MY_NI_RESEARCH_AND_USAGE

 

 

 

 

Spotlight: Ireland – My Report

I use the Spotlight: Ireland music library by Native Instruments. It is a virtual instrument made for Kontakt. It focuses on traditional Irish music. When I play it, I feel like I am entering the sound world of Ireland.

The library gives me eleven traditional instruments. These include fiddle, uilleann pipes, tin whistle, Irish flute, harp, bodhrán, and concertina. Each instrument has its own voice. The fiddle is bright and lively. The pipes are deep and haunting. The tin whistle is light and playful. The bodhrán adds a strong rhythm. Together, they create the feeling of an Irish session.

I like how the library handles articulations and ornaments. The fiddle can play legato, staccato, and accented notes. The whistle and pipes include grace notes and slides. These are important in Irish style. They make the performance sound natural. I do not have to program every detail. The software gives me shortcuts to realism.

The pattern player is one of my favorite parts. It has preset patterns for reels, jigs, hornpipes, and other Irish dances. I can select a rhythm, and it plays instantly. This saves me time when I want a quick groove. I can also adjust speed and swing. This lets me experiment and create my own feeling.

The sound quality is very high. Native Instruments recorded real Irish musicians. I can hear the breath in the flutes and the resonance of the harp. The samples are clean but still warm. When I layer instruments, it feels like a live group. This makes my compositions sound professional.

I enjoy using this library for different kinds of music. Sometimes I keep it traditional, like an Irish jig. Other times, I mix it with piano, strings, or even electronic beats. The Irish sounds add color and atmosphere. For film scoring, I can use it to show place and culture. For songwriting, it gives me folk character and emotional depth.

Using Spotlight: Ireland also helps me learn about Irish music traditions. I hear the difference between a reel and a jig. I notice how ornamentation works. I also understand how rhythm drives Irish dance music. Even though I am not from Ireland, I can appreciate the culture by exploring this library.

The interface in Kontakt is easy to use. I can change tuning, dynamics, and effects. There is a built-in reverb for space. I can control expressions with my keyboard. The design is simple, so I stay focused on music and not on settings.

In conclusion, Spotlight: Ireland is more than a sample pack. It is a full library that captures the spirit of Irish music. I feel inspired when I play it. It gives me both authenticity and flexibility. I can use it for learning, performing, or creating new music. It is a powerful tool for anyone who wants the sound of Ireland in their projects.

 

Here are the 11 traditional Irish instruments included in the Spotlight: Ireland virtual instrument library by Native Instruments: (Native Instruments)

Irish flute (Native Instruments)

Tin whistle (Native Instruments)

Concertina (Native Instruments)

Button accordion (Native Instruments)

Uilleann pipes (Native Instruments)

Bouzouki (Native Instruments)

Mandolin (Native Instruments)

Tenor banjo (Native Instruments)

Irish harp (Sweetwater)

Fiddle (Native Instruments)

Bodhrán (Native Instruments)

 

When I explore the Spotlight: Ireland virtual instrument library by Native Instruments, I feel connected to the soul of Irish traditional music. This library includes eleven instruments that carry history, culture, and sound unique to Ireland. I will share my thoughts about each instrument and how I see them as part of Irish music.

The Irish flute is the first instrument. It has a warm and breathy tone. When I play it, I hear melodies that sound both sweet and haunting. It reminds me of old Irish countryside landscapes.

The tin whistle is simple but powerful. It is small, but its voice can be bright and piercing. I like how it sings with energy in dance tunes, but it can also sound sad in slow airs.

The concertina adds charm. Its button system and bellows create a lively push-and-pull rhythm. I enjoy how it blends well with fiddles and flutes in sessions.

The button accordion is bigger and bolder. It gives strong chords and rich melody lines. For me, it provides the driving power behind many dance pieces.

The uilleann pipes are the heart of Irish sound. Their drones and chanter make music that is deep and emotional. When I listen, I feel both joy and longing. Playing them virtually still carries that same spirit.

The bouzouki shows how Irish music can welcome instruments from abroad. It came from Greece but found a new home in Irish folk. Its ringing strums and chords support singers and fiddlers beautifully.

The mandolin is smaller but sharp and bright. I like how its plucked strings add sparkle to melodies. It often doubles fiddle lines, creating a rich texture.

The tenor banjo is loud and joyful. It plays fast notes in reels and jigs with clear attack. I hear its voice cutting through a group, giving energy and rhythm.

The Irish harp carries deep history. It is the national symbol of Ireland. When I play it, I feel peace and grace. Its gentle notes can tell stories without words.

The fiddle is perhaps the most famous. It leads sessions, dances, and songs. It can cry, laugh, or sing, depending on how I bow it. For me, the fiddle is the true storyteller of Irish music.

The bodhrán is the drum that keeps the beat. Played with a tipper, it gives rhythm and drive. I like how the player can change tones by moving the hand inside the drum. It makes each rhythm alive and personal.

Together, these eleven instruments form the world of Irish traditional music. Each one has its own voice, but when combined, they create the lively and emotional sound that defines Ireland. With the Spotlight: Ireland library, I can explore all of them and bring this tradition into my own music-making.

 

 

Spotlight: Ireland – Quick Notes on 11 Instruments

Irish Flute – Warm, breathy tone; sweet or haunting; often used for lyrical melodies.

Tin Whistle – Bright, piercing; simple but powerful; strong in dance tunes, emotional in slow airs.

Concertina – Push-and-pull rhythm; charming sound; blends well in group sessions.

Button Accordion – Bold, strong chords; rich melody lines; provides driving power for dances.

Uilleann Pipes – Deep, emotional; drones + chanter create joy and longing; iconic Irish sound.

Bouzouki – Originally Greek; ringing strums; supports singers and adds rhythm to ensembles.

Mandolin – Bright, sharp plucked tone; often doubles fiddle lines; adds sparkle.

Tenor Banjo – Loud, joyful; fast notes in reels and jigs; cuts through group sound.

Irish Harp – National symbol; gentle, peaceful, graceful; tells stories without words.

Fiddle – Central to Irish music; emotional storyteller; leads sessions and dances.

Bodhrán – Frame drum; keeps rhythm with tipper; hand pressure changes tone; lively and personal.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Spotlight: Middle East – My Report

I use the Spotlight: Middle East music library by Native Instruments. It is a virtual instrument for Kontakt. It focuses on traditional instruments from Arabic, Turkish, and Persian music. When I play it, I feel like I am entering the sound world of the Middle East.

The library includes melodic, string, and percussion instruments. I can play the oud, qanun, saz, ney, and kamancheh. These instruments have strong cultural voices. The oud is warm and deep. The qanun sparkles with fast plucked strings. The saz has a bright and sharp sound. The ney is breathy and haunting. The kamancheh has a strong emotional tone. There are also percussion instruments like darbuka, riq, and bendir. Together, they form a full Middle Eastern ensemble.

I like how the library gives me authentic articulations and ornaments. For example, the oud can play slides and trills. The qanun can bend notes with levers. The ney has breathy ornaments and expressive swells. These details make the sound close to a live performance. I do not have to be a master of these instruments to play them. The software helps me add realism with simple controls.

The pattern player is one of my favorite tools. It gives me preset rhythmic cycles and melodic phrases. I can choose patterns from Arabic, Turkish, and Persian traditions. The rhythms include complex meters and syncopations. The melodic phrases are based on traditional modes, called maqams. I can also change tempo and variation. This lets me build traditional grooves quickly.

The sound quality is excellent. Native Instruments recorded skilled musicians. I can hear the rich detail of each performance. The oud strings resonate with depth. The qanun sparkles with clarity. The ney sounds spiritual and full of air. The percussion instruments are sharp and powerful. When I combine them, it feels like I am listening to a real ensemble in the Middle East.

I use Spotlight: Middle East for many projects. Sometimes I make traditional music to learn the style. Other times, I mix the instruments with orchestra or modern beats. The Middle Eastern sounds add color, emotion, and atmosphere. For film scoring, they are very useful. They can show place, history, and mood. For songwriting, they bring a unique cultural flavor.

The library also helps me learn about maqam and rhythmic cycles. Maqam is the scale system in Middle Eastern music. It has microtones and ornaments. The rhythms are often complex and not always in simple 4/4 time. By using this library, I hear and feel these patterns. I learn more about how the music is structured.

The Kontakt interface is simple and clean. I can switch articulations, control reverb, and adjust tuning. The keyswitches are easy to understand. I can also automate dynamics for expression. This helps me focus on creativity instead of technical setup.

In conclusion, Spotlight: Middle East is a rich and inspiring library. It captures the soul of Arabic, Turkish, and Persian traditions. I feel connected to a deep musical history when I play it. At the same time, I can use it in modern ways. It is powerful, flexible, and full of emotion.

 

 

 

 

 

 

 

 

 

 

 

 

Here are the instruments included in Spotlight: Middle East (by Native Instruments), grouped by type:

 

Percussion

Darbuka (Native Instruments)

Doumbek (Native Instruments)

Dohola (Native Instruments)

Tombak (Native Instruments)

Bendir (Native Instruments)

Daire (Native Instruments)

Daf (Native Instruments)

Davul (Native Instruments)

Duff (Native Instruments)

Katem (two sizes) (Native Instruments)

Kudüm (Native Instruments)

Riq (two models) (Native Instruments)

Zil (finger cymbals) (Native Instruments)

 

Melodic / String / Wind

Kanun (Native Instruments)

Kemençe (Native Instruments)

Ney (Native Instruments)

Oud (Native Instruments)

Saz (three variants: tambura, cura, divan) (Native Instruments)

Tanbur (Native Instruments)

Zurna (Native Instruments)

String Ensemble (2 violins, viola, cello) (Native Instruments)

 

 

 

 

When I study the percussion instruments in Spotlight: Middle East by Native Instruments, I feel how rhythm shapes the music of the region. These instruments each have a unique sound, but together they create powerful energy. I will explain what I hear and feel from each one.

The darbuka is small and shaped like a goblet. I like how it produces sharp and clear sounds. When I play it, the high tones stand out, and the low tones give a deep pulse.

The doumbek is similar but has its own character. Its rhythms are very important in Middle Eastern music. I enjoy how it can be soft and gentle or very fast and exciting.

The dohola is a larger version of the darbuka. It makes deeper bass sounds. I feel it as the foundation of many rhythms, strong and steady.

The tombak comes from Persian tradition. I notice how its tones are round and expressive. When I play, I can create many patterns by changing my hand shapes.

The bendir is a frame drum. It has snares inside that buzz when I strike it. I like its earthy sound, which feels ancient and spiritual.

The daire is another frame drum. It often has jingles attached. I enjoy how the jingles sparkle on top of the drum tone, making the rhythm lively.

The daf is large and also has rings that jingle. Its sound feels deep and strong, mixed with bright metallic overtones. I sense its ceremonial power when I play it.

The davul is a big double-headed drum. It is very powerful. I strike one side with a heavy stick for the deep boom and the other side with a thin stick for sharper sounds. I feel its driving force in parades and celebrations.

The duff is another type of frame drum. It is used in many traditions. I like how it can be played with subtle finger techniques or strong beats.

The katem comes in two sizes. They are small hand drums with a warm, dry tone. I enjoy how they add light rhythmic decoration.

The kudüm are paired kettle drums. They are small but have a strong voice. I feel their role is special in spiritual and classical music.

The riq is like a tambourine. There are two models in the library. I love how it mixes drum sounds with jingling cymbals. It is bright, precise, and can be very complex in rhythm.

The zil are finger cymbals. They are small, but their sound is sharp and brilliant. When I use them, I feel the rhythm shine like sparks of light.

Together, these percussion instruments show me the heartbeat of Middle Eastern music. Each one has a role, from deep bass to sparkling high tones. When I play them in the virtual library, I can build rhythms that are both ancient and alive. They connect me to a tradition where rhythm is not only music but also spirit.

 

 

Spotlight: Middle East – Percussion Quick Notes

Darbuka – Goblet drum; sharp, clear tones; deep pulse in low notes.

Doumbek – Essential hand drum; soft or fast and exciting; versatile rhythms.

Dohola – Larger darbuka; deeper bass foundation; steady and strong.

Tombak – Persian drum; round, expressive tones; many hand-pattern variations.

Bendir – Frame drum with snares; earthy, buzzing sound; ancient and spiritual.

Daire – Frame drum with jingles; bright, lively sparkle.

Daf – Large frame drum with rings; deep, powerful tone plus metallic overtones.

Davul – Big double-headed drum; heavy low boom + sharp high strikes; used in parades/celebrations.

Duff – Frame drum; flexible playing (subtle finger work or strong beats).

Katem – Two sizes; small hand drums; warm, dry tone; adds rhythmic decoration.

Kudüm – Paired kettle drums; small but strong; important in spiritual/classical music.

Riq – Tambourine type (two models); combines drum + jingles; bright, complex rhythms.

Zil – Finger cymbals; sharp, brilliant sound; rhythm shines like sparks.

 

 

 

 

 

When I explore the melodic, string, and wind instruments in Spotlight: Middle East by Native Instruments, I hear the voice of tradition and culture. These instruments carry melodies that shape the identity of Middle Eastern music. Each one has a distinct character, but together they create a rich musical language.

The kanun is a plucked zither. It has many strings and a bright, ringing tone. When I play it, I feel a delicate shimmer in the sound. The kanun can play fast ornaments, and it adds elegance to an ensemble.

The kemençe is a bowed string instrument. Its tone is nasal and expressive. I like how it sings with a strong emotional voice. It can sound mournful or joyful, and I hear it as a storyteller.

The ney is a reed flute. Its sound is breathy and spiritual. When I play it, I feel calm and reflective. The ney is often linked to mystical traditions, and its voice feels meditative.

The oud is a short-necked lute. It has a deep, warm, and resonant tone. I enjoy how it can play both melody and rhythm. For me, the oud is central to Middle Eastern music, with its earthy and emotional character.

The saz comes in three variants: tambura, cura, and divan. The tambura is the standard form, the cura is small and high-pitched, and the divan is large and deep. I like how these sizes cover different ranges, from bright to full-bodied. Together, they show the versatility of the saz family.

The tanbur is another long-necked lute. Its sound is bright and sustained. I feel its tones reach into both folk and classical traditions. Its long neck allows for subtle slides and microtones, which I find very expressive.

The zurna is a loud double-reed instrument. Its sound is piercing and full of energy. When I play it, I feel its power to lead outdoor celebrations. It is festive, strong, and impossible to ignore.

The string ensemble includes two violins, viola, and cello. These Western instruments blend into the Middle Eastern style by playing ornaments and scales of the region. I like how they expand the texture, adding depth and harmony. They can sound both classical and folk-like, depending on the style.

Together, these melodic, string, and wind instruments create the voice of Middle Eastern music. The kanun and oud provide plucked resonance. The kemençe and tanbur bring bowed and long-necked color. The ney and zurna add breath and reed power. The saz family gives variety, from small and bright to large and deep. The string ensemble blends traditions, linking East and West.

When I play them in the virtual library, I can explore many emotions. I can make gentle, spiritual sounds with the ney, or bright festive tones with the zurna. I can shape delicate ornaments on the kanun or deep, resonant chords on the oud. These instruments remind me that melody is not only notes, but also culture, history, and feeling.

 

 

Spotlight: Middle East – Melodic / String / Wind Quick Notes

Kanun – Plucked zither; bright, ringing tone; elegant, delicate ornaments.

Kemençe – Bowed string; nasal, expressive voice; emotional, storytelling quality.

Ney – Reed flute; breathy, spiritual sound; meditative and calm.

Oud – Short-necked lute; deep, warm resonance; central instrument, plays melody + rhythm.

Saz (Tambura, Cura, Divan) – Long-necked lutes; tambura = standard, cura = small/high, divan = large/deep; versatile across ranges.

Tanbur – Long-necked lute; bright, sustained tone; expressive slides and microtones.

Zurna – Loud double-reed; piercing, festive, energetic; used in outdoor celebrations.

String Ensemble (2 violins, viola, cello) – Western strings adapted to Middle Eastern style; add depth, harmony, and blend East + West.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Spotlight: East Asia – My Report

I use the Spotlight: East Asia music library by Native Instruments. It is a virtual instrument made for Kontakt. It focuses on traditional instruments from China, Japan, and Korea. When I play it, I feel like I am traveling across East Asia through sound.

The library includes many string, wind, and percussion instruments. From China, I have the guzheng, erhu, dizi, and pipa. From Japan, I can play the koto, shamisen, shakuhachi, and taiko drums. From Korea, I can use the gayageum and daegeum. Each instrument has a unique voice and cultural history. The sounds are clear and full of detail.

I like how the library gives me authentic articulations. For example, the erhu has slides, vibrato, and expressive bending. The koto has plucked tones and glissando effects. The shakuhachi can play breathy notes and strong accents. These features make the performance sound real. I can trigger them with keyswitches and controls inside Kontakt. This helps me create music that feels alive.

The phrase and pattern player is very useful. It has preset phrases and rhythms for each tradition. I can choose pentatonic scales, folk melodies, and dance patterns. This lets me hear how the instruments are played in context. I can also change speed, variation, and scale type. With a few clicks, I can build an ensemble sound.

The sound quality is excellent. Native Instruments recorded expert musicians in their home countries. The guzheng resonates with rich overtones. The shakuhachi is airy and haunting. The taiko drums are deep and powerful. When I layer instruments, I can create full traditional textures. It feels like an East Asian ensemble is playing in front of me.

I use Spotlight: East Asia for different musical projects. Sometimes I make traditional pieces to study the culture. Other times I mix the instruments with orchestra or electronic beats. The combination of East Asian and modern instruments creates fresh soundscapes. For film scoring, these sounds are very useful. I can show setting, mood, and emotion quickly.

The library also teaches me about musical scales and modes. Many instruments use pentatonic scales. Some use sliding notes and open tunings. By experimenting, I learn how East Asian music is structured. I hear how Chinese, Japanese, and Korean traditions are similar and different. It feels like a cultural lesson through sound.

The Kontakt interface is easy to use. I can control tuning, reverb, and dynamics. The keyswitches are clear and marked. The design is simple, so I can focus on creating music. I can also automate parameters with my MIDI controller. This gives me even more expression.

In conclusion, Spotlight: East Asia is a rich and inspiring music library. It gives me access to authentic sounds from three cultures. I can use it for learning, performance, or modern composition. I feel connected to traditions that are centuries old, while also free to create something new. It is a strong choice for anyone who wants East Asian instruments in their music.

 

 

 

 

 

 

 

 

Here are the instruments in the Spotlight: East Asia (Native Instruments) virtual instrument library, organized by category:

From the Native Instruments manual and product pages: (Native Instruments)

 

Ensembles (percussion ensembles)

East Asia Percussion (16 instruments) (Native Instruments)

Percussion China (6 instruments) (Native Instruments)

Percussion Japan (5 instruments) (Native Instruments)

Percussion Korea (5 instruments) (Native Instruments)

 

 

Melodic / Wind / String Instruments

There are 14 melodic instruments, from China, Japan, and Korea: (Native Instruments)

Explain in a 500-word report (English, simple sentences, first person):

China

Dizi (Native Instruments)

Erhu (Native Instruments)

Guqin (Native Instruments)

Guzheng (Native Instruments)

Pipa (Native Instruments)

Yangqin (Native Instruments)

 

Chinese Instruments Report

I want to talk about six beautiful Chinese instruments. These instruments are part of China’s long musical history. Each one has its own voice, style, and meaning. When I play them in Native Instruments, I feel connected to a different culture and tradition.

The first instrument is the Dizi. The Dizi is a bamboo flute. It is light and bright in tone. I like how it can sound playful and full of energy. At the same time, it can also sound gentle and calm. The Dizi often has a special membrane that adds a buzzing sound. This gives it a unique color. For me, the Dizi represents the air and the open sky.

The second instrument is the Erhu. The Erhu is a two-stringed bowed instrument. Many people call it the Chinese violin. Its sound is full of emotion. When I listen to the Erhu, I often feel sadness or longing. At the same time, it can also sound sweet and tender. The Erhu has a narrow range, but it can still express many feelings. I enjoy how the Erhu brings a human-like voice to music.

The third instrument is the Guqin. The Guqin is a very old zither with seven strings. It has been played for thousands of years. The sound is soft, deep, and calm. I feel that the Guqin is not only for music but also for meditation. It reminds me of Chinese scholars who used it for reflection and peace. The Guqin shows the connection between music, philosophy, and nature.

The fourth instrument is the Guzheng. The Guzheng is also a zither but much larger than the Guqin. It has many strings, often 21 or more. Its sound is bright, clear, and flowing. I like how it can create sounds like running water or a flowing river. The Guzheng is often played in both solo and group settings. It is an instrument that can be powerful but also very gentle.

The fifth instrument is the Pipa. The Pipa is a four-stringed lute. It has a pear-shaped body and is played by plucking. I enjoy how the Pipa can be both delicate and strong. It can play fast, exciting passages, but also soft and emotional melodies. In history, the Pipa was very popular in court music and folk traditions. To me, the Pipa tells many stories, like a voice from the past.

The sixth instrument is the Yangqin. The Yangqin is a hammered dulcimer. It is played by striking strings with bamboo mallets. The sound is bright, sparkling, and full of energy. I like how the Yangqin can fill a group performance with rhythm and harmony. It is often used in ensembles to support other instruments. For me, the Yangqin brings life and excitement to Chinese music.

In conclusion, these six instruments—the Dizi, Erhu, Guqin, Guzheng, Pipa, and Yangqin—show the richness of Chinese music. Each has its own sound and feeling. Together they reflect China’s deep cultural history. When I hear them, I feel both peace and power. They inspire me to learn more about music and the traditions of the world.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Japan

Hichiriki (Native Instruments)

Koto (Native Instruments)

Shakuhachi (Native Instruments)

Shamisen (Native Instruments)

Shō (Native Instruments)

 

Japanese Instruments Report

I want to share my thoughts about five traditional Japanese instruments. These instruments come from Japan’s long history of music and culture. Each one has its own voice, and each one makes me feel something different when I play them in Native Instruments.

The first instrument is the Hichiriki. The Hichiriki is a small double-reed instrument. Its sound is sharp, strong, and very emotional. When I listen to it, I feel a sense of ceremony and tradition. The Hichiriki is often used in gagaku, which is ancient Japanese court music. For me, the Hichiriki has a voice that sounds like it is crying. It reminds me of the deep emotions of human life.

The second instrument is the Koto. The Koto is a large zither with 13 strings. It is played by plucking the strings with picks on the fingers. The sound of the Koto is gentle and flowing. When I hear it, I feel calm and peaceful. I like how the Koto can sound like water or wind moving softly in nature. It is often used in both solo music and ensembles. The Koto makes me think about balance and harmony in life.

The third instrument is the Shakuhachi. The Shakuhachi is a bamboo flute. It has a soft, breathy sound that is full of depth. I enjoy how the Shakuhachi can play both simple and very complex music. It is often linked to Zen practice, and I understand why. The sound makes me feel stillness and reflection. When I hear the Shakuhachi, I feel like I am standing alone on a mountain, listening to the wind.

The fourth instrument is the Shamisen. The Shamisen is a three-stringed lute. It is played with a large plectrum called a bachi. Its sound is bright, sharp, and full of rhythm. I like how it can be both strong and playful. The Shamisen is often used in folk music, theater, and storytelling. When I hear it, I feel energy and movement. It makes me want to dance or imagine a lively scene.

The fifth instrument is the Shō. The Shō is a mouth organ made of bamboo pipes. It has a clear, bright sound that often plays chords. I like how it creates a feeling of light shining in the music. The Shō is also used in gagaku music. When I listen to it, I imagine sunlight coming through clouds. For me, the Shō brings balance and brightness to the group sound.

In conclusion, these five instruments—Hichiriki, Koto, Shakuhachi, Shamisen, and Shō—show the beauty of Japanese music. Each instrument has its own character, but all of them share a connection to nature and tradition. When I play them, I feel a deep respect for Japanese culture. They inspire me to listen closely, to feel deeply, and to reflect on the meaning of sound. These instruments are more than just tools for music; they are voices of history and spirit.

 

 

 

 

 

 

 

Korea

Ajaeng (Native Instruments)

Daegeum (Native Instruments)

Gayageum (Native Instruments)

 

Korean Instruments Report

I want to share my thoughts about three traditional Korean instruments. These instruments are the Ajaeng, the Daegeum, and the Gayageum. Each one has its own voice, and each one teaches me something about Korean music and culture. When I play them in Native Instruments, I feel closer to the traditions of Korea.

The first instrument is the Ajaeng. The Ajaeng is a large zither. It is different from other zithers because it is played with a bow. The bow is made of a thin stick with resin-coated horsehair. When I listen to the Ajaeng, I hear a deep, rough, and powerful sound. It feels like the voice of the earth. The Ajaeng can sound both strong and sorrowful. I enjoy how it creates long, sliding notes that sound emotional and heavy. For me, the Ajaeng is like a storyteller. It tells stories of struggle, sadness, and also strength.

The second instrument is the Daegeum. The Daegeum is a large bamboo flute. It has a special buzzing membrane that gives it a unique sound. When I hear it, I notice that it can be both bright and soft at the same time. The Daegeum has a wide range, so it can play low, deep notes and also high, clear ones. It often reminds me of the sound of wind across the mountains. I like how the Daegeum feels connected to nature. Its sound is calming but also full of spirit. For me, the Daegeum represents freedom, because its breathy tone feels like open space.

The third instrument is the Gayageum. The Gayageum is a zither with 12 strings, though sometimes there are more in modern versions. It is played by plucking the strings with the fingers. The sound of the Gayageum is gentle, flowing, and very expressive. I enjoy how it can play simple melodies and also complex music. The Gayageum makes me think of water, soft rain, or a peaceful stream. At the same time, it can also sound bright and lively when played quickly. I feel that the Gayageum is the heart of Korean traditional music. It carries both grace and strength.

When I think about these three instruments together, I see how they create balance. The Ajaeng has a deep, strong, and rough voice. The Daegeum has a breathy, free, and natural sound. The Gayageum has a soft, flowing, and graceful tone. Together they reflect the richness of Korean culture. They also show how music can express both nature and human feelings.

In conclusion, the Ajaeng, the Daegeum, and the Gayageum are more than just instruments. They are voices from Korea’s history. Each one carries emotions and meanings that go beyond sound. When I play them, I feel respect for the tradition and the beauty of Korean music. They inspire me to listen more deeply, to reflect on culture, and to understand the harmony between people and nature.

 

 

 

 

 

 

 

 

 

 

Solo Percussion Instruments

There are 24 solo percussion instruments (drums, gongs, woodblocks, cymbals, etc.), divided among China, Japan, and Korea: (Native Instruments)

Here are many of them (not necessarily exhaustive in this list):

 

Percussion China (8 instruments)

Bangu (Native Instruments)

Bangzi (Native Instruments)

Dabo (Native Instruments)

Daluo (Native Instruments)

Hua Pen Gu (Native Instruments)

Naobo (Native Instruments)

Xiao Tanggu (Native Instruments)

Xiaoluo (Native Instruments)

 

Chinese Percussion Instruments Report

I want to share my thoughts about eight traditional Chinese percussion instruments. These instruments are important in Chinese music. They keep rhythm, add power, and bring excitement to performances. Each one has its own sound and role. When I play them in Native Instruments, I feel the energy of Chinese traditions.

The first instrument is the Bangu. The Bangu is a high-pitched drum. It is small but very powerful. I like how its sound cuts through an ensemble. It gives clear rhythm for the other instruments to follow. The Bangu is often used in Chinese opera. For me, it feels like the heartbeat of the performance.

The second instrument is the Bangzi. The Bangzi are wooden clappers. Their sound is sharp and dry. They mark rhythm in a simple but strong way. I enjoy their clarity. When I hear them, I feel like the music is guided with order and discipline.

The third instrument is the Dabo. The Dabo is a large cymbal. Its sound is deep and strong. I like how it creates drama in the music. The crash of the Dabo feels like thunder. It gives weight and power to the performance.

The fourth instrument is the Daluo. The Daluo is a large gong. It has a low, resonant sound. When I play it, I feel a sense of ceremony. The sound is wide and long-lasting. For me, the Daluo represents grandeur and importance.

The fifth instrument is the Hua Pen Gu. The Hua Pen Gu is a basin-shaped drum. Its sound is warm and full. It is often used in folk music. I like how it blends well with other instruments. The Hua Pen Gu feels joyful and festive to me.

The sixth instrument is the Naobo. The Naobo are small cymbals. Their sound is bright and lively. I enjoy how they bring sparkle to the music. The Naobo often play quick rhythms. They remind me of celebration and dance.

The seventh instrument is the Xiao Tanggu. The Xiao Tanggu is a small barrel drum. It has a sharp, high sound. I like how it adds accents in the music. It feels quick, energetic, and playful. The Xiao Tanggu makes me think of fast movement and excitement.

The eighth instrument is the Xiaoluo. The Xiaoluo is a small gong. It has a higher pitch than the Daluo. Its sound is bright and clear. I like how it can sound cheerful or even comical in performance. The Xiaoluo often adds lightness and humor.

When I think of these eight instruments together, I see how they create balance. The drums give rhythm and strength. The gongs add depth and ceremony. The cymbals and clappers bring sparkle and clarity. Together they make Chinese music powerful and colorful.

In conclusion, the Bangu, Bangzi, Dabo, Daluo, Hua Pen Gu, Naobo, Xiao Tanggu, and Xiaoluo show the richness of Chinese percussion. Each one has its own voice, but together they form a complete sound world. When I play them, I feel energy, tradition, and celebration.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Percussion Japan (9 instruments)

Kakko (Native Instruments)

Kane (Native Instruments)

Ko-Tsuzumi (Native Instruments)

Miya-daiko (Native Instruments)

O-Tsuzumi (Native Instruments)

Okedo-daiko (Native Instruments)

Shime-daiko (Native Instruments)

Shōko (Native Instruments)

Tsuri-daiko (Native Instruments)

 

Japanese Percussion Instruments Report

I want to share my thoughts about nine traditional Japanese percussion instruments. These instruments are important in Japanese music, theater, and ceremonies. They each have a unique role. When I play them in Native Instruments, I feel the power and elegance of Japanese tradition.

The first instrument is the Kakko. The Kakko is a small double-headed drum. It is played with thin sticks. Its sound is sharp and clear. The Kakko is often used in gagaku, which is Japanese court music. I like how it gives steady rhythm and control to the ensemble.

The second instrument is the Kane. The Kane is a small bronze gong. It is struck with a mallet. Its sound is bright, metallic, and long-lasting. I enjoy how it can mark important moments in music. To me, the Kane sounds like a signal, calling for attention.

The third instrument is the Ko-Tsuzumi. The Ko-Tsuzumi is a small hand drum. It is played by squeezing the ropes on the sides to change pitch. The sound is light and delicate. I like how expressive it can be. The Ko-Tsuzumi is used in Noh and Kabuki theater. It feels like the drum is speaking with emotion.

The fourth instrument is the Miya-daiko. The Miya-daiko is a large temple drum. Its sound is deep and powerful. I enjoy how it creates a strong sense of rhythm. The Miya-daiko is used in festivals and ceremonies. For me, it feels like the voice of the gods.

The fifth instrument is the O-Tsuzumi. The O-Tsuzumi is a larger hand drum than the Ko-Tsuzumi. Its sound is sharp and strong. I like how it contrasts with the smaller drum. The O-Tsuzumi is also used in Noh and Kabuki. Its voice is commanding and dramatic.

The sixth instrument is the Okedo-daiko. The Okedo-daiko is a barrel drum. It can be played with sticks or hands. Its sound is flexible, ranging from soft to loud. I like how it can be carried with straps and played in motion. It brings energy and life to performances.

The seventh instrument is the Shime-daiko. The Shime-daiko is a small, high-pitched drum. It is tuned tightly, so its sound is sharp and clear. I enjoy how it leads ensembles, especially in taiko drumming groups. It feels like the heartbeat of fast and exciting music.

The eighth instrument is the Shōko. The Shōko is a small bronze gong used in gagaku. It is played with two mallets. The sound is high and bright. I like how it adds shimmer to the ensemble. It feels like light shining through the music.

The ninth instrument is the Tsuri-daiko. The Tsuri-daiko is a large suspended drum. It is played with padded sticks. Its sound is deep and resonant. The Tsuri-daiko is also used in gagaku. I feel its sound is grand and ceremonial, like the foundation of the ensemble.

In conclusion, these nine instruments—Kakko, Kane, Ko-Tsuzumi, Miya-daiko, O-Tsuzumi, Okedo-daiko, Shime-daiko, Shōko, and Tsuri-daiko—show the richness of Japanese percussion. Each one has a special role, from delicate voices to thunderous power. Together they bring balance, rhythm, and beauty to Japanese music. When I play them, I feel connected to tradition, ceremony, and celebration.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Percussion Korea (7 instruments)

Buk (Samul) (Native Instruments)

Buk (Sori) (Native Instruments)

Janggu (Samul) (Native Instruments)

Janggu (Sanjo) (Native Instruments)

Jing (Native Instruments)

Kkwaenggwari (Native Instruments)

Sogo (Native Instruments)

 

Korean Percussion Instruments Report

I want to share my thoughts about seven traditional Korean percussion instruments. These instruments are part of Korea’s folk music, ritual music, and performance traditions. Each one has its own sound and feeling. When I play them in Native Instruments, I feel the spirit of Korean rhythm and culture.

