[电吉他转化崩溃纹理空间音源] Slate and Ash RUINS [KONTAKT]（20.34GB）

P2P | 26 August 2025 | 20.34 GB

《RUINS》是一场声音的挖掘，将电吉他转化为一场关于崩塌、质感和空间记忆的探索。六位实验吉他界的杰出人物倾情演绎，将吉他融入原始信号与闪耀和声交织的不稳定电流之中。
GUITAR MONOLITHS
由制作人 Randall Dunn 在 Circular Ruin Studios 录制并策划，RUINS 将吉他纹理解构为原始声音素材。
该乐器基于六位实验吉他手——Stephen O’Malley、Oren Ambarchi、David Torn、Bill Horist、Ben Greenberg 和 Arjan Miranda——的独家录音，其引擎通过磁带循环播放、纹理分层和变换效果处理将源素材分解。
空间、性能、饱和度
RUINS 会议是一系列受控实验，旨在探索空间、性能和饱和度之间的关系。
为了提供深度音调的多样性，RUINS 提供了多种麦克风视角，包括原始捕捉的 DI、一系列电子管供电放大器、侵蚀的立体声弹簧混响以及在柏林标志性的 Funkhaus 音室中录制的空旷重新放大信号。内置卷积引擎进一步扩展了这一音色库，并配备了一个精心挑选的自定义脉冲响应库，偏向实验性声音设计。
探索之声
RUINS 的六位实验吉他手均因其将吉他推向传统音乐角色之外的能力而入选——他们不再将其视为一种乐器，而是将其更多地视为一种纹理、姿态和声音仪式的界面。
每位艺术家都可以自由地提交片段：循环、纹理、共鸣和机械故障。他们的作品以对纹理、反馈和原始物质性的关注为统一点，构成了一种旨在创造新的音色语言的乐器的基础，探索吉他演奏的边界。
吉他原声：
RUINS 包含超过 250 个精心设计的预设，方便您立即探索，从地下声场和数字拖影，到拼贴的嘎嘎声和错综复杂的泛音，应有尽有。
每一个预设都如同创意基础，展现了乐器声音设计的潜力。多采样引擎将吉他乐句层叠叠加，形成丰富多变的和声，而异步循环则增添了不稳定感和活力。单采样引擎则将细节——例如琴弦刮擦声或音箱嗡嗡声——重新构想成新的节奏或音调元素。所有原始素材均以高品质 WAV 格式提供，可用于任何采样器或数字音频工作站 (DAW)。
不仅仅是样本播放
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拼贴
RUINS 引擎的灵感源自具象音乐的磁带拼接技术，将源素材视为一系列挖掘出来的碎片。每层最多可创建五个循环，这些循环可作为独特的声音制品，并可重新排列成新的序列。每个片段都拥有独特的音高、包络、滤波和回放参数，这使得引擎能够充当强大的时间序列器，创作出不稳定且不断变化的模式。在多重采样引擎中，每个多重采样都可以定义独特的循环点，从而在键盘上创建谐波阵列。
空间
空间页面支持构建声音环境。XY 打击垫融合了四个核​​心麦克风视角，每个视角都贡献了独特的材质特性。视角之间的移动可以被录制或调制，以创建动态、变换的声场。随后是四个卷积混响，加载了丰富的 IR 库，包括废弃空间和共振物体的声音特征。乐器类别中还提供完整的演奏技法库。这使得任何声音都可以用作自定义印记，将其纹理 DNA 融入任何演奏中。
效果
六种 DSP 效果器链提供最终的塑形阶段。声音的频率可以通过多模式滤波器进行雕琢，或利用磁带和放大器模块的模拟特性进行降级。多功能调制单元具有音阶量化模态处理功能，而磁带式延迟和混响则可提供进一步的空间深度。
调制
运动是引擎的核心理念。三个核心音源——先进的 LFO、用于自定义模式的可绘制步进音序器以及用于手势控制的 MIDI CC——几乎可以分配给任何连续参数。从循环的节奏结构到感觉随时濒临崩溃的系统的相互依存运动，这几乎可以实现一切。
层
引擎采用双层架构，允许同时对两个独立的声源进行分层和处理。每一层都包含各自独特的循环和调制分配。这使得创建复杂的结构成为可能，例如，基础谐波层可以与不断变化的纹理层融合。
侵蚀乐队 (RUINS) 的建筑师
Randall Dunn 拥有 30 年的吉他演奏经验，以其为 Sunn O)))、Earth 和已故的 Jóhann Jóhannsson 等艺术家融合复杂或厚重素材的能力而闻名。
他的作品以表演为中心，力求捕捉艺术家的核心声音，同时又不削弱其情感冲击力。作为 RUINS 的制作人、策展人和工程师，Randall 负责捕捉空间感、表演感和饱和度的原始相互作用，这些相互作用定义了乐器的声音特征。

包含的内容
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– 258 × 乐句表达
+ 48 Ben Greenberg/Arjan Miranda
+ 57 Bill Horist
+ 47 David Torn
+ 68 Oren Ambarchi
+ 38 Stephen O’Malley
– 96 × 多样本表达
+ 28 Ben Greenberg/Arjan Miranda
+ 25 Bill Horist
+ 10 David Torn
+ 21 Oren Ambarchi
+ 12 Stephen O’Malley
– 281 × 声音设计预设
+ 23 个动画
+ 26 种氛围
+ 17 种拼贴画 +
7 种形式
+ 9 个循环
+ 31 个动作
+ 59 个打击垫
+ 10 个废墟
+ 46 个纹理 +
53 个音调
– 4,636 × RAW .WAV 文件
+ 1,159 种声音
+ 4 个麦克风视角

