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  • Maybe You Need More Meditation In Your Life

    By HC News |


    Impact Soundworks makes meditative musical moods perfectly possible with aptly-titled VI release



    FULTON, MD, USA: audio software creator Impact Soundworks is proud to announce availability of MEDITATION — an aptly-titled and affecting collection of supremely-sampled acoustic mallet, gong, and glass sounds, creatively combined with a revolutionary KONTAKT-based additive synthesizer allowing adventurous users to craft an endless variety of evolving and subtle tones, perfect for film scoring applications alongside ambient and atmospheric music creation — as of February 5...


    Conceptually, MEDITATION is a revolutionary sampled virtual instrument library for Native Instruments’ industry-standard KONTAKT platform, perfectly positioned to produce an infinite variety of unique mallet, bell, and key tones. Creatively, it cleverly combines a treasure trove of unique acoustic sound sources — such as Aquarion, Boltophone, Brass Urn, Crotales, Gamelan Ensemble, Glass Gong, Glockenspiel, Kenong, Koto Harmonic Pluck, Marimba, Muted Prayer Bowl, Pipe Harp, Pot Lids, Rubber Mallets, Shou Drum Brushed, Stonaphone, Toy Piano, Tubular Bells, Vibraphone, Violin Pick, and Waterglasses (hand-picked from other critically-acclaimed Impact Soundworks libraries like CURIO, MOMENTUM, and RESONANCE, along with some new material) — with an additive synthesis layer, representing the first of its kind in a KONTAKT instrument!


    Though the MEDITATION library itself includes in-depth synth parameters with modulation tweaking aplenty, average users do not need to be an additive synthesis expert to enjoy it. Included are a wide variety of presets to affect and inspire; indeed, adjusting basic parameters of each sound is very easy, thanks to the always-admirable design work of Impact Soundworks Lead Designer Andrew Aversa and his sterling scripting team (Mario Krušelj and Nabeel Ansari).


    As such, MEDITATION’s gorgeous GUI (Graphical User Interface) is as easy on the eye as it is easy to use. Duly divided into two primary layer panels, the left one contains controls for the Acoustic Layer — centred around a SOUNDSOURCE menu (revealing all available acoustic sound sources) with associated knobs for adjusting its VOL (volume), PAN (panning), TUNE (tuning), and TRANS (transposition), while additive synthesis- centric controls reside in the right layer.


    Like its acoustic counterpart, the so-called Synthetic Layer features a row of straightforward settings, starting with a WAVEFORM menu for selecting one of three (sine, sawtooth, or square) waveforms alongside associated knobs to adjust its VOL and PAN. Four more controls are dedicated to INHARMONICITY — the degree to which the frequencies of overtones (or partials) depart from the fundamental frequency (harmonic series). Saying that, the ODD and EVEN knobs set the detuning of the odd and even partials — perfect for creating more gong-like tones. The ‘leaf’ button initiates an Eco Mode, preventing triggering of partials that are initially silent, while the ‘tuning fork’ (Pure Partials) button adjusts the base tuning of all partials to just/pure intonation.


    Digging deeper, the Synthetic Layer’s central section houses VOLUME and PAN tables for the partials. Users can draw in their own curves for one of two states (STATE 1 and STATE 2) and even morph between those states by activating the MORPH button. Beyond that, the ‘gearwheel’ button brings into play another menu of preset options while the ‘dice’ (Randomize) buttons randomise the curves for each table. In short, 24 partials can be adjusted in real-time, along with per-partial panning!


    Both layer panels also feature filter and envelope controls for further shaping the sound sources. There are envelope controls for PITCH, FILTER and AMP, including: A (attack), H (hold), D (decay), S (sustain), and R (release) sliders, a VEL (velocity) knob, a CURVE control, and an AMT (amount) knob (for PITCH and FILTER envelopes only).


    Of course, those controls may sound complex to some, yet Impact Soundworks collectively encourages MEDITATION users — average or otherwise — to give them a try. The resulting sounds are sure to impress!


    In keeping with many of its Impact Soundworks software siblings, MEDITATION includes the company’s trademark easy-to-use FX Rack — featuring EQ, COMPRESSOR, TRANSIENT DESIGNER, SCREAM, BITCRUSHER, DELAY, REVERB, and LIMITER — that also creatively connects to the Mod Matrix, itself allowing for highly-flexible routing of modulators — such as generated LFOs (Low Frequency Oscillators) and MIDI CC (Continuous Controller) messages — to all the FX controls.


    To conclude: creating instant variation without any prior experience is a given with MEDITATION, yet it also offers experienced users so much creative control. Combined with that powerful analogue/digital FX Rack, making meditative musical moods or simply crafting beautiful sounds is, indeed, perfectly possible — regardless of experience! Another amazing balancing act from a class act.


    MEDITATION can be purchased and digitally downloaded directly from Impact Soundworks for $49.00 USD from here: https://impactsoundworks.com/product/meditation/#purchase


    Note that MEDITATION requires the full version of Native Instruments KONTAKT (Version 5.5.2 or higher). For more in-depth information, including several superb-sounding audio demos, please visit the dedicated MEDITATION webpage here: https://impactsoundworks.com/product/meditation/#details


    Watch Samplecast’s Reuben Cornell’s short overview video of MEDITATION here:



    About Impact Soundworks (www.impactsoundworks.com)

    Impact Soundworks creates audio software designed with composers in mind: sample libraries, virtual instruments, and plug-ins. As passionate about creating music tools as its customers are about making music, the company was founded in 2008 by composers Andrew Aversa and Will Roget, II at a time when there were several large virtual instrument companies already around, but few developers creating affordable, flexible, and focused libraries featuring more unusual and unique sounds. Shrewdly, the dynamic duo noticed much in the way of in-depth orchestral offerings, but more unusual instruments were not being sampled with much detail at all. As such, the company’s first two releases were Impact Steel, a collection of found metal objects played as percussion, and Sitar Nation, a set of instruments from North India. It has since been collectively working hard to address the needs of modern composers, successfully striking the balance between depth and ease of use. Ultimately, Impact Soundworks is proud to call tens of thousands of musicians around the world its customers, intelligently investing time to study suggestions and review requests. After all, that is how a number of its best-loved libraries started... from the smallest seed!


    © 2018 Impact Soundworks



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