The first instrument is the Buk (Samul). This Buk is a barrel drum used in samulnori, a traditional Korean percussion ensemble. Its sound is deep and steady. I like how it creates the foundation of rhythm. When I hear it, I feel strength and earth-like power. It makes me think of stability and balance in music.

The second instrument is the Buk (Sori). This Buk is used in pansori, a form of musical storytelling. Its sound is softer and more flexible than the Samul Buk. I like how it follows the singer’s voice. It feels like a partner in the performance, giving rhythm and emotional support. For me, this Buk represents connection between voice and drum.

The third instrument is the Janggu (Samul). The Janggu is an hourglass-shaped drum. It has two heads, one high-pitched and one low-pitched. The Samul Janggu is played in percussion ensembles. I like how it can create both rhythm and melody. Its sound feels lively and colorful.

The fourth instrument is the Janggu (Sanjo). This Janggu is used in sanjo, which is a style of solo instrumental music with drum accompaniment. It is played with more expression and detail. I enjoy how it follows the flow of the main instrument, creating dialogue. For me, the Sanjo Janggu feels personal and expressive.

The fifth instrument is the Jing. The Jing is a large gong. Its sound is deep, resonant, and long-lasting. When I hear it, I feel calm and peaceful. The Jing often marks important points in music. I like how it adds dignity and gravity to the ensemble. It feels like a guiding presence.

The sixth instrument is the Kkwaenggwari. The Kkwaenggwari is a small gong. Its sound is bright, sharp, and metallic. It leads the ensemble in samulnori. I enjoy how it gives signals and controls the flow of music. For me, it feels like the voice of leadership, clear and commanding.

The seventh instrument is the Sogo. The Sogo is a small hand drum. It is light and easy to carry. Performers often play it while dancing. Its sound is soft but lively. I like how it adds movement and joy to performances. The Sogo feels playful and full of life.

When I think of these instruments together, I see how they create balance. The Buk and Janggu give rhythm and strength. The Jing and Kkwaenggwari add depth and brightness. The Sogo brings fun and energy. Together they reflect the harmony of Korean culture.

In conclusion, the Buk, Janggu, Jing, Kkwaenggwari, and Sogo are more than just instruments. They are voices of tradition, storytelling, and celebration. When I play them, I feel connected to Korea’s history and spirit. They inspire me to honor rhythm, community, and joy in music.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Spotlight: India – My Report

I use the Spotlight: India music library by Native Instruments. It is a virtual instrument for Kontakt. It focuses on classical and folk instruments from India. When I play it, I feel connected to the deep traditions of Indian music.

The library includes melodic and percussion instruments. For melodic instruments, I can use the sitar, tanpura, and bansuri flute. The sitar has a bright and shimmering sound. The tanpura creates a steady drone with rich resonance. The bansuri flute is soft, breathy, and expressive. For percussion, I can play tabla, dhol, dholak, and ghatam. The tabla has fast finger rhythms and a wide tone range. The dhol is loud and festive. The ghatam, a clay pot, adds a unique earthy sound. Together, these instruments give me the essence of Indian music.

I like that the library includes authentic articulations. The sitar has slides, bends, and ornaments. The bansuri flute has breathy attacks and glides. The tabla includes strokes for every finger sound, from deep bass to sharp taps. These details make my playing realistic. I do not need to be an expert in Indian music to create an authentic impression. The software makes it easy.

The pattern player is very powerful. It gives me preset rhythmic cycles, called talas. These cycles include popular patterns like tintal, rupak, and jhaptal. I can also hear how Indian percussion fits into dance and song forms. The melodic side includes scales and patterns based on ragas. Ragas are the melodic frameworks of Indian music. They give mood and identity to each piece. By using these presets, I can learn how ragas and talas work together.

The sound quality is excellent. Native Instruments recorded real musicians. I hear the resonance of the sitar’s sympathetic strings. The bansuri has a warm breathy tone. The tabla has sharp clarity in every stroke. The tanpura drone is deep and full. The sounds blend beautifully when I create ensembles. It feels like I am listening to a traditional Indian performance.

I use Spotlight: India for different projects. Sometimes I create traditional sounding pieces. Other times, I mix Indian instruments with strings, piano, or electronic beats. The sitar works well in fusion music. The tabla adds rhythmic energy to modern tracks. For film scoring, this library is very helpful. I can use the sounds to set location, culture, and mood.

The library also teaches me about Indian music theory. I learn how ragas have specific scales and emotional meanings. Some ragas are for morning, others for evening. Some are for joy, others for sadness. The talas show me how rhythm in Indian music is cyclical, not always linear. This experience helps me respect the complexity of Indian tradition.

The Kontakt interface is easy to use. I can control tuning, reverb, and dynamics. The patterns and scales are simple to load. The keyswitches for articulations are clear. This lets me focus on creativity instead of setup.

In conclusion, Spotlight: India is a rich and inspiring library. It captures the soul of Indian classical and folk music. I feel inspired every time I use it. It gives me authenticity, flexibility, and cultural depth. It is perfect for learning, performing, and creating new music.

 

 

 

 

 

 

 

 

Here are the instruments included in Spotlight: India (Native Instruments) virtual instrument library: (Native Instruments)

 

Percussion Instruments (9)

Dhol (Native Instruments)

Dholak (Native Instruments)

Ghatam (Native Instruments)

Kanjira (Native Instruments)

Khol (Native Instruments)

Mridangam (Native Instruments)

Pakhawaj (Native Instruments)

Tabla (Native Instruments)

 

Report on Percussion Instruments

When I study percussion instruments from India, I feel connected to a deep tradition. These instruments are not only for rhythm, but also for expression and culture. I will explain nine important percussion instruments that I have learned about.

The Dhol is a large, double-headed drum. I often think of its loud and energetic sound. It is used in festivals and dances, especially in Punjab. I can imagine the strong beats leading people to dance with joy. The sound of the dhol fills the air and creates excitement.

The Dholak is smaller than the dhol. It also has two heads, but the sound is more gentle. I notice that it is often used in folk songs and devotional music. When I listen to the dholak, I feel a sense of community, because it is played in homes and gatherings.

The Ghatam is very different. It is made of clay, shaped like a pot. When I hear it, the sound is earthy and natural. The player strikes different parts of the pot with the hands and fingers. I find it amazing how such a simple clay pot can create so many rhythms.

The Kanjira is a small frame drum. It has a single head and jingles. I like its sharp and lively sound. It is often used in Carnatic music. When I think of the kanjira, I picture a musician adding sparkle and speed to the rhythm.

The Khol is a two-sided drum, shaped like a barrel. It is common in devotional music, especially in Bengal. I imagine the khol played in temples, where its bright tones support the singing of bhajans and kirtans. For me, its sound feels spiritual.

The Mridangam is a very important drum in South Indian classical music. It has two sides with different tones. I see it as the heart of Carnatic music. When I listen to a mridangam player, I hear both power and subtlety. The rhythms can be fast and complex, but also soft and graceful.

The Pakhawaj is related to the mridangam, but it is used more in North Indian classical music. Its deep and resonant sound supports the dhrupad style of singing. I feel that the pakhawaj brings dignity and solemn beauty to the music.

The Tabla is the most famous Indian drum. It has two small drums played together. I enjoy listening to tabla solos because the patterns are very rich and complex. The tabla is used in many forms of music: classical, folk, and modern. I feel that it represents the voice of Indian rhythm to the world.

When I put all these instruments together in my mind, I see a rich picture of Indian culture. Each drum has its own sound and place in music. The dhol is for dance, the dholak for community, the ghatam for earthy tones, the kanjira for sparkle, the khol for devotion, the mridangam for Carnatic music, the pakhawaj for dhrupad, and the tabla for many traditions.

I feel grateful to learn about them. These instruments remind me that rhythm is not only about time, but also about life, spirit, and celebration.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Melodic Instruments (6)

Bansuri (flute) (Native Instruments)

Harmonium (Native Instruments)

Santur (Native Instruments)

Sitar (Native Instruments)

Tanpura (Native Instruments)

Tumbi (Native Instruments)

 

Report on Melodic Instruments

When I explore Indian melodic instruments, I feel the beauty of sound and expression. These instruments carry melodies that touch the heart and soul. Each one has its own voice, and together they create a world of music. I will explain six important melodic instruments that inspire me.

The Bansuri is a bamboo flute. I love its simple design, yet it creates such deep and emotional music. When I hear the bansuri, I feel calm and peaceful, as if I am close to nature. The sound is pure and flowing, like the wind or a river. I think of Lord Krishna, who is often shown playing the flute. For me, the bansuri is a symbol of love and serenity.

The Harmonium is a keyboard instrument with bellows. I enjoy how it combines melody with harmony. The player pumps the bellows with one hand and plays the keys with the other. I often hear the harmonium in devotional songs, bhajans, and ghazals. Its warm sound fills a room and supports singing. When I listen to it, I feel a sense of togetherness and devotion.

The Santur is a string instrument played with small wooden mallets. I find it very unique, because the player strikes the strings instead of plucking them. The sound is bright and sparkling, almost like raindrops. The santur is often used in Kashmiri and North Indian classical music. When I hear it, I imagine mountains, rivers, and fresh air. It gives me a sense of lightness and beauty.

The Sitar is one of the most famous Indian instruments. It has a long neck, many strings, and movable frets. I admire its rich and complex sound. When I listen to the sitar, I hear both melody and rhythm woven together. The resonance is deep, and the music feels endless. I think of great sitar players like Ravi Shankar, who brought the instrument to the world stage. For me, the sitar represents the soul of Indian classical music.

The Tanpura is not used to play melody, but it provides a constant drone. I see it as the foundation of Indian music. Its steady sound creates a background that supports singers and other instruments. When I hear the tanpura, I feel grounded and focused. It reminds me that music is not only about notes but also about atmosphere. The tanpura’s hum gives strength to the whole performance.

The Tumbi is a small, high-pitched string instrument. It is very common in Punjabi folk music. I enjoy its sharp and lively tone. The tumbi adds energy and fun to dances like bhangra. When I hear it, I feel cheerful and full of life. It makes me want to move with the beat.

When I think about all these instruments together, I see how rich Indian melodic traditions are. The bansuri brings peace, the harmonium adds harmony, the santur shines with brightness, the sitar carries depth, the tanpura provides the base, and the tumbi brings joy.

I feel grateful for these instruments. They show me that melody is not only sound, but also feeling, culture, and spirit. Each one tells a story, and together they form a musical heritage that continues to inspire me.

 

 

Spotlight: West Africa – My Report

I use the Spotlight: West Africa music library by Native Instruments. It is a virtual instrument made for Kontakt. It focuses on the percussion and melodic instruments of West Africa. When I play it, I feel the strong rhythms and rich traditions of African music.

The library includes many percussion instruments. I can play the djembe, dunun, bells, and shakers. The djembe has deep bass tones and sharp slaps. The dunun adds low power and groove. The bells keep time and give bright accents. The shakers add texture and drive. These instruments create the heartbeat of West African music.

The library also includes melodic instruments. I can play kora and balafon. The kora is a harp-lute with a gentle, flowing sound. The balafon is a wooden xylophone with a warm, resonant tone. Together, they add melody and harmony to the percussion. The mix of drums and melodic instruments gives me a full ensemble sound.

I like the pattern player in this library. It gives me preset rhythms and grooves. These patterns are based on traditional African cycles. They are polyrhythmic, which means several rhythms play at the same time. I can hear how the djembe, dunun, bells, and shakers interact. This teaches me how African ensembles work together. I can also change the tempo and add variations. This helps me build new rhythms quickly.

The sound quality is excellent. Native Instruments recorded skilled African musicians. I can hear the richness of each drum hit. The kora is bright but soft at the same time. The balafon is earthy and warm. The recordings capture both power and subtlety. When I layer instruments, I feel like I am in the middle of a traditional African performance.

I use Spotlight: West Africa for different kinds of music. Sometimes I create traditional sounding pieces with only drums and kora. Other times, I mix the instruments with orchestra, piano, or electronic beats. The African rhythms add life and movement to modern music. For film scoring, they are very useful. They can show setting, energy, and cultural identity. For songwriting, they add rhythm and drive.

The library also helps me learn about West African music traditions. I see how the ensemble is built. One drum keeps time, another leads, and others add variations. The bells and shakers guide the rhythm. The kora and balafon add melody. By working with these tools, I learn how African music is layered and connected. I also understand how important rhythm is in African culture.

The Kontakt interface is simple. I can load patterns, switch instruments, and add effects. The mixer lets me balance drums, bells, and melodic parts. The controls for reverb and dynamics are clear. This helps me focus on music and creativity instead of complex settings.

In conclusion, Spotlight: West Africa is a powerful and inspiring library. It captures the energy and soul of African music. I feel inspired when I play it. It teaches me about rhythm, culture, and ensemble playing. At the same time, it gives me tools for modern production. It is a great choice for anyone who wants to explore West African sounds.

 

 

 

 

 

 

 

Here are the instruments included in the Spotlight: West Africa virtual instrument library by Native Instruments:

From the official instrument detail pages and manual: (Native Instruments)

 

 

 

Percussion Instruments (26 sampled instruments)

These are the various drums, bells, and percussion used in the library: (Native Instruments)

Djembe (7 variants, one with kessing) (Native Instruments)

Dunuba (4 variants) (Native Instruments)

Kenkeni (4 variants) (Native Instruments)

Sangba (4 variants) (Native Instruments)

Bells (3 variants) (Native Instruments)

Krin (3 variants) (Native Instruments)

Calabash (1) (Native Instruments)

 

Report on Percussion Instruments

When I study percussion instruments from West Africa, I feel energy, rhythm, and community. These instruments are full of life. They are used in dances, ceremonies, and storytelling. I will explain the 26 sampled instruments from the library, which include drums, bells, and other percussion.

The Djembe is one of my favorite drums. In this library, I find seven variants, and one of them has a kessing, which is a rattle attached to the drum. I love how the djembe can make many different tones: bass, tone, and slap. When I hear the djembe, I feel excitement and power. The beats can be strong and fast, leading people to dance. With the kessing, the sound becomes even more lively, adding a metallic rattle that shines in the rhythm.

The Dunuba is the “mother drum.” I see four variants in this collection. The dunuba has a deep, strong voice. I often imagine it as the leader in a drum ensemble. Its rhythm commands attention, and the smaller drums follow. When I listen to it, I feel grounded, as if the earth itself is speaking.

The Kenkeni is a smaller drum, and there are four variants here. The kenkeni has a higher pitch than the dunuba. I notice that it often plays repeating patterns, keeping the rhythm steady. For me, it acts like the heartbeat of the music, regular and supportive. Without the kenkeni, the rhythm would not feel complete.

The Sangba is another important drum, also with four variants. Its pitch is between the kenkeni and the dunuba. I think of it as the balance point in the ensemble. The sangba often plays more complex parts, adding variety and movement to the music. When I hear it, I feel energy flowing between the high and low drums.

The Bells are also very important. There are three variants in the library. The bell keeps time and gives a clear, sharp sound. I imagine the bell cutting through the air, guiding the dancers and musicians. Its simple yet strong tone makes the rhythm easier to follow. I find it beautiful how a single metal sound can lead a whole group.

The Krin is a log drum, and there are three variants here. The krin is hollowed wood that is struck with sticks. The sound is wooden, deep, and earthy. I feel a connection to nature when I hear it. The krin can play both rhythm and patterns, giving texture to the ensemble.

The Calabash is a large gourd, and in this library there is one variant. The player strikes or rubs it with the hands or with rings. The sound is soft yet resonant. I like its warm, natural tone. It feels close to the human body and voice.

When I put all these instruments together in my mind, I see a drum circle full of life. The djembe shines with power, the dunuba leads with depth, the kenkeni holds the beat, the sangba adds variety, the bells guide the time, the krin adds wooden texture, and the calabash gives warmth.

I feel grateful to learn about these 26 instruments. They show me that rhythm is not only sound but also tradition, unity, and joy.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Melodic / Tonal Instruments (8 sampled instruments)

These are the pitched, melodic instruments included: (Native Instruments)

Balafon (3 variants) (Native Instruments)

Bolon (1) (Native Instruments)

Fula Flute (2 variants) (Native Instruments)

Kora (1) (Native Instruments)

Ngoni (1) (Native Instruments)

 

Report on Melodic / Tonal Instruments

When I explore melodic and tonal instruments from West Africa, I hear voices of history, culture, and community. These instruments carry songs, stories, and emotions. They are not only for music but also for identity and tradition. I will explain the eight sampled instruments in this library: balafon, bolon, fula flute, kora, and ngoni.

The Balafon is a wooden xylophone, and in this library there are three variants. I love its warm and bright tone. Each key is made of wood and often has gourds underneath to make the sound resonate. When I hear the balafon, I feel joy and movement. It is often played in ceremonies and celebrations. I notice that it can play fast, dancing melodies as well as calm, gentle tunes. For me, the balafon sounds like laughter turned into music.

The Bolon is a large harp-like bass instrument. There is one version here. I find it very unique because it produces deep, low tones. The bolon has a simple frame with strings, often played with a stick. When I hear it, I feel the ground vibrating. The bolon gives strength and depth to the music. I think of it as the foundation, supporting singers and other instruments. It reminds me of how rhythm and bass connect people to the earth.

The Fula Flute is a wooden flute, and there are two variants. I love its soft, airy sound. The flute has a gentle voice, like the wind. When I listen to it, I feel close to nature. I imagine open fields, rivers, and birds. The fula flute is often used in storytelling and traditional songs. I think its sound is both simple and powerful, because it touches the heart in a quiet way.

The Kora is one of the most famous West African instruments. There is one version in this library. It is a harp-lute with a large gourd body and many strings. I am amazed by its sound, which is both rich and flowing. When I hear the kora, I feel peace and elegance. The melodies weave like a story, gentle but strong. I also know that the kora is linked to the griots, who are storytellers, musicians, and keepers of history. For me, the kora is not only music but also memory.

The Ngoni is a small string instrument, also with one version here. I enjoy its sharp and rhythmic sound. The ngoni is played by plucking, and it often provides fast, repeating patterns. I feel that it adds excitement to the ensemble. Many people say the ngoni is an ancestor of the banjo. When I listen to it, I hear tradition and innovation together.

When I think of all these instruments together, I see a full picture of melody and tone. The balafon brings brightness, the bolon adds depth, the fula flute gives air, the kora weaves stories, and the ngoni brings energy. Each instrument has its own voice, but together they create harmony and culture.

I feel grateful to learn about these eight instruments. They remind me that music is not only sound but also a way to connect with people, nature, and history.

 

 

 

 

 

Spotlight: Cuba – My Report

I use the Spotlight: Cuba music library by Native Instruments. It is a virtual instrument for Kontakt. It focuses on the traditional sounds of Afro-Cuban music. When I play it, I feel the energy of Cuban dance and rhythm.

The library includes many percussion instruments. I can play congas, bongos, timbales, claves, maracas, and cowbells. The congas are deep and warm. The bongos are bright and sharp. The timbales cut through with metallic tones. The claves give the heartbeat of Cuban rhythm. The maracas and cowbells add texture and excitement. These percussion instruments are the foundation of Cuban music.

There are also melodic and harmonic instruments. I can play the tres, which is a Cuban guitar with three pairs of strings. It has a bright and rhythmic sound. I can use the upright bass for deep grooves. There are also piano patterns that match Cuban styles like son and mambo. Together, these instruments create the sound of a Cuban ensemble.

I enjoy the pattern player in this library. It gives me preset grooves and phrases. I can hear rhythms like son, mambo, salsa, and cha-cha-chá. These patterns show me how Cuban music is built. I can combine percussion with piano and bass. This creates full and authentic arrangements. I can also change tempo and variation. This makes it easy to experiment with new ideas.

The sound quality is excellent. Native Instruments recorded real Cuban musicians. The congas have a natural depth. The piano rhythms are lively and clear. The tres is crisp and energetic. The bass is warm and steady. When I layer them, I feel like I am listening to a live band in Havana.

I use Spotlight: Cuba for many kinds of projects. Sometimes I make traditional Cuban pieces, full of dance energy. Other times, I mix the Cuban sounds with jazz, classical strings, or electronic beats. Percussion adds movement and life. The piano montunos give rhythm and drive. The tres adds character. For film scoring, the library is useful when I want to set a Cuban scene. For songwriting, it gives me energy and groove.

The library also helps me learn about Cuban music traditions. I see how the clave rhythm is central. Everything else builds around it. I hear how percussion, bass, piano, and tres work together. The ensemble is tight and energetic. By working with the patterns, I learn the structure of Cuban music. I also feel the importance of rhythm and dance in this culture.

The Kontakt interface is simple and clear. I can load instruments, switch articulations, and adjust reverb. The mixer lets me balance percussion, piano, bass, and tres. I can control dynamics and effects easily. This lets me focus on making music without confusion.

In conclusion, Spotlight: Cuba is a lively and inspiring library. It captures the joy and energy of Afro-Cuban music. I feel motivated when I play it. It teaches me about rhythm, ensemble playing, and tradition. At the same time, it gives me tools for modern production. It is a great choice for anyone who wants Cuban sounds in their music.

 

 

 

 

 

 

Here’s a breakdown of the instruments included in Spotlight: Cuba (Native Instruments) virtual instrument library: (Native Instruments)

 

Overall Structure & Counts

Total NKIs (instrument presets / ensembles): 17 (Native Instruments)

Melodic Instruments: 4 (with variations) (Native Instruments)

Percussion Instruments: 11 (with many variations) (Native Instruments)

 

Melodic Instruments (4)

These are the pitched / harmonic instruments available in the library: (Native Instruments)

Bass (Electric & Upright) (Native Instruments)

Piano (Grand & Upright) (Native Instruments)

Tres (with unison / octave variations) (Native Instruments)

Trumpet (multiple articulations: staccato, marcato, sustain, tenuto) (Native Instruments)

 

Report: Melodic Instruments (4)

When I look at the melodic instruments in this library, I see how each one adds a unique voice to music. They are different in sound, role, and expression, but together they create a rich palette for composition and performance. The four instruments are the bass, piano, tres, and trumpet. I will explain each of them and how I experience their role in music.

The bass comes in two forms: electric and upright. The electric bass has a clear, powerful sound that works well in modern music. It supports rhythm and harmony with steady notes. The upright bass, also called double bass, has a deep, warm sound that fits both classical and jazz styles. I feel that the bass is the foundation of music. It gives weight and stability to the ensemble. Without the bass, the sound feels empty. I like how the bass can be both subtle and strong, depending on the way it is played.

The piano is another important instrument. In this library, there are both grand and upright versions. The grand piano has a wide range and a beautiful, resonant tone. It is perfect for expressive passages and classical works. The upright piano is smaller, with a more direct and intimate sound. I find the piano very flexible. It can play melody, harmony, and rhythm at the same time. I like to think of it as both a solo instrument and an accompanist. The piano can be soft and tender, or loud and powerful, depending on how I press the keys.

The tres is a special instrument with roots in Cuban music. It has courses of strings that create a bright and rhythmic sound. In this library, it includes unison and octave variations, which make the tone even more interesting. I enjoy the tres because it brings a lively, dance-like energy to the music. It plays repeated patterns, also called guajeos, that drive the rhythm forward. The sound feels both percussive and melodic, which makes it stand out in an ensemble. For me, the tres adds a cultural color that connects music to tradition and dance.

The trumpet is the brass instrument included here. It comes with multiple articulations: staccato, marcato, sustain, and tenuto. Each articulation changes the way the trumpet speaks. Staccato gives short and sharp notes. Marcato makes strong, accented notes. Sustain creates long, held tones. Tenuto gives smooth, connected phrases. I think the trumpet has a clear, bright, and sometimes bold sound. It can cut through the ensemble and carry the melody. At the same time, it can blend and add warmth. The trumpet often expresses joy, triumph, or even sorrow, depending on the way it is played.

In conclusion, the bass, piano, tres, and trumpet are four very different melodic instruments. The bass gives depth, the piano provides harmony and range, the tres adds rhythm and cultural flavor, and the trumpet brings brilliance and expression. Together, they cover a wide spectrum of sound. I feel that having these instruments in the library allows me to create music that is full, rich, and diverse. Each one inspires me in a different way, and I enjoy exploring their voices in my work.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Percussion Instruments (11)

These are the percussion / rhythmic instruments (and ensembles) included: (Native Instruments)

Clave (also Clave block) (Native Instruments)

Bongos (Low Bongo, High Bongo, etc.) (Native Instruments)

Cajón (multiple variants) (Native Instruments)

Conga (sets & single) (Native Instruments)

Timbales (low & high) (Native Instruments)

Maracas (Native Instruments)

Guiro (Native Instruments)

Shekere (Native Instruments)

 

Report: Percussion Instruments (11)

When I explore the percussion instruments in this library, I feel how much energy and rhythm they bring to music. These instruments are not only about keeping time; they add color, drive, and character to every style. Each one has a special sound, and when combined, they create a full rhythmic world. The percussion instruments in this set include the clave, bongos, cajón, conga, timbales, maracas, guiro, and shekere. I will describe how I experience each one.

The clave is small but very important. It is usually two wooden sticks struck together, or sometimes a clave block. The sound is sharp and cutting. I hear it as the heartbeat of Latin music. The clave often plays simple but strong patterns that guide the entire ensemble. I feel that the clave gives structure, and once it starts, the rest of the instruments follow its pulse.

The bongos are two small drums, one low and one high. They are played with the hands. Their sound is lively and bright. I like how the bongos can play quick rhythms and exciting rolls. They add sparkle and speed to the music. In fast passages, I feel the bongos push the energy forward.

The cajón is a box drum. It comes in multiple variants in this library. The player sits on it and strikes the front surface with the hands. Its sound can be deep like a bass drum or sharp like a snare. I enjoy the cajón because it is simple but very expressive. It works well in acoustic and folk settings, giving a natural, earthy rhythm.

The conga is a tall hand drum, played in sets or as a single drum. It has a warm, full tone. Congas often play patterns that mix with the clave and bongos. I feel that the conga is central to Latin percussion. It can be soft and supporting, or strong and driving. Its sound feels both melodic and percussive at the same time.

The timbales are shallow drums, usually played in pairs, one low and one high. They have a bright metallic sound. Players often strike the rims as well as the heads, creating sharp accents. For me, the timbales bring excitement and drama. Their rolls and fills make the music feel alive and powerful.

The maracas are small shakers, filled with beads or seeds. They create a steady, rustling rhythm when shaken. I like how maracas can be simple or complex, depending on the pattern. Their sound feels natural, almost like rain, but they can also drive the groove with steady accents.

The guiro is a hollow instrument with ridges on the side. The player scrapes it with a stick to make rhythmic patterns. Its sound is raspy and distinctive. I think of the guiro as adding texture. It fills spaces in the rhythm and makes the music feel more layered.

The shekere is a gourd covered with beads. It can be shaken, hit, or twisted for different sounds. The tone is both bright and deep. I enjoy the shekere because it is very dynamic. It can sound gentle or explosive, depending on the movement.

In conclusion, these percussion instruments each have their own voice. The clave gives structure, the bongos and timbales bring brightness, the cajón and congas add depth, and the maracas, guiro, and shekere provide texture and variety. Together, they create rhythms that are rich, colorful, and full of life. I feel inspired by their energy, and I see how they can transform any piece of music.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Spotlight: Balinese Gamelan – My Report

I use Spotlight: Balinese Gamelan music library by Native Instruments. It is a virtual instrument made for Kontakt. It focuses on the traditional gamelan ensemble from Bali, Indonesia. When I play it, I feel the shimmering and hypnotic world of gamelan music.

The library includes many gamelan instruments. I can play metallophones, gongs, and hand percussion. The metallophones have bars made of bronze. They sound bright and metallic. The gongs are deep and resonant. They create power and weight in the music. The hand percussion adds texture and rhythm. Together, these instruments form the layers of a gamelan ensemble.

I like how the library captures the interlocking patterns of gamelan. In real gamelan music, two players often share one melody by alternating notes. This creates a fast and complex sound. The library lets me play these patterns easily. I can trigger preset interlocking rhythms, or I can build my own. The sound is alive and full of motion.

The tuning system is special. Gamelan instruments are tuned differently from Western instruments. They often use slendro and pelog scales. These are five-tone and seven-tone systems. The tuning is not equal-tempered, so the notes have unique spacing. The library recreates these tunings. When I play them, I feel the distinct flavor of Balinese music.

The sound quality is excellent. Native Instruments recorded a real Balinese gamelan ensemble. The metallophones ring with bright overtones. The gongs rumble with deep resonance. The overall texture is rich and shimmering. When I play chords or layers, the sound is immersive. It feels like I am sitting in front of a live gamelan group.

I use Spotlight: Balinese Gamelan for different projects. Sometimes I make traditional-style pieces to study patterns. Other times, I combine gamelan with orchestra, piano, or electronic music. The metallic tones blend beautifully with strings or synths. For film scoring, gamelan adds atmosphere and mystery. It is useful for scenes that need exotic, spiritual, or meditative moods. For creative projects, it gives me fresh textures.

The library also helps me learn about Balinese culture. Gamelan is not just music; it is part of ritual, dance, and theater. By using the library, I hear how cycles of rhythm and melody are built. The gongs mark the time cycles. The metallophones carry the melody. The faster instruments weave interlocking parts. This teaches me how gamelan music is both simple and complex at the same time.

The Kontakt interface is easy to use. I can switch between instruments, control reverb, and adjust dynamics. I can load full ensembles or single instruments. The design is clean, so I stay focused on music. The mixer lets me balance the layers of the gamelan. This makes it easy to create authentic or experimental sounds.

In conclusion, Spotlight: Balinese Gamelan is a unique and inspiring library. It captures the magic of Balinese tradition. I feel inspired when I play it. It gives me shimmering textures, deep rhythms, and cultural richness. It is perfect for learning, composing, or adding something new to my music.

 

 

 

 

 

 

 

Here are the six “essential gamelan instruments” (each with two tuning variations) sampled in Spotlight: Balinese Gamelan (Native Instruments): (Native Instruments)

Ugal (a type of metallophone) (Native Instruments)

Pemadé (metallophone) (Native Instruments)

Kantilan (metallophone) (Native Instruments)

Jegog (gong / large bass instrument) (Native Instruments)

Calung (gong / root instrument) (Native Instruments)

Penyacah (gong) (Native Instruments)

Trompong (kettle gongs) (Native Instruments)

Reyong (kettle gongs) (Native Instruments)

 

When I explore the Spotlight: Balinese Gamelan library, I feel like I am stepping into a living tradition. The library includes the six essential instruments, each sampled with two tuning variations. These instruments give me the foundation of a gamelan ensemble, and I can hear the richness of Balinese music come alive in my hands.

The first instrument I study is the Ugal. It is a type of metallophone, and it often plays the main melody in the ensemble. When I play the Ugal in the software, I notice how its tone is bright and commanding. It feels like the voice that guides the rest of the group. The sampling lets me use either tuning style, so I can shift the atmosphere with a single choice.

Next, I try the Pemadé. This is also a metallophone, but it has a different role. It fills the space with interlocking patterns, a technique called kotekan in Balinese tradition. I enjoy experimenting with its overlapping rhythms. When I layer it with the Ugal, the sound becomes alive and intricate. I can feel how Balinese musicians weave texture through shared responsibility.

The Kantilan comes next. It is a smaller metallophone, and its pitch is higher than the Ugal or Pemadé. When I play it, the sound feels sharp and bright, like sparkling light. It cuts through the texture and adds brilliance to the ensemble. I realize that without it, the music would feel heavier and less vibrant. The Kantilan gives energy and drive.

The Jegog is very different. It is a large gong and serves as the bass foundation. Its sound is deep and resonant. When I strike it, I feel the vibration in my chest. In Balinese gamelan, the Jegog marks time and grounds the music. I find it essential because it provides the heartbeat of the ensemble.

The Calung is another gong instrument, and it plays root notes. It is slightly lighter than the Jegog, but still very important. When I use it, I hear how it connects the high voices of the metallophones with the depth of the bass. It acts as a bridge and keeps the harmony centered.

The Penyacah is also part of the gong family. It plays supporting tones that fill out the middle range. I like how it balances the sound, not too high, not too low. It creates fullness in the ensemble and keeps the texture from feeling empty.

Beyond these six, there are also two sets of kettle gongs included: the Trompong and the Reyong. The Trompong has a row of kettle gongs, often used for solos or melodic elaboration. When I play it, I hear expressive slides and ornaments that make the music feel human and alive. The Reyong, also made of kettle gongs, is often played by several musicians at once. I experiment with its fast, interlocking patterns, and I notice how it adds excitement and tension.

Together, these instruments form the essential colors of a Balinese gamelan. With the tuning variations, I can shift between different ensemble traditions. As I play them in the library, I feel both the discipline and the joy of this music. Each instrument has a role, but together they create something larger than any single voice.

