Kontakt Hub, it's named Cracklefield. This idea has been following me for a long time. I imagined a grid based sequencer, with objects traveling in different directions, bouncing off walls and colliding with each other, creating dynamically evolving patterns. Cracklefield is such generative music machine, experimental sequencer, more a simulation, than a loop player.
The sequencer workspace, the field, is cellular grid. The field can be read or modified by cursors, pointing at sequence track playing position. The cursors can travel the filed in any direction, horizontally, vertically or diagonally, each at it's own rate. They can bounce off field edges or obstacles (walls) and, what is the fun part, bounce off each other. Just imagine several sequencer tracks playing 'pong' with each other. On next level, cursors can interact with the field; paint, erase or flip cells, build or destroy walls, shift whole field rows or columns. It's a playground for building evolving patterns - set initial conditions and see what would it sound like.
Cracklefield can also use cellular automaton named 'Langton's ant'. An ant is basically a cursor, which changes direction depending on what kind of cell it steps on. For example, it turns right on a filled cell and turns left on an empty cell, flipping the state of cell it has visited. Sounds very simple, yet it creates surprisingly complex structures. In Cracklefield you can combine several ants of different types to explore variety of possible generative pattern setups. The machine is using a note map, assigning each cell a note number, according to one of different algorithms, to play melodies, or create round robin percussive patterns.
Cracklefield can also act as an apreggiator. Each cursor can be bound to one of notes from the chord being currently held. Arp patterns can modulated (transposed depending on cursor position) and fit to a scale pattern, while each cursor can play a different sound.
Here's a video showing some of the possibilities:
This machine is not really about the sounds, but it has been built on a sample player, so obviously it needs samples. I wasn't quite sure how to approach this and in the end I decided to pick a set of sounds that, most likely, nobody would have already, as it's not a kind of instrument, one would be interested in just to get more pianos. The Cracklefield sample set is mostly based on acoustic/electroacoustic instruments, or found sounds, unconventional, experimental or unusual sounds, featuring a hollow soviet balalaika, copper rod mallets made with contact microphones, experimental guitar setups, glass chimes or wire-brushed crash cymbals. On the other hand, the machine is designed, to make adding new sounds relatively easy; just duplicate a group, put new samples and refresh the instrument. There's also a built-in note recorder, it allows the user to capture multichannel MIDI clips, which then can be exported to a DAW by drag'n'drop mechanism and reused elsewhere.
Here's another video, playing with random electronic drum samples, shows how it looks and sounds to use the instrument:
It is thus far the largest, most complicated and one of the most unusual projects I put myself into. If you'd like to learn more about Cracklefield functionality, see the manual: http://www.fairlyconfusing.net/docs/cracklefield.pdf
Or watch even more videos:
Cracklefield needs full version of Kontakt 5.6.6 or newer to run. It takes 950MB of hard drive space after unpacking (the samples are in plain wav format). You will need at least 1280x1024 screen resolution to be able to see the whole interface without scrolling, it's bigger than standard ones, as there are plenty of controllers.
I had borrowed an old wall clock from my grandmother, to get the ticking sounds for another project. It's a late 19th century/early 20th century clock, my grandfather has re-built 30 years ago. Besides annoying loud ticking, it also does ring a bell. The bell itself is a spiral formed metal stripe and while it wasn't my primary interest, it just sounds too interesting to pass it by. So here's a little bell instrument made in Kontakt. Bell recordings have been widely stretched and reinforced by a layer of electronic bell sound, obtained from self resonating filter (recorded from Moogerfooger LPF, volume envelope shaped digitally). It sounds like this:
Get it here, if you like it. Only 10MB download, requires full version of Kontakt 5.6.6. There's no manual and GUI is a sonic mystery for you to solve. A perfect companion for Spookomatic.
Spookomatic is one of a kind instrument for generating eerie ambiances, melancholic pads and ghastly atmospheres. It is using multiple layers of melodic sounds, background ambiances and sequenced environment noises, all being dynamically transformed by an array of step sequenced modulators, to create an organic, rich, living soundscapes. As the name suggests, the instrument is focused on chilly, mysterious and creepy tones, while not being deadly serious. Like a generic horror flick, it's a bit scary and a little silly, but unlike such kind of a movie, it can be quite unpredictable.
Spookomatic is self-configuring sound machine, it automatically creates random patches, which can be tweaked afterwards. Just press the shuffle button and hear what you can find, it's a sort of a ghost in the machine.
