[Morphing Percussion Pad Instruments] Riot Audio Digital Analog Clouds [KONTAKT] (2.45Gb)

P2P | 25 October 2024 | 2.45 GB

DIGITAL ANALOG CLOUDS is a morphing percussion pad instrument based on sounds processed through a hybrid digital/analog device, including a range of modular effects.

Our acclaimed CLOUDS engine generates organic movement between different sample sources and sample groups. It consists of two layers, A and B, each containing a base sub-layer and a target sub-layer, i.e. a total of four layers.

Deformation:This section controls the engine's morphing parameters. The engine is configured to modulate over time from the base sublayers of Layer A and Layer B to their target sublayers.

Volume:This controls how much the base layer is deformed to the target layer. This controls A and B separately.

Speed:Controls the speed of the deformation from the base layer to the target layer. A low setting equals a speed of ~300 milliseconds, while a higher setting results in a deformation speed of about 9 seconds.

Octave digits:Each layer (A, B) contains three octave scales, each in its own Kontakt in the group and has subtle individual differences, such as different recording segments, pitch variations, etc. This section allows volume control for each octave group. Select a group for just simple, subtle sounds, or dial them all in for a full, organ-like multi-octave scale expansion.

X Fade:This fader allows you to transition between the main layers A and B. It can also be used as a fader to control the faders. We recommend automating it or controlling it via MIDI CC (modulation wheel, etc.) as this gives you maximum expressiveness during playback.
The Effects section contains controls for Distortion, BP (Bandpass) Filter, Delay and Reverb.

Distortion toggle button:Turns Tape distortion/saturation on and off.

Distortion:Adjusts the amount of saturation/distortion. At the high end of the control, you'll hear tape compression kick in - this prevents the levels from being completely disproportionate.

BP Filter frequency (uency):Controls the center of the bandpass filter. We chose a fairly wide BP filter with a smooth curve for a natural, warm sound. However, you can use it to sweep the spectrum up to the very narrow high frequency band.

Delay:Controls the amount of delayed return.

Time:Controls the time between delays. Delays are velocity-synchronized, using the eighth note/quarter note as the base unit. The possible range is 1/8 to 12/8.

Reverb:Controls the amount of reverb return. The reverb is a modeled Lexicon 480 digital reverb unit with a long hall setting (9.0 seconds).

Length:Controls the size of the reverb - both Early Reflections (ER) and Late Reflections (LR) are adjusted using this control.
Low, Mid, and High: Controls the gain of the low, mid, and high bands of the parametric equalizer.The EQ has a wide Q for musical, soft attenuation or enhancement effects. <!

produce
DIGITAL ANALOG CLOUDS source sounds are produced using state-of-the-art hybrid digital/analog signal chains, including outboard equipment such as

- Manufacturing Noise Sharing System Plus
- Telharmonic
- MI Plaits & Warps
- Intellijel Rainmaker
- Arp Odyssey

and out-of-the-box sound design tools including Reaktor, Serum, and Sugar Bites Aparillo.

hallmark

Airy Factory
+ No tonal evolution
+ Diamond Flux
+ Glass tower
+ Harmonic overtones
+ Jitter Beep
Sound + Nostalgia Mist
+ Organ failure
+ Refrigerator
+ Trance Sentence - 12 layers of sound per instrument: A/B layer with two sub-layers and 3 octave extensions per sub-layer
- 6 presets per instrument = total
60 Sound Presets - Lexicon Reverb Modeling
- Based on Riot Audio's proprietary CLOUDS engine, morphing with Kontakts AET filters
- Total size of sampled content: 2.64 GB

Requires full version of NI Kontakt v5.8.1 or higher!

DIGITAL ANALOG CLOUDS is a morphing pad instrument based on sounds processed through a hybrid digital/analog rig including a range of modular effects.

Our acclaimed CLOUDS engine generates organic movement between different sample sources and groups. It contains two layers, A and B, each of which in turn contains a base sublayer and a target sublayer, i.e. four layers in total.

MORPHING. This section controls the morphing parameters of the engine. The engine is configured to modulate from the base sublayers of layer A and layer B to their target sublayers over time. The engine is configured to modulate from the base sublayers of layer A and layer B to their target sublayers over time.

Amount. This controls how much the base layers morph into the target layers. This can be controlled for A and B separately.

Speed. Controls the speed of the morphing from the base layers to the target layers. Low settings equal speeds of ~300ms, while higher settings result in a morphing speed of around 9 seconds.

OCTAVES. Each layer (A, B) contains three octaves, each within their own Kontakt group and with subtle individual differences, such as different recording takes, pitch shift variations etc. This section allows for volume control of each of the octave groups. This section allows for volume control of each of the octave groups. Choose one group only for a simple, thin sound, or dial them all in for a full, organ-like multi-octave spread. Choose one group only for a simple, thin sound, or dial them all in for a full, organ-like multi-octave spread.

X-FADE. This fader allows you to transition between the main layers A and B. We recommend automating this or controlling it via MIDI CC (modwheel etc) as this gives We recommend automating this or controlling it via MIDI CC (modwheel etc) as this gives you maximum expressivity during playing.
The effects section contains controls for Distortion, BP (Bandpass) Filter, Delay and Reverb.

Distortion toggle button. Turns Tape distortion/saturation on and off.

Distortion. Regulates the amount of saturation/distortion. At the higher end of the control you will hear tape compression kicking in - this stops the levels going all out of proportion. levels going all out of proportion.

BP Filter Freq(uency). Controls the center of the Bandpass filter. We've opted for a fairly wide BP filter with smooth curves for a natural, warm sound. Nevertheless, you can use it to sweep through the frequency spectrum up to a very narrow high band.

Delay. Controls the amount of delay return.

Time. Controls the time of the delay intervals. the delay is tempo-synced, with 8ths/quavers as the base unit. the possible range is from 1/8th to 12/8ths.

Reverb. Controls the amount of reverb return. The reverb is a modelled Lexicon 480 digital reverb unit with a long hall setting (9.0s).

Length. Controls the size of the reverb - both early reflections (ER) and late reflections (LR) are adjusted with this control.
Low, Mid and High: Controls gain of low, mid and high bands of a parametric EQ. The EQs have wide Qs for a musical, soft attenuation or enhancement effect.<! -The EQs have wide Qs for a musical, soft attenuation or enhancement effect.

PRODUCTION
The source sounds for DIGITAL ANALOG CLOUDS were produced using a state of the art hybrid digital/analog signal chain, including outboard gear such as

- Make Noise Shared System Plus
- Telharmonic
- MI Plaits & Warps
- Intellijel Rainmaker
- Arp Odyssey

and in-the-box sound design tools including Reaktor, Serum, Sugar Bites Aparillo.

FEATURES

Airy Factory
+ Atonal Evolution
+ Diamond Flux
+ Glass Tower
+ Harmonious Overtones
+ Jitter Bleeps
+ Nostalgic Mist
+ Organ Failure
+ Refrigerator
+ Tranced Sentence- 12 layers of sound in each instrument: A/B layers with two sublayers each and a 3 octave spread
- 6 presets per instrument = 60 sound presets in total
- Lexicon Reverb Modelling
- Based on Riot Audio's proprietary CLOUDS engine using Kontakts AET Filter morphing capabilities
- Total size of sampled content: 2.64 GB

Requires the FULL version of NI Kontakt v5.8.1 or above!

P2P

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