 

 

 

 

 

 

 

 

Here’s a full list of the Native Instruments (NI) virtual instrument libraries in the Western category, which focuses on orchestral, band, and cinematic instruments:

 

Orchestral / Classical

Symphony Series – String Ensemble

Symphony Series – Brass Ensemble

Symphony Series – Woodwind Ensemble

Symphony Series – Percussion

Symphony Essentials (Strings, Brass, Woodwinds, Percussion) – lighter versions of the above

Session Strings Pro 2

Session Strings 2

Session Horns Pro

Session Horns

 

 

Symphony Series – String Ensemble

 

When I open the Symphony Series – String Ensemble library, I feel like I am standing in front of a full orchestra. The collection is built to capture the depth, power, and beauty of a large group of string players. It is not just one instrument, but an entire ensemble of strings carefully sampled. I will explain each instrument group, and then share how I experience the whole set as a performer and composer.

Instruments in the Library

The library contains the main sections of a traditional symphonic string ensemble:

First Violins – These are the highest voices in the ensemble. They carry the main melodies, soaring above the other strings. Their tone can be sweet, lyrical, or powerful depending on the articulation.

Second Violins – These are similar in range to the first violins, but they usually play inner voices or harmonies. They give depth and richness to the texture.

Violas – These play a lower range, between the violins and cellos. Their sound is warm and dark, adding body to the harmony.

Cellos – These provide a rich, deep voice. They can sing with lyrical beauty or create dramatic power. Their range often connects melody and bass.

Basses (Double Basses) – These are the foundation of the string ensemble. They provide depth, weight, and rhythm. Without them, the orchestra would not feel grounded.

Each section was recorded with multiple players, so the sound is lush and realistic. The library does not just present solo instruments; it captures the feeling of a full group performing together.

Playing Styles and Articulations

What makes the library exciting for me is the wide variety of articulations. I can choose legato for smooth, connected lines, or staccato for short and crisp notes. There are also spiccato and pizzicato for rhythmic energy. For more expressive writing, I can use tremolo for tension, trills for color, and sustains for grandeur. These options allow me to shape the ensemble like I would when conducting a real orchestra.

My Experience Using the Library

When I compose with this library, I feel like I can paint with sound. If I want a bright opening, I let the first violins soar in unison. If I want warmth, I blend violas and cellos together. When I need drama, I use tremolos across the whole ensemble, with basses anchoring the harmony.

I also enjoy how the library captures the subtle dynamics of string playing. I can move from a whisper to a roar with smooth expression. This is essential for writing music that feels alive and human.

Why It Matters to Me

As a violinist and composer, I know how strings can carry emotion. The Symphony Series – String Ensemble gives me that same power in digital form. It feels natural to me, because I can imagine how each part would be played by real musicians. I use it to sketch ideas, to orchestrate, and sometimes even to perform full pieces when I do not have an orchestra available.

Conclusion

The Symphony Series – String Ensemble library gives me access to the full palette of string instruments: first violins, second violins, violas, cellos, and basses. It offers a wide set of articulations, dynamics, and ensemble textures. For me, it is not just a tool—it is a way to bring the emotional voice of strings into my music.

 

 

The Symphony Series – String Ensemble (by Native Instruments, developed with Audiobro) is a large orchestral library that features full symphonic string sections. Here are all the instruments included in the library:

Sections / Instruments

1st Violins (30 players)

2nd Violins (20 players)

Violas (12 players)

Cellos (10 players)

Double Basses (8 players)

Features

Each section is recorded separately, so you can write for individual groups (not just a full ensemble patch).

The library also includes full ensemble patches that combine sections for faster sketching.

Multiple articulations: sustain, staccato, pizzicato, spiccato, tremolo, trills, harmonics, legato, and more.

Deep control over dynamics, expression, and microphone positions.

 

 

 

 

 

Here’s the full articulation breakdown for the Symphony Series – String Ensemble (each section: 1st Violins, 2nd Violins, Violas, Cellos, and Basses):

 

Long / Sustained Articulations

Sustain (with vibrato / senza vibrato options)

Legato (true legato transitions, slurred playing)

Crescendos & Diminuendos (timed dynamic swells)

Tremolo (measured and unmeasured)

Trills (half-step and whole-step)

Harmonics (natural and artificial)

 

Short Articulations

Staccato (short, separated bow strokes)

Spiccato (very short, bouncing bow)

Sforzando (strong attack, quick decay)

Marcato (accented, longer than staccato)

Pizzicato (plucked strings)

 

Dynamic & Expressive Styles

Swells (short, medium, long dynamic crescendos/decrescendos)

Runs (scale runs up & down, recorded phrases)

Arpeggios (upward and downward figures)

 

Special / Effect Techniques

Col legno (striking strings with the wood of the bow)

Bartók pizzicato (snap pizzicato)

Cluster effects (dense dissonant textures)

Sul ponticello (bowing near the bridge, glassy tone)

Sul tasto (bowing over the fingerboard, soft tone)

 

Additional Features

Full Ensemble patches (all strings layered together)

Divisi control (split sections, e.g., violins playing two lines)

Microphone positions (Close, Mid, Far, Mix)

Dynamic crossfades (smoothly blend pp → ff with mod wheel)

 

So in short: all five string sections have longs, shorts, dynamic swells, expressive effects, and special articulations, making this one of the most detailed orchestral string libraries in Kontakt.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Symphony Series – Brass Ensemble

When I use the Symphony Series – Brass Ensemble, I feel like I am standing in the middle of a powerful and majestic brass section. This library captures the rich sound of a full brass group and gives me the ability to write bold fanfares, lyrical passages, and dramatic effects. It is not just one or two instruments—it is a collection that includes the full brass family in an orchestral setting.

Instruments in the Library

The ensemble is made up of the main orchestral brass instruments:

Trumpets (3 players) – These are bright, brilliant, and full of energy. They can play heroic fanfares, lyrical melodies, or sharp staccatos. The trumpet section often carries the high voice of the brass.

Horns (4 players) – The French horn section adds warmth, nobility, and depth. Their sound is round and majestic, and they can blend beautifully with strings or woodwinds. They are also flexible, playing both lyrical lines and strong accents.

Trombones (3 players) – These have a darker, more powerful sound. The trombones are perfect for dramatic swells, sharp attacks, and rich harmonies. They add weight to the brass section.

Bass Trombone (1 player) – This extends the range of the trombone section downward. Its sound is deep and resonant, giving extra strength to the low brass.

Tuba (1 player) – The tuba provides the foundation of the brass family. Its voice is deep and commanding. It anchors harmony and often doubles with the double basses or bassoons in an orchestra.

Together, these instruments create a full and balanced brass ensemble.

Playing Styles and Articulations

The library includes many articulations that make the brass come alive. I can use sustains for long, majestic notes, or marcato for bold accents. There are staccatos and short notes for rhythmic drive, and legato transitions for smooth, lyrical playing. I can also choose crescendo and diminuendo swells, which are perfect for building tension and releasing energy.

Mute is another option. With a muted trumpet or trombone, the color changes completely, becoming softer, darker, or more nasal. This gives me more choices when shaping the music.

My Experience Using the Library

When I compose with the Brass Ensemble, I feel empowered. If I want to create a triumphant opening, I can let the trumpets and horns shine in unison. If I want tension, I add low trombones and tuba playing quiet sustains that slowly grow louder. I often use brass to highlight climaxes in my compositions, because the sound is so commanding and dramatic.

The library also captures the expressive range of brass instruments. I can write tender horn solos, bold trumpet calls, or heavy low brass chords. It feels real and natural, as if I am writing for a live brass section.

Why It Matters to Me

Brass instruments always bring energy and grandeur to music. They can express strength, courage, solemnity, or drama. As a composer and performer, I love having access to this power inside a virtual instrument. It allows me to explore ideas, orchestrate full pieces, and add brilliance to my music even when I do not have a live brass section.

Conclusion

The Symphony Series – Brass Ensemble includes trumpets, horns, trombones, bass trombone, and tuba. It offers a wide range of articulations, dynamics, and tone colors. For me, it is a way to bring the heroic and emotional voice of the brass into my compositions. It inspires me to write music that is bold, expressive, and alive.

 

Here’s the complete list of instruments included in the Symphony Series – Brass Ensemble (Native Instruments, developed with Soundiron):

 

Trumpets

4 Trumpets (ensemble patch)

Solo Trumpet (individual option)

 

Horns

4 French Horns (ensemble patch)

Solo Horn (individual option)

 

Trombones

3 Tenor Trombones (ensemble patch)

Bass Trombone (separate, for depth and weight)

 

Tubas

1 Tuba (solo, full low brass foundation)

 

Ensemble Combinations

Full Brass Ensemble (all sections layered for quick scoring)

Low Brass Ensemble (trombones + tuba)

High Brass Ensemble (trumpets + horns)

 

Features

Each instrument/section includes a wide range of articulations:

Sustains (with and without vibrato)

Legato (true legato transitions)

Staccato, Marcato, Sforzando

Crescendos, Swells, Rips, Falls

Flutter Tongue, Mutes (for trumpets/trombones)

Recorded with multiple mic positions (Close, Mid, Far, Mix).

Velocity and mod wheel dynamics for expressive control.

 

So the core library covers 4 Trumpets, 4 Horns, 3 Trombones + Bass Trombone, and Tuba, plus ensemble patches for full, high, and low brass.

 

 

Here’s the full articulation breakdown for the Symphony Series – Brass Ensemble. Each section (Trumpets, Horns, Trombones, Tuba, plus ensemble patches) has its own detailed set of articulations:

 

Trumpets (4 players + solo)

Sustains (with/without vibrato)

Legato (slurred, true legato transitions)

Staccato

Marcato

Sforzando

Crescendos & Diminuendos (short, medium, long)

Swells

Rips (fast upward glissando)

Falls (quick downward slide)

Flutter Tongue

Mutes (straight mute, cup mute options)

 

French Horns (4 players + solo)

Sustains (with/without vibrato)

Legato

Staccato

Marcato

Sforzando

Crescendos & Diminuendos

Swells

Rips

Falls

Stopped Horn (classic brassy “cuivré” effect)

Flutter Tongue

 

Trombones (3 Tenor + 1 Bass)

Sustains (with/without vibrato)

Legato

Staccato

Marcato

Sforzando

Crescendos & Diminuendos

Swells

Rips

Falls

Flutter Tongue

Mutes (straight and cup mutes)

 

Tuba

Sustains

Legato

Staccato

Marcato

Sforzando

Crescendos & Diminuendos

Swells

Rips (short upward runs)

Falls (dramatic low brass endings)

Flutter Tongue

 

Ensemble Patches

Full Brass Ensemble (all players combined)

High Brass Ensemble (Trumpets + Horns)

Low Brass Ensemble (Trombones + Tuba)

Includes sustains, shorts, swells, crescendos, rips, falls for quick writing.

 

Additional Features

Multiple mic positions (Close, Mid, Far, Mix).

True legato transitions between dynamic layers.

Dynamic crossfade with mod wheel for smooth pp → ff control.

Specialized ornamental articulations like rips and falls for cinematic scoring.

 

So, in short: every brass section (Trumpets, Horns, Trombones, Tuba) has longs, shorts, expressive dynamics, and special effects (rips, falls, flutter tongue, mutes, stopped horn), making this one of the most comprehensive cinematic brass libraries in Kontakt.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Symphony Series – Woodwind Ensemble

 

Symphony Series – Woodwind Ensemble

When I use the Symphony Series – Woodwind Ensemble, I feel like I am standing in the middle of a rich orchestra section. The library gives me the full sound of flutes, oboes, clarinets, and bassoons. Each family is represented by two players, so the sound is balanced, warm, and cinematic. I like that it captures the feeling of sitting in front of a live woodwind section.

The flute family is very expressive in this library. I get two regular flutes, which give me a bright and airy sound. There are also two alto flutes that bring more depth and warmth, and two bass flutes that have a very mysterious low tone. I also enjoy the two piccolos, which add sparkle and brightness to the top range. With these options, I can move from light, delicate passages to powerful high-energy lines.

The oboe family feels very emotional. The two oboes have a clear and singing voice, perfect for lyrical melodies. The two English horns add a darker and more haunting color. I like using the English horns when I want to bring out sadness, longing, or deep feeling in the music. Together, these instruments cover a wide expressive range.

The clarinet family is versatile. The two B♭ clarinets are smooth and flexible, good for both fast runs and lyrical playing. The two bass clarinets add a woody, deep quality. When I want an even heavier sound, the two contrabass clarinets give me a growling low register that feels dramatic. I enjoy layering these clarinets to create complex textures.

The bassoon family is also very important. The two bassoons give me a rich, dark, reedy tone. They can play comical passages or serious, weighty lines. The two contrabassoons are powerful in the very low range. When I add them, the whole ensemble feels grounded, as if the music is resting on a strong foundation. I often use them to add drama or gravity to orchestral passages.

The library offers different articulations, like sustain, staccato, marcato, and legato. I can play smooth connected lines or short accented notes. This flexibility helps me write music that feels alive and real. I also like the way the instruments blend together. The flutes, oboes, clarinets, and bassoons balance each other, and I can create harmonies that sound natural and full.

What I enjoy most is the cinematic feeling. When I close my eyes, I hear a true concert hall. The library was recorded with care, and I can use microphone mixes to adjust the perspective. Sometimes I want a close sound for intimate passages, and other times I prefer a wide sound for big, epic moments. This control makes the library useful for film scoring, classical writing, or even experimental projects.

In the end, Symphony Series – Woodwind Ensemble gives me the full power and beauty of the woodwind family. I can write gentle, lyrical melodies, mysterious textures, or bold dramatic passages. It feels like having a team of skilled players ready to perform my ideas. This inspires me to compose more and to explore the emotional colors of the woodwinds.

 

 

 

 

Here is the full list of instruments included in Symphony Series – Woodwind Ensemble (Native Instruments):

Flutes

2 Flutes

2 Alto Flutes

2 Bass Flutes

2 Piccolos

Oboes

2 Oboes

2 English Horns

Clarinets

2 Clarinets in B♭

2 Bass Clarinets

2 Contrabass Clarinets

Bassoons

2 Bassoons

2 Contrabassoons

 

This library covers the four main orchestral woodwind families (flutes, oboes, clarinets, bassoons) with extended ranges (piccolo, alto/bass flutes, English horn, bass/contrabass clarinets, contrabassoon). It is recorded in full ensemble sections of two players each, giving a rich and cinematic tone compared to solo libraries.

 

 

Here is the list of articulations available in Symphony Series – Woodwind Ensemble (Native Instruments):

Sustains & Long Notes

Sustain (standard long tone)

Legato (smooth note-to-note connection, with true recorded transitions)

Crescendo / Decrescendo (dynamic swells, recorded)

Sfz (Sforzando) (sudden strong accent at the start, then fading)

Short Notes

Staccato (short, detached notes)

Staccatissimo (very short, sharper than staccato)

Marcato (accented, with more length and force)

Tenuto (slightly held, smooth attack)

Dynamic Expressions

Fortepiano (fp) (loud attack followed by soft sustain)

Swells (various lengths, rising and falling dynamics)

Special Techniques

Trills (half-step and whole-step)

Runs (pre-recorded scale runs up and down, selectable key and scale)

Arpeggios (pre-recorded broken chords, selectable root and quality)

 

This set of articulations makes the library very flexible: I can move from lyrical, smooth writing (legato, sustains) to sharp rhythmic passages (staccato, marcato), add expressive dynamics (crescendo, fp), and even spice up textures with trills, runs, and arpeggios.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Symphony Series – Percussion

 

When I use the Symphony Series – Percussion, I feel like I have the entire orchestral percussion section at my fingertips. This library captures the instruments that add rhythm, drama, and color to the orchestra. It is not just about keeping time—it is about creating energy, tension, and excitement in the music.

Instruments in the Library

The collection includes a wide variety of orchestral percussion:

Timpani – These are the kings of orchestral percussion. Their deep, resonant sound gives weight to climaxes and helps define harmony with tuned pitches.

Bass Drum – This instrument produces a low, powerful boom. It is often used for dramatic accents or to underline the rhythm of the orchestra.

Snare Drum – Sharp and crisp, the snare adds brightness and rhythmic definition. It can play marches, rolls, and energetic accents.

Tenor Drum – With a deeper voice than the snare, it offers a rounder sound and supports rhythmic patterns.

Cymbals – Both crash and suspended cymbals are included. Crash cymbals create dramatic climaxes, while suspended cymbals give shimmering swells.

Tam-tam (Gong) – This produces a dark, mysterious sound. It can be soft and rumbling or loud and overwhelming.

Triangle – Bright and delicate, the triangle adds sparkle and light rhythmic accents.

Tambourine – This combines rhythm with a jingling tone, useful in dance-like or festive passages.

Chimes (Tubular Bells) – These are tuned percussion, with a clear, bell-like sound. They are often used for solemn or majestic moments.

Xylophone – Bright and wooden, the xylophone is perfect for playful, quick passages.

Glockenspiel – This has a metallic, bell-like tone. It cuts through the orchestra with brilliance.

Vibraphone – With a mellow, resonant sound, the vibraphone adds warmth and shimmer, especially with its vibrato effect.

Marimba – This has a deep, wooden tone. It is rich and expressive, and works well in lyrical passages.

Celesta – A keyboard percussion instrument, the celesta produces a magical, bell-like tone. It is often used for dreamy or mysterious music.

Other Accessories – Instruments like castanets, wood blocks, and shakers are also included for extra color.

Playing Styles and Articulations

Each instrument comes with multiple playing techniques. Timpani can be struck, rolled, or dampened. Cymbals can be crashed, rolled, or scraped. The mallet instruments (xylophone, marimba, glockenspiel, vibraphone) can be played with soft or hard mallets, giving me more control over tone. Dynamic layers make the instruments feel alive, from the softest touches to the loudest strikes.

My Experience Using the Library

When I compose with the Percussion library, I feel like I can shape the drama of the entire orchestra. For suspense, I use a soft roll on the timpani or tam-tam. For excitement, I add snare rhythms and cymbal crashes. To lighten the texture, I use triangle, tambourine, or glockenspiel. For warmth, I turn to marimba or vibraphone.

Why It Matters to Me

Percussion gives life to orchestral music. It adds rhythm, color, and impact. Without percussion, the orchestra would lack drama and sparkle. With this library, I can write music that feels complete and expressive, even without live players.

Conclusion

The Symphony Series – Percussion includes timpani, drums, cymbals, gongs, bells, mallet instruments, and accessories. It offers a wide range of dynamics and playing styles. For me, it is a powerful and versatile tool that allows me to bring rhythm, energy, and brilliance into my compositions.

 

Here’s the full list of instruments included in Symphony Series – Percussion (Native Instruments):

Tuned Percussion

Marimba

Xylophone

Vibraphone

Glockenspiel

Tubular Bells (Chimes)

Crotales

Celeste

Timpani (multiple drums, tuned)

Orchestral Drums

Gran Cassa (Concert Bass Drum)

Snare Drum (Concert Snare)

Field Drums (different sizes)

Tenor Drum

Piccolo Snare

Concert Toms

Cymbals & Gongs

Suspended Cymbals (various sizes)

Piatti (Crash Cymbals, hand-held pairs)

Tam-tam (Gong)

Chinese Gong

Opera Gong

Auxiliary Percussion

Triangle

Tambourine

Castanets

Woodblock

Temple Blocks

Ratchet

Slapstick (Whip)

Anvil

Cowbell

Mark Tree (Wind Chimes)

This library covers the complete standard orchestral percussion section: tuned melodic instruments, concert drums, cymbals/gongs, and a wide range of auxiliary percussion.

 

Here’s a breakdown of the main articulations and playing techniques included in Symphony Series – Percussion (Native Instruments). I’ll organize them with an instrument family so it’s easy to see what’s available.

 

1. Tuned Percussion

Marimba, Xylophone, Vibraphone, Glockenspiel, Crotales, Celeste, Tubular Bells

Single Hits (natural, round-robins)

Rolls / Tremolos (measured and unmeasured)

Mallet Variations (hard, soft, medium, sometimes bowed for vibraphone)

Pedal / Dampening Control (for vibraphone and tubular bells)

Timpani

Single Hits (center and edge)

Rolls (crescendo, decrescendo, measured)

Dampened (stopped) notes

Glissandi / Tuning bends (via pedal control)

 

2. Orchestral Drums

Snare Drum, Field Drum, Tenor Drum, Concert Toms, Piccolo Snare

Single Hits (stick, soft mallet, brush if available)

Rolls (measured and unmeasured)

Flams

Ruffs / Drags

Side Stick / Rim Clicks

Roll Crescendos / Diminuendos

Gran Cassa (Concert Bass Drum)

Single Hits (soft and hard mallets)

Rolls (crescendo, diminuendo, sustained)

Dampened Hits

Edge vs Center Strikes

 

3. Cymbals & Gongs

Suspended Cymbals

Single Hits (soft, medium, hard mallets, sticks)

Rolls / Swells (crescendo, diminuendo)

Scrapes / Bowed effects

Muffled / Dampened hits

Piatti (Crash Cymbals)

Crash Hits (various dynamics)

Crash Rolls / Swells

Choked (stopped) crashes

Tam-tam & Gongs

Single Hits (soft to hard mallets)

Rolls / Swells

Scraped / Bowed effects

Muffled / Dampened

 

4. Auxiliary Percussion

Triangle

Single Hits (tip, full swing, various dynamics)

Rolls / Tremolos (crescendo, diminuendo)

Dampened hits

Tambourine

Single Hits (hand, stick, knuckle)

Rolls (shake, thumb roll)

Dampened / Stopped shakes

Woodblocks & Temple Blocks

Single Hits (various dynamics)

Rolls (repetitions)

Castanets

Single Clicks

Rolls

Ratchet

Single Turn

Continuous Roll

Slapstick (Whip)

Single Hit (fast whip crack)

Anvil / Cowbell

Single Hits

Alternating Strikes

Mark Tree (Wind Chimes)

Single Note Plucks

Sweeps (up & down)

 

In short: every instrument has dynamic layers, round-robins, and specialized articulations (rolls, flams, crescendos, dampening, bowed/scraped effects where relevant).

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Symphony Essentials (Strings, Brass, Woodwinds, Percussion)

 

When I work with the Symphony Essentials libraries, I feel like I have a lighter, more compact version of the full Symphony Series. These libraries still capture the core sound of the orchestra but with fewer options and a smaller footprint. They are designed for speed, simplicity, and ease of use, while still giving me the most important orchestral colors.

Strings

The Symphony Essentials – Strings include the same five main sections as the full series: first violins, second violins, violas, cellos, and basses. The difference is that there are fewer articulations and dynamic layers. I can still write legato melodies, staccato rhythms, and pizzicato accents, but the variety is more limited. For me, this makes it easier when I just want to sketch ideas without getting lost in too many choices. The strings still sound rich and full, but the lighter version focuses on the basics.

Brass

The Symphony Essentials – Brass also includes the core instruments: trumpets, horns, trombones, bass trombone, and tuba. Like the strings, the articulations are simplified. I have sustains, staccatos, legato, and some swells, but not the full detail of the complete library. This is enough for writing bold fanfares, warm harmonies, and strong accents. I use this version when I want quick access to the power of brass without loading the large Symphony Series library.

Woodwinds

The Symphony Essentials – Woodwinds give me flutes, oboes, clarinets, bassoons, and contrabassoon. They still cover the full woodwind range, from high and bright to deep and dark. The articulations are again streamlined. I can play legato lines, short notes, and some trills, but I do not have all the advanced runs or scale phrases of the full version. This makes the Essentials library lighter, but still very useful for orchestration sketches and compositions where I just need the basic woodwind colors.

Percussion

The Symphony Essentials – Percussion contains a smaller but still strong set of instruments. I have timpani, snare drum, bass drum, cymbals, triangle, tambourine, and a few mallet instruments like glockenspiel and xylophone. The selection is reduced compared to the full Symphony Series – Percussion, but it still gives me the core sounds that I need. I use this when I want to add rhythm and impact quickly, without loading many different instruments.

My Experience Using the Essentials Libraries

When I compose with the Essentials versions, I notice how fast and simple they are. The smaller size makes them easier to load, and the reduced articulations keep me focused on writing instead of searching. The sound is still very high quality, because it comes from the same recordings as the full series. For quick writing, demos, or smaller projects, the Essentials libraries are perfect.

Why It Matters to Me

Sometimes I do not need every articulation or advanced option. I just want to capture an idea, build a sketch, or create a quick orchestral arrangement. The Essentials libraries let me do that with less effort. They are also easier on computer resources, which makes composing smoother and faster.

Conclusion

The Symphony Essentials versions of Strings, Brass, Woodwinds, and Percussion are lighter versions of the full Symphony Series. They have fewer articulations and instruments, but they still deliver the core orchestral sound. For me, they are perfect for sketching, learning, or composing quickly without distraction.

 

 

Here’s the full list of instruments included in Symphony Essentials (the “lighter” version of the full Symphony Series, with fewer articulations and smaller section sizes but the same core orchestral instruments).

 

Symphony Essentials – Strings

1st Violins (14 players)

2nd Violins (12 players)

Violas (10 players)

Cellos (8 players)

Basses (6 players)

Full String Ensemble (all sections combined)

 

Symphony Essentials – Brass

Trumpets (3 players)

Horns (4 players)

Trombones (3 players)

Tubas (1 player)

Full Brass Ensemble

 

Symphony Essentials – Woodwinds

Flutes (3 players)

Clarinets (3 players)

Oboes (2 players)

Bassoons (2 players)

Full Woodwind Ensemble

 

Symphony Essentials – Percussion

Timpani

Snare Drum

Concert Bass Drum (Gran Cassa)

Cymbals (Suspended + Piatti Crashes)

Tam-tam / Gong

Triangle

Tambourine

Woodblock / Temple Blocks

Auxiliary Percussion (castanets, slapstick, etc., simplified compared to full Symphony Series)

 

Summary:
Symphony Essentials gives you the core sections (strings, brass, woodwinds, percussion) with fewer instruments and articulations compared to the full Symphony Series. It’s streamlined for quicker loading and easier use, while still covering all the standard orchestral instruments.

 

Here’s the articulations list for Symphony Essentials. Compared to the full Symphony Series, Essentials trims things down to the most core, everyday orchestral techniques so it’s lighter on memory but still expressive.

 

Symphony Essentials – Strings (Violins, Violas, Cellos, Basses, Full Ensemble)

Sustain / Long Notes (with vibrato and dynamic crossfades)

Staccato (short, accented notes)

Spiccato (light bouncing bow, very short)

Pizzicato (plucked strings)

Tremolo (fast repeated bowing for tension)

Trills (major and minor, half and whole step)

(Note: The full Symphony Series also has legato, harmonics, con sordino, etc., but Essentials keeps just the core set above.)

 

Symphony Essentials – Brass (Trumpets, Horns, Trombones, Tuba, Ensemble)

Sustain / Long Notes (with dynamics, crossfade)

Staccato (short accents)

Marcato (strong, longer accent)

Crescendos (short and long swells)

(The full Series includes mutes, flutter tongue, rips, falls, etc., which Essentials leaves out.)

 

Symphony Essentials – Woodwinds (Flutes, Clarinets, Oboes, Bassoons, Ensemble)

Sustain / Long Notes (dynamic crossfade)

Staccato

Marcato

Crescendos / Swells

(Full Series also includes legato, runs, grace notes, etc., not in Essentials.)

 

Symphony Essentials – Percussion

Timpani: single hits, rolls (basic crescendos)

Snare Drum: single hits, rolls

Bass Drum: single hits, rolls

Cymbals: single crashes, rolls/swells, choked stops

Tam-tam / Gong: hits, rolls

Triangle: hits, rolls

Tambourine: hits, shake roll

Woodblock: single hits

Aux Percussion: simplified single hits (castanets, slapstick, etc.)

 

Summary:

Strings: sustains, staccato, spiccato, pizzicato, tremolo, trills.

Brass: sustains, staccato, marcato, crescendos.

Woodwinds: sustains, staccato, marcato, crescendos.

Percussion: core orchestral hits and rolls.

It’s a streamlined palette: the main building blocks of orchestral scoring, leaving out the more exotic articulations of the full Series.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Session Strings Pro 2

 

When I use Session Strings Pro 2, I feel like I am working with a versatile string library that can move between classical, pop, and modern styles. It is not just designed for orchestral music—it also works well for film scoring, jazz, and even electronic tracks. This flexibility is what makes it so useful to me as both a composer and performer.

Instruments in the Library

The library includes the main string sections:

Violins – These are recorded in small sections, giving me both intimacy and brightness. They can play soaring melodies or sharp rhythmic parts.

Violas – Their tone is warm and smooth, sitting between the violins and cellos. They help fill out the harmony and create a rich middle voice.

Cellos – These provide lyrical, deep melodies as well as strong rhythmic support. They can be expressive or powerful, depending on how I use them.

Basses – These anchor the ensemble. Their low resonance gives weight and depth to the entire group.

I can use these instruments separately, or I can combine them into full ensembles. The sound is not as large as a full symphony orchestra, but that is what makes it perfect for smaller arrangements.

Playing Styles and Articulations

Session Strings Pro 2 gives me a wide range of articulations. I can choose legato for smooth and connected lines or staccato for short, crisp notes. There are pizzicato plucks for light and playful textures, and spiccato for bouncy, rhythmic energy. I also have sustains, tremolos, and trills, which are useful for building intensity.

What I really like is that the articulations can be switched quickly. This makes it easy to perform realistic parts, because I can move from one style to another without stopping the flow of music.

My Experience Using the Library

When I compose with Session Strings Pro 2, I enjoy how direct and expressive it feels. If I want a pop string section for a song, I can quickly layer staccato violins with pizzicato cellos. If I want something cinematic, I use legato lines in the violins and cellos with deep bass sustains.

The library also includes animated rhythm features, which let me program rhythmic string patterns. This is very helpful when I want a driving pulse in my music. It feels like having a small ensemble ready to play repeating figures while I focus on the melody.

Another feature I enjoy is the phrasing tools. They let me shape dynamics over time, so I can create swells and accents that feel natural, just like live musicians would play.

Why It Matters to Me

Session Strings Pro 2 is important to me because it fits into many different kinds of music. As a violinist and composer, I want strings to sound realistic, but I also want them to be flexible. This library gives me both. It is lighter and more immediate than the large symphonic libraries, so I can sketch ideas quickly, arrange songs, or add depth to a track without overcomplicating the process.

Conclusion

Session Strings Pro 2 includes violins, violas, cellos, and basses in small ensembles. It offers legato, staccato, pizzicato, spiccato, sustains, tremolos, and trills, along with rhythm and phrasing tools. For me, it is a versatile and expressive library that works across many genres. It allows me to create intimate string parts, rhythmic patterns, or cinematic textures with ease.

 

Here’s the full list of instruments in Session Strings Pro 2:

String Sections

1st Violins

2nd Violins

Violas

Cellos

Basses

Ensemble Combinations

Full Ensemble (all sections together)

Octaves (violins + cellos, violins + basses, etc.)

High Ensemble (violins + violas)

Low Ensemble (cellos + basses)

Special Features

Divisi (each section can split into two subsections for realistic voicings)

Animator (phrase engine for rhythmic patterns)

Expression Controls (dynamics, vibrato, articulations, legato transitions)

Presets for pop, film, and classical styles

 

 

Here’s the full set of articulations available in Session Strings Pro 2. These can be played on any of the sections (violins, violas, cellos, basses, ensembles):

 

Sustained Playing

Sustain (long notes)

Legato (connected transitions between notes)

Portamento (sliding between notes)

Short Notes

Staccato (short, detached)

Spiccato (short, bounced bow)

Pizzicato (plucked strings)

Accents & Attacks

Marcato (accented bow stroke)

Crescendo/Diminuendo swells

Sforzando (sudden strong accent)

Special Effects

Tremolo (rapid bowing)

Trills (half-step and whole-step)

Glissando/Slides (expressive swoops)

Animator Articulations

Built-in rhythmic phrases (syncopations, ostinatos, pop patterns, etc.)

Playable runs and riffs triggered by keyswitches

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Session Strings 2

 

When I use Session Strings 2, I feel like I have a simple, lightweight, and expressive string library that works well for smaller projects. It is the easier version of Session Strings Pro 2, but it still gives me the main qualities I want from a string section. It is fast to load, easy to play, and designed for quick arranging or songwriting.

Instruments in the Library

The library includes the four main sections of strings:

Violins – These provide the bright and lyrical top voice. They are perfect for carrying a melody or adding shimmer to the arrangement.

Violas – These fill out the middle register. Their tone is warm and blends well with both violins and cellos.

Cellos – These have a rich, deep sound. They can be used for lyrical solos or strong rhythmic backing.

Basses – These give the ensemble a strong foundation. Their low resonance supports the harmony and adds weight.

The library records these instruments in small sections. This gives the sound intimacy, making it great for pop, R&B, jazz, and film scoring that does not require a full symphony orchestra.

Playing Styles and Articulations

Session Strings 2 includes the most essential articulations. I can play legato for smooth melodic lines, or staccato for short, sharp notes. There is also pizzicato, which gives me plucked sounds that work well for light and playful passages. In addition, there are sustains for longer tones and spiccato for rhythmic bounce.

The articulations are not as many as in Session Strings Pro 2, but they are enough to cover most situations. I can still switch between them quickly, which makes writing and arranging simple.