Here's a how it sounds, in a compilation of different patches:
And here's a brief guide to user interface:
There are eleven step sequencers per layer, modulating parameters, like pan, tune, filters cutoff and send effect levels. What is uncommon about the sequencers, is that the sequence can be interpolated, that is, the parameter values can change gradually in between sequence steps, according to different curves. Each sequencer can run at different speed and different cycle, creating quite non-repetitive, yet tempo synchronized textures.
Here's how modulation sequencers work:
Spookomatic in cold numbers:
21 melodic sound sources, created with acoustic instruments (guitars, reed organ, voice, non-musical objects), vintage analog synthesizer and digital synthesis,
30 types of background noise from field recordings, or digital sound manipulation,
192 noise fragments to create sequenced ambiance,
up to 10 sound layers,
up to 110 modulation sequencers,
4 instrument configurations,
144 selected presets,
999999999 possible patches.
The instrument requires full version of NI Kontakt sampler, version 5.5.2, or newer to run. Depending on patch, it may be rather CPU intensive (there's a lot going on under the hood).
This instrument is new take on the idea, I was exploring with older, free instrument, Scape-o-matic. It has similar character and engine, though Spookomatic takes it to a new level.
I assembled a Kontakt bass instrument crudely nick-named Bassmeister, which is now available on Loot Audio... The samples were created with rare, vintage bass piano.
I bought the piano sometime in early 90s (took me a while to get to sample it), the guy who was selling it, advertised it as "The Doors bass". He was referring to Rhodes bass piano used by Ray Manzarek, but this box was no Rhodes. The piano is "Basset II" made by East German accordion manufacturer Weltmeister. Not to be confused with Hohner's Basset, which is electronic keyboard. Weltmeister's Bassset I, is somewhat noticeable on the Internet, as it's a keytar, it has been produced from early to late 60s. Version II has lost the handle along with proud name of keytar and has different casing, but from what I can tell of version I pictures, the interior is very similar. Unlike Rhodes, this critter is using a set of metal stripes (in place of metal rods) built into a comb shaped pickup. The mechanism of making the stripes vibrate is rather unique. There is a lever mechanism which lifts the stipe up, until it slips off its edge, which is similar to the way you play a kalimba with fingers. Lever mechanism is simple, yet quite fragile. It would explain, why there is not many of these still in working condition. My unit has five broken or missing levers, however, as the lever design is the same for all keys, I could use one of working levers, for sampling separate keys. Which was just a lot of screwdriver work. At the side there is a kind of volume modulation pedal, which doesn't work very well, probably because of aged parts. The bad thing about this piano is resonance, it's enough to tap the case harder and all the stripes start to resonate, interfering with playing keys. It might be partly because of aged (and cheaply made) sponge dumpers. For sampling I used two small towels to quiet unused stripes, the amount of work it would take to secure them all, would rather indicate a design flaw.
For Kontakt instrument I used two velocity layers and five polyphonic round robin samples per key. By polyphonic round robin I mean, there is separate round robin counter for every key. Key velocity doesn't really matter in instrument's design, but hitting a key really hard make a distinctive initial distortion sound, so I made a separate high velocity layer. The instrument has selectable filters, distortion, LFO and envelope modulators for some creative sound shaping. It requires full version of Kontakt 5.5.1 or newer to work.
Finally, here's a video overview of the Kontakt instrument.
Electric Noisebow is imaginary virtual instrument for Kontakt sampler. It can generate drone sounds, noise soundscapes, ambient atmospheres or unfolding distortions. It is based on two sample sets I made by playing modified Reno electric guitar with an E-Bow. The clean set is built of sustained tone samples. The dirty set contains distorted sounds, I've got by putting the E-Bow very close to the vibrating string, so the string would start to collide with E-Bow housing. I edited all samples by hand to get more or less seamless loops, which are rather lengthy. Especially noise loops which span for 20-30 seconds. The instrument has double convolution reverb unit, which can be used to sweep between reverb and sound types. There is note doubler and round robin mechanism synchronized with transport position, so used in a project, the instrument should render repeatable results.
Here's example track created with one instance of the instrument in a single take: http://www.fairlyconfusing.net/audio/electric_noisebow.mp3
And here's a small walk-through video:
The instrument is available at Loot Audio. Note, that it requires full version of Native Instruments Kontakt 4.2 or newer to work. There are 36 WAV samples, 88,2 kHz, 24 bit and the whole instrument takes about 220MB or drive space.
