Rhythmic Robot Audio - PatchVault DX5 Custom Set 1+Factory Set A (KONTAKT) rutracker.org 2.8 GB 2018-12-26 1 0. Rhythmic Robot Audio. Rhythmic Robot Audio - Drifter (KONTAKT) rutracker.org 973 MB 2016-08-11 0 0. Rhythmic Robot - Bass III (KONTAKT.NKI.NCW) rutracker.org 48 MB 2012-10-21 0 0. Description “The interface is deep and powerful, and the drones and ambiences you can come up with are seemingly limitless.” – Computer Music magazine.
Description
Rhythmic Robot Audio Drifter 2
Complex, involving, cyclically shifting sounds from six early-digital oscillators • Separate Attack waveforms to add characteristic bowing, plucking or blowing elements • 54 cyclical waveforms arranged from mellow and warm to bright and brash: choose how much tonal variation you want! •Excellent for PPG-style pads, drifting washes of sound, and grainy digisynth goodness • Over 90 factory patches to get you started, plus Glitch button for instant patch creation! • Over 2500 individual samples for a richly authentic tone
WaveCrest continues our fascination with the gritty sheen of early digisynths – in this case owing its sound to the lovely grainy warmth of the Ensoniq SQ80. Where the original keyboard has a familiar 3-oscillator architecture, though, WaveCrest departs from tradition in favour of something a little weirder: six cyclical oscillators plus an attack wave. The six cyclical waves Themes for ibooks author by graphic node 4.5. are governed by phase-adjusted LFOs so that they rise and fall within the overall patch, constantly shifting its timbre. By choosing which waves are in play, and how quickly they cycle, you can dial up mellow swooshes of slowly-evolving sound, or shiny metallic patches that aren’t a million miles from a poor man’s PPG.
Onto the front of the cyclical waves you can also graft one of 12Attacksamples, making it simple to add a characteristic flute chiff, string bow or guitar pluck to the sustaining sound. These attacks can be independently adjusted for level, so it’s perfectly possible to create patches without them for more impressionistic soundscapes.
Each cyclical wave can be selected from a pool of 54 waveforms with the common Wave Select slider. These are arranged in a musically-sensible way with mellow, warm-sounding waves at the bottom of the slider and bright, brash, metallic waves with higher harmonic content at the top. This makes it very easy to create patches which either shift subtly (choose six waves from a limited area of the slider’s travel) or incorporate drastic tonal variation (choose alternately from the top and bottom of the slider scale). Then adjust how swiftly they cycle using the Sweep Rate knob, which has a range of approximately 10 seconds to 1 second. Or, of course, you can click at the Glitch button, which randomises the whole shebang – although it’s cleverly predisposed to give you musically-useful results.
The whole smoothly-shifting waveform can then be further sculpted with the switchable 2- or 4-pole Low-Pass Filter, the dedicated High-Pass Filter, various LFOs, an Overload Circuit (for a bit of analogue-style warmth), and a Grain control which progressively reduces the bit-depth and sample rate for some bitcrushed, even-more-digital grunge. Round the back there are of course our usual Effects, and tucked down beside the Wave Select slider there’s also a convolved Lexicon digital reverb for some period-authentic gloss.
WaveCrest excels at unashamedly digital pads with a lot of tonal movement: think the kind of sounds in the background of Peter Gabriel’s early albums. Because the sound is designed right from the ground up to be cyclical and evolving, it’s great for drones and sustained parts; though the Attack waves mean you can also get some cool percussive or tine-based sounds from it too. Whether you want something subtly shimmering or dramatically involved, WaveCrest can dial it up. Perfectly clear complete 3.6.2 list.
(All our Kontakt instruments require a full copy of Native Instruments Kontakt v4.2.3 or higher (including all versions of Kontakt 5). Kontakt Player is not supported: instruments will load, but will time out after 15 minutes. See the FAQ for further information.) You can read more about the original hardware Ensoniq SQ80 here.
Sample Library
Over the last two issues, we've looked at two collections of instruments from new manufacturer Rhythmic Robot. This month we're going to explore RR's Laboratory. For a bit more explanation of what's behind these 24‑bit mono Kontakt instruments (which require the full version of Kontakt, rather than just the player), go to the first of our Rhythmic Robot reviews (/sos/may12/articles/beat_room.htm).
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The Laboratory is where the Professor and his assistant Mongo construct new instruments out of whatever spare parts happen to be lying around. For example, they made a polyphonic synth from vintage Stylophones. Stylosynth has three oscillators and, although it doesn't sport a mass of controls, its samples have a warm and pleasant tonality. The synth's three oscillators are Vintage, Modern and Stacked. Modern is rather bright and slightly distorted, Stacked is a pile of old Stylophones in some warped version of unison, and the Vintage setting is mellow and generally the most pleasant. You are free to mix them all together in any combination and this layering generates some reasonably lush synth patches. Stylosynth has a resonant filter with velocity control, plus two envelopes and an LFO that modulates the filter. There's a chorus that doesn't quite replicate Stylophone vibrato, but I doubt this will be an issue for anyone — except maybe Rolf Harris.
Rhythmic Robot Audio Drifter Youtube
Although Stylosynth is capable of blips and pads, it's not in the same league as Tubes and Wires, or TW1. This is the most expensive of the collection (still less than £20) and is based on samples coaxed from venerable signal generators. TW1's three oscillators are named after the devices that spawned their waveforms: the Advance H1, the Taylor, and the charmingly named Goodwill Function Generator. Images of each wave are shown on the rear-panel oscilloscope, and it's these that give the TW1 its wayward but distinctive character. After the oscillators, the architecture is simple enough. There's a dual-envelope structure with a resonant low‑ or high‑pass filter and extra buzz supplied by 'rail voltage”. This simulates overheating the circuitry, Louis and Bebe Barron would have been proud! Turn to the rear panel for a basic chorus and phaser.
Last up are two similar synths, the Bad Bad Bass and Bad Bad Lead, also full of valve oscillator samples. The main differences between the two synths are the source waveforms — low and aggressive or high and snarly — and there's a degree of overlap if you already have the TW1. Their primary oscillators are backed up by an additional, filthy, sine wave, and from then on there's a filter section comparable to Stylosynth's and optional poly or mono operation. In the shape of Drift, Drive, Distortion and Compression, you also get Rhythmic Robot's familiar tools for gaining attention.
This little collection scores highly for its raw valve tones and for its simplicity, an attribute often overlooked when throwing everything but the kitchen sink into sample libraries. It's true that, with patience, you could probably find a selection of signal generators in junk shops and at car boots, then painstakingly sample them to create your own unique instruments. Alternatively, these are priced so that you don't have to! Paul Nagle
£4.95 to £19.95 to download.