My Experience Using the Library

When I compose with Session Strings 2, I enjoy how easy it is to use. It does not overwhelm me with too many options. Instead, it gives me the basics I need to sketch out a string arrangement. If I am working on a pop song, I can layer staccato violins for energy. If I am scoring a small scene, I can use legato cellos and violas for warmth.

The library also has a smart voice-splitting feature. This means that if I play chords on my keyboard, the notes are automatically divided across the different sections. For example, the higher notes go to violins, the middle to violas, and the low to cellos and basses. This makes the ensemble feel realistic without much effort.

Another feature I like is the animated rhythm tool. It lets me create repeating string patterns that follow the tempo. This is helpful when I want a rhythmic pulse in the background without programming every note.

Why It Matters to Me

Session Strings 2 is important to me because it gives me speed and simplicity. Sometimes I do not need the full detail of a large library. I just want to get my ideas down quickly and still have a realistic sound. Session Strings 2 allows me to do that. It is also easier on my computer, which means I can keep working smoothly even on larger projects.

Conclusion

Session Strings 2 includes violins, violas, cellos, and basses in small sections. It offers the core articulations—legato, staccato, pizzicato, sustains, and spiccato—along with rhythm and voice-splitting features. For me, it is a practical and creative tool for quick sketches, song arrangements, and intimate string parts. It is simple, efficient, and expressive, making it one of my go-to libraries when I want strings without complication.

 

 

 

Here’s the list of instruments included in Session Strings 2 (the streamlined version of Session Strings Pro 2):

 

String Sections

1st Violins

2nd Violins

Violas

Cellos

Basses

Ensemble Combinations

Full Ensemble (all sections layered together)

High Ensemble (violins + violas)

Low Ensemble (cellos + basses)

 

Unlike Session Strings Pro 2, this version does not include full divisi control (splitting each section into two subgroups) — instead it focuses on a lighter footprint and faster workflow. It still retains key ensemble groupings and expressive controls, but in a more compact package.

 

Here are the articulations available in Session Strings 2. These are a streamlined but still expressive set compared to Session Strings Pro 2:

 

Sustained Playing

Sustain (long held notes)

Legato (smooth, connected transitions)

Short Notes

Staccato (short, detached bowing)

Spiccato (short, bouncing bow strokes)

Pizzicato (plucked strings)

Accents & Attacks

Marcato (strong accented notes)

Crescendo/Diminuendo swells (dynamic shaping)

Special Effects

Tremolo (fast repeated bowing)

Trills (half-step and whole-step)

Animator (Phrase Engine)

Built-in rhythmic phrases and patterns for pop, funk, and film scoring

Preset riffs and runs triggered via keyswitches

 

Compared to Session Strings Pro 2, Session Strings 2 has fewer articulations and no divisi, but it keeps the essentials and adds the same Animator engine for instant rhythmic phrases.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Session Horns Pro

 

When I use Session Horns Pro, I feel like I have a full brass section ready to play with me. This library is designed for soul, funk, jazz, pop, and modern styles, but it can also be used in cinematic scoring. It is not as classical as the Symphony Series, but it has the same power and personality of a real horn section.

Instruments in the Library

The library includes the main instruments of a horn section:

Trumpets – Bright and powerful, these instruments can play sharp accents, soaring melodies, or smooth sustained lines. They give energy and brilliance to the section.

Trombones – These add depth and weight. They are bold and strong, and they help balance the brightness of the trumpets.

Saxophones – Both alto and tenor saxophones are included. They give warmth, smoothness, and flexibility. The saxophones can be lyrical or edgy, and they blend perfectly with brass.

Other Variants – The library includes multiple players of each instrument, so I can create full ensembles with up to six voices.

This makes it possible to build different types of horn groups, from a small jazz combo to a full funk band section.

Playing Styles and Articulations

Session Horns Pro offers a wide range of articulations. I can use sustains for long tones, or staccato for short, sharp hits. There are also marcato notes, which give strong accents, and legato transitions for smooth melodic playing.

What makes this library special is the phrasing and performance features. I can trigger realistic riffs, swells, and falls with simple key switches. These phrases are based on real horn playing styles, so they sound natural and authentic.

Another strong feature is section control. I can assign instruments to different voices, so when I play chords, each note is distributed to a trumpet, trombone, or saxophone automatically. This saves me time and makes the arrangement sound realistic.

My Experience Using the Library

When I compose with Session Horns Pro, I enjoy how quickly I can get a real horn section sound. If I want a funky groove, I use short staccato trumpet and sax riffs. If I want a big soul sound, I write rich chords with trombones and trumpets. For cinematic builds, I can add dramatic swells and falls.

The library feels alive because of the built-in riffs and phrases. Sometimes I just play a chord, and the horns respond with a realistic rhythm pattern. This gives me inspiration and helps me create arrangements faster.

Why It Matters to Me

Session Horns Pro is important to me because it gives me access to the expressive energy of horns without needing real players. As a composer, I want brass sections that sound tight, funky, and full of life. This library delivers that. It also works well in many genres, so I can use it for songs, scores, or even experimental music.

Conclusion

Session Horns Pro includes trumpets, trombones, and saxophones, recorded in flexible ensembles. It offers articulations like sustains, staccatos, and legatos, along with riffs, swells, and performance phrases. For me, it is a powerful tool for creating brass arrangements that are energetic, soulful, and authentic. It inspires me to write music that feels alive and full of character.

 

Here’s the full instrument lineup included in Session Horns Pro (Native Instruments):

Instrument Sections

Trumpets (multiple players, unison & divisi options)

Tenor Saxophones (solo and section)

Trombones (tenor and bass, solo and section)

Alto Saxophones (solo and section)

Baritone Saxophone (solo)

Key Features

You can use instruments in solo mode or combine them into sections (e.g., 3-piece or 6-piece horn sections).

Each instrument offers multiple articulations:

Sustain

Staccato

Marcato

Crescendo

Falls (short/medium/long)

Doits, Rips, Swells, etc.

Includes Smart Voice Split for realistic voicing (automatically assigns voices across instruments).

Features Animator patterns (pre-recorded phrases) and Play-a-phrase for instant horn section riffs.

So in short: the library gives you trumpets, trombones, and saxophones (alto, tenor, baritone) with full flexibility to arrange as soloists or sections, plus all the jazz/pop articulations you’d expect.

 

Here’s a breakdown of articulations by instrument in Session Horns Pro:

 

Trumpet (Solo / Section)

Sustain (straight tone, expressive tone)

Staccato (short, accented notes)

Marcato (strong attack, tapered release)

Crescendo (short / long swells)

Falls (short, medium, long)

Doits (rising pitch smear)

Rips (fast upward gliss)

Shake (lip trill-style effect)

Swells (dynamic build and fade)

 

Alto Saxophone (Solo / Section)

Sustain (warm, lyrical tone)

Staccato (short pop notes)

Marcato (accented start)

Crescendo (soft-to-loud build)

Falls (short, medium, long)

Doits / Rips (expressive gliss rises)

Scoop (small upward slide into pitch)

Growl (raspy jazz tone)

 

Tenor Saxophone (Solo / Section)

Sustain (broad, lyrical tone)

Staccato

Marcato

Crescendo

Falls

Doits / Rips

Scoop

Growl / Subtone (adds smoky, jazzy color)

 

Baritone Saxophone (Solo only)

Sustain (rich, deep tone)

Staccato

Marcato

Crescendo

Falls

Doits / Rips

Scoop

Growl (raspy effect for extra punch)

 

Trombone (Tenor & Bass / Section)

Sustain (clear or brassy)

Staccato

Marcato

Crescendo

Falls (short, medium, long)

Doits / Rips

Glissando (Slide) (signature trombone effect)

Swells

 

Summary:

Trumpet = lots of punchy and bright showmanship (doits, shakes, rips, falls).

Alto/Tenor/Baritone Saxes = lyrical + jazzy color (growl, subtone, scoop).

Trombones = classic brass power with slide-based effects (gliss, falls, swells).

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Session Horns

 

When I use Session Horns, I feel like I have a compact and easy-to-use horn section that gives me the core sound of brass for modern music. It is the lighter version of Session Horns Pro, but it still delivers the punch, warmth, and energy of a real brass group. I like how simple it is to set up and how quickly I can add horns to my compositions.

Instruments in the Library

The library includes the main horns needed for a small section:

Trumpet – Bright, bold, and cutting. It provides the high voice of the brass section and is great for melodies or sharp accents.

Trombone – Darker and deeper than the trumpet. It adds weight and blends well in chords.

Saxophone (Tenor) – Smooth and flexible. It connects the brass sound with a warmer, reed-based tone.

Together, these instruments form a three-piece section that is common in soul, funk, and pop music. While it is smaller than a full jazz or orchestral brass group, it captures the essence of horn arrangements in many popular styles.

Playing Styles and Articulations

Session Horns includes a solid set of articulations. I can use sustains for long tones, staccatos for short and punchy hits, and marcato for accented phrases. There are also legato transitions for smooth playing.

One of the most useful features is the Smart Voice Split. When I play chords on my keyboard, the library automatically assigns the top note to the trumpet, the middle note to the saxophone, and the lowest note to the trombone. This makes it easy to create realistic section voicings without programming each part by hand.

Session Horns also includes some performance phrases and riffs. These are pre-recorded patterns that sound natural and authentic. I can trigger them with key switches, which makes it simple to add realism to my arrangements.

My Experience Using the Library

When I work with Session Horns, I appreciate how fast it is. If I am arranging a pop track and I want a horn stab, I can load the library and immediately get the sound I need. The smaller instrument set keeps things simple, and I do not feel overwhelmed by too many choices.

For funk or soul, I use staccato and marcato notes for rhythmic accents. For a smoother sound, I use legato lines on the saxophone and trumpet together. The trombone gives me the foundation I need to balance the section.

Although it is not as detailed as Session Horns Pro, the lighter version works well when I want efficiency. It is also easier on computer resources, so I can keep my workflow smooth.

Why It Matters to Me

Session Horns matters to me because it lets me add brass quickly without sacrificing realism. It is designed for speed and simplicity, which is perfect when I am sketching or producing. I like having the essential horn colors without needing to load a full orchestra or a more complex library.

Conclusion

Session Horns includes trumpet, trombone, and saxophone in a small section. It provides basic articulations, voice-splitting, and realistic riffs. For me, it is a practical and creative tool that brings the energy of horns into my music. It may be lighter than Session Horns Pro, but it still delivers the character and punch I need for modern styles like funk, soul, pop, and jazz.

 

 

Here’s the full instrument lineup in Session Horns (the lighter version of Session Horns Pro):

 

Instruments

Trumpet (solo)

Tenor Saxophone (solo)

Trombone (solo)

 

Section Options

Pre-configured 3-piece horn section:

Trumpet + Tenor Sax + Trombone (classic pop/soul lineup)

 

Articulations (simplified vs Pro)

Sustain (long notes)

Staccato (short notes)

Marcato (accented notes)

Crescendo (short / long swells)

Falls (short / long)

 

Difference from Session Horns Pro:

Session Horns = 3 solo instruments (trumpet, tenor sax, trombone) + a fixed section.

Session Horns Pro = adds alto sax, baritone sax, multiple section sizes, Smart Voice Split, more articulations, and advanced Animator phrases.

 

 

 

 

 

Choir / Vocals

Choir: Omnia

Vocal Colors

Mysteria (cinematic choral textures)

Pharlight (vocal-based texture instrument)

Straylight (granular sound design with cinematic textures)

 

 

Choir: Omnia

 

When I use Choir: Omnia, I feel that I am opening a complete vocal world. This library is very special to me because it gives me the sound of a full choir with great detail and expression. I can write music and hear it come alive with human voices, even if I do not have real singers in the room. It feels powerful and inspiring.

Choir: Omnia is a virtual instrument. It includes four main choir sections: sopranos, altos, tenors, and basses. Each section was recorded carefully so that the voices sound real and natural. When I play chords, the library blends these voices together into a beautiful choral texture. I can also write solo lines for one section, like just the sopranos, and the sound is clear and pure. This helps me when I want to create light textures or strong, deep harmonies.

I enjoy how Omnia gives me many articulations. I can choose between long sustained notes, short staccato, or marcato styles. The library also lets me use legato, which makes the voices connect smoothly. This makes the choir sound human and emotional. I can also use syllables and phrases that are built into the instrument. This helps me make the choir sing words that feel expressive and alive, instead of only “ah” or “oo” sounds. It makes my compositions sound more authentic.

Another feature I value is the phrase builder. I can select syllables and arrange them to form custom phrases. This means I can design how the choir sings, almost like giving them lyrics. Even if it is not a real language, the effect is very emotional. It feels like I am directing a live choir with instructions. This inspires me to write in new ways.

The interface is simple to use. I can load the different sections quickly and balance them in the mix. The dynamics are very flexible, so I can make the choir sing softly or very loudly. The sound remains rich in both cases. The built-in effects, like reverb, also help me place the choir in a space, whether it is a small church or a grand cathedral. This makes the music feel even more dramatic.

I find Omnia useful for many styles. It works for classical pieces, film scores, game soundtracks, and even experimental music. Whenever I need a sense of majesty, mystery, or deep emotion, I turn to this library. The choir sound carries weight and beauty that no other instrument can replace. For me as a composer, it is a vital tool.

In conclusion, Choir: Omnia gives me the chance to work with a realistic, flexible, and emotional choir. I can control the details, shape phrases, and create powerful harmonies. It feels like I am standing in front of a choir, conducting them to bring my music to life. That experience is inspiring and makes me want to keep writing more music every day.

 

 

 

The Choir: Omnia library (Native Instruments) is a full symphonic choir instrument with deeply sampled sections and soloists. Here are the instruments included:

Choir Sections

Sopranos (full section)

Altos (full section)

Tenors (full section)

Basses (full section)

Soloists

Solo Soprano

Solo Alto

Solo Tenor

Solo Bass

Layered / Combined Choirs

Women (Sopranos + Altos together)

Men (Tenors + Basses together)

Full Choir (all voices combined)

These instruments can be used individually or layered, and they include a wide range of articulations (sustains, legatos, shorts, phrases, syllables, etc.), along with syllable building for realistic choir text performance.

 

 

Here’s a full breakdown of the articulations and performance features in Choir: Omnia (Native Instruments), organized by choir section and soloists:

 

Core Articulations (Available in All Choir Sections & Soloists)

Sustain – long held notes with natural vibrato

Legato – smooth transitions between notes (true legato sampling for realism)

Staccato / Short Notes – short, detached attacks for rhythmic passages

Marcato – accented, forceful notes for dramatic emphasis

Syllabic Builder – customizable syllable sequences, allowing you to “compose” sung text

Poly-syllabic Phrases – pre-recorded Latin/phonetic phrases for instant realism

Dynamic Layers – controlled via velocity or mod wheel (pp to ff)

 

Section-Specific Features

Sopranos / Altos (Women’s Choir)

Warm, lyrical timbre with agile upper registers

Smooth legato transitions designed for soaring melodic lines

Expressive vibrato control for more emotional passages

Tenors / Basses (Men’s Choir)

Deep, resonant timbre with powerful low register

Epic marcato/staccato especially effective for dramatic scoring

Wide dynamic range (from soft chanting to full-force power)

Full Women / Full Men / Full Choir Layers

Ready-made ensembles for quick scoring

Chordal sustain patches for easy harmonic pads

Phrase sync ensures syllables line up across sections

 

Soloists (Soprano, Alto, Tenor, Bass)

True legato transitions with individual expressive detail

Solo syllable builder for custom phrases

Breathy sustains for intimate scoring

Ornamental articulations (slides, scoops, grace notes in some patches)

 

Special Performance Features

Syllable Sequencer: lets you program entire sung lines (phonemes + syllables)

Word Builder: control over vowel/consonant blends for realism

Dynamics & Expression Controls: mod wheel (CC1), expression (CC11), velocity layers

Phrase Playback: tempo-synced phrases for instant cinematic effect

Microtuning & Blend Controls: adjust tuning, balance between close/decca/tree mics

Legato Engine: optimized for both polyphonic and monophonic passages

True Polyphonic Singing: multiple syllables/words sung simultaneously across sections

 

In short: Choir: Omnia gives you all four choir sections + soloists, with a full syllable-building engine, extensive articulations, and deep dynamic control, making it ideal for both epic cinematic scoring and intimate vocal writing.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Vocal Colors

 

When I use Vocal Colors, I feel like I am exploring the human voice in a very artistic way. This library is different from a traditional choir. Instead of only giving me standard vowels or choral phrases, it offers me textures, tones, and colors that feel experimental and expressive. For me as a composer, this is very inspiring because it opens new doors for creativity.

Vocal Colors gives me both male and female voices. The singers were recorded with great care, and the sound is very detailed. I can use soft whispers, clear tones, or even strong and dramatic expressions. The library lets me blend these different sounds together, so I can create layers that feel rich and emotional. Sometimes I want an intimate solo voice, and sometimes I want a whole texture that feels almost like a soundscape. Vocal Colors allows both.

One of the things I like most is how the library focuses on unusual timbres. It does not limit me to normal “ah” or “oh” sounds. Instead, I can use breathy tones, humming textures, or vocal effects that sound mysterious. This is why it is called Vocal Colors. It gives me a full palette of sounds, like a painter with many shades. I can shape the emotional atmosphere of my music in unique ways.

The interface is also designed with flexibility. I can control dynamics, vibrato, and expression easily. I can also mix the male and female voices in different ways, depending on the mood I want. If I need a warm and soft background, I use the female tones. If I want a darker and stronger feeling, I bring in the male tones. The blending makes the sound very personal, as if I am sculpting the voice myself.

Another feature I value is the motion engine. With it, I can create evolving textures that change over time. The voices do not stay static. They move, shift, and transform, just like a living sound. This makes the music more organic. I can create pads that feel alive, or rhythmic patterns that breathe with energy. It gives me the chance to use the human voice in ways that go beyond singing notes.

I find Vocal Colors useful in many kinds of projects. For film scoring, it helps me build emotional and atmospheric backgrounds. For experimental pieces, it gives me new sounds that are not possible with normal instruments. Even in classical-inspired music, I can use it to add a modern and creative twist. It feels like a bridge between traditional vocal beauty and modern sound design.

In conclusion, Vocal Colors is a tool that helps me explore the voice as an instrument of endless expression. It gives me textures, tones, and timbres that go beyond the ordinary. I can create intimacy, mystery, power, or warmth. Every time I use it, I discover new possibilities. For me as a composer, it is not just a library. It is a source of inspiration, a way to paint emotions with the sound of the human voice.

 

 

 

 

 

 

 

 

 

 

 

 

Here are the instruments included in the Vocal Colors library:

Female Soloist (multiple timbres and vowels)

Male Soloist (multiple timbres and vowels)

Choir Layers (blended male and female voices for sustained tones)

Whispers & Breaths (intimate textures)

Vocal Textures (pads, sustains, evolving colors)

Ornamental Phrases (melodic fragments and expressive lines)

Hybrid Layers (processed combinations of vocal samples for sound design)

 

 

Here’s a full breakdown of the articulations and sound-shaping controls in Vocal Colors:

 

Core Articulations

Sustains – long, held notes that can be shaped dynamically.

Legato – smooth transitions between notes for lyrical vocal lines.

Shorts / Staccatos – crisp, detached syllables or notes.

Whispers & Breaths – airy textures for intimacy or tension.

Ornamental Phrases – expressive flourishes and melodic fragments.

Choir Pads / Layers – sustained textures blending male and female voices.

Hybrid / Sound Design Layers – processed vocal sounds for cinematic color.

 

Sound-Shaping Controls

Vowel Morphing – fluidly morph between vowels (A, E, I, O, U) in real time.

Dynamics (Mod Wheel / CC1) – control intensity from soft/airy to powerful/bright.

Attack & Release – adjust how quickly notes begin and fade.

Expression (CC11) – fine-tune overall vocal volume dynamically.

Color Control – blends natural and processed timbres for cinematic or ethereal effects.

Velocity Sensitivity – triggers different vocal attacks or intensities.

Legato Mode Options – adjust how notes connect (slurred vs expressive).

Effects Rack – includes reverb, delay, chorus, EQ, saturation, and filters.

 

Performance Features

Phrase Sequencer – chain syllables or ornaments for expressive passages.

Dynamic Layering – stack multiple vocal timbres for evolving textures.

Randomization Controls – add human variation to repeated notes.

XY Pad (Color & Motion) – perform live morphs between vocal textures.

 

This makes Vocal Colors very versatile — it can sound like a pure soloist, a cinematic choir, or a hybrid vocal pad depending on how you use the articulations and morphing tools.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Mysteria (cinematic choral textures)

 

When I use Mysteria, I feel like I am stepping into a world of cinematic sound. This library focuses on choral textures that are dark, mysterious, and emotional. It is not a traditional choir library where I write notes and phrases. Instead, it is about mood, atmosphere, and evolving layers of sound. For me as a composer, it is like painting with voices to create dramatic feelings.

Mysteria gives me a wide range of choral textures. These include soft whispers, deep drones, rising clusters, and shimmering harmonies. The voices are recorded in great detail, so they sound rich and alive. When I play a chord, I can feel the choir shifting and breathing. The sound does not stay static. It grows, fades, and transforms, just like something I would hear in a film score.

One of the features I enjoy most is the XY pad. With this tool, I can blend different textures in real time. For example, I can move from a soft and airy sound into a dark and powerful one with a simple motion. This makes the performance very expressive. I feel like I am conducting an invisible choir, shaping their sound with my hand. It is both intuitive and inspiring.

Mysteria also has a collection of atmospheres. These are pre-designed layers that combine male and female voices into haunting textures. I can use them as background pads, tension builders, or emotional climaxes. They are especially useful for film and game scoring, where I need to create suspense or beauty quickly. The atmospheres feel organic, not mechanical, which makes the music more believable.

Another feature I value is the ability to create clusters. These are dense groups of notes that can rise or fall in pitch. They give me the sound of dissonance and release, which is very dramatic. I often use these clusters in moments of tension. They make the listener feel anticipation, fear, or mystery. When the cluster resolves, the release feels powerful and emotional.

The interface is simple and clear. I can access layers, effects, and controls without confusion. I also enjoy using the built-in reverb, which places the choir in a large and cinematic space. It feels like I am sitting in a cathedral or concert hall. This adds depth and realism to the sound. I do not have to add many external effects because Mysteria already gives me a polished result.

I find Mysteria useful in many styles of music. For film scoring, it is perfect for horror, thriller, fantasy, or drama. For game music, it builds immersive soundscapes that capture the player’s attention. Even in concert music, I can use it as a creative layer to expand the choir sound. It is not limited to one genre. It gives me freedom to experiment.

In conclusion, Mysteria is a library that lets me explore the emotional and cinematic side of the human voice. It is about textures, layers, and evolving moods. It helps me create mystery, suspense, and beauty with ease. When I use it, I feel inspired to push my music into new directions. It is not just a choir—it is a tool for storytelling through sound.

 

 

 

 

 

Here is the full list of instruments and sound sources included in Mysteria (cinematic choral textures by Native Instruments):

Core Instrument

Mysteria Main Instrument (Kontakt-powered engine with playable textures, atmospheres, and clusters)

Choir Sources

Male Choir (sustains, whispers, shouts, clusters, breaths)

Female Choir (sustains, whispers, shouts, clusters, breaths)

Mixed Choir (combined male + female textures)

Children’s Choir (lighter timbre, ethereal sustains and effects)

Vocal Layers

Sustained Voices (soft, pure vowel tones; aah, ooh, eeh variants)

Cluster Voices (dissonant intervals, evolving swells)

Whispered Voices (breathy, intimate textures)

Shouted Voices (intense, dramatic effects)

Syllabic Textures (nonsensical syllables for rhythmic tension)

Special Sound Sources

Breath Textures (exhaled and inhaled layers, eerie atmospheres)

Noise Layers (fricative consonants, harsh vocal effects)

Aleatoric Phrases (unpredictable group textures, improvisational feel)

Transitions & Rises (climactic swells and cinematic risers)

Ethereal Atmospheres (processed ambient vocal beds)

 

In short: Mysteria is not a traditional “instrument library” like Symphony Series Strings or Session Horns. Instead, it’s a specialized choral-texture engine. The “instruments” are really choir layers and vocal effects that can be blended, morphed, and automated in real time using its XY pad.

 

 

 

 

 

 

Here’s a detailed breakdown of the articulations and sound design controls available inside Mysteria (cinematic choral textures by Native Instruments):

 

Articulations & Vocal Sources

Mysteria doesn’t use traditional “articulations” like legato or staccato, but instead provides choral layers and effects you can blend:

Sustains – long vowel tones (ah, oh, eh, oo) with evolving dynamics.

Clusters – dissonant groupings that shift between tension and release.

Whispers – soft, breathy layers (intimate or eerie).

Shouts – loud, dramatic vocal bursts for climactic moments.

Breaths & Noise – inhalations, exhalations, consonant noise textures.

Aleatoric Phrases – unpredictable improvised choir gestures.

Transitions & Rises – swelling crescendos and climactic risers.

Ethereal Pads – processed ambient vocal atmospheres.

 

Sound Design Controls

The heart of Mysteria lies in its performance and sound-morphing system:

1. XY Pad (Core Morphing Control)

Blend two vocal layers in real time.

Move on the XY pad to shift between sources, dynamics, or textures.

Enables live performance morphing (e.g., soft whispers to dramatic shouts).

2. Layer Controls

Source Selection – choose which vocal samples go into Layer A & Layer B.

Crossfade / Balance – control the mix between both layers.

Detune / Pitch Shift – create wider or darker textures.

Dynamic Range – adjust intensity (soft vs powerful).

3. Modulation

LFOs & Envelopes – apply motion to pitch, volume, or timbre.

Randomization – subtle variations to avoid static textures.

Velocity Sensitivity – control expression with MIDI input.

4. Effects Section

Reverb – multiple cinematic spaces (cathedrals, halls, deep ambience).

Delay – rhythmic or atmospheric echoes.

EQ & Filtering – shape frequency spectrum, add “air” or “darkness.”

Distortion / Saturation – add grit and intensity.

Modulation FX – chorus, flanger, phaser for movement.

5. Performance Features

Preset Snapshots – curated cinematic setups (clusters, whispers, risers).

Crescendo / Decrescendo Automation – pre-built dynamic swells.

MIDI Control – assign pad movement and parameters to MIDI CC for live use.

Automation Recording – record XY pad motion directly into DAW.

 

In short: Mysteria gives you choral sources (sustains, whispers, clusters, shouts, breaths, atmospheres) that can be morphed in real time with the XY pad, then processed with reverb, delay, EQ, and modulation effects for cinematic results.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Pharlight (vocal-based texture instrument)

 

When I use Pharlight, I feel like I am entering a futuristic world of sound. This instrument is based on the human voice, but it goes far beyond normal singing. It gives me textures, tones, and soundscapes that are unique and modern. I do not just hear a voice. I hear a voice transformed into something magical and atmospheric. For me as a composer, this is very inspiring.

Pharlight focuses on vocal samples. These are recorded sounds from singers, but they are processed and reshaped. I can hear breathy tones, whispers, sustained vowels, and even experimental vocal effects. The special part is that the library combines these recordings with granular synthesis. This means I can stretch, twist, and reshape the sounds into evolving textures. The result feels organic but also electronic. It is like the human voice merging with technology.

One of my favorite features is the engine that creates movement. The sounds in Pharlight do not stay flat. They change over time. I can hear voices that swell, shift in pitch, and shimmer with subtle changes. This makes the sound alive. I can control how it moves, either slowly and smoothly or quickly and dramatically. This flexibility helps me match the emotion I want in my music.

The interface is very clear. At the center is the XY pad, which lets me blend between different layers of the sound. I can move my mouse or a controller and create evolving textures in real time. This feels like performing with the instrument, not just playing it. I can shape the sound as I go, which gives me a strong sense of connection with the music.

Pharlight also includes many presets. These presets give me ready-to-use atmospheres, pads, and textures. Some are light and airy, while others are dark and haunting. I often start with a preset and then adjust it to fit my needs. This saves me time but also sparks creativity. The variety is impressive, and it covers many moods, from calm to dramatic.

Another thing I value is the effects section. I can add reverb, delay, and modulation to the sounds. This makes them even more spacious and cinematic. The reverb, in particular, helps me place the voices in big spaces, like cathedrals or dreamlike environments. With these effects, I can create music that feels immersive and emotional.

I find Pharlight useful in many kinds of projects. For film scoring, it helps me create futuristic, mysterious, or emotional backgrounds. For game music, it adds layers of atmosphere that make a scene feel alive. Even in experimental or electronic music, it gives me unique textures that stand out. It is not just a tool for background pads. It is also a creative voice that adds character to any piece.

In conclusion, Pharlight is a vocal-based texture instrument that blends human expression with technology. It gives me evolving sounds, granular textures, and cinematic atmospheres. I can perform with it, design with it, and dream with it. Every time I use it, I feel like I am exploring a new dimension of sound. For me, it is more than an instrument. It is an endless source of inspiration.

 

 

 

 

 

 

 

Here’s the full instrument content of Pharlight (Native Instruments vocal-based texture instrument). The library is not structured as traditional “instruments” like violins or horns, but rather as sound sources and presets built from vocal samples and layered processing. The key components are:

Sound Sources

Vocal Samples – core material recorded from human voices, including sustained tones, breaths, whispers, vowels, and consonants.

Noise & Air Textures – processed vocal noises that add atmosphere.

Hybrid Vocal Layers – experimental recordings combining vocalizations with synthetic elements.

Instrument Structure

Pharlight divides its sounds into two main engines:

Sample Engine – provides the vocal source (pitched or atonal).

Granular Engine – reshapes and stretches vocal samples into pads, atmospheres, and evolving textures.

Categories of Presets

Atmospheres – evolving soundscapes built from layered voices.

Textures – granular, airy, and shifting vocal-based textures.

Leads & Chords – playable vocal tones and vowel-like synth voices.

Rhythmic & Pulses – rhythmic vocal textures and percussive vocal chops.

Effects – experimental processing of voice-based sounds.

Performance Controls

XY Pad – morphs between sound layers in real time.

Granular Controls – grain size, position, density, and pitch for shaping vocal textures.

Effects – reverb, delay, distortion, filtering, and modulation for cinematic sound design.

So instead of a list of discrete instruments (like violins, horns, drums), Pharlight is essentially one instrument with hundreds of vocal-based presets and textures, organized into categories for cinematic scoring, ambient sound design, and experimental vocal work.

 

 

 

 

Here’s a preset category breakdown of Pharlight with examples. Since Pharlight is built around granular vocal textures, its “instruments” are really organized into sound categories and preset names rather than traditional instruments.

 

Pharlight Preset Categories

Atmospheres

Evolving, sustained pads built from layered voices.

Examples:

“Celestial Breath”

“Glass Choir”

“Frozen Whispers”

“Infinite Voices”

 

Textures

Granular vocal tones with shifting timbres.

Examples:

“Vowel Morph”

“Breath Clouds”

“Shimmer Vox”

“Granular Flow”

 

Leads & Chords

Playable vocal synth sounds, vowel-like tones, and hybrid voices.

Examples:

“Choir Keys”

“Formant Lead”

“Halo Vox”

“Hybrid Choir Pad”

 

Rhythmic & Pulses

Tempo-synced textures, percussive chops, and vocal grooves.

Examples:

“Pulse Vox”

“Choral Rhythm”

“Whisper Perc”

“Vocal Motion”

 

Effects / Experimental

Strange, cinematic, or sound design–driven presets.

Examples:

“Spectral Echo”

“Distorted Breath”

“Alien Choir”

“Broken Vox Machine”

 

How It’s Built

Each preset blends two main layers:

Sample Layer (straight vocal recordings)

Granular Layer (stretched/morphed vocal fragments)

You can morph between them live using the XY pad, or automate effects like reverb, delay, and filtering.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Straylight (granular sound design with cinematic textures)

 

 

When I use Straylight, I feel like I am shaping sound in a cinematic way. This instrument is based on granular sound design, which means I can take a recorded sample and stretch it, twist it, and transform it into evolving textures. For me as a composer, it feels like sculpting sound with my hands. It gives me a modern way to build emotion and atmosphere in my music.

Straylight offers a large collection of sound sources. These include strings, choirs, percussion, and even unusual recordings like metal scrapes, glass hits, or field recordings. Each sound is carefully recorded, and when I load it into the engine, it becomes more than just a sample. The granular system breaks the sound into tiny pieces and rearranges them. This creates evolving pads, pulses, and textures that feel alive and organic.

One of the main features I enjoy is the XY pad. This control allows me to blend between different layers of the sound in real time. By moving across the pad, I can create a performance that shifts smoothly from one texture to another. It feels interactive, like I am painting with sound. This helps me make music that feels expressive and fluid, not static.

The interface is very clear and easy to use. I can see the waveform of the sample and how it is being processed. I can adjust parameters like grain size, playback speed, and pitch. These small adjustments change the sound in big ways. I can make a sample sound like a soft pad, a rhythmic pulse, or even a dramatic rise. This flexibility gives me endless creative options.

Straylight also has a large set of presets. These presets are designed for cinematic use. Some create dark, tense atmospheres, while others give me warm, emotional textures. There are also presets for rhythmic patterns, which add energy and drive to a scene. I often start with a preset and then change it to fit my project. This saves me time but also sparks new ideas.