This is follow up for Alimchord, imaginary musical instrument for Kontakt. It is built on samples from 7 tone kalimba and a wooden stick captured using various configurations of contact microphones. Paranoid edition has more controls, more samples and a preset memory function.
There is 290MB load of 96/24 wav samples, in three velocity layers and up to nine algorithmic round robins. It sounds somewhat different from regular model, percussive sound partials and release noises are the same, but tone partials is significantly more detailed. It is available at Loot Audio. Note that you need full version of Kontakt 4.2 or newer to make it work. Also, this instrument can consume a lot of CPU, there are multiple sample layers and three convolution reverbs in use, if you have doubts, try regular edition first.
Alimchord is rare electroacoustic keyboard instrument. Few units have been produced in Poland in late 60s, however most of them broke down rather quickly. Today, I'm happy to bring it out of obscurity with a Kontakt based emulation. It does mimic most of 262144 valve switches combinations, although some of them appear to be broken. Here's screenshot and sound example.
Operating the instrument is quite simple, the set of switches will change the sound, in more or less apparent way each combination has a unique vibe. Two additional switches can be used to reset pattern or shuffle switches in random way. Ambiance knob will set the amount of ambiance effect, Stereo adjusts microphone placement and panorama and Tension will influence keys sensitivity, like a velocity curve.
This fine instrument is available free of charge, get it here, 15MB compressed archive. You need full version of Kontakt 4.2 or newer to make it work. Note that due to its triple convolution design, it is not recommended to those faint of CPU. Have fun.
If you like to have more control and more detailed sound, try paranoid edition.
There are countless beautiful sampled pianos, but what if you're not in the mood for a nice, quality piano sound? If this is one of these days and you want some bad, broken, out of tune, lo-fi piano with eerie sound, I may just have something for you.
This set has been recorded by accident. I happened to need to wait some hours alone in a room with this old upright piano, which has been quite obviously kept there purely for decorative reasons. I started to play around with it, recording notes to portable recorder. To make it somewhat interesting I picked rater unusual microphone position, I placed it under the piano. It barely fit the space between the floor and the instrument, and so the recording has a sort of claustrophobic, creepy vibe. If you have ever wondered, how would piano sound from a cockroach perspective, this is it.
It has been cut to samples and patched into an instrument in Kontakt. The piano was way out of tune, surely it hasn't been serviced for decades, if ever. I made a rough attempt at fixing the tuning in Kontakt, it still sounds broken, just not as much as before. Kontakt patch offers both tuning versions, it also has an EQ, convolution reverb and mono/stereo switch. Here's how it sounds, once again murdering a classic for demonstration purpose.
There are no velocity layers or round robins in this set. Not even all notes are sampled and the noise floor is noticeable. There are however release triggers. There are 41 samples for the range of 83 notes, totaling 87 samples with release triggers and some pedal noise samples. To save disk space and bandwidth, the original 96/24 stereo recording captured with Zoom H2n, has been down-sampled to 41,1/16 in SOX.
The download - 71MB zipped, is free to grab and use, contains 87 samples in wav format and patch for Kontakt sampler. You will need full version of Kontakt 4.2 or newer to open the patch. It will only work in demo mode in 'Kontakt Player'.
Update: Following a suggestion, I added 'fake random round robin' mechanism to Kontakt patch. It is using random different note samples to mimic round robin functionality. It can create some crazy sound variations at the cost of sound realism (as samples are being re-tuned in sampler). There is extra knob labeled 'fake RRR', when it's set to zero, the effect is off. If you already downloaded the whole pack, you can get new resource file here, as only the instrument script has changed.
I've got a pair of these noise makers, plastic horns attached to spray cans. They are named fog horns, but people mainly use them to get deaf at sport events. These can be truly instruments of doom, as the noise is overwhelming. Obviously, I had to try to get them into sampler. I recorded a handful of sound samples in two sessions, one using portable Zoom recorder and the other in my home studio setup. I've got some sustained tones, some short horn noise bursts and some strange sounds, achieved by blocking the horn tube opening with various objects. Got me quite an ear ringing...
Later, I made experimental scripted interface for this in Kontakt, based on a kind of button matrix, which can be used, to quickly create sound combinations and play them in round robin.
Here's a sound example, generated by single instance of Kontakt instrument, changing sound clusters with mod wheel while playing...
And here's how interacting with the Kontakt device looks like...
Well, this can sound quite horrible and it sometimes gets way of of tune. It is the nature of these toys, pitch is constantly drifting along with changing air pressure and temperature. These cans can get quite cold after longer periods of decompressing. So, this instrument has a lot of character.