需要免费的 NI Kontakt Player 或 NI Kontakt FULL v7.10.7 或更高版本！

RUINS is a sonic excavation that transforms the electric guitar into a study of collapse, texture, and spatial memory. Featuring exclusive performances from six luminaries of the experimental guitar scene, it dissolves the guitar into unstable currents of raw signal and shimmering harmony.
GUITAR MONOLITHS
Recorded and curated by producer Randall Dunn at Circular Ruin Studios, RUINS deconstructs guitar textures into raw sonic material.
Built from the exclusive recordings of six experimental guitarists—Stephen O’Malley, Oren Ambarchi, David Torn, Bill Horist, Ben Greenberg, and Arjan Miranda—the instrument’s engine disintegrates the source material via tape-loop-inspired playback, textural layering, and transformative effects processing.
SPACE, PERFORMANCE, SATURATION
The RUINS sessions were a series of controlled experiments, designed to explore the relationship between space, performance, and saturation.
To provide deep tonal versatility, RUINS offers multiple mic perspectives, including a pristinely captured DI, an array of tube powered amplifiers, an eroded stereo spring reverb, and a cavernous re-amped signal recorded in Berlin’s iconic Funkhaus sound chamber. The built-in convolution engine expands this palette further, complete with a curated library of custom impulse responses leaning toward experimental sound design.
VOICES OF EXPLORATION
Each of RUINS’ six experimental guitarists was chosen for their ability to push the guitar outside traditional musical roles—treating it less as an instrument and more as an interface for texture, gesture, and sonic ritual.
Each artist was given freehand to submit fragments: loops, textures, resonances, and mechanical failures. Their work is unified by a focus on texture, feedback, and raw materiality, forming the basis of an instrument designed to create new timbral languages that explore the outer edges of guitar performance.
GUITAR AS RAW MATTER
For immediate exploration, RUINS includes over 250 thoughtfully designed presets, spanning from subterranean soundfields and digital smears, to collaged rattles and tangled harmonics.
Each serves as a creative foundation that showcases the instrument’s sound design potential. The multi-sample engine layers guitar phrases into rich, shifting harmonies, while asynchronous looping adds instability and life. The single-sample engine reimagines details—like string scratches or amp hum—into new rhythmic or tonal elements. All raw material is also provided as high-quality WAVs for use in any sampler or DAW.
MORE THAN JUST SAMPLE PLAYBACK
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COLLAGE
Inspired by the tape-splicing techniques of musique concrète, the RUINS engine treats source material as a collection of excavated fragments. Up to five loops can be created per layer, acting as distinct sonic artefacts that can be rearranged into new sequences. Each fragment has its own unique parameters for pitch, envelopes, filtering, and playback, allowing the engine to function as a powerful, time-based sequencer for creating unstable, evolving patterns. In the multisample engine, unique loop points can be defined per multisample, creating harmonic arrays across the keyboard.
SPATIAL
The spatial page enables the construction of the sound environment. An XY pad blends the four core mic perspectives, each contributing a unique material character. Movement between perspectives can be recorded or modulated to create dynamic, shifting soundfields. This is followed by a chain of four convolution reverbs, loaded with an extensive library of IRs, including the sonic signatures of derelict spaces and resonant objects. The entire library of articulations is also available in the instrument category. This allows any sound to be used as a custom imprint, melding its textural DNA onto any performance.
EFFECTS
A chain of six DSP effects provides the final stage of shaping. A sound’s frequency can be sculpted with a multi-mode filter, or degraded with the analogue character of the tape and amp modules. A versatile modulation unit features scale-quantised modal processing, while a tape-style delay and reverb provide further spatial depth.
MODULATION
Movement is central to the engine’s philosophy. Three core sources—an advanced LFO, a drawable step sequencer for custom patterns, and MIDI CC for gestural control—can be assigned to almost any continuous parameter. This allows for everything from cyclical, rhythmic structures to the interdependent motion of a system that feels constantly on the verge of collapse.
LAYERS
The engine features a dual-layer architecture, allowing two independent sound sources to be layered and processed simultaneously. Each layer contains its own distinct set of loops and modulation assignments. This enables the creation of complex formations, where a foundational harmonic layer can be fused with a shifting textural strata, for example.
ARCHITECT OF EROSION
With 30 years of experience working with guitar, Randall Dunn is known for his ability to cohere complex or heavy material for artists such as Sunn O))), Earth, and the late Jóhann Jóhannsson.
His work is marked by a performance-focused approach, aiming to capture an artist’s core sound without blunting its emotional impact. As the producer, curator and engineer for RUINS, Randall was responsible for capturing the raw interplay of space, performance, and saturation that defines the instrument’s sonic character.

WHAT’S INCLUDED
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– 258 × PHRASE ARTICULATIONS
+ 48 Ben Greenberg/Arjan Miranda
+ 57 Bill Horist
+ 47 David Torn
+ 68 Oren Ambarchi
+ 38 Stephen O’Malley
– 96 × MULTISAMPLE ARTICULATIONS
+ 28 Ben Greenberg/Arjan Miranda
+ 25 Bill Horist
+ 10 David Torn
+ 21 Oren Ambarchi
+ 12 Stephen O’Malley
– 281 × SOUND DESIGN PRESETS
+ 23 animations
+ 26 atmospheres
+ 17 collages
+ 7 forms
+ 9 loops
+ 31 movements
+ 59 pads
+ 10 ruins
+ 46 textures
+ 53 tones
– 4,636 × RAW .WAV FILES
+ 1,159 sounds
+ 4 mic perspectives

Requires free NI Kontakt Player or NI Kontakt FULL v7.10.7 or higher!