Another important feature is the effects section. I can add reverb, delay, distortion, or modulation to the textures. These effects make the sound even more cinematic. For example, I can place a sound in a vast cathedral or make it shimmer with delay. This makes Straylight very powerful for film scoring and game music. I do not have to add many outside effects, because the built-in ones already sound professional.

I use Straylight in many situations. For film scoring, it helps me build tension, mystery, or beauty. For games, it creates immersive soundscapes that match the visuals. Even in experimental music, it allows me to explore sound in a fresh way. It is not just about background textures. It can also be a main voice that carries the emotional weight of a piece.

In conclusion, Straylight is a tool that lets me explore cinematic sound design with depth and imagination. It turns simple recordings into living textures. It gives me control, expression, and inspiration. When I use it, I feel like I am telling stories through sound itself. It is more than an instrument. It is a creative partner in my music-making process.

 

 

 

 

 

 

The Straylight library (by Native Instruments) is not organized into traditional “instrument” categories like strings or brass. Instead, it is a granular sound design instrument focused on cinematic textures, atmospheres, and evolving soundscapes.

Here’s what you’ll find inside the library:

Sound Sources

Sampled textures: organic recordings such as voices, instruments, environmental ambiences.

Synthetic sources: pads, tones, and electronic layers.

Noise-based content: percussive hits, swells, and abstract textures.

Core Elements

Grain Layer – the granular synthesis engine where samples are broken into tiny fragments and stretched, pitched, or scattered.

Sample Layer – provides the direct playback of longer samples or tonal beds, adding body and consistency.

Snapshot Presets – curated presets (hundreds are included), ranging from Cinematic Textures, Evolving Atmospheres, Transitional Effects, to Experimental Soundscapes.

Performance & Expression Tools

X-Y Pad (Grain vs Sample blend) – lets you morph between the granular and sample layers in real time.

Macro Controls – global shaping tools for filter, reverb, delay, distortion, and modulation.

Motion Engine – automates movement across sound layers for evolving, living textures.

Effects Rack – reverb, delay, chorus, phaser, EQ, compression, saturation.

So while Straylight doesn’t have a list of discrete “instruments” like strings or horns, it contains a broad library of sound sources and presets designed to build cinematic rises, hits, atmospheres, and evolving pads.

 

 

 

 

 

 

 

 

Here’s a detailed breakdown of the preset categories and subcategories included in Straylight (Native Instruments). Think of these categories as the “instrument list,” since Straylight is preset-driven rather than based on individual sampled instruments.

 

Main Preset Categories in Straylight

Straylight ships with hundreds of curated snapshots (presets) grouped into broad categories. Each preset combines a grain layer and a sample layer, often with motion and effects pre-programmed.

1. Atmospheres

Dark / Tension Beds – ominous, evolving textures

Bright / Shimmering Beds – airy, luminous pads

Organic Ambiences – recordings of nature, subtle environments

Hybrid Beds – blends of synthetic pads with real recordings

2. Textures

Granular Textures – glitchy, shifting soundscapes

Noise & Drones – static, layered tonalities with movement

Organic Textures – bowed, plucked, or vocal-sourced sounds turned into evolving beds

Experimental – distorted, warped, or abstract sounds

3. Transitions

Risers – upward-moving cinematic effects

Falls / Downers – downward sweeps, dissolving tails

Swells – slowly building crescendos

Pulses & Motion – rhythmic textures with internal movement

4. Cinematic

Tension & Horror – unsettling, suspenseful presets

Sci-Fi & Futuristic – synthetic, alien, or space-like ambiences

Drama & Emotional – evocative, storytelling beds

Trailer Tools – presets designed for film trailer sound design

5. Playable Instruments

Pads & Keys – sustained, playable tonal presets

Bowed & Plucked Sources – strings, guitars, ethnic instruments reshaped by granular processing

Vocal Layers – choir-like beds, whispers, breaths

Percussive Sources – mallet hits, plucked strings, short stabs with cinematic processing

6. Experimental / Design Tools

Abstract Motion – unpredictable evolving patterns

Glitch Layers – broken, stuttering textures

Distorted Beds – heavy use of saturation and filters

Custom Sound Design Templates – starting points for building your own hybrid sounds

 

Additional Notes

Each category contains dozens of snapshots, so you’ll see sub-groupings like “Dark Drones,” “Organic Risers,” “Bright Pads,” etc.

Straylight is built to let you morph between categories with its X-Y control pad, so many presets sit between two worlds — e.g., an Atmospheric Texture that doubles as a Cinematic Transition.

Native Instruments also provides NKS integration (for Komplete Kontrol / Maschine), so you can browse by tags like Character (Dark, Bright, Dirty, Shimmering), Source (Vocal, String, Percussion), or Mood (Tension, Calm, Futuristic).

 

So the “instrument list” for Straylight is really this preset ecosystem, divided into Atmospheres, Textures, Transitions, Cinematic, Playable, and Experimental categories, each with many subtypes.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Band & Jazz

Session Horns / Session Horns Pro (also used in pop/jazz)

Scarbee Funk Guitarist

Scarbee Rickenbacker Bass

Scarbee Pre-Bass

Scarbee Jay-Bass

Scarbee MM-Bass

 

 

Session Horns / Session Horns Pro (also used in pop/jazz)

 

Session Horns / Session Horns Pro

I use Session Horns and Session Horns Pro when I want to add brass instruments to my music. These are virtual instruments made by Native Instruments. They are designed for use in pop, funk, soul, and jazz styles, but I also find them useful in other genres. They give me the sound of a live brass section without the need to hire real players. This is very helpful when I am writing or arranging music on my computer.

Session Horns is the simpler version. It gives me a small but effective brass section. I can play trumpet, trombone, and saxophone sounds. The library is easy to use, and the interface is simple. I can quickly choose articulations like sustain, staccato, and falls. I can also use “Smart Voice Split.” This means that when I play chords, the program automatically spreads the notes between the instruments. It feels natural, and it sounds like a real brass section playing together. This feature makes my workflow faster, because I do not have to write separate parts for each horn.

Session Horns Pro is the larger and more advanced version. It has more instruments, more articulations, and more ways to customize the sound. With Pro, I can create big brass ensembles or smaller groups. I can control each instrument separately and decide who plays what. I also have more articulations, like shakes, crescendos, and doits. This lets me make the brass parts sound more alive and realistic. Session Horns Pro also has “Animator” phrases. These are pre-recorded riffs and lines that I can trigger with a key. They help me when I need inspiration or want a quick, authentic phrase.

I like using these libraries in pop music because brass adds power and energy. A brass stab can make a chorus feel strong. A saxophone line can add warmth and groove. In jazz, these sounds help me create authentic sections that blend well with rhythm instruments. In funk or soul, I can use punchy riffs to support the beat. The libraries also work well in film or commercial music when I want to add excitement or intensity.

Another good thing is that both Session Horns and Session Horns Pro are easy to integrate into my setup. They run in Kontakt or the free Kontakt Player. The sounds are high quality, and the performance is smooth. I do not need a lot of technical knowledge to use them, but I can go deep if I want to customize. For example, I can change the balance between instruments, adjust the dynamics, or add effects.

In conclusion, Session Horns is great when I want quick and simple brass parts, and Session Horns Pro is better when I need more detail, control, and realism. Both help me create professional brass sounds that fit well in pop, jazz, funk, and soul. They give me the freedom to write, arrange, and perform with the energy of a real horn section, all inside my computer.

 

Here’s the full list of instruments available in Session Horns / Session Horns Pro (Native Instruments, often used in pop/jazz, funk, and soul productions):

Horn Section Instruments

Trumpets (solo + ensemble)

Tenor Saxophone (solo + ensemble)

Alto Saxophone (solo + ensemble)

Baritone Saxophone (in Pro version)

Trombones (solo + ensemble)

Features & Variants

Single instruments (each horn playable on its own)

Section presets (various combinations: 3-piece, 4-piece, full section, etc.)

Custom voicing (realistic voicing engine with fall-offs, rips, crescendos)

Performance articulations (sustain, staccato, marcato, sforzando, crescendos, swells, doits, falls)

Smart voice split (automatically assigns correct instrument voicing when playing chords)

Differences between Session Horns and Pro

Session Horns: smaller, more basic 4-piece horn section (trumpet, tenor sax, trombone, alto sax) with simplified articulations.

Session Horns Pro: full library (over 30 articulations, more instruments, more section presets, deeper control over arrangements).

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Scarbee Funk Guitarist

 

Scarbee Funk Guitarist

I use Scarbee Funk Guitarist when I want to add funky guitar rhythms to my music. It is a virtual instrument made by Native Instruments. It is designed to capture the style of funk guitar, with tight grooves and rhythmic strumming. I like it because it lets me have a professional guitar sound without needing to play guitar myself. It feels like I am working with a real guitarist in my studio.

The library is based on a collection of recorded guitar phrases. These phrases were played by a skilled funk guitarist, so they sound natural and authentic. I can trigger these phrases with my MIDI keyboard. When I press a key, the guitar plays a strum, chord, or rhythm pattern. This makes it easy to create complex grooves with just a few notes. The timing is tight, and the feel is very realistic. I do not have to worry about the small details of strumming because they are already built in.

One feature I like is the chord engine. I can play a simple chord shape on my keyboard, and the program automatically translates it into guitar voicings. This means the chords sound like they were really played on a guitar. I do not need to know guitar fingerings. I just focus on the harmony, and the software handles the translation. This keeps my workflow fast and musical.

The library also includes many rhythm patterns. There are hundreds of grooves that fit different styles of funk, soul, and pop. I can choose a pattern and combine it with my chords. I can also mix patterns together to build variety in my arrangement. Some patterns are smooth and laid-back, while others are sharp and energetic. This gives me a lot of freedom to match the mood I want. If I want something simple, I can stick with a single groove. If I want more energy, I can change patterns within the song.

Scarbee Funk Guitarist also has controls for dynamics and feel. I can adjust how hard the guitarist strums, how tight the rhythm is, or how much swing is added. This helps me shape the performance to match the rest of my track. Sometimes I want the guitar to be soft and in the background. Other times I want it to be bright and upfront. The software gives me both options.

I also appreciate that the sound quality is very high. The guitar tones are clear and crisp. The recording captures the details of each strum, including small noises that make it sound alive. I can use the built-in effects like wah, compression, and EQ to polish the sound further. This helps the guitar fit perfectly in my mix.

In conclusion, Scarbee Funk Guitarist is a powerful tool for adding real funk guitar to my music. It saves me time, gives me authentic rhythms, and keeps my workflow creative. I can use it in funk, soul, pop, and even film scoring. It always brings groove, energy, and life to my projects.

 

 

 

 

 

 

 

 

The Scarbee Funk Guitarist library is a bit different from others because it isn’t a collection of multiple separate sampled instruments — instead, it is one deeply programmed funk rhythm guitar instrument designed to emulate the feel of a live funk guitarist inside Kontakt.

Here’s what it contains:

Core Instrument

Funk Rhythm Guitar (single virtual instrument)

Based on a high-quality sampled electric guitar, captured with extensive funk-style articulations.

Playing Features

Chords Library – thousands of pre-sampled chord shapes (major, minor, 7ths, 9ths, sus, dim, aug, etc.).

Rhythmic Phrases/Patterns – over 7,000 authentic funk guitar riffs and strums, mapped for real-time triggering.

Articulations & Playing Styles – muted strums, open strums, single-note funk licks, upstrokes, downstrokes, ghost notes.

Performance Controls – timing, swing, pickup selector, amp simulation, fret position, and humanization options.

Design Goal

Instead of giving you separate “instruments,” Scarbee Funk Guitarist is one powerful virtual guitar player that lets you:

Trigger full funk rhythm parts with keyswitches.

Arrange chord progressions quickly.

Layer funk guitar with horns, bass, and drums for classic funk/disco grooves.

So, the library essentially contains one main instrument: a sampled funk electric guitar, but it’s powered by thousands of patterns, chords, and articulations that turn it into a complete rhythm section tool.

 

The Scarbee Funk Guitarist library (Native Instruments / Scarbee) is built around a single virtual funk rhythm guitar, but it is powered by an enormous set of chords and rhythmic patterns. Here’s the detailed “instrument map” of what it can actually play:

 

Chord Types

Scarbee Funk Guitarist includes 2,600+ chord types, sampled in multiple fretboard positions. These cover the full vocabulary of funk and pop guitar:

Major chords (root position, inversions)

Minor chords (root position, inversions)

Seventh chords (maj7, min7, dominant 7, 7b9, 7#9, etc.)

Ninth chords (maj9, min9, dom9, 13sus9, etc.)

Eleventh chords (maj11, min11, dom11)

Thirteenth chords (maj13, min13, dom13, 13#11, etc.)

Suspended chords (sus2, sus4, 7sus4)

Diminished chords (dim7, half-dim)

Augmented chords

Power chords (5ths)

Each chord type is available in multiple voicings and fretboard positions so the engine can “play like a real guitarist.”

 

Rhythmic Patterns

The heart of Scarbee Funk Guitarist is its 7,000+ rhythm phrases. These patterns are real funk strumming styles sampled note by note. They include:

16th-note funk strums (tight, syncopated “chicka” grooves)

8th-note strums (open, disco-style)

Upstroke / Downstroke variations

Ghost note rhythms (muted strums that add percussive feel)

Single-note funk licks (fills, pickup notes, transitions)

Syncopated riffs (classic James Brown, Parliament-style comping)

Straight vs Swing feel (you can dial in groove and swing timing)

Each phrase can be triggered by MIDI keyswitches, letting you mix and match riffs in real time to create your own funk guitar performance.

 

Performance Features

Pickup selector (bridge, middle, neck positions)

Amp simulation & tone shaping

Humanization (subtle variations in timing and velocity for realism)

Chord recognition (you play a chord on your MIDI keyboard, and it chooses the right guitar voicing)

Auto-voicing engine (ensures authentic fretboard transitions and realistic fingerings)

 

So to summarize:
The “instrument” is one funk guitar, but its chord library (2,600+ chord shapes) and 7,000+ rhythmic strumming patterns essentially make it behave like a full virtual funk guitarist — always tight, funky, and authentic.

 

 

 

 

 

 

 

 

 

 

 

Scarbee Rickenbacker Bass

 

Scarbee Rickenbacker Bass

I use Scarbee Rickenbacker Bass when I want the classic sound of a Rickenbacker electric bass in my music. This virtual instrument is made by Native Instruments in partnership with Scarbee. It is the first officially approved Rickenbacker bass library, and it captures the tone of the famous 4003 model. I like it because the sound is powerful, clear, and flexible. It gives me the feeling of playing a real Rickenbacker, even though I am working inside my computer.

The Rickenbacker bass has a very distinct sound. It is punchy, bright, and full of character. Many rock and pop bands have used it because it cuts through the mix. When I use this library, I can hear that unique tone. It works well in rock, pop, funk, and even film scoring. I can make it sound smooth and supportive, or I can make it aggressive and sharp. This flexibility is one of the main reasons I enjoy using it.

The library was sampled in great detail. Every note and articulation was recorded carefully. I can play sustained notes, staccato, hammer-ons, pull-offs, and slides. These small details make the instrument sound alive. I do not feel like I am triggering static samples. Instead, it feels like a real bassist is playing along with me. I can also use palm mutes and harmonics for even more expression.

One feature I like is the picked articulation. The Rickenbacker is famous for its picked tone, and this library captures it very well. When I play with more force, the sound gets edgy and powerful. When I play softer, the tone is rounder and more supportive. The velocity response is very natural, so I can control the dynamics with my keyboard.

The library also has built-in effects. I can add compression, EQ, overdrive, and amp simulation. This helps me shape the sound quickly without needing extra plugins. If I want a clean tone for pop, I can use compression and EQ. If I want a dirty rock sound, I can add distortion and amp simulation. The flexibility makes it easy for me to fit the bass into different styles of music.

Another useful feature is the performance engine. It helps me make bass lines sound realistic by automatically handling legato and note transitions. This means my playing feels smooth and natural, even if I am not a real bassist. I can play simple MIDI notes, and the software turns them into lifelike performances.

I also like that the interface is clear and easy to use. The controls are laid out simply, so I do not waste time searching for settings. I can focus on making music. The sound quality is excellent right from the start, which makes my workflow fast and enjoyable.

In conclusion, Scarbee Rickenbacker Bass gives me the legendary tone of the Rickenbacker 4003 in a virtual instrument. It is expressive, flexible, and very realistic. I can use it in many styles of music, from rock to funk to pop. It always brings energy, clarity, and groove to my tracks.

 

 

 

 

 

The Scarbee Rickenbacker Bass (Native Instruments / Scarbee) is focused on a single, iconic bass instrument, but like the other Scarbee libraries, it includes a wide set of articulations and playing techniques that make it versatile across rock, pop, funk, and metal.

Here’s the full breakdown of the “instruments” inside the library:

 

Core Instrument

Rickenbacker 4003 Electric Bass

Officially approved by Rickenbacker.

Sampled in stereo with both pickup signals (bridge + neck) for tone shaping.

Captures the distinctive growl, punch, and clarity of the Rick bass.

 

Playing Styles & Articulations

The single bass instrument contains multiple ways to play:

Sustain (fingered) – natural plucked notes.

Muted notes – classic palm-muted Rickenbacker thump.

Hammer-ons / Pull-offs – realistic legato transitions.

Slides – short, long, and expressive slides between notes.

Grace notes – quick transitions into target notes.

Release noises – authentic string and fret sounds when lifting off.

Trills – rapid alternation between notes.

Glissando – smooth slides across the fretboard.

Pickup variations – blend neck/bridge pickups for tonal variety.

 

Performance Features

Advanced scripting – auto-selects articulations depending on how you play.

Chord recognition – for realistic voicing when triggering multiple notes.

Automatic string/fret selection – ensures natural positioning.

Amp simulation & effects – integrates with Kontakt effects for amp/cab modeling, compression, EQ, and drive.

 

In summary:
The Scarbee Rickenbacker Bass library has one main instrument – the Rickenbacker 4003 electric bass – but it includes a full range of articulations (sustain, mute, slides, hammer-ons, trills, etc.) and pickup tone options, making it behave like several bass-playing styles in one package.

 

 

 

 

 

 

 

 

 

Scarbee Pre-Bass

 

Scarbee Pre-Bass

I use Scarbee Pre-Bass when I want the warm and classic sound of a Fender Precision Bass in my music. This virtual instrument is made by Native Instruments in collaboration with Scarbee. It is sampled in great detail and gives me the tone of a real Fender Precision Bass played with fingers. I like it because the sound is full, deep, and very realistic. It works well in many genres like rock, pop, soul, jazz, and funk.

The Precision Bass is famous for its round and supportive tone. It has been used in countless recordings for decades. When I use Scarbee Pre-Bass, I can hear that same classic character. It sits perfectly in a mix. It gives weight to the low end, but it is never muddy. The sound is balanced and musical. This makes it one of my favorite bass libraries when I need a reliable and natural bass line.

The library includes many articulations. I can play sustained notes, staccato notes, hammer-ons, pull-offs, and slides. It also has open strings, mutes, and harmonics. These details make the instrument sound alive. I do not feel like I am just triggering samples. It feels like a real bassist is performing. The transitions between notes are smooth, and the timing is natural.

One feature I enjoy is the automatic string selection. When I play on my keyboard, the software chooses the right string based on real bass playing. This makes the voicing authentic. It also has realistic fret noise and release sounds. These small touches give the performance life.

Scarbee Pre-Bass is also very responsive to velocity. When I play softly, the sound is warm and gentle. When I play harder, the notes are brighter and more aggressive. This gives me a wide range of expression. I can shape the dynamics of the performance in a very natural way.

The library also includes built-in effects. I can use compression, EQ, chorus, and amp simulation. This makes it easy to find the right tone for each project. If I want a clean soul bass, I keep the tone smooth with a little compression. If I want a funk groove, I can add brightness and snap. If I want a rock track, I can use amp drive for grit. The options are flexible and simple to use.

I also like that the interface is clear and not overwhelming. The controls are easy to understand, so I can focus on making music. The sound quality is excellent right out of the box. I do not have to spend a lot of time adjusting settings.

In conclusion, Scarbee Pre-Bass gives me the legendary sound of the Fender Precision Bass in a virtual instrument. It is realistic, expressive, and very versatile. I use it when I want a solid and dependable bass foundation in my music. It works in many styles, and it always brings warmth, groove, and authenticity to my tracks.

 

 

 

 

 

 

The Scarbee Pre-Bass library (by Native Instruments) is focused on capturing the sound of the classic Fender® Precision Bass. It is not a multi-instrument collection; rather, it is a single, deeply sampled instrument with multiple playing styles and articulations.

Here’s what is included in the library:

Main Instrument:

Fender® Precision Bass (sampled in detail)

Articulations & Playing Styles:

Fingered notes (sustains and releases)

Hammer-ons and pull-offs

Slides (short and long)

Mutes (palm-muted notes)

Trills

Harmonics

Automatic alternation of up/down strokes for realism

Performance Features:

Real-time string selection

True amp and DI (direct input) tones

Velocity-sensitive dynamics

Automatic legato transitions (hammer-ons, pull-offs, slides)

So, the library contains one instrument (the Pre-Bass), but it provides a full set of expressive articulations to cover authentic bass playing styles.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Scarbee Jay-Bass

 

Scarbee Jay-Bass

I use Scarbee Jay-Bass when I want the smooth and versatile sound of a Fender Jazz Bass in my music. This virtual instrument was created by Native Instruments and Scarbee. It captures the unique tone of the Jazz Bass, which is famous for its clarity, flexibility, and punch. I like it because it can sound warm and supportive or bright and cutting, depending on how I play. This makes it useful in many styles such as jazz, funk, rock, pop, and fusion.

The Jazz Bass has a different character from the Precision Bass. While the Precision is round and solid, the Jazz Bass is more flexible and articulate. With Scarbee Jay-Bass, I can switch between soft, deep tones and sharp, funky tones. The sampled instrument includes all the small details that make it sound real. Every note was carefully recorded, so when I play it on my keyboard, it feels like a live bassist is performing.

The library includes many articulations. I can play sustained notes, staccato notes, hammer-ons, pull-offs, and slides. There are also mutes, harmonics, and fret noises. These extra details make the sound natural and alive. I can build bass lines that breathe and respond like a real instrument. I do not feel like I am just triggering static samples. Instead, it feels expressive and musical.

One of my favorite features is the string and fret logic. The software automatically chooses realistic fingerings and positions. This means the notes fall in a natural way, just like a bassist would play them. It makes my performance sound authentic without me needing to know every detail of bass technique. The transitions between notes are smooth, and legato playing feels natural.

Scarbee Jay-Bass is also very dynamic. When I play softly, the tone is mellow and supportive. When I press harder, the sound becomes sharper and more powerful. This velocity sensitivity gives me a wide range of expression. It allows me to control the emotion and energy of my bass line directly from my keyboard.

The instrument also comes with built-in effects and amp simulations. I can shape the tone with EQ, compression, chorus, and drive. If I want a clean jazz sound, I can keep it smooth. If I want a funky slap tone, I can make it bright and snappy. If I want a rock sound, I can add grit and distortion. These options make the library adaptable to many different projects.

I also like that the interface is simple and easy to use. Everything is laid out clearly, so I can work quickly. The default sound is already very good, so I can start making music right away. If I want to go deeper, I can fine-tune the details, but it is never overwhelming.

In conclusion, Scarbee Jay-Bass gives me the authentic sound of the Fender Jazz Bass in a virtual instrument. It is expressive, versatile, and realistic. I use it when I want bass lines that are flexible, groovy, and full of character. It always adds life and energy to my music.

 

 

 

 

 

The Scarbee Jay-Bass library (by Native Instruments) is also not a multi-instrument collection — it is one deeply sampled instrument, modeled after the classic Fender® Jazz Bass.

Here’s what is included in the library:

Main Instrument:

Fender® Jazz Bass (sampled in detail)

Articulations & Playing Styles:

Fingered notes (sustains and releases)

Hammer-ons and pull-offs

Slides (short and long)

Mutes (palm-muted notes)

Trills

Harmonics

Automatic up/down stroke alternation

Performance Features:

Real-time string selection and position detection

Multiple velocity layers for expressive dynamics

True amp and DI (direct input) signal options

Automatic legato transitions (hammer-ons, pull-offs, slides)

Authentic Jazz Bass tonal variations (bridge vs neck pickup balance)

So, just like the Scarbee Pre-Bass, the Jay-Bass library contains one instrument (the Jazz Bass) with a wide set of articulations and expressive performance features.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Scarbee MM-Bass

 

Scarbee MM-Bass

I use Scarbee MM-Bass when I want the strong and modern sound of a Music Man StingRay bass in my music. This virtual instrument was made by Native Instruments and Scarbee. It is sampled in detail and gives me the bright, punchy, and powerful tone that the StingRay is famous for. I like it because it works very well in funk, pop, rock, and disco styles. The sound is clear and cuts through the mix, but it also has depth and groove.

The Music Man StingRay bass has a special character. It has a built-in active pickup that gives the sound extra clarity and power. Many famous bass players have used this instrument because it is strong and flexible. With Scarbee MM-Bass, I can capture this sound inside my computer. It feels like I am working with a real StingRay bass player.

The library includes many articulations. I can play sustained notes, staccato notes, hammer-ons, pull-offs, and slides. I can also use mutes and harmonics. These details make the bass line sound alive and natural. When I play legato, the transitions are smooth. When I play short notes, they feel sharp and precise. This realism makes my music more expressive.

One of the things I enjoy most about Scarbee MM-Bass is the slap and pop articulations. The StingRay is famous for its slap tone, and this library captures it perfectly. When I trigger slap notes, the sound is bright, snappy, and full of energy. This is very useful when I want to make funky grooves or disco-inspired bass lines. The pop articulations give me sharp, high accents that make the rhythm even more exciting.

The instrument also reacts very well to dynamics. When I play softly, the tone is round and supportive. When I press harder, the sound becomes aggressive and powerful. This velocity response gives me a wide range of expression. It lets me shape my performance to fit the mood of the song.

Scarbee MM-Bass also includes built-in effects and amp simulations. I can use compression, EQ, chorus, and overdrive to shape the tone. If I want a clean pop bass, I keep the tone smooth and balanced. If I want a funk groove, I make the sound brighter and add slap accents. If I want a rock track, I can add drive and power. The library gives me flexibility without needing many extra plugins.

The interface is simple and clear. I can control everything easily and focus on making music. The default sound is already excellent, so I can start writing right away. If I want to go deeper, I can adjust the small details, but it is never confusing.

In conclusion, Scarbee MM-Bass gives me the authentic sound of the Music Man StingRay in a virtual instrument. It is punchy, expressive, and very realistic. I use it when I want bass lines that are energetic, funky, or powerful. It always adds groove, clarity, and excitement to my music.

 

 

 

 

 

The Scarbee MM-Bass library (by Native Instruments, based on the Music Man® StingRay® bass) includes the following instruments:

MM-Bass (main fingered instrument)

MM-Bass Amped (fingered, recorded through amps with multiple cabinet simulations)

MM-Bass Slap (slap style articulations)

MM-Bass Slap Amped (slap style through amps and cabinets)

 

 

Here’s a detailed breakdown of the Scarbee MM-Bass instruments and their articulations:

 

Fingered Variants

MM-Bass (Fingered DI)

Direct input (clean signal).

Articulations:

Sustain (normal plucked notes)

Mute (palm-muted notes)

Harmonics (natural harmonics)

Hammer-on & Pull-off

Slides (short and long)

Release samples (finger lift noise)

Trills

MM-Bass Amped (Fingered)

Same as above, but recorded through 4 different amp/cabinet setups.

Same articulation set.

 

Slap Variants

MM-Bass Slap (DI)

Direct input slap style.

Articulations:

Thumbed notes (slap)

Plucked notes (pops)

Mute (slap-mute, pop-mute)

Hammer-on & Pull-off

Slides

Harmonics

Release noises

MM-Bass Slap Amped

Same as above, but through amp/cab simulations.

Same articulation set.

 

Key Features Across All Variants

Automatic string selection (realistic choice of which string a note is played on).

Legato system (hammer-ons, pull-offs, slides).

Randomized round-robins (avoid “machine gun” repetition).

Velocity-sensitive articulations (light touch = softer tone, harder = snappier).

Playable techniques mapped to keyswitches (you can trigger articulations in real time).

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Pianos & Keys

Alicia’s Keys

Noire

The Grandeur

The Maverick

The Gentleman

Una Corda

George Duke Soul Treasures (soul/jazz phrases)

 

 

Alicia’s Keys

 

I use Alicia’s Keys when I want the sound of a warm, expressive piano. This instrument was created with the help of Alicia Keys, the famous singer and songwriter. The samples come from her own Yamaha C3 Neo grand piano. This makes the sound unique, personal, and full of character. When I play, I feel like I am touching the same keys that she used in her recordings.

The library was made for Native Instruments Kontakt. It gives me a very natural and detailed piano sound. I notice the subtle noises, like the sound of the keys and pedals. These details make the experience feel real. It is not just a clean piano; it is a living instrument. I can hear the breathing quality of the wood and strings. This makes my performance more emotional.

I enjoy how the instrument balances clarity and warmth. The high notes sparkle, but they are never harsh. The low notes are deep and rich. The middle range is smooth and lyrical. I can use it for many styles, but it feels most natural for pop, R&B, and soul. When I play chords, they blend in a warm way. When I play single notes, they sing clearly.

One of the things I like most is the dynamic range. If I play softly, the piano whispers. If I play with force, it grows powerful and bold. This makes it easy for me to express feelings. I do not feel limited by the samples. Instead, the instrument responds to my touch like a real grand piano. It inspires me to play longer.

The interface is also simple and friendly. I can adjust the tone, reverb, and microphone settings. I can choose between close and room mic positions. The close mics give me an intimate sound, like I am sitting right at the piano. The room mics give me a wider, concert-like feeling. I often combine them to get a balanced sound.

When I record, Alicia’s Keys sits well in the mix. It does not fight with vocals or other instruments. The sound has a natural presence that feels professional. I can use it for solo piano pieces or full arrangements. It always adds warmth and emotion.

I think Alicia’s Keys is special because it is not just a technical sample library. It carries the soul of an artist. Alicia Keys put her style and emotion into the project. When I play it, I feel connected to her music. This makes my playing more inspired.

In conclusion, Alicia’s Keys is one of my favorite virtual pianos. It is warm, expressive, and personal. It works well for many styles, but it shines in soulful and emotional music. The detail, dynamics, and character make it more than just a sample library. It feels like I am sitting at a real grand piano with history and personality. I always enjoy the moments when I open it and let the sound guide me.

 

Microphone Options

The library was recorded with high-end vintage microphones in Alicia Keys’ own studio to capture both intimacy and fullness.

Close Mics – capture the detailed, direct sound of the piano hammers and strings.

Room Mics – capture the natural ambiance of the studio space.

Mix (Blend Control) – lets you balance close and room signals for your preferred sound (intimate vs spacious).

 

Performance Controls

The interface provides several parameters to shape the realism and feel of the piano:

Velocity Curve – adjust how softly or aggressively the piano responds to your playing.

Tone Control – changes the overall brightness or warmth of the sound.

Dynamics – fine-tune the response between soft and loud notes.

Sympathetic Resonance – recreates the resonance of undamped strings when the sustain pedal is pressed.

Sustain Pedal Noise – includes the subtle sounds of the pedal being pressed/released.

Release Samples – natural ringing and dampening when you lift your fingers from the keys.

Key Noise – mechanical sounds of the piano keys themselves for added realism.

 

Expressive Features

Full velocity range sampled (from the softest pianissimo to the hardest fortissimo).

Round robin variations to prevent repetition artifacts.

Optimized for both live performance (smooth response) and studio production (detailed realism).

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Noire

 

When I play Noire, I feel like I am sitting in front of a very special grand piano. Noire is based on a Yamaha CFX grand piano that was sampled in detail. The piano belonged to the composer Nils Frahm. This makes the sound both personal and artistic. It is not just a piano library; it is an instrument with character and soul.

The first thing I notice is the depth of the sound. The low notes are powerful and rich, and the high notes are clear and bright. The middle range is smooth and lyrical. The piano has a wide dynamic range. When I play softly, the sound is delicate and gentle. When I play with force, the piano becomes bold and dramatic. This makes the instrument very expressive.

Noire gives me two main sound options: Pure and Felt. The Pure version has a clean grand piano sound. It feels natural and bright, like a concert performance. The Felt version has a softer, warmer sound. It was recorded with felt between the strings and hammers. This makes the sound intimate and dreamy. I use Pure when I want clarity and power. I use Felt when I want softness and emotion.

Another feature I enjoy is the Particle Engine. This adds extra textures to the piano sound. I can hear little swells, echoes, and rhythmic patterns. These sounds move around as I play. It makes the piano more atmospheric and creative. Sometimes the Particle Engine feels like another instrument playing with me. It inspires me to create cinematic and experimental music.

The interface is clear and easy to use. I can adjust the tone, reverb, resonance, and overtones. I can also control the mechanical noises, like pedal sounds and key releases. These details make the experience feel realistic. If I want a polished studio sound, I turn them down. If I want an organic sound, I turn them up.