Getting to the point, I've got a crooked deal on this little devil. First off, the pack of samples, 35 samples, plain wav, normalized, 44.1 kHz, 16 bit, mono - this is free to get right here. It weights 6 MB zipped, use them as you please, or as you displease. Now the other twist, Kontakt instrument based on these samples, is available at Sampleism. It comes with raw unprocessed samples, 96 kHz, 24 bit, Kontakt patch and a confusing manual in funny English. It requires full version of Kontakt 4.24 or newer to make it work. Take your pick.
Queuescape is another confusing device for Kontakt 4 sampler. It's virtual re-creation of imaginary retro synthesizer. It's based on single cycle waveforms and it has a lot of internal step-sequencers which can control various parameters. It has a kind of bleepy sound of early home computers or gaming consoles.
Here's a set of sound examples:
This device is written in Kontakt script, as a sort of experiment. It is constantly recalculating sequencing data and modulating parameters, which results in surprisingly high CPU usage. Parameters are being set according to sequenced program and tweakable frequency, transitions between sequencer steps can be more of less smooth, according to transition shape and set frequency. Sequencers can be programmed by hand or transformed in many ways with sequence tools. Alternatively you can create random programs with only few button pushes. There is a simple preset system, ready sequences can be saved to file or to memory slot (which can be then recalled by midi note).
Queuescape in numbers:
170 step-sequencers
15 KB of samples
12 pages of confusing and deceiving manual in funny English
10 oscillators
9 in-between-steps transition shapes
6 stage volume envelope
5 effects rack
1 monophonic mode
If you'd like get into details, you will need to confront the manual.
And here's how interacting with it looks like:
Download link - size 650KB. Queuescape model 10 is free to download and use in your music. Note, you need full version of Native Instruments Kontakt 4 or newer to make it work.
Psychodrumma mark II is reworked and expanded version of Psychodrumma, fantasy, neo-retro drum machine/music generator for Kontakt 4 sampler. It can act as a drum machine and generate random rhythmic, ambient or melody patterns. It is based on matrix of nine synchronized step sequencers, and a meta-sequecer. Most of settings can be programmed automatically by randomizers, creating strange machine music. It has plenty of knobs and a lot of flashing lights. The device comes with three banks of 100 one shot samples each, these eclectic sets were made from synthesized sounds (digital and analog), field recordings, animal sounds, unusual percussion, bass and guitar tones and noises, voice fragments, objects (metal plates, pots, radiators, machine parts, bicycle horn, plastic tubes, firecrackers), radio noise, vinyl crackles, car engine and icy snow squeaking under heavy boots.
You can get mark I version for free two posts below.
Some of new features of mark II version:
algorithmic mode, makes it possible to playback or loop sequences of random events,
music box, tunes melodic samples to defined pattern, to create melody sequences,
reworked and expanded sound banks, including third tonal bank to use for generating melodies,
saving and loading presets, presets can then be sequenced in meta-sequencer, to create tracks inside the machine, preset-set can be then saved to file,
automated effects rack.
And are example tracks, sequenced entirely in machine's meta-sequencer:
Rhythm patterns were partly programmed by hand and party shuffled by the machine. Melody lines were applied entirely by machine's looped randomizers.
Note, you need full version of Native Instruments Kontakt 4 or newer to make it work. It won't work properly in Kontakt Player. Also, as it's written in KSP script, it is quite impossible to import it to any other sampler.
It is one of my oldest sampling projects and one I consider the must successful, sonically. I guess everyone interested in music (or not) has been trying playing glasses as a kid. I have. When I started to play with samplers, I thought of that and I wanted to try to capture that sound. I picked a wineglass, some brown water (which due to some plumbing problem was the only color available at the moment) and a spoon. I tuned the glass carefully adding drops of dirty water with a spoon and took 12 recordings, about 40 seconds each. It sounds rich and organic and it downtunes in a pleasant way, doing well with a lot of reverb. I have been using it for a couple of years, but just recently I took it a step further, creating loop points, so the drone can go on indefinitely. I also created mappings for sfz and Kontakt adding some extra functionality in Kontakt's patch. Here's a little example of solo wineglass:
And another one, solo too, which was the first improvised take on the drone, (there is a little noise when downtuned, which can be heard here):
And here's an example of butchery on Beehtoven's work, which proves the wineglass as fine tool for murdering a classic:
The instrument itself is 130MB in 12 wav files, mappings for sfz and Kontakt. You will need full version of Native Instruments Kontakt 4 or newer to open Kontakt mapping. Sfz version is missing GUI and some controllers, it can be opened by various samplers. Loop points are in the files, so it should be easy to load it to any sampler.