Noire also has good microphone options. I can choose close mics for intimacy, room mics for space, or a mix of both. This gives me flexibility when recording. The sound sits well in different contexts, whether I am playing solo or with other instruments.

I feel that Noire is not just a tool but a source of inspiration. When I sit down and play, I lose track of time. The instrument makes me want to explore harmonies, melodies, and textures. The combination of Pure, Felt, and the Particle Engine gives me endless creative choices.

In conclusion, Noire is one of the most inspiring piano libraries I own. It is expressive, detailed, and versatile. The Pure sound gives me a classic grand piano tone. The Felt sound gives me intimacy and warmth. The Particle Engine adds creativity and atmosphere. Together, these features make Noire suitable for classical, pop, film scoring, and experimental music. When I play Noire, I feel connected to both tradition and innovation. It is more than a sampled piano; it is a living instrument that sparks my imagination every time I open it.

 

The Noire library is a single-instrument virtual piano created in collaboration with composer Nils Frahm. It does not contain multiple instruments, but rather one deeply sampled concert grand piano with two main variations:

Noire Pure – a clean, intimate concert grand piano sound.

Noire Felt – the same piano with a felt strip between the hammers and strings, producing a softer, warmer, and more muted tone.

Both variations include extensive sound-shaping options, such as particle engine textures, EQ, reverb, and mechanical noise controls, but the library itself is centered around this single grand piano in its two core forms.

 

 

Here’s a detailed breakdown of the articulations and sound-shaping features in Noire beyond the two main piano variants (Pure and Felt):

 

Core Piano Variations

Noire Pure

A clear, natural concert grand sound.

Captures the full resonance and character of Nils Frahm’s Yamaha CFX 9’ concert grand.

Best for classical, cinematic, and expressive solo piano work.

Noire Felt

Uses a strip of felt between the hammers and strings.

Produces a muted, intimate, and warm timbre.

Ideal for softer pieces, film scoring, and atmospheric textures.

 

Articulations & Sound Controls

Particle Engine

Generates evolving, textural soundscapes layered with the piano.

Can transform a simple piano phrase into a cinematic, ambient wash.

Includes controls for motion, density, rhythm, and tonal character.

Modes include Pulses, Swells, and Textures, letting you add rhythmic or evolving patterns.

Tonal Shaping

EQ: Sculpt frequencies for clarity, warmth, or brightness.

Tone control: Quickly shifts the piano’s brightness/darkness.

Dynamic Response: Adjusts velocity sensitivity to suit playing style.

Mechanical Noises

Hammer noise: Adds the felt hammer attack for realism.

Pedal noise: Captures the sound of pressing and releasing the sustain pedal.

Release samples: Controls how the piano “breathes” when notes are released.

These noises can be dialed up for authenticity or minimized for a cleaner sound.

Resonance & Reverb

Sympathetic resonance: Models string interactions for realism.

Overtones: Adds harmonic richness and color.

Reverb options: From realistic hall spaces to dreamy, atmospheric washes.

Custom convolution reverb: For deeply immersive soundscapes.

 

Playability & Performance Features

Una Corda simulation: Soft pedal effect that shifts the hammers slightly for a gentler timbre.

Custom tuning & temperament options: Allows experimental microtonal adjustments.

Creative presets: Dozens of ready-made snapshots (Cinematic, Ambient, Modern, Classical).

Advanced velocity curve editor: Tailors response to your keyboard.

 

In short: Noire isn’t just a sampled piano; it’s both a faithful concert grand and a cinematic sound design instrument, thanks to its felt preparation, particle engine, and deep shaping controls.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Grandeur

 

When I play The Grandeur, I feel like I am sitting at a bright and powerful concert grand piano. This virtual instrument was sampled from a high-quality grand piano and built for Native Instruments Kontakt. The sound is clean, detailed, and full of energy. It works well for both solo piano and ensemble music.

The first thing I notice is the brightness of the tone. The high notes sparkle and cut through clearly. The low notes are deep and strong, but they stay tight and focused. The middle range is balanced and lyrical. This makes the instrument very versatile. I can play classical pieces, pop songs, or film music, and it always feels natural.

The Grandeur has a wide dynamic range. When I play softly, the notes are gentle and delicate. When I play louder, the piano becomes bold and commanding. The transition between soft and loud is smooth, which makes the performance very expressive. I feel like the instrument responds closely to my touch, almost like a real grand piano in a concert hall.

The interface is easy to use. I can adjust tone, resonance, and reverb. I can also control small details, like pedal sounds, hammer noise, and key releases. These features make the instrument feel alive. If I want a clean studio sound, I can reduce the noises. If I want realism, I can keep them in.

I enjoy the microphone and sound-shaping options. The close mic position gives me clarity and focus. The room mic adds depth and space. By mixing them, I can create a sound that fits my project. For example, I use close mics for pop tracks and room mics for cinematic music. The flexibility makes The Grandeur useful in many situations.

Another strength of The Grandeur is how well it sits in a mix. The bright tone makes it easy to combine with vocals, strings, or other instruments. It does not get lost, and it does not overpower. It blends well but still keeps its presence. This is why I often choose it for modern production.

When I play The Grandeur solo, I feel like I am performing in a concert hall. The sound is polished and refined. It inspires me to practice and create new ideas. The clarity of the tone helps me hear every detail of my playing. This makes it a good instrument for both recording and learning.

In conclusion, The Grandeur is one of my favorite piano libraries when I want brightness, clarity, and power. It gives me a wide dynamic range, detailed expression, and flexible controls. The sound is professional and fits many musical styles. Compared to softer or warmer pianos, The Grandeur stands out for its brilliance and energy. When I open it, I know I can create music that feels strong, clear, and alive. It is a piano that inspires me every time I play.

 

 

The Grandeur is a single-instrument library. It is a deeply sampled modern concert grand piano (based on a high-end German Steinway Model D).

It does not include multiple instruments like some other collections — instead, it focuses on this one grand piano with different tonal variations and performance settings.

Variations inside The Grandeur

While the core instrument is a single piano, you can shape it into different “voices” using built-in controls:

Bright Concert Tone – clear, brilliant, suited for classical or pop.

Warm Intimate Tone – darker and softer, good for film or jazz.

Balanced Natural Tone – versatile for general use.

Customizable presets – you can adjust velocity curves, EQ, resonance, pedal noise, and reverb to create your own piano character.

So, in summary:

Instrument in library: 1 Modern Concert Grand Piano (Steinway D)

Main tonal variations (via presets): Bright, Warm, Balanced (plus user-customizable).

 

 

Here’s a detailed breakdown of the sound-shaping features and articulations in The Grandeur, beyond the single core instrument (the Steinway D concert grand):

 

Core Instrument

The Grandeur is a deeply sampled modern concert grand piano (Steinway Model D).

Designed to be versatile: equally at home in classical, jazz, film scoring, and pop/rock contexts.

 

Sound-Shaping Features

Tone & EQ Controls

Brightness slider: adjusts from a warm/dark timbre to a brilliant, cutting tone.

Dynamic range control: makes the instrument more sensitive (expressive) or more compressed (steady).

3-band EQ: for precise tonal sculpting (bass, mid, treble).

Resonance Modeling

Sympathetic resonance: simulates the effect of undamped strings vibrating in response to played notes.

Overtones: adds harmonic richness, especially in higher registers.

Sustain resonance: recreates the bloom of sound when the sustain pedal is engaged.

Mechanical Noises

Pedal noise: the physical sound of pressing/releasing the sustain pedal.

Key noise: subtle thump of keys being pressed and released.

Both can be adjusted or disabled, depending on whether you want hyper-realism or a clean studio sound.

Reverb & Space

Built-in convolution reverb with multiple spaces (concert halls, studios, rooms).

Adjustable reverb depth and size to place the piano in intimate or expansive spaces.

Can be combined with external reverbs for more cinematic layering.

 

Playability & Performance Features

Velocity curve editor: tailor responsiveness to your MIDI keyboard and playing style.

Una Corda simulation: mimics the soft pedal for a gentler, veiled sound.

Customizable presets: save your own tonal setups (e.g., "bright pop mix," "dark cinematic").

Dynamic sample layers: multiple velocity layers for smooth expression from pp to ff.

 

Preset Variations (Factory Snapshots)

While all come from the same piano, The Grandeur includes curated tonal snapshots:

Concert Grand (Bright) – sharp, clear, projects well for solo performance.

Intimate Warmth – darker, softer tone, good for emotional or film music.

Balanced Natural – versatile, sits well in mixes across genres.

Custom User Presets – you can design and save your own.

 

In short: The Grandeur may be one piano, but its detailed articulations, resonance modeling, and tonal flexibility make it feel like having multiple grands in one instrument.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Maverick

 

When I play The Maverick, I feel like I am connecting with a piece of piano history. This virtual instrument was sampled from a 1905 Bechstein grand piano. The piano is more than one hundred years old, and its sound has a special character. It feels different from modern concert grands. It has warmth, intimacy, and a slightly vintage color.

The first thing I notice is the richness of the tone. The low notes are deep and warm, almost like they carry a story inside them. The middle range is smooth and lyrical. The high notes are clear but never too bright. The whole piano feels balanced, yet it has a unique voice. It is not as sharp as some modern instruments. Instead, it has depth and warmth.

The Maverick has a wide dynamic range. When I play softly, the sound is tender and delicate. When I play harder, the piano responds with strength and resonance. This makes the instrument expressive and versatile. I can use it for classical music, jazz, singer-songwriter styles, or film scoring. No matter the style, it gives me a feeling of authenticity.

The interface is simple and clear. I can adjust reverb, resonance, and overtones. I can also control the mechanical noises like pedal sounds, key releases, and hammer noises. If I want a clean studio sound, I reduce them. If I want realism, I turn them up. These details make me feel closer to the instrument.

I also enjoy the microphone options. The close mics give me an intimate sound, like I am sitting right at the piano. The room mics add space and atmosphere. By mixing them, I can create the sound I need. For example, I use close mics for recording pop or jazz. I use room mics for film music or solo piano.

The Maverick has a special personality compared to other piano libraries. It is not as bright as The Grandeur, and it is not as modern as Noire. It has a warm, slightly dark tone that makes it unique. When I play it, I feel like I am using an instrument with history and soul. The sound is elegant, but also full of character.

I find that The Maverick works very well with vocals and acoustic instruments. It does not overpower them. Instead, it blends in a natural way. This makes it a good choice for songs and small ensembles. At the same time, it can stand alone as a solo instrument. Its tone is strong enough to carry an emotional performance on its own.

In conclusion, The Maverick is a piano library that brings history and warmth to my music. Its tone is rich, expressive, and slightly vintage. It inspires me when I want something different from a modern concert grand. The details, microphone options, and dynamic range make it versatile and realistic. When I sit down with The Maverick, I feel like I am playing a piano that has lived for more than a century. It is an instrument full of character, and it always sparks my creativity.

 

 

The Maverick is a single-instrument library. It features a deeply sampled vintage grand piano, specifically a 1905 concert grand built in Germany. This piano was chosen for its warm, characterful, and slightly imperfect sound — very different from the polished tone of The Grandeur.

 

Instrument in Library

One Vintage Concert Grand Piano (1905 German grand)

 

Tonal Variations (via controls & presets)

Although there’s just one instrument, The Maverick provides tonal flexibility through sound-shaping and curated snapshots:

Warm & Intimate – mellow, soft tones suited for singer-songwriter, ballads, or film music.

Bright & Expressive – more cutting and present, useful for jazz or solo performance.

Balanced Classic – sits well in a mix, versatile for many genres.

Customizable Presets – users can fine-tune EQ, resonance, velocity curves, and reverb to create their own piano voices.

 

In summary:

Instrument in library: 1 Vintage Grand Piano (1905 German concert grand)

Tonal variations: Warm, Bright, Balanced (plus full user customization).

 

 

Here’s a detailed breakdown of articulations and sound-shaping features in The Maverick, beyond the single 1905 vintage grand piano it provides:

 

Core Instrument

The Maverick is a 1905 German concert grand piano.

Its tone is warm, singing, and slightly characterful, reflecting the history and wood aging of an older instrument.

Designed to capture both intimate charm and expressive power.

 

Sound-Shaping Features

Tone & EQ Controls

Brightness slider: moves from mellow/dark to brighter, more present tones.

Dynamic range control: adjusts responsiveness from subtle to dramatic.

3-band EQ: bass, mid, and treble fine-tuning to shape the color.

Resonance & Overtones

Sympathetic resonance: adds natural vibration of undamped strings.

Pedal resonance: recreates the bloom and ringing when the sustain pedal is pressed.

Overtone simulation: enhances harmonic richness, emphasizing the vintage character.

Mechanical Noises

Pedal sounds: pressing/releasing the sustain pedal produces realistic thumps and clicks.

Key noises: subtle hammer/key release sounds, giving authenticity.

Adjustable to taste: you can emphasize realism or keep a clean studio sound.

Reverb & Space

Built-in convolution reverb with selectable spaces (concert hall, room, studio, etc.).

Adjustable depth and size for intimate close-mic’d recordings or wide cinematic ambience.

Can be combined with external reverbs for additional layering.

 

Playability & Performance Features

Velocity curve editor: adapts response to any MIDI keyboard or playing style.

Una Corda simulation: soft pedal effect for veiled, delicate tones.

Dynamic sample layers: captures smooth transitions across soft to loud playing.

Preset saving: store custom tonal setups for different styles.

 

Preset Variations (Factory Snapshots)

Though it’s one piano, The Maverick offers tonal presets that highlight its range:

Warm Intimate – soft, emotional, ideal for film or singer-songwriter work.

Bright Expressive – clear, resonant, good for jazz, pop, or cutting solo lines.

Balanced Classic – a versatile middle ground, suitable for ensemble or studio use.

Custom User Presets – completely personalized setups.

 

In short: The Maverick gives me access to a vintage piano sound that is soulful and warm, but with the flexibility to push it brighter or darker depending on the music. It feels less “perfect” than The Grandeur or Noire, which is exactly its charm.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

The Gentleman

 

When I play The Gentleman, I feel like I am stepping back in time. This virtual instrument was sampled from a vintage upright piano built in 1908. The age of the piano gives it a special sound. It feels warm, intimate, and full of character. Unlike a modern grand piano, it has a homely charm that makes me think of small rooms, cozy spaces, and personal performances.

The first thing I notice is the unique tone. The low notes are dark and woody, almost like they carry an old memory. The middle range is smooth and lyrical, and the high notes are bright but not too sharp. The whole piano has a slightly uneven, human quality that I find inspiring. It is not polished like a concert grand. Instead, it has personality and warmth.

The Gentleman responds well to dynamics. When I play softly, the sound is gentle and delicate. When I play harder, it becomes bold and colorful. This range gives me freedom to express emotion. I can use it for ballads, jazz, folk, or cinematic music. It adapts to different moods, but it always keeps its vintage soul.

The interface is simple and easy to use. I can control details like hammer noise, key release, and pedal sounds. These small noises make the piano feel alive. If I want a clean recording sound, I turn them down. If I want authenticity, I keep them strong. I can also adjust reverb, resonance, and brightness. This makes the instrument flexible, even though it is based on an old upright.

The microphone options give me more control. The close mic position makes the sound intimate, as if I am sitting right at the piano in a small room. The room mic adds space and atmosphere. When I mix them, I can create a sound that fits the style I want. This allows me to use The Gentleman both in solo settings and in bigger productions.

What I love most about The Gentleman is the character of the instrument. It does not sound like a perfect studio piano. It sounds like a real upright piano with history and soul. The slight imperfections make it special. They remind me of old recordings, live performances, and the kind of pianos that families used to gather around.

The Gentleman also works well in a mix. Its tone blends smoothly with vocals, strings, and acoustic instruments. It does not overpower them. Instead, it adds warmth and depth. For singer-songwriter music or intimate film scores, it feels like the perfect choice.

In conclusion, The Gentleman is one of my favorite piano libraries when I want vintage warmth and intimacy. It is not about perfection; it is about character and feeling. The tone is rich, emotional, and full of personality. The interface and microphone options give me flexibility, but the heart of the instrument is its unique, old-world sound. When I play The Gentleman, I feel connected to the past. It inspires me to create music that feels personal, authentic, and timeless.

 

Here’s a full breakdown of The Gentleman library, including its main instrument and all the sound-shaping options that make it flexible:

 

Main Instrument

The Gentleman Upright Piano
A lovingly sampled 1908 upright piano, chosen for its warm, vintage tone. This is the only instrument in the library, but it is presented with deep sampling, expressive dynamics, and extensive customization.

 

Sound-Shaping Features

1. Tone Controls

Lid Position – Adjusts from mellow/dark to bright/present.

Color Knob – Lets me shift the overall timbre toward softer warmth or sharper brightness.

2. Dynamic & Velocity Options

Multiple velocity layers for realistic expression.

Customizable velocity curve to match different playing styles and controllers.

3. Resonance & Pedal Behavior

String Resonance – Adds natural sympathetic vibrations when other notes are played.

Pedal Noise – Adjustable mechanical sound of the sustain pedal.

Release Samples – Controls how the strings sound when keys are released.

4. Noise & Character

Hammer Noise – Subtle “thunk” of felt hammers, adjustable for realism.

Damper Noise – The sound of dampers engaging and disengaging.

Overtones – Enriches the harmonic content for a fuller or more intimate sound.

5. Effects

Reverb – Multiple spaces, from intimate rooms to large halls.

EQ – Simple tone-shaping to cut/boost bass, mid, or treble.

Compressor – Controls dynamics for more punch or smoothness.

 

Performance Uses

Ideal for jazz, blues, folk, singer-songwriter, and vintage pop.

Has a more intimate, characterful sound than a grand piano, making it excellent for solo pieces or small ensemble textures.

Can be brightened for cutting through a mix or mellowed for atmospheric ballads.

 

So, the instrument list in The Gentleman is just the Upright Piano, but the library makes it extremely versatile with all these tone, resonance, noise, and effect controls.

 

 

 

 

 

 

 

 

 

 

 

Una Corda

 

When I play Una Corda, I feel like I am entering a very unique sound world. This virtual instrument is not a normal piano. It was created from a custom piano built by David Klavins. Instead of three strings for each note, this piano uses only one string per note. That is why it is called Una Corda, which means “one string” in Italian. The result is a very clear, pure, and special sound.

The first thing I notice is the delicacy of the tone. The low notes are soft and resonant, and the high notes are airy and bright. The sound is not heavy like a grand piano. Instead, it feels transparent and light. It reminds me of glass, water, or wind. This makes Una Corda perfect for gentle, emotional, or experimental music.

Una Corda offers me several sound variations. I can choose Pure, Felt, or Cotton. The Pure version has a clean and open tone. The Felt version is softer and warmer, with felt placed between the hammers and strings. The Cotton version is even more muted, giving a dreamy and distant feeling. These choices let me shape the mood of my performance.

Another feature I enjoy is the ability to add textures. The library allows me to add mechanical noises, overtones, and resonances. I can hear the sound of the pedals, the movement of the keys, and the subtle noises of the instrument’s body. These details make the experience more realistic. Sometimes I use them to create an intimate, organic sound, almost like I am recording in a quiet room.

The interface is clear and inspiring. I can easily adjust brightness, dynamics, and reverb. I can also use special sound design tools inside Una Corda. For example, I can add reverse effects, particles, or harmonics. These options turn the piano into something more than a piano. It becomes a creative instrument for sound design and modern composition.

When I record with Una Corda, the sound fits beautifully in atmospheric, cinematic, and ambient music. It does not take up too much space in the mix. Instead, it floats gently, leaving room for other instruments. At the same time, it can stand alone as a solo instrument and carry an entire piece with its delicate beauty.

What I love most about Una Corda is how it inspires me to play differently. I do not approach it like a regular piano. I play more slowly, with more space, and with more attention to color. It makes me listen deeply to every note. Each sound feels special, like a moment to be treasured.

In conclusion, Una Corda is one of the most unique virtual instruments I use. It is not a typical piano but a new voice full of purity and character. The Pure, Felt, and Cotton variations give me different moods. The sound design features expand its creative power. When I play Una Corda, I feel calm, inspired, and connected to something fresh and beautiful. It always invites me to slow down and discover new sounds.

 

The Una Corda library is built around a single, specially designed upright piano created in collaboration with composer Nils Frahm. Unlike other Native Instruments libraries, Una Corda doesn’t include multiple instruments—it focuses on different sound variations of this one-of-a-kind piano.

Here are the core instrument variations in the library:

Pure – a clean, resonant piano sound with clarity and warmth.

Felt – a softer, muted tone created with felt between hammers and strings, ideal for intimate, cinematic moods.

Cotton – a unique, delicate sound with an airy, textured character produced by placing cotton between hammers and strings.

Each variation includes multiple articulations, dynamics, and sound-shaping options (mechanical noises, pedal sounds, overtones, etc.), giving you wide expressive control.

In short: Una Corda has one instrument (a custom upright piano), but offers three core sound sets: Pure, Felt, and Cotton.

 

 

Here’s the full breakdown of articulations and effects inside Una Corda in addition to the three main sound variations (Pure, Felt, Cotton):

 

Core Sound Variations

Pure – Clean, resonant upright piano tone.

Felt – Soft and muted with felt between hammers and strings.

Cotton – Airy, textured sound created with cotton damping.

 

Articulations & Playing Noises

Pedal Noise – Adds the natural sound of pressing and releasing the sustain pedal.

Hammer Noise – Mechanical impact sound of hammers striking strings.

Key Noise – Subtle sound of keys being pressed and released.

Resonances – Sympathetic vibrations from other strings, enhancing realism.

Overtones – Adds rich harmonic layers for a more complex timbre.

 

Effects & Sound-Shaping Options

Dynamic Controls – Adjust response curves for expressive playing.

Tone Controls – Shape brightness, warmth, and body.

Reverb & Space – Choose from natural spaces and creative reverbs.

Compression – Smooths and enhances the sound.

EQ – Fine-tune frequencies for mixing or performance.

 

In short, Una Corda is not about having multiple separate instruments, but one very special piano with 3 sound worlds and deep layers of articulation and effects, letting you design everything from fragile cinematic textures to bright, resonant piano tones.

 

 

 

 

 

 

 

 

 

 

George Duke Soul Treasures (soul/jazz phrases)

 

When I play George Duke Soul Treasures, I feel like I am stepping into the heart of soul and jazz music. This library is not a typical instrument with single notes. Instead, it is a collection of phrases, riffs, and grooves recorded by the legendary keyboardist George Duke. Every phrase carries his style, his groove, and his emotion.

The first thing I notice is the warmth of the sound. George Duke’s playing has so much character. The phrases are full of life, with the touch of a real musician. I hear the rhythm, the swing, and the soul in every note. It feels like I am playing with him in a live session. The library captures the energy of real performance, not just isolated tones.

I enjoy the variety of phrases. The collection covers many tempos, keys, and moods. Some phrases are smooth and relaxed, while others are funky and energetic. Some are jazzy with complex chords, while others are simple and soulful. This variety gives me inspiration. No matter what project I am working on, I can find something that fits.

The interface is easy to use. I can search by key, tempo, or style. I can drag and drop phrases into my project, or I can slice them and rearrange them. This makes it flexible. I do not feel locked into using the phrases exactly as they are. Instead, I can edit them, loop them, or combine them in new ways.

What I love most is the authenticity. George Duke was a master musician, and his touch cannot be copied by samples alone. In this library, I feel his presence. The phrases carry his groove and his improvisational spirit. This gives my music a level of soul and realism that is hard to create on my own.

The sound quality is excellent. The recordings are clean but still warm and organic. They blend well with other instruments in a mix. I can use them in soul, jazz, R&B, hip hop, or even film scoring. The grooves always bring a sense of movement and emotion.

When I use Soul Treasures, I often get new ideas. A single phrase can spark an entire song. Sometimes I layer them with drums and bass to build a track. Other times I use them as accents or background textures. The library is not just about technical playing; it is about vibe and inspiration.

I also appreciate the flexibility of tempo. The phrases can stretch to match the speed of my project without losing their feel. This makes them practical and reliable.

In conclusion, George Duke Soul Treasures is more than a sample library. It is a window into the soul of a great artist. The phrases are full of groove, emotion, and authenticity. The interface makes them easy to use and edit. The sound works in many styles and settings. When I open this library, I feel like I have George Duke in the studio with me, sharing his music and inspiring my creativity. It is one of the most soulful and inspiring libraries I own.

 

 

The library George Duke Soul Treasures is a phrase-based instrument, so instead of offering multiple separate sampled instruments, it provides a collection of playable audio phrases and loops recorded by George Duke himself.

Here’s what the library includes:

Electric Piano Phrases
Soulful Rhodes and other electric piano grooves, in different keys and tempos.

Acoustic Piano Phrases
Warm jazz and R&B style piano riffs recorded on acoustic grand.

Clavinet Phrases
Funk-inspired clavinet grooves with percussive attack.

Synthesizer Phrases
Vintage analog synth textures and licks for soul, funk, and jazz-fusion feels.

Organ Phrases
Hammond-style organ riffs and soulful chordal backing.

Additional Soul/Jazz Elements
Various comping, chord stabs, fills, and improvisatory phrases characteristic of George Duke’s style.

Each phrase comes with multiple variations and is time-stretchable, harmonically adaptable, and playable inside Kontakt with slicing and mapping tools.

In short: George Duke Soul Treasures does not have “separate instruments” like piano, guitar, or drums—it is a curated library of piano/keyboard-based soul and jazz phrases across electric piano, acoustic piano, clavinet, organ, and synth.

 

Let me break down how George Duke Soul Treasures is organized inside Kontakt so you can see how the phrases are laid out and performed:

 

Instrument Structure in Kontakt

The library loads as one main instrument in Kontakt.

Within it, you access phrase banks rather than separate “instruments” like in a traditional sample library.

Each bank contains thematic sets of phrases (e.g., Rhodes grooves, clavinet funk riffs, organ comping).

 

Phrase Banks & Categories

Electric Piano Banks

Dozens of banks grouped by tempo and style (slow ballads, mid-tempo funk, upbeat grooves).

Each bank mapped across the keyboard: lower keys trigger full phrases, upper keys trigger slices/variations.

Acoustic Piano Banks

Grand piano riffs, usually more open and jazzy.

Include comping patterns, fills, and solo licks.

Clavinet Banks

Funk-heavy riffs, syncopated stabs.

Often work as rhythm-section layers.

Organ Banks

Hammond-style comping and soulful gospel runs.

Perfect for layering with rhythm phrases.

Synth Banks

Analog textures and riffs with classic George Duke fusion flavor.

 

Key Mapping

White Keys (main triggers): Play back entire phrases.

Black Keys (slices): Trigger parts of the phrase (fills, accents, single hits).

Low Range (C0–B1): Usually phrase selection / bank switching.

Middle Range (C2–C4): Full phrase playback.

High Range (C#4 and above): Phrase slices or isolated notes.

 

Performance Controls

Time Machine Pro / Stretching: Lets you sync phrases to project tempo.

Pitch Shift / Harmonic Adaptation: You can transpose riffs into your key without losing realism.

Looping & Trigger Modes: One-shot (play once) or loop (cycle continuously).

Slice Editing: Break a phrase into smaller segments, re-arrange, or trigger rhythmically.

Effects Rack: Built-in NI effects (EQ, compression, reverb, delay, filters) for shaping tone.

 

Workflow in Practice

Load a phrase bank (e.g., “Rhodes Funk 95bpm”).

Trigger phrases with your MIDI keyboard.

Use slice keys to improvise fills and endings.

Lock to host tempo, transpose to your key, and shape with effects.

 

So in short: instead of browsing individual instruments, you browse phrase banks that cover George Duke’s signature sounds — Rhodes, acoustic piano, clavinet, organ, and synth — and perform them using Kontakt’s key mapping and phrase-slicing tools.

 

 

 

 

 

 

 

 

 

 

 

 

 

Guitars & Basses

Electric Sunburst Deluxe

Electric Sunburst

Strummed Acoustic 1 & 2

Picked Acoustic

Picked Nylon

Scarbee Bass series (MM-Bass, Jay-Bass, Pre-Bass, Rickenbacker)

 

 

Electric Sunburst Deluxe

 

When I use Electric Sunburst Deluxe, I feel like I have a full professional guitarist with me. This instrument is a virtual guitar library created by Native Instruments. It is based on the sound of a beautiful electric guitar, a Gibson Les Paul Custom. I like it because the sound is rich, warm, and very realistic. Every time I load it, I hear the depth of a real performance.

I can play it in different ways. The library gives me both patterns and melodies. When I want rhythm guitar, I can use the large pattern collection. There are hundreds of strumming, picking, and riff options. These cover many styles, such as pop, rock, funk, soul, and even cinematic textures. The patterns are tight and flexible. They stay in time with my project, so I do not worry about rhythm problems.

When I want to write my own lines, I can switch to melody mode. This mode lets me play the guitar as if it were a real instrument. I can use single notes, chords, or even combine them. The sound feels expressive and natural. Hammer-ons, pull-offs, slides, and bends are all included. These details make the guitar come alive. It does not sound fake or flat.

I enjoy the tonal control. Electric Sunburst Deluxe includes many amp and cabinet simulations. I can choose clean tones, crunchy tones, or heavy distortion. The built-in effects are also useful. I can add chorus, delay, reverb, compression, and EQ. This means I do not need external plugins to get a polished sound. Everything I need is inside the instrument.

The interface is easy to use. I can drag and drop patterns, change chords, and adjust dynamics with a few clicks. I can also customize the voicing of chords to fit my song better. This helps me when I am arranging, because I can control the mood of the guitar part. If I want a soft background, I use gentle picking. If I want power, I choose strong strums.

Electric Sunburst Deluxe also lets me mix realism with creativity. I can humanize the performance so it feels more natural, not robotic. I can also change the swing, accent, and timing. This allows me to shape the performance in my own style. The instrument adapts to what I imagine in my head.

For songwriting, this library inspires me. When I hear a new riff or strum, I often get new musical ideas. It helps me overcome writer’s block. Sometimes I start with a guitar pattern and then build the whole song around it. Other times I add it at the end to make the track feel complete.

In my opinion, Electric Sunburst Deluxe is not only a tool but also a creative partner. It gives me professional guitar parts without needing to record a live guitarist. It saves time, but it also adds quality. I can use it for pop songs, cinematic scores, or even jazz-inspired pieces. It is flexible, powerful, and reliable. For me, it feels like having a real electric guitar in my studio at all times.

 

 

The Electric Sunburst Deluxe library is a single virtual instrument. It does not contain multiple separate instruments like a symphonic library would. Instead, it is a comprehensive playable guitar instrument built around sampled performances of an electric sunburst-style guitar.

Here’s what’s inside the library:

Core Instrument: Electric Sunburst Deluxe (deep-sampled electric guitar)

Playing Styles: Picking, strumming, riffs, and arpeggios

Patterns: Over 200 patterns (synchronized to tempo, with chord recognition)

Articulations: Single notes, open/palm-muted, sustains, slides, hammer-ons, pull-offs, harmonics

Sound Shaping: Built-in amp simulations, cabinet models, effects chain (EQ, reverb, delay, distortion, chorus, etc.)

Deluxe Additions: Extra patterns, more realistic articulations, and expanded effect options compared to the standard Electric Sunburst.

So in short: the “instrument list” is essentially one main instrument — the Electric Sunburst Deluxe guitar, with a large collection of built-in articulations, patterns, and effects for flexible performance and production use.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Electric Sunburst

 

When I use Electric Sunburst, I feel like I have a professional guitarist ready to play for me. This instrument is a virtual guitar library made by Native Instruments. It is based on the sound of a Gibson Les Paul Custom, a famous electric guitar. The tones are warm, rich, and very realistic. Every time I load it, I hear the energy of a live performance.

I can use Electric Sunburst in two main ways. The first way is pattern mode. In this mode, I choose from many rhythm guitar phrases. There are strumming patterns, picking patterns, and riffs. These patterns cover different styles, like rock, pop, funk, and soul. They are played tightly and always stay in time with my song. I just choose a chord, and the pattern follows it. This helps me create rhythm guitar tracks quickly.

The second way is melody mode. In this mode, I play the guitar like a real instrument. I can play single notes, short phrases, or combine them with chords. It feels expressive and natural. Hammer-ons, pull-offs, and slides are included. These little details make the performance sound real. I like how smooth and musical it feels.

The sound of Electric Sunburst is very flexible. It comes with a set of amp and cabinet simulations. I can choose a clean sound, a crunchy rock tone, or a heavier distortion. There are also basic effects, like delay, reverb, chorus, and compression. These tools let me shape the tone without using extra plugins. I can get a polished sound inside the instrument itself.

The interface is simple and clear. I can drag patterns into my sequencer, change chords, and control dynamics with just a few clicks. The chord voicing options help me adjust how the guitar fits into the arrangement. If I want a softer, lighter background, I use gentle picking patterns. If I want a strong, driving rhythm, I use bold strumming patterns. The controls give me freedom to shape the guitar’s role in the song.

Electric Sunburst also has performance controls. I can humanize the playing so it does not sound too mechanical. I can adjust swing, accents, and timing. These features help me make the guitar part match the mood of my project. It sounds like a real player with personality.

I often use Electric Sunburst for songwriting. It gives me new ideas when I need inspiration. Sometimes I start with a pattern, and it helps me build a whole track. Other times I use it to add energy and movement to a song I already wrote. It works well for pop, rock, funk, or even cinematic projects. It is flexible and easy to use.

For me, Electric Sunburst is a creative tool that saves time and gives quality. I do not need to record a live guitarist, but I still get a professional sound. It inspires me and fits into many different styles. It is reliable, realistic, and powerful. I feel like it is one of the most useful guitar instruments in my collection.

 

 

 

 

 

 

 

The Electric Sunburst library is a single instrument – a deeply sampled electric sunburst-style guitar designed for realistic performance inside Kontakt. It doesn’t have multiple sub-instruments like an orchestra library would, but it contains a wide set of articulations, playing styles, and sound-shaping options.

Here is the full breakdown of what’s inside:

Core Instrument

Electric Sunburst (virtual electric guitar instrument)

Playing Styles / Modes

Picking (single-note lines, riffs, arpeggios)

Strumming (rhythmic chords with automatic chord recognition)

Riffs and arpeggiator patterns (tempo-synced, with over 200 patterns)

Articulations

Sustains (open and muted)

Palm mutes

Hammer-ons and pull-offs

Slides

Harmonics

Performance Features

Pattern player with chord detection

Single-note mode for leads and melodies

Built-in phrase variations and endings

Sound Shaping Tools

Amp and cabinet simulations

Effects rack (EQ, delay, reverb, chorus, compression, overdrive, etc.)

Tone controls and pickup blends

So, the instrument list is just one instrument — Electric Sunburst (guitar) — but within it, you get multiple articulations, performance modes, and sound-shaping tools that make it a complete playable guitar solution.

 

 

 

 

 

 

 

 

 

 

 

 

 

Strummed Acoustic 1 & 2

 

When I use Strummed Acoustic 1 and Strummed Acoustic 2, I feel like I have a skilled acoustic guitarist playing for me. These two libraries are part of the Native Instruments guitar collection. They are based on carefully sampled steel-string acoustic guitars. The sound is natural, warm, and very realistic. I do not need to record a live guitarist because the libraries give me professional results inside my computer.

Strummed Acoustic 1 was the first version I tried. It focuses on core strumming patterns and simple chord voicings. It has a clean and direct sound. The strums are recorded with great detail, and I can hear the pick noise, resonance, and natural feel of the strings. It works very well for pop, folk, and light rock songs. When I want a straightforward acoustic background, Strummed Acoustic 1 gives me exactly what I need.

Strummed Acoustic 2 expands the idea. It gives me more patterns, more chord options, and more playing styles. I feel like it is a bigger, more flexible version of the first one. It includes not only strumming but also picking patterns and special techniques. The chord voicing engine is deeper, so I can create richer progressions. It also has more built-in effects like reverb, compression, and EQ. These help me shape the guitar sound quickly without using extra plugins.

Both libraries work in a similar way. I play simple MIDI chords, and the instrument turns them into realistic guitar performances. The strumming engine handles the rhythm and timing for me. I can switch between patterns, change dynamics, and even control accents. This makes the performance feel human and alive, not mechanical. The timing always follows the tempo of my project, so I do not have to adjust it by hand.

I like how easy the interfaces are. Each library has clear menus for choosing patterns, chords, and styles. I can drag patterns into my sequencer, and they become MIDI blocks. This lets me edit and arrange the guitar part with flexibility. I can also mix and match patterns from different categories, which gives me variety. It feels like I am directing a session guitarist who always plays in perfect time.

For Strummed Acoustic 1, I often use it when I want something simple and clean. It is perfect for pop ballads, singer-songwriter tracks, or soft acoustic intros. For Strummed Acoustic 2, I use it when I need more energy, variety, or advanced textures. It works well for modern productions, film scoring, or more layered arrangements. Together, the two libraries cover a wide range of acoustic guitar needs.

I find them inspiring for songwriting. Sometimes I start with a strum pattern, and it gives me ideas for a whole song. Other times I use them to add rhythm and warmth to a finished track. The sound always blends naturally with vocals, drums, and other instruments.

In my opinion, Strummed Acoustic 1 and 2 are not just tools but creative partners. They give me professional guitar tracks in minutes. They save me time, inspire me, and give me confidence that my music sounds real and expressive. For me, they are essential instruments in my studio.

 

 

The Strummed Acoustic series are phrase-based acoustic guitar libraries. Each one is a single playable guitar instrument with built-in articulations, patterns, and sound-shaping options. They don’t split into multiple instruments, but here’s the complete breakdown:

 

Strummed Acoustic 1

Core Instrument: Strummed Acoustic 1 (steel-string acoustic guitar)

Playing Styles:

Strumming (upstrokes, downstrokes, dynamic accents)

Picking and arpeggio patterns

Chord detection for natural voicing

Patterns: 100+ tempo-synced strumming/picking patterns

Articulations:

Open sustain

Muted strum

Fret noise and release sounds for realism

Sound Shaping:

Microphone/DI blend

EQ, compression, reverb, delay

 

Strummed Acoustic 2

Core Instrument: Strummed Acoustic 2 (different steel-string acoustic guitar, with a brighter character than SA1)

Playing Styles:

Strumming with expanded voicing options

Picking/arpeggiation with variations

Patterns: Over 160 new patterns (different grooves and time signatures)

Articulations:

Open sustain

Muted strum

Hammer-ons, pull-offs (integrated into phrases)

Sound Shaping:

Enhanced effects rack (EQ, delay, reverb, chorus, compression)

More tonal presets than Strummed Acoustic 1

 

So, the instrument list is just two core instruments:

Strummed Acoustic 1

Strummed Acoustic 2

…but each one includes a large set of patterns, articulations, and sound-shaping tools inside the single instrument interface.

Would you like me to also make a side-by-side feature comparison of Strummed Acoustic 1 vs Strummed Acoustic 2 so you can quickly see what’s different?

 

 

 

 

 

Picked Acoustic

 

When I use Picked Acoustic, I feel like I have a skilled guitarist sitting in my studio. This virtual instrument is part of the Native Instruments guitar series. It is based on a beautifully sampled acoustic guitar, played with fingers instead of a pick. The sound is warm, intimate, and very detailed. I hear the subtle noises, the resonance of the body, and the natural dynamics. It feels alive, not mechanical.

Picked Acoustic is different from strummed guitar libraries. Instead of big chord strums, it focuses on fingerpicking patterns and melodies. When I play it, I get delicate and expressive performances. The instrument includes many patterns, from simple arpeggios to complex rhythmic picking. I can also switch to melody mode and play my own lines note by note. This gives me freedom to create unique parts while still sounding realistic.

The sound quality is excellent. Every note is sampled with care, so I can hear the full character of the guitar. The tone is clear and smooth, with enough brightness to cut through a mix but also enough warmth to feel natural. I can control dynamics easily. If I press the keys softly, I get a gentle touch. If I play harder, I hear stronger accents. This makes the performance expressive and human.

I like the built-in tools. Picked Acoustic includes different microphones and mic positions. I can choose a close, detailed sound or a more open, room sound. I can also mix the mics to get the balance I want. The library also has useful effects like delay, reverb, EQ, and compression. With these, I can shape the sound for any style, from folk to pop to film scoring.

The interface is simple and inspiring. I can browse patterns by style, tempo, or feel. I can drag and drop them into my sequencer as MIDI blocks, which makes arranging easy. I can also adjust swing, accents, and timing to match my project. When I want more control, I switch to melody mode and play custom phrases. This lets me combine realism with creativity.

For me, Picked Acoustic is very useful in songwriting. Sometimes I start with a fingerpicking pattern, and it inspires a whole song. Other times I use it to add texture to a track I already made. It blends beautifully with vocals, strings, and soft percussion. It can carry a song on its own, or it can support other instruments.

I often use Picked Acoustic in quiet, emotional pieces. Its tone is intimate, like someone playing just for me. It works well for ballads, folk songs, and cinematic cues. But it can also be bright and rhythmic, giving energy to pop or indie tracks. The variety of patterns and the realism of the sound make it flexible.

In my opinion, Picked Acoustic is more than a tool. It is a creative partner that helps me express emotions. It saves me time, but it also gives me inspiration. It feels like a real guitarist who never makes mistakes, always plays in time, and always delivers beautiful sound. For me, it is one of the most essential acoustic instruments in my collection.

 

 

The Picked Acoustic library is a Native Instruments guitar instrument focused on finger-picked acoustic sounds. It includes one main playable instrument:

Picked Acoustic (steel-string guitar, sampled and scripted with multiple patterns and articulations)

This single guitar library comes with:

Performance engine (strummed and picked patterns, customizable chord voicings)

Melody mode (play single-note lines with natural sampled articulations)

Built-in effects (EQ, compression, reverb, delay, tape, and amp simulation)

Song presets and style patterns (various genres like folk, pop, rock, and indie)

 

 

Here’s the breakdown of Picked Acoustic not just at the instrument level, but also the style patterns and song presets that ship with it.

 

Main Instrument

Picked Acoustic (steel-string acoustic guitar, deeply sampled with multiple articulations, chord voicings, and phrase engines)

 

Performance Modes

Pattern Mode

Pre-recorded picking patterns across styles (folk, pop, rock, ballad, indie, etc.)

Automatically adapts to chords you play on the keyboard.

Melody Mode

Play single notes with natural articulations (hammer-ons, pull-offs, slides, etc.)

Works well layered with patterns.

Hybrid Mode

Combine live-played melody with automatic pattern accompaniment.

 

Style Patterns & Song Presets

Each preset bundles a collection of patterns (intros, verses, choruses, bridges, endings). Some of the included preset themes:

Ballad Arpeggios – slow, flowing fingerpicking for soft acoustic ballads.

Indie Folk Picking – bright, syncopated figures, great for modern folk/pop.

Pop Rhythms – steady eighth-note and sixteenth-note patterns for pop songwriting.

Singer-Songwriter Grooves – warm and natural fingerpicking styles.

Rock Picking – more percussive and driving rhythmic picking.

Country/Folk Roll – alternating-bass and rolling thumb patterns.

Latin/Pop Fusion – lighter, syncopated grooves with a dance feel.

Cinematic/Atmospheric – sparse arpeggios with space for layering.

 

Effects & Sound Design Tools

Studio FX chain: EQ, compressor, limiter

Amp & Cabinet simulation: vintage & modern options

Modulation & Space: chorus, flanger, delay, convolution reverb

Tone shaping: mic position, stereo width, doubling

 

So in short, Picked Acoustic = one main instrument, but inside it you get hundreds of playable picking patterns, categorized into song presets for different genres.

 

 

 

 

Each NI Picked Acoustic preset contains several pattern groups (intro, verse, chorus, bridge, ending, fills). The full library includes over 200 patterns, organized into song presets. Here’s how they are structured:

 

Song Presets & Pattern Families

Each preset has multiple variations (Intro, Verse, Chorus, Bridge, Ending). I’ll list them grouped by style family:

1. Ballad & Singer-Songwriter

Ballad Arpeggio 1–4 (slow broken chords)

Gentle Verse Picking

Flowing Chorus Pattern

Bridge Variation (Ballad)

Soft Ending Arpeggio

2. Indie Folk

Indie Folk Verse 1–3 (syncopated 8th-note fingerpicking)

Indie Folk Chorus

Indie Folk Bridge

Outro Arpeggio (Indie)

3. Pop & Rock

Pop Picking Pattern 1–4

Driving Pop Rhythm (16ths)

Rock Picking Verse

Rock Picking Chorus

Bridge Variation (Rock/Pop)

Finale Pop Ending

4. Country & Americana

Country Roll 1–3 (alternating bass patterns)

Country Verse Picking

Country Bridge Variation

Country Ending Tag

5. Latin & Fusion

Latin Syncopated Arpeggio

Bossa/Pop Fusion Pattern

Latin Bridge Groove

Outro Roll (Latin)

6. Cinematic / Ambient

Sparse Arpeggio 1–3

Atmospheric Verse Picking

Wide Chorus Pattern

Minimal Bridge Variation

Cinematic Ending (long sustain)

 

Variations

Each of the above comes in multiple rhythmic feels:

4/4 straight

6/8 triplet feel

Swinged 8ths

And within each style you also get:

Low register versions (thumb-led bass picking)

High register versions (lighter treble emphasis)

Doubling / syncopated variants

 

In total, Picked Acoustic ships with:

200+ patterns (across ~40 full song presets)

3 performance feels (straight, swing, triplet)

5–6 sections per preset (Intro, Verse, Chorus, Bridge, Ending, Fill)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Picked Nylon

 

When I use Picked Nylon, I feel like I am playing a beautiful nylon-string classical guitar. This virtual instrument is part of the Native Instruments guitar family. It is based on a carefully sampled high-quality concert guitar. The sound is soft, warm, and very expressive. Every note has detail, from the gentle finger noise to the natural resonance of the body. It feels alive and real, not mechanical.

Picked Nylon is different from steel-string guitars. The nylon strings give it a smooth and mellow tone. When I play softly, the notes sound delicate and intimate. When I play harder, the sound becomes bright and strong but never harsh. This makes it perfect for many styles, such as classical, Latin, pop, and film music. I like how versatile it feels.

The library has two main ways to play. In pattern mode, I can use many pre-recorded fingerpicking patterns. These patterns cover arpeggios, rhythmic picking, and flowing broken chords. They stay perfectly in time with my project, so I do not have to adjust them. In melody mode, I can play the guitar freely note by note. This lets me write my own parts with full control. Hammer-ons, pull-offs, and slides are included, which makes the performance sound natural.

The sound design is excellent. Picked Nylon gives me several microphone options. I can choose a close and detailed sound, or I can use room mics for a more open, spacious tone. I can also mix them together. The built-in effects are very helpful. I can add reverb, delay, EQ, and compression directly inside the instrument. These tools let me shape the sound quickly without needing other plugins.

The interface is simple and clear. I can browse patterns by style, tempo, or feel. I can drag and drop them into my sequencer as MIDI parts, which makes arranging fast and easy. I can also adjust swing, accents, and timing to match the groove of my song. When I want something unique, I just switch to melody mode and create custom lines. This combination of patterns and freedom makes the instrument very flexible.

I often use Picked Nylon when I want to add emotion to a track. Its gentle tone blends beautifully with vocals, strings, and soft percussion. It is perfect for ballads, cinematic scores, and acoustic pop. At the same time, it can also carry a whole piece on its own. A single fingerpicking pattern can create a complete and moving atmosphere.

For me, Picked Nylon is not just a tool but an inspiration. Sometimes I start with one of its patterns, and it gives me an idea for a new song. Other times I use it to add warmth and intimacy to a project. It always fits naturally, and it always sounds like a real guitarist is performing.

In my opinion, Picked Nylon is one of the most expressive instruments in my collection. It captures the heart of a nylon-string guitar and makes it easy to use in any style. It saves me time, but it also sparks creativity. For me, it feels like a trusted partner in my music.

 

The Picked Nylon library is a single core instrument – a deeply sampled nylon-string classical guitar designed for fingerstyle, melody, and chord work. It doesn’t branch into multiple sub-instruments, but inside you get a full range of articulations, performance modes, and sound-shaping options.

Here’s the full breakdown:

 

Picked Nylon (Core Instrument)

Instrument: Classical nylon-string acoustic guitar

Playing Styles / Modes

Fingerpicking (patterns and arpeggios)

Melody playing (single-note lines)

Chord detection with realistic voicing

Patterns synced to tempo, with accents and variations

Articulations

Sustains (natural tone)

Hammer-ons and pull-offs

Slides

Harmonics

Fret noises, release samples, and body sounds for realism

Performance Features

Over 200 picking and arpeggio patterns

Custom chord recognition engine

Adjustable humanization (timing, velocity)

Realistic transitions between notes

Sound Shaping Tools

Microphone positions and DI blend

Built-in effects (EQ, compressor, delay, reverb, chorus, tape saturation, etc.)

Tone presets for classical, modern, and ambient playing

 

So the instrument list is just one:

Picked Nylon (nylon-string guitar)

…but it comes with a rich set of articulations, patterns, and sound design options inside the single playable instrument.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Scarbee Bass series (MM-Bass, Jay-Bass, Pre-Bass, Rickenbacker)

 

When I use the Scarbee Bass series, I feel like I have a whole collection of professional bass guitars ready for me. Each library is sampled with care, and each one has its own character. Together, they give me many different tones and styles. I can move from funk to rock to soul with ease. The series includes MM-Bass, Jay-Bass, Pre-Bass, and the Rickenbacker Bass.

The MM-Bass is based on a Music Man StingRay bass. Its tone is bright, punchy, and strong. When I use it, I feel the power of funk and disco. The low notes hit hard, and the slap style sounds amazing. It is perfect for grooves that need energy and sharp attack. I often use it when I want my bass to cut through the mix and stand out.

The Jay-Bass is modeled after a Fender Jazz Bass. Its sound is versatile and smooth. It can be round and warm, but also clear and defined. I like it because it works in many styles—jazz, rock, pop, and R&B. It feels balanced and natural. When I want a bass that blends well but still has character, I choose the Jay-Bass.

The Pre-Bass is inspired by the Fender Precision Bass. Its sound is classic, deep, and solid. I like it for rock, blues, and soul. It has a warm low end that gives my music a strong foundation. The Pre-Bass is simple but powerful. It does not try to be flashy; instead, it supports the song with strength and confidence.

The Rickenbacker Bass is very different. It has a unique growl and bite that I love. The tone is sharp, edgy, and full of presence. It works well in rock and progressive music. When I use it, I feel like I am playing lines that stand out and demand attention. It has a famous sound that I recognize from classic rock albums.

All the Scarbee Basses are very detailed. They include articulations like fingerstyle, slap, slides, hammer-ons, and pull-offs. I can also control muting, dynamics, and note length. This makes the performances sound real and expressive. The libraries are easy to play on a MIDI keyboard, but they sound like a live bassist.

The built-in amp and effect options are also helpful. I can shape the tone with compression, EQ, distortion, and cabinet models. This lets me match the bass to my project without needing extra plugins. I can go from clean and smooth to dirty and aggressive in seconds.

I enjoy how inspiring these instruments are. Sometimes I start a track with a bass groove from one of them, and it leads me to a new idea. Other times I use them to complete a song that needs depth and energy. No matter what, they always deliver professional quality.

In my opinion, the Scarbee Bass series is essential. MM-Bass gives me funk power, Jay-Bass gives me versatility, Pre-Bass gives me classic warmth, and the Rickenbacker gives me edge and growl. Together, they cover everything I need from electric bass. For me, they are like having four top bassists in my studio at all times.

 

 

 

 

 

 

 

 

 

 

 

The Scarbee Bass series is a collection of four dedicated virtual bass guitar instruments, each sampled in detail from a different iconic electric bass model. Each one is its own full instrument with articulations, playing techniques, and tone-shaping options.

Here’s the full list:

 

Scarbee MM-Bass

Modeled after a classic Music Man StingRay bass

Articulations / Techniques: sustains, mutes, hammer-ons, pull-offs, slides, release noises

Playing Styles: fingered playing, realistic funk/disco tones

Sound Shaping: tone controls, amp & cabinet simulations

 

Scarbee Jay-Bass

Modeled after a Fender Jazz Bass

Articulations / Techniques: sustains, mutes, hammer-ons, pull-offs, slides, harmonics

Playing Styles: fingered style with tonal variation from bridge/neck pickups

Sound Shaping: pickup blending, amp & cabinet modeling

 

Scarbee Pre-Bass

Modeled after a Fender Precision Bass

Articulations / Techniques: sustains, mutes, hammer-ons, pull-offs, slides, harmonics

Playing Styles: fingered, versatile for rock, pop, soul, funk

Sound Shaping: tone shaping via amp/cab setups and EQ

 

Scarbee Rickenbacker Bass

Officially licensed Rickenbacker® 4003 bass

Articulations / Techniques: sustains, mutes, hammer-ons, pull-offs, slides, harmonics, chordal playing

Playing Styles: fingered, picked (rare in other Scarbee basses), ideal for rock/alternative tones

Sound Shaping: built-in effects rack, amp & cabinet emulations, distortion options

 

So, the instruments in the Scarbee Bass series library are:

Scarbee MM-Bass

Scarbee Jay-Bass

Scarbee Pre-Bass

Scarbee Rickenbacker Bass

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Drums & Percussion

Abbey Road Drummer Series (Modern, 50s, 60s, 70s, 80s, Vintage, etc.)

Studio Drummer

Battery 4 (drum sampler, with Western kits included)

 

 

 

Abbey Road Drummer Series (Modern, 50s, 60s, 70s, 80s, Vintage, etc.)

 

When I first discovered the Abbey Road Drummer Series, I felt like I was entering a time machine of sound. Each library in the series captures a different era of drumming. I enjoy the fact that I can explore the character of drums from the 50s, 60s, 70s, 80s, and even modern times, all within one collection. These instruments give me both history and creativity at the same time.

The Abbey Road 50s Drummer makes me feel like I am sitting in a vintage jazz club or an early rock and roll session. The tones are warm, natural, and not too heavy. The brushes and sticks sound smooth, and I can hear the detail of every hit. I often use this when I want a nostalgic or retro mood in my music.

The Abbey Road 60s Drummer brings me the sound of the British invasion. The kits are punchy, tight, and full of character. The snares crack with energy, and the cymbals shine with brightness. When I play with these sounds, I feel like I am part of the music revolution of that time. It is perfect for pop, rock, and Motown-inspired tracks.

The Abbey Road 70s Drummer is all about groove and depth. The kits have a fat sound, with big toms and warm snares. When I use it, I hear the funk and disco styles of the 70s. The drums carry a lot of weight, and they drive the rhythm forward. I enjoy how flexible it is, because it can sound smooth or powerful depending on how I play it.

The Abbey Road 80s Drummer takes me into a bold and colorful decade. The sound is larger-than-life, with gated reverbs and punchy kicks. It makes me think of stadium rock, new wave, and electronic pop. The character is bright and powerful, and it adds excitement to my tracks. I love using it when I want my drums to stand out with intensity.

The Abbey Road Modern Drummer is clear, detailed, and versatile. It gives me a polished sound that works for many styles, from rock to pop to electronic. The kits are sampled with precision, and I can shape them to fit different productions. I use this library when I want my drums to sound fresh, balanced, and professional.

There are also vintage kits across the series that give me more options. These drums have character, imperfections, and warmth that I cannot find in digital drums. I feel like they bring life and humanity into my music. Sometimes I mix modern kits with vintage ones to create new textures.

What makes the Abbey Road Drummer Series so special to me is the attention to detail. The engineers recorded the drums in the famous Abbey Road Studios, and I can feel the history in every sound. Each kit comes with multiple microphones, so I can adjust the mix like a real producer. I have control over close mics, overheads, and room sounds. This helps me shape the exact atmosphere I want.

In conclusion, the Abbey Road Drummer Series is more than just drum samples. It is a journey through time and style. It allows me to connect with music history while also creating something new. I feel inspired every time I use it, and it has become an important tool in my work.

 

 

Here’s the full list of instruments in the Abbey Road Drummer Series library, which covers iconic drum kits from different eras and recording styles:

Abbey Road Modern Drummer

Abbey Road 50s Drummer

Abbey Road 60s Drummer

Abbey Road 70s Drummer

Abbey Road 80s Drummer

Abbey Road Vintage Drummer

Each library features meticulously sampled kits from Abbey Road Studios, recorded with period-accurate equipment and techniques to capture the authentic sound of each decade.

 

 

Here’s a breakdown of the kits and variations inside each Abbey Road Drummer Series library. Each one was recorded at Abbey Road Studios using authentic, era-correct gear and techniques:

 

Abbey Road 50s Drummer

Kits: Two 1950s Gretsch kits (one with calfskin heads for warmth, one with modern heads for clarity).

Style: Warm, round, jazz and early rock-and-roll sound.

Extras: Brushes, sticks, and mallets sampling.

 

Abbey Road 60s Drummer

Kits:

Ludwig Hollywood kit (Ringo Starr–style classic)

Premier kit (very common in British Invasion recordings)

Style: Classic pop/rock drum sounds, punchy and crisp, tape warmth.

Extras: Tea-towel muffling options for the authentic 60s deadened sound.

 

Abbey Road 70s Drummer

Kits:

Premier kit (tight, dry funk/disco sound)

Ludwig Vistalite kit (big, open, stadium rock sound — think Bonham)

Style: From dry funk to thunderous arena rock.

Extras: Classic 70s production options (close-mic’d, gated, room variations).

 

Abbey Road 80s Drummer

Kits:

Yamaha Recording Custom kit (tight, precise, pop/fusion sound)

Slingerland Magnum kit (big, powerful, perfect for rock/metal)

Style: Bright, processed, with iconic gated reverb option.

Extras: Classic 80s electronic and studio effects baked into presets.

 

Abbey Road Modern Drummer

Kits:

DW Collector’s Series kit (modern rock/pop versatility)

Pearl Reference kit (punchy, articulate, great for modern productions)

Style: Clean, flexible, suitable for all contemporary genres.

Extras: Full mic control, room ambience, overheads, spot mics.

 

Abbey Road Vintage Drummer

Kits:

Leedy kit from the 1930s (swing, big band authenticity)

Slingerland Radio King kit (warm, classic pre-rock sound)

Style: Jazz, swing, early popular music.

Extras: Brushes, sticks, mallets, vintage cymbals.

 

Together, these six libraries cover more than 80 years of drum history, from 1930s swing to modern rock, funk, and pop.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Studio Drummer

 

When I use Studio Drummer, I feel like I have a full drum kit right in front of me. It is more than just a collection of sounds. It feels like I am working with a real drummer in a professional studio. The library gives me everything I need to create realistic drum tracks. I can use it for rock, pop, jazz, or even experimental music.

Studio Drummer comes with three different drum kits. Each kit has its own sound and character. One kit is big and powerful, great for rock and metal. Another kit is smooth and balanced, perfect for pop or funk. The third kit is jazzy and light, with a warm tone. I like that I can switch between them easily depending on the style of my song.

The sounds are recorded in high quality. Each drum and cymbal was sampled in detail. I hear the natural tone, the room sound, and the small variations that make it feel alive. I can play soft hits, hard hits, and everything in between. This dynamic range helps me make my tracks sound natural.

One thing I love about Studio Drummer is the built-in mixer. I can control the close mics, the overheads, and the room microphones. This gives me the power to shape the sound like a real recording engineer. If I want a tight and dry sound, I lower the room mics. If I want a big and open sound, I raise them. It feels like mixing real drums in a studio.

There are also built-in effects. I can add EQ, compression, reverb, and even tape saturation. This means I do not need extra plugins to make the drums sound good. Everything I need is inside Studio Drummer. This makes my workflow faster and smoother.

Another strong feature is the groove library. Studio Drummer comes with thousands of ready-made patterns. These grooves cover many styles and tempos. I can drag and drop them into my DAW and build full drum tracks quickly. If I do not play drums myself, this feature helps me a lot. It feels like having a session drummer performing for me.

At the same time, I have full control. I can change the grooves, edit the MIDI notes, and adjust the dynamics. This way I can make the drums fit perfectly into my own music. I like the balance between ready-made tools and creative freedom.

Studio Drummer inspires me because it feels real but is still flexible. I can create natural drum parts that sound like they were recorded in a studio. I can also push the sounds in new directions by using the effects and mixing options. It works for both traditional and modern productions.

In conclusion, Studio Drummer is more than a sample library. It is a complete drum production tool. It gives me realistic sounds, professional mixing controls, and helpful grooves. It saves me time but also gives me space for creativity. Every time I use it, I feel like I have a professional drummer and engineer working with me. That is why Studio Drummer is one of my favorite tools in my music work.

 

 

 

 

 

 

 

 

 

 

 

Here are the instruments included in the Studio Drummer library (Native Instruments):

Session Kit – a versatile, balanced drum kit for many music styles

Stadium Kit – a big, powerful rock kit for high-energy tracks

Garage Kit – a gritty, raw kit for indie, alternative, and underground styles

Each kit comes with multiple articulations (close mics, overheads, room mics) and has built-in mix presets (e.g., Tight, Roomy, Fat, Clean, etc.), letting you shape the sound for different genres.

 

 

Here’s a detailed breakdown of the articulations available in Studio Drummer for each kit piece. All three kits (Session, Stadium, Garage) share the same articulation structure; what changes is the tonal character of the recordings.

 

Kick Drums

Hit (with beater)

Hit (without beater / sub)

Pedal (foot click, no beater)

Mute variations (depending on kit)

 

Snares

Center (normal hit)

Rimshot

Sidestick / Cross-stick

Drag (2-stroke ruff)

Flam

Rolls (buzz rolls)

Ghost notes (soft taps)

 

Hi-Hats

Closed tip

Closed edge

Half-open (several degrees of openness)

Open tip

Open edge

Pedal (foot splash)

Pedal close (chick)

Continuous CC control (smooth transition between closed → open)

 

Toms

High / Mid / Low toms

Center hits

Rim hits

Flams

Rolls

 

Cymbals

Crash cymbals:

Tip hit

Edge hit

Bell hit (if present)

Choke (grab/mute)

Ride cymbals:

Tip

Edge

Bell

Choke

Splash cymbal (if present)

China cymbal (if present)

 

Other Percussion (varies by kit)

Cowbell

Tambourine

Hand claps

 

Mixer & Mic Options

Each articulation can be balanced using:

Close mics (direct, detailed)

Overheads (stereo image of cymbals and kit)

Room mics (ambient space, varies per kit)

Bleed control (snare/kick spill into other mics for realism)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Battery 4 (drum sampler, with Western kits included)

 

When I use Battery 4, I feel like I am holding a complete drum machine in my hands. It is a drum sampler that gives me the power to create beats, rhythms, and textures with great flexibility. I can load samples, edit them, and play them in any way I want. It is simple to use, but at the same time, it is very deep and professional.

Battery 4 has a clean and modern interface. I see a large grid where I can place my drum sounds. Each cell in the grid can hold a sample. I can fill the grid with kicks, snares, hi-hats, toms, cymbals, or even melodic samples. I like how easy it is to organize everything. The grid gives me a clear view of my drum kit.

The library that comes with Battery 4 is very strong. It has many drum kits for different styles. I can find electronic kits for techno, house, hip hop, and trap. I can also find acoustic kits that are sampled from real drums. These include Western drum kits that cover rock, pop, funk, and jazz. When I want something natural and live, I use those acoustic kits. When I want something futuristic or electronic, I switch to synthetic kits.

The sound quality is excellent. Each sample is clean and detailed. The acoustic kits have multiple layers, so I hear soft hits, medium hits, and hard hits. This makes the playing sound natural. The electronic kits are punchy and ready to use in modern music. I like that the library balances tradition and innovation.

Editing in Battery 4 is very powerful. Each cell has its own controls. I can adjust volume, pitch, pan, and envelopes. I can also use filters, distortion, and compression. This means I can completely reshape a sample. For example, I can take a normal snare and make it sound electronic. Or I can take an electronic kick and make it sound warmer. The possibilities are endless.

Battery 4 also has very strong effects. I can add reverb, delay, EQ, or saturation to each sound. I can process individual cells or the whole kit. This gives me studio-level control without leaving the program. I often experiment with these effects to find unique sounds.

Another feature I enjoy is the modulation system. I can use velocity, envelopes, or LFOs to control parameters. This makes my beats more dynamic. For example, I can make the filter open up as I hit the snare harder. This adds movement and life to the rhythm.

Battery 4 is also very fast. It loads samples quickly and does not slow down my computer. I can drag and drop samples from my desktop directly into the cells. This makes my workflow smooth. I can focus on creativity instead of setup.

In conclusion, Battery 4 is a powerful drum sampler that gives me both freedom and control. It works for any style of music, from rock to electronic. The Western acoustic kits give me natural, live drum sounds. The electronic kits give me energy and punch. The editing tools let me shape the sound exactly how I want. Every time I use it, I feel inspired to create new beats and rhythms. For me, Battery 4 is not just a tool, it is a full instrument that grows with my creativity.

 

 

 

 

 

 

Here’s the full list of instruments included in Battery 4 (Native Instruments’ drum sampler).

Acoustic & Western Drum Kits

Standard Rock Kits

Pop Kits

Jazz Kits

Funk Kits

Metal Kits

Country Kits

Indie / Alternative Kits

Electronic & Classic Drum Machines

TR-808 Kit

TR-909 Kit

TR-606 Kit

TR-707 Kit

LinnDrum Kit

Oberheim DMX Kit

Simmons SDS Kit

MPC-style Hip-Hop Kits

Electro / Breakbeat Kits

Modern Electronic Kits

Dubstep Kits

Trap Kits

EDM Festival Kits

Techno Kits

House Kits

Drum’n’Bass Kits

Minimal / Experimental Kits

Percussion & Extras

Latin Percussion (Congas, Bongos, Timbales, etc.)

Orchestral Percussion (Toms, Bass Drum, Cymbals)

World Percussion (Djembe, Shakers, Claves)

Hybrid FX Percussion (impacts, risers, sweeps)

 

Summary:
Battery 4 is less a single “fixed” instrument set and more a massive library of over 100 kits covering Western acoustic drums, vintage drum machines, modern electronic genres, and percussion/FX sets. It includes everything from realistic rock kits to EDM festival kits, plus sampled classics like the 808, 909, and LinnDrum.