Today I serve Arctic Rooster. It's a sort of neo-retro organic synthesizer for Kontakt. It is based on very short waveforms, serving as 'oscillators', that has been cut from recording of an authentic Icelandic rooster that I took this summer. Also there is the oscillator bank made of waveforms that I took from recording of my own voice.
Features in an egg shell:
- 15 waveforms in 3 oscillator banks,
- wood finishing enclosure,
- 3 memory banks,
- lcd display,
- 3 LFOs and lots of knobs.
And this is how it sounds, first the rooster recording, then synthesizer sounds, one instance at a time, no external effects:
Finally the download link - 710KB. Requires full version of Kontakt 4.2.4 or newer. Free to download and use in your music. If you find is useful or amusing, I encourage you to show your support, pick one of my albums that you can find hovering somewhere on the right side of these pages. Have fun.
Continuing the story from previous post, I created the second sample set of the wrench. Previously, I've been hitting the middle of the flat side of it, using a hammer with a dampening pad. Now the wrench has been treated with a bare hammer hitting the lower sharp side, which sounds quite different. This set is cleaner and sharper and it does not feature little noisy critters. Also it's heavier, as it has more samples for round robin. Here's a quick improvisation, fiddling with Kontakt's factory effects - auto panning, vowel filter and reverb:
The download - 42MB, includes 9 samples in wav format, mono 96 kHz / 24 bit. There are mappings for sfz and Kontakt 2. This time, I also made a patch for Kontakt 4.24 on which I put a simple, custom GUI, to make myself more comfortable while playing with Kontakt's build in effects. It's the one I used while making the demo. This patch is build of Kontakt's factory graphics and presets, so I don't know, if it will work in newer versions. Again, the download is free, have fun.
I have this big bicycle wrench, which makes nice sustained tone, like a bell. Recently I recorded some hits to build a sampler based instruments. I hung it by a thread and I've been hitting it with a hammer, which I slapped a dampening pad on, to soften the sound. The wrench was dangling freely, twisting and swinging around, creating a sort of vibrato effect. I picked five samples and mapped them in round robin. The wrench would vibrate for quite a while, but for practical reasons I cut them down to about 20 seconds, still at lower notes it can go on much longer, so it's suitable for long lasting low drone sounds. This thing is dark, gritty, fairly unstable and full of little noises, those noises are mostly the thread tearing the edge of suspension point. Some may find them annoying, but I would say it's instrument's character. It works best with some deep reverb on, here's an example:
Download package - 25 MB, 5 samples in wav format, mono 96 kHz / 24 bit. There is a mapping for Kontakt 2 (or newer) and a draft version for SFZ. In Kontakt version you can use mod wheel to control release time. Also there is bonus Kontakt program with a pad sound, where the samples are layered in stereo. Both programs are dry, so you may want to pick your own reverb. This wrench is free to download and use.
I found audio file I recorded some time ago, with sounds made of a rubber balloon. The technique was picking, similar to picking strings, just picking the balloon surface, the sounds were somewhat percussive and somewhat tonal. Pitch could be modified by squeezing it and was rather unpredictable. It has been chopped up and made a Kontakt instrument.
Sound demo:
Download package - 10MB, includes samples in wav format, 96kHz / 24 bit and mappings for Kontakt 2.2.4 or newer. Free download.
This is the effect of a silly experiment and an exercise to learn a bit about sfz format. I took an old cassette deck, Technics M33G and I created a feedback loop by connecting signal output with input. The tone could be controlled
with volume deck's volume knob, for some reason I don't really understand. Then I connected deck's phone output to Audiofire sound card and captured the whole scale available from manipulating the magical volume knob, to create this little sample set. I used G-Tune VST to monitor sound frequency, trying to catch exact frequency for each note.
The knob didn't work linear and was rather sensitive, so some notes were a little off, which I think adds some character to this set.
Sound demo:
The files are 96kHz/24 bit, range it E4-B0, plus the lowest sound I could get. Above E4 the deck would go rocket high frequency, so it was rather impossible to match higher notes. Lowest tones are hardly tonal, but I recorded them anyway. More info in readme.txt
Download package - 10MB, includes samples in wav format, mappings for sfz and Kontakt 2.2.4 or newer. Free download.