 

 

Here’s the expanded factory preset kit list for Battery 4. These are the named kits included in the library, organized by category so you can see exactly what’s available.

 

Acoustic / Studio Drum Kits

Studio Rock Kit

Studio Funk Kit

Studio Pop Kit

Studio Jazz Kit

Tight Funk Kit

Big Rock Kit

Heavy Metal Kit

Indie Rock Kit

Country Kit

Vintage 70s Kit

Brush Jazz Kit

 

Classic Drum Machines

Analog 808

Analog 909

Analog 606

Analog 707

LinnKit (LinnDrum)

DMX Kit (Oberheim)

Simmons Kit

MPC Boom Bap Kit

80s Electro Kit

Old School Hip-Hop Kit

 

Modern Electronic / EDM Kits

Dubstep Destruction Kit

Trap Supreme Kit

EDM Festival Kit

Progressive House Kit

Techno Underground Kit

Minimal Tech Kit

Drum’n’Bass Pressure Kit

Electro House Kit

Glitch Kit

Experimental Kit

 

Percussion & World

Latin Percussion Kit (Congas, Bongos, Timbales)

Afro Percussion Kit (Djembe, Shakers, Claves)

Orchestral Percussion Kit (Toms, Cymbals, Bass Drum)

Hybrid Percussion Kit (Electro-Acoustic mix)

Perc FX Kit (Impacts, Risers, Sweeps)

 

In total: Over 100 kits ship with Battery 4, but these are the main factory kit names you’ll see in the browser. Each one is fully editable, with cells you can replace, re-map, or design from scratch.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Cinematic (Western orchestral/cinematic focus)

Arkhis

Action Strings 2

Action Strikes

Emotive Strings

Rise & Hit

Damage (by Heavyocity, distributed by NI)

Kinetic Metal

 

 

Arkhis

 

When I first discovered Arkhis, I felt like I had opened a door to a new world of sound. Arkhis is a software instrument created by Native Instruments. It is designed to help me make cinematic music. The focus of Arkhis is on atmosphere, emotion, and storytelling through sound. When I play with it, I feel like I am painting with tones and textures instead of just pressing keys.

Arkhis has a very clear and simple design. The main screen gives me three sound layers that I can blend together. Each layer can be a different instrument or texture. For example, I can combine a soft string pad with a glassy texture and a deep choir. When I move the main slider, the sound changes in real time. It feels smooth and organic, like I am shaping the sound with my hands. This feature makes it easy for me to add movement and life to my music.

One of the things I like most about Arkhis is the quality of its sound library. The samples come from the Orchestral Tools collection. This means the instruments are recorded with great care and detail. The strings sound lush, the brass is powerful, and the choirs are haunting. There are also unusual textures, like bowed metal or soft whispers, that give me creative options I do not find in normal libraries. Every sound feels alive and ready for use in film scores, trailers, or even experimental music.

The interface is built for speed and inspiration. I do not have to spend hours programming. Instead, I can load a patch, move the slider, and instantly get a cinematic result. This is important when I need to capture an idea quickly. For me, music is about emotion in the moment, and Arkhis supports that process.

I also like that Arkhis is not just about traditional orchestral sounds. It mixes organic instruments with electronic textures. This blend makes it modern and flexible. I can use it to create calm, dreamy soundscapes or dark, tense atmospheres. The range of moods I can achieve is very wide, and it helps me as a composer to explore different stories and feelings.

Another strong point is how well Arkhis works with other tools. I can layer it with pianos, guitars, or percussion from other libraries. It adds depth and richness to any track. The sounds are designed to sit well in a mix, so I do not need to do heavy editing. This saves me time and keeps me focused on creativity.

In my experience, Arkhis is not just a tool but an inspiration. Every time I open it, I feel like I am stepping into a cinematic world. It pushes me to think in terms of color, shape, and atmosphere rather than only notes and chords. This changes how I write music and helps me grow as a composer.

To sum up, Arkhis is a powerful and inspiring instrument. It gives me beautiful sounds, an easy interface, and endless creative potential. It helps me tell stories through music in a direct and emotional way. For me, it is one of the best tools for creating cinematic sound.

 

 

 

Arkhis is a dedicated cinematic instrument by Native Instruments (developed with Orchestral Tools).
The library is structured as a single instrument rather than multiple sub-instruments. Inside, it offers a large collection of sound sources that can be layered and morphed in real time.

Instrument in Library

Arkhis (cinematic scoring tool)

Sound Sources Included

Arkhis contains over 90 curated sound sources, drawn from orchestral sections, choir, and modern textures. These fall into categories such as:

Strings (sustains, tremolos, harmonics, swells)

Woodwinds (long tones, clusters, airy textures)

Brass (warm sustains, soft swells)

Choir (male/female voices, evolving pads)

Keys & Mallets (piano tones, bells, plucked textures)

Hybrid/Electronic layers (synth pads, processed textures)

All of these sources are accessed through the Arkhis engine interface, which allows up to three layers per patch, with morphing between them via a central XY controller.

So, unlike libraries such as Symphony Series or Abbey Road Drummer, which list multiple instruments, Arkhis itself is the single “instrument” in the library, containing all these categorized sound sources inside one playable interface.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Action Strings 2

 

When I first used Action Strings 2, I felt excited by the energy it gave me. This software instrument is made by Native Instruments. It focuses on fast, rhythmic string phrases. It is designed to help me create powerful, cinematic music with ease. When I play it, I feel like I am working with a full orchestra at my fingertips.

Action Strings 2 is the updated version of the original Action Strings. The new version adds more control, more patterns, and a bigger sound library. The main goal of this instrument is to let me create dramatic and exciting string parts without needing to write every single note by hand. For me, this saves time and allows me to focus on the emotion of the music.

The library was recorded with a real orchestra, so the sound is very realistic. When I press a key, I hear phrases played by live string players. These phrases include runs, rhythms, and accents. The recordings capture the detail and expression of the strings, so the result feels natural. This makes it perfect for film scores, trailers, and any music that needs intensity and motion.

One of the features I like most is the Phrase Animator. It gives me many ready-made patterns that I can trigger with my keyboard. Each phrase can be changed, mixed, or adjusted. I can control dynamics, speed, and even the playing style. If I want the strings to be loud and aggressive, I can do that. If I want them soft and flowing, I can change it instantly. This flexibility makes it very fun to use.

Action Strings 2 also lets me build my own phrases. I can take small parts and combine them to create something unique. For example, I can start with short staccato notes, add a rising run, and finish with a strong accent. This tool makes me feel like I am composing with building blocks, and the result always sounds polished. Even if I do not have advanced orchestration skills, I can still create music that feels professional.

The sound of Action Strings 2 is very versatile. It works for heroic themes, dark suspense, or even uplifting backgrounds. I can use it alone or combine it with brass, percussion, and choir for bigger results. The strings blend easily with other instruments, so they fit into any project I am working on.

I also appreciate the clean design of the interface. Everything is clear and easy to understand. I do not waste time searching through menus. Instead, I can focus on the creative process. The workflow feels fast, and that is important when I want to capture inspiration quickly.

For me, Action Strings 2 is not just a tool, but a source of energy. Every time I play it, I feel inspired to create movement and drama in my music. It pushes me to think about rhythm, tension, and excitement. It is like having a live orchestra ready to play with me at any moment.

In summary, Action Strings 2 is a powerful instrument for creating cinematic string parts. It gives me realistic sounds, flexible controls, and a simple interface. It helps me bring energy and emotion to my music in a fast and effective way. I feel that it is one of the best tools for composers who want dramatic string performances.

 

 

 

 

 

Action Strings 2 (by Native Instruments & Sonuscore) is designed as a single cinematic instrument library rather than a set of separate instruments. Inside, it gives you a large pool of string ensemble phrases, patterns, and articulations that can be combined, layered, and customized.

Instrument in Library

Action Strings 2 (the full string phrase engine instrument)

Content Inside

Instead of multiple different “instruments” (like violins, cellos, etc. loaded separately), everything is built into the Action Strings 2 interface, with access to different sections and styles:

String Ensembles

High Strings (violins, violas)

Low Strings (cellos, basses)

Playable Phrases

Over 30 themed phrase banks, covering:

Driving rhythms

Ostinatos

Runs and flourishes

Accents and swells

Trills, tremolos, and dynamic builds

Articulations & Controls

Short notes (spiccato, staccato)

Long notes (sustain, tremolo)

Crescendos, diminuendos

Runs (up, down, scale-based)

Dynamic layers with velocity and mod wheel control

All of these are organized in a phrase engine, where you can edit note pitches, rhythm, and dynamics, then assign them to keyswitches.

Like Arkhis, it’s technically one instrument, but within it you have access to hundreds of pre-orchestrated string phrases and articulations that you can mix and re-shape.

 

 

 

 

Here’s the breakdown of the phrase categories inside Action Strings 2.
Each category contains multiple variations and phrase sets, which you can assign to keyswitches and reshape in the editor.

 

Action Strings 2 – Phrase Categories

1. Adventure

Heroic runs and bold rhythms

Fast ostinatos with uplifting energy

2. Blockbuster

Big, dramatic builds

Layered rhythmic phrases for epic scoring

3. Drama

Suspenseful long notes and swells

Subtle rhythmic textures for emotional tension

4. Driving

Constant, motoric ostinatos

Tight rhythmic pulses for action scenes

5. Epic

Wide interval leaps and layered accents

Triumphant crescendos and soaring string lines

6. Horror / Suspense

Aggressive tremolos, dissonant swells

Uneasy rhythmic fragments and clusters

7. Light / Pastoral

Gentle arpeggios, flowing lines

Playful rhythms with soft articulation

8. Mystery / Noir

Dark, moody ostinatos

Suspended harmonies with subtle tension

9. Runs & Flourishes

Scale-based runs (major, minor, chromatic)

Upward/downward flourishes for transitions

10. Tension & Build-ups

Crescendos, tremolos, swelling harmonies

Short repeating figures growing in intensity

11. Trills & Textures

Ornaments (half-step, whole-step trills)

Textural layers like tremolo & sul ponticello

 

Key Features of Categories

Each phrase can be rearranged in the phrase editor (change notes, rhythm, dynamics).

Categories cover the full scoring spectrum: action, suspense, lyrical, and atmospheric.

All phrases are recorded with high and low strings separately, so you can split or combine them.

 

So, while Action Strings 2 is a single instrument, these phrase categories act like its “sub-libraries,” giving you flexible tools for any cinematic scoring style.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Action Strikes

 

When I first tried Action Strikes, I felt the power of cinematic percussion right away. Action Strikes is a software instrument made by Native Instruments. It is focused on big drums, rhythms, and dramatic hits. It is designed to help me create music that sounds epic, tense, and full of energy. When I play it, I feel like I am controlling a large percussion section in an orchestra.

The main idea of Action Strikes is to give me rhythmic patterns that I can control in real time. Instead of programming every drum hit one by one, I can trigger full patterns with just a few keys. This makes the process fast and inspiring. I can focus on building the mood of my track instead of getting lost in details. For me, this is a big advantage, especially when I need to create something quickly.

The sounds in Action Strikes are very high quality. They were recorded with live percussion players. The library includes large taikos, toms, bass drums, cymbals, and many other instruments. The recordings capture the depth, punch, and resonance of real drums. When I use them in my music, the result feels alive and powerful. These sounds are perfect for trailers, action scenes, or any music that needs intensity.

One of the features I enjoy most is the Phrase Animator. It gives me dozens of pre-made rhythmic patterns. I can switch between them and combine them with ease. Each phrase feels cinematic and ready for film scoring. I can also control the dynamics by pressing harder or softer on my keyboard. This makes the patterns expressive and responsive, like working with real drummers.

Action Strikes also lets me build my own patterns. I can choose which drums play on each beat and create a custom groove. This gives me freedom when I want something unique. For example, I can layer a big bass drum pulse with fast tom rhythms and add cymbal accents. The result always sounds tight and professional because the samples are perfectly balanced.

The interface is simple and clear. On the main screen, I see the different percussion sections. Each section can be controlled separately. I can adjust volume, tone, and reverb for each one. This helps me shape the sound to fit my project. The mixer also lets me blend close and room microphones. With this, I can make the drums sound either very direct or huge and distant.

For me, Action Strikes is more than just a percussion library. It is a creative partner. Every time I open it, I get new ideas for rhythm and drama. It inspires me to think about pacing, build-ups, and climaxes in my music. It helps me turn simple ideas into big, cinematic moments.

In summary, Action Strikes is a powerful tool for cinematic percussion. It gives me realistic drum sounds, fast pattern control, and deep customization. It allows me to create energy, tension, and excitement in a simple way. I feel that it is one of the best instruments for anyone who wants to add epic percussion to their music.

 

 

 

 

 

 

Here are the instruments included in the Action Strikes library (Native Instruments / Sonuscore):

Orchestra & Ensemble Percussion
• Timpani
• Bass Drums (multiple sizes, ensemble)
• Snare Drums (solo & ensemble)
• Tom Drums (various ensembles)
• Gran Cassa (large orchestral bass drum)

Cymbals & Gongs
• Suspended Cymbals (rolls, crashes, hits)
• Piatti (clash cymbals)
• Tam-tam / Gong

Metallic & Auxiliary Percussion
• Anvils
• Brake Drums
• Chains
• Metal Plates
• Other industrial/metal hits

Special Percussion & FX
• Taikos (large, mid, small)
• Surdos
• Frame Drums
• Low Drums (various)
• Riser, Hit, and Whoosh FX

Action Strikes is designed for cinematic, large-scale percussion scoring, with ensemble performances and phrase-based patterns rather than individual multisampled hits. It combines these instrument groups into playable, pre-orchestrated patterns that can be triggered and layered dynamically for film, TV, and game scoring.

 

 

Here’s a more detailed breakdown of Action Strikes — its phrase types, engine features, articulation/variation options, and how you can shape performance/dynamics. (Based largely on the Action Strikes manual and product specs)

 

Architecture / Modules

Action Strikes comes with three main KONTAKT instruments (nki), each with a slightly different workflow and interface:

Ensemble.nki

The "big" multimodal ensemble instrument, combining low / mid / high percussion sections.

Has built-in phrase / pattern playback, mixer, section selection, effects.

You can load one of 12 pre-assembled ensembles, or mix & match low/mid/high sections to create custom ensembles (leading to many combinations)

Hits.nki

Designed for direct triggering of individual percussive hits (rather than phrases).

Provides “Hit Sets” — collections of samples you can browse between.

Basic effects (EQ, dynamics, reverb) built in for shaping the hits.

Instrument.nki

A hybrid / simplified instrument: allows loading an ensemble, an ensemble section, or a single instrument, and then triggering both rhythmic patterns and single hits.

More lightweight than Ensemble.nki but giving you flexible control over patterns + accents.

 

Phrase Types / Rhythmic Variations / Articulations

Action Strikes isn’t just static loops — it uses scripted phrase engines so that rhythms are generated/synced, not imported loops.  Here are the key components:

Rhythms / Rhythm Sets
In the Ensemble interface, you have “Rhythm Sets” (groups of related rhythmic patterns) and individual rhythm slots.
Each ensemble has preset rhythm sets (e.g. 10 sets, split between two tabs: RHYTHM 1-5 and RHYTHM 6-10)
You can load rhythms into slots (e.g. via keyswitches C1–E1, F1–A1)

Trigger Modes
On the Playback tab, you can choose how phrase triggering behaves:

Phrase Sync — newly triggered phrases will align with currently playing ones (to keep things locked in time)

Free Trigger — each new phrase triggers immediately from its start, ignoring current playback position

Feel / Swing / Tempo Ratios
You can adjust a “16th SWING” parameter to delay off-beat hits, giving more groove or looseness.
You also have tempo ratio options (½, 1:1, ×2) to play phrases slower or faster relative to the host tempo.

Accents & Dynamics

Mod Wheel (MIDI CC1) controls expression / dynamics (i.e. how loud / soft the ensemble plays).

Pitch Bend controls accent intensity: bending upward increases accent strength; downward reduces it.

In the UI, there are sliders for Expression / Accent (mirroring mod wheel / pitch bend) so you can lock or override them.

Rolls, Flams & Additional Fills
Within the Instrument.nki (and to some extent Ensemble), besides standard rhythmic loops, there are keys mapped to rolls, flams, or fills (where applicable).
Also, in the Ensemble mapping, the last white keys in each trigger bank (A, B) map to single hits (for accents) on top of patterns.

Hit Sets
In the Hits.nki, “Hit Sets” are collections of single-sample percussive hits (from the same family or style). You can browse between hit sets and choose individual hits to play.

 

Mixer, Section Control & Effects

Because the percussion is separated into sections (Low, Mid, High) in the Ensemble instrument, you get fine control over how each section behaves and sounds:

Section Mixer
Each section gets its own channel strip, with level, pan (stereo width), mic selection (balance between close / room mics), etc.
You can swap out which sample sets are used for a section (i.e. pick which recorded instrument set for Low, Mid, High separately) — thereby creating custom hybrids.

Effects per Channel + Master

Insert effects (per channel): Filter, EQ, Transient Master, Compressor.

Send effects: Reverb and Delay (shared or sent)

On the master bus: same kinds of effects (Filter, EQ, Transient, Compressor) plus send effects.

Mic / Stereo / Width
Each section has a mic control to blend from close to room mics.
A “Stereo” knob lets you reduce or widen the stereo spread (go toward mono or exaggerate width) per section.

Other Sound Shaping
You also have filters (high-pass / low-pass), 2-band parametric EQ, transient shaping, compression, etc.

 

Usage / Workflow Notes & Strengths

Because the rhythms are script-driven, not looped audio, all patterns adapt to tempo changes without artifacts.

Alternating sample layers are used (multiple samples for the same hit) for realism (avoids “machine gun” repetition).

You can switch rhythms / ensembles / accents on the fly via key switches or changing settings in the UI.

Mixing & swapping sections gives flexibility to build unique ensemble textures (not just using fixed ensembles).

The Hits instrument is useful when you want to pick or trigger specific hits (for fills or custom percussion patterns) rather than full phrases.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Emotive Strings

 

When I first played Emotive Strings, I felt an immediate sense of beauty and flow. This software instrument was made by Native Instruments and Orchestral Tools. It focuses on lyrical string phrases and patterns. Instead of sharp rhythms or aggressive textures, it gives me smooth, emotional lines. For me, it feels like holding the heart of a film score in my hands.

Emotive Strings is different from other string libraries because it is phrase-based. That means the recordings are built from real players performing full phrases, not just single notes. When I press a key, I do not only hear one sound. I hear an entire musical line that was recorded with expression. This makes the music feel natural and alive. It also helps me create emotional passages quickly.

The sound quality is excellent. The library was recorded with a full orchestra in a professional hall. The strings sound rich, warm, and flowing. When I use Emotive Strings, I feel as if I am standing in front of a live ensemble. The violins soar, the violas and cellos blend smoothly, and the basses provide depth. This richness makes it perfect for film scores, TV, or even game music.

One of the features I like most is how easy it is to use. I can load a patch, press a chord, and instantly get a moving string line. The engine lets me play phrases that match the harmony I choose. It is very simple, but the results are always elegant. This saves me time and gives me inspiration when I need to write quickly.

The library has many types of phrases. Some are fast and dramatic, while others are slow and tender. I can use flowing legato patterns, arpeggios, or rising lines. I can also combine different phrases to build larger sections. This flexibility gives me many options for creating different moods. For example, I can use soft legato lines for a romantic scene or energetic patterns for a more uplifting moment.

Another thing I enjoy is how responsive the instrument is. I can control dynamics and expression with my keyboard. If I play softly, the strings sound gentle and intimate. If I play harder, they swell with power and passion. This allows me to shape the music in real time, which feels very expressive.

The interface is also clear and simple. I do not need to spend time adjusting many settings. Everything is designed to help me focus on the sound and the emotion. This makes Emotive Strings very beginner-friendly but also powerful for experienced composers.

For me, Emotive Strings is not just a library. It is a tool for storytelling. Every time I use it, I feel inspired to create something heartfelt. It helps me express moods like love, longing, or hope. The flowing patterns bring movement and life to my compositions.

In summary, Emotive Strings is a beautiful instrument for creating lyrical and emotional string lines. It gives me high-quality sounds, expressive phrases, and an easy interface. It helps me write music that touches the heart and brings stories to life. I believe it is one of the best tools for composers who want to capture emotion in their music.

 

 

 

 

The Emotive Strings library is a focused phrase-based instrument (developed by Dynamedion and distributed by Native Instruments). Unlike some other libraries, it doesn’t contain a wide list of individual sampled instruments. Instead, it provides pre-orchestrated string sections recorded for instant playability.

Here are the available instruments within the library:

Violins I (upper string phrases, lyrical and soaring)

Violins II (secondary violin section, complementary textures)

Violas (mid-range string phrases with warm timbre)

Cellos (rich lower-mid phrases, lyrical lines)

Basses (deep, foundational phrases that support the harmony)

All of these are provided as ensemble patches, not isolated solo instruments. The library is designed so that when you load an instrument, you are triggering recorded ensemble performances (arpeggios, sustains, rhythmic swells, legato lines, etc.), which can be controlled by keyswitches and dynamics.

In short: Emotive Strings = full string section ensembles (Violins I, Violins II, Violas, Cellos, Basses) with phrase-based articulations.

 

 

Let me give you the full breakdown. The Emotive Strings library organizes its instruments not just by section (Violins I, Violins II, Violas, Cellos, Basses), but also by phrase categories and articulations. Since this is a phrase-based library, you don’t get traditional long lists of single-note articulations (like staccato, tremolo, etc.); instead, you get recorded ensemble performances that fall into specific expressive types.

 

Instruments (Ensemble Sections)

Violins I

Violins II

Violas

Cellos

Basses

Each section can play its own recorded phrases, or you can combine them into a full string ensemble patch.

 

Phrase Categories / Articulations

Arpeggios

Upward and downward broken chords

Different rhythmic feels (straight, triplet-based, syncopated)

Can follow your chord input in real time

Ostinatos / Rhythmic Patterns

Driving, repeated rhythmic figures

Often based on short note-values (8ths, 16ths, syncopations)

Perfect for creating momentum in film and game scoring

Legato Phrases

Smooth, lyrical melodic lines

Designed for emotional intensity and melodic shaping

Often used in transitions, climaxes, or sweeping passages

Sustains & Pads

Long held chords with expressive bow changes

Useful for atmospheric builds and emotional undercurrents

Swells / Dynamic Arcs

Crescendo-diminuendo type phrases

Recorded with natural dynamics for cinematic rises and falls

Runs & Figures

Quick ascending/descending passages

Great for transitions, leading into climaxes

 

Control Features

Key-switches: Change between phrase categories (arpeggios, sustains, etc.) in real time.

Chord recognition: The engine detects what chord you play and adapts the recorded phrase.

Tempo sync: All phrases automatically lock to your DAW tempo.

Dynamics control: Modwheel or CC can shape expression intensity.

 

So in short: Emotive Strings gives you section-based instruments (Violins I, II, Violas, Cellos, Basses), and each of those has phrase-based articulations like arpeggios, ostinatos, legato phrases, sustains, swells, and runs. It’s less about “play one note = one sound” and more about triggering expressive, pre-recorded string passages that follow your harmony and tempo.

 

 

 

Because Emotive Strings is a phrase-based library, each section (Violins I, Violins II, Violas, Cellos, Basses) shares the same pool of phrases. The difference is only the instrumentation/section sound, not the phrase content.

Here’s the organized breakdown:

 

Emotive Strings – Phrase Categories and Variations

1. Arpeggios

Broken chords with flowing motion, great for harmonic drive.

Upward Arpeggios (root → top note)

Downward Arpeggios (top → root note)

Alternating Arpeggios (up and down in a loop)

Extended Arpeggios (wider spans, covering more octaves)

Triplet Arpeggios (triple-feel rhythmic flow)

Syncopated Arpeggios (off-beat accents for motion)

 

2. Ostinatos / Rhythmic Patterns

Short, repeating figures that lock to DAW tempo.

8th-note Ostinatos (straight driving rhythm)

16th-note Ostinatos (faster, more urgent motion)

Triplet Ostinatos (swinging or rolling feel)

Accent Ostinatos (syncopated with emphasis on strong beats)

Broken Chord Ostinatos (outline harmony in rhythmic repetition)

 

3. Legato Phrases

Expressive melodic lines, recorded with natural bowing.

Ascending Legato (rising emotion)

Descending Legato (falling, more lyrical or sorrowful)

Arch-shaped Phrases (rise and fall in one breath)

Sequential Motifs (stepwise connected notes, gentle movement)

Expressive Slides / Portamenti (emotional emphasis)

 

4. Sustains & Pads

Long notes and chords with built-in dynamic shaping.

Pure Sustains (straight long notes)

Soft Layer Sustains (gentle tone, for background atmosphere)

Warm Vibrato Sustains (more human/emotional quality)

Dynamic Swell Sustains (grow and fade within the sustain)

 

5. Swells / Dynamic Arcs

Phrases designed for tension and release.

Crescendos (gradual rise)

Diminuendos (gradual fall)

Crescendo–Diminuendo Arcs (rise and fall in one motion)

Short Swells (quicker accents, good for punctuating phrases)

Long Swells (broader cinematic arcs)

 

6. Runs & Figures

Fast, flashy phrases for transitions.

Ascending Runs (scale-like motion upward)

Descending Runs (scale-like motion downward)

Alternating Figures (up-down patterns, agile motion)

Chromatic Runs (for tension)

Scale-based Runs (diatonic, following chord/scale input)

 

Key Features for Phrases

Key-switches → instantly swap categories (arpeggios, sustains, runs, etc.)

Chord recognition → the engine adapts phrases to the chord you play

Tempo sync → phrases lock tightly to DAW tempo

Dynamics (modwheel/CC1) → adjust intensity/expression live

 

With this reference, you can think of Emotive Strings as a palette of pre-recorded performance types, each category containing multiple rhythmic and expressive variations. Instead of manually programming every articulation, you trigger real ensemble performances that feel cinematic and fluid right away.

Would you like me to make you a visual chart/diagram that shows all categories and variations at a glance (almost like a quick-reference “cheat sheet”)?

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Rise & Hit

 

I use Rise & Hit when I want to create strong transitions in my music. This tool is made by Native Instruments, and it is designed for cinematic sound design. The idea is very simple: I start with a “rise,” which is a sound that grows in intensity, and then it ends with a “hit,” which is a powerful impact sound. Together, the rise and the hit create suspense and release.

When I first opened the library, I noticed the interface was clear and inspiring. I could see visual waves that showed me the length of the rise. I could adjust how long I wanted the rise to be. Sometimes I wanted a short rise for a quick shock, and sometimes I wanted a long rise to build tension slowly. This control gave me freedom to match the rise with the exact tempo and mood of my project.

The sound sources are diverse. I can choose from orchestral sounds, synthetic textures, noise layers, and even percussion. Each sound feels cinematic. I like how I can layer different elements. For example, I can use strings for the rise and a big drum for the hit. Or I can mix electronic sweeps with metallic impacts. The library gives me endless combinations.

I also enjoy the customization. The tool lets me shape the envelope, add reverb, and change pitch. Sometimes I want the rise to be very sharp, and sometimes I want it to be smooth. The hit can also be big and explosive, or subtle and dark. This makes the instrument flexible for film, trailers, or even video games.

The timing control is one of my favorite features. I can sync the rise with my project’s tempo. This means the rise will always land perfectly on the beat I choose. If I change the tempo of my project, the rise adjusts automatically. This saves me time and keeps everything tight.

When I use Rise & Hit, I feel like I am painting with sound. I am not only making music but also shaping emotions. A slow rise with a delayed hit can create suspense. A sudden rise with a loud hit can shock the listener. This is very useful in storytelling.

In my work, I often use Rise & Hit to lead into climaxes. For example, before a big chorus, I add a rise to build excitement, and then the hit lands with the start of the chorus. In film scoring, I use it when a scene needs extra tension. Even in concert music, I sometimes borrow these techniques to create dramatic energy.

In summary, Rise & Hit is a tool that helps me control tension and release. It is easy to use, flexible, and powerful. I like the mix of orchestral and electronic elements. I enjoy how I can control timing, sound layers, and intensity. This instrument makes my compositions more cinematic and emotional. Every time I use it, I feel like I am guiding the listener’s emotions step by step, from suspense to impact.

 

 

 

 

 

 

The library Rise & Hit by Native Instruments is not built around a traditional list of instruments (like violins, pianos, or guitars). Instead, it is a specialized cinematic sound design tool focused on creating tension-building sounds such as rises, swells, hits, and impacts.

Here’s what the library contains:

Core Content

Over 700 sound sources, which can be layered and customized.

These include:

Orchestral recordings (strings, brass, percussion swells)

Synthesized sounds (pads, drones, electronic sweeps)

Noise and effect layers (reverses, whooshes, scrapes, distortions)

Hybrid textures (mixes of acoustic and synthetic sources)

Instrument Types (in the library sense)

Rise instruments – sounds that build up over time (short, medium, long variations).

Hit instruments – impacts, crashes, and booms that resolve the rise.

Cinematic combos – pre-designed rise-to-hit transitions.

Customizable layers – each rise can include up to 4 sound layers (orchestra, synth, noise, etc.), adjustable in pitch, envelope, and timing.

Functionality

Length Control: You can set the duration of the rise (from very short stingers to long swells).

Sync Options: Rises can sync to project tempo or free-run.

Sound Design Tools: Filters, envelopes, modulation, and effects to shape the sound.

So instead of discrete “instruments,” Rise & Hit is more like a toolbox of cinematic risers and impacts, where you mix and match layers to design your own sounds.

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Damage (by Heavyocity, distributed by NI)

 

I discovered Damage when I was looking for a cinematic percussion tool. Damage is made by Heavyocity and distributed by Native Instruments. Producer Spot+3Native Instruments+3Heavyocity Media+3

From the first moment I used it, I felt its power. Damage is built for drama and impact. It is a hybrid percussion library: it mixes orchestral drums, found objects, distorted elements, and industrial sounds. Heavyocity Media+2Producer Spot+2

The size of Damage is large. It has over 30 GB of content (uncompressed) and includes more than 700 loops, 500 one-shot hits, and 58 kits. Sounds and Gear+3Native Instruments+3Heavyocity Media+3 The sample count is very high (more than 26,500 samples) to give expressive variation. Native Instruments+2Heavyocity Media+2

When I load Damage in Kontakt (or the free Kontakt Player), the interface is clear and intuitive. Native Instruments+1 It is divided into two major sections: Rhythmic Suites (which include loops) and Percussive Kits (which include full kits and single hits). Sounds and Gear+3Producer Spot+3Native Instruments+3

In Rhythmic Suites, I can access loop menus and single loops. The loops are tempo-synchronized and can be chopped or remapped for creative effect. Producer Spot+2Heavyocity Media+2 In Percussive Kits, I find categories like Epic Organic Drums, Ethnic Drums, Metals, Hybrid FX Hits, and Damage Kits. Sounds and Gear+3Native Instruments+3Heavyocity Media+3

One feature I enjoy is the Punish knob. With it, I can increase saturation, grit, and “damage” in the sound. This helps me push a sound from moderate to extreme with one control. Producer Spot+2Heavyocity Media+2 Also built in are filters (high-pass, low-pass), EQ, and other effects in the interface. Producer Spot+1

When I use loops, Damage lets me export MIDI easily by drag-and-drop, so I can edit the rhythm in my DAW. Native Instruments+1 The synchronization with tempo is automatic, which saves time. Native Instruments+2Producer Spot+2

The sound character is bold and aggressive. When I want tension and impact in my music—say for a film cue or trailer—Damage gives me that. It has raw power, but it also has room to shape the sound for subtler usage. Native Instruments+3Sounds and Gear+3Producer Spot+3 Many reviews praise how Damage balances “hard hits” with usable flexibility. Sounds and Gear+1

One downside I noticed: the download and install can take time because of large file size. Producer Spot Also, the price is high compared to simpler percussion libraries. Sounds and Gear+1 But I believe the depth and quality justify it for serious cinematic work.

In my projects, I often use Damage to build climaxes, transitions, or dramatic moments. I layer its sounds under other instruments to add weight. I also tweak mic mixes, effects, and loop edits to make something unique.

In summary: Damage is a flagship cinematic percussion instrument. It delivers heavy, expressive, and aggressive sounds, while also offering flexibility and control. For anyone composing cinematic, trailer, or high-impact music, Damage is a tool I trust and frequently return to.

 

 

 

The library Damage (by Heavyocity, distributed by Native Instruments) is a cinematic percussion library. Instead of melodic instruments, it contains a wide range of drums, ensembles, and processed hits designed for trailers, soundtracks, and hybrid scoring.

Here’s the complete breakdown of its instrument categories:

 

1. Ensemble Drums

Large multi-player recordings for massive impact.

Organic Ensembles (recorded acoustic groups):

Bass Drums (various sizes)

Toms (low, mid, high)

Roto-toms

Snares (ensemble hits)

Surdos

Taikos (Japanese drums)

Processed Ensembles (distorted, mangled, and hybridized versions of the above)

 

2. Single Drums

Individually recorded percussion for more control.

Acoustic single hits:

Bass Drums

Toms

Roto-toms

Surdos

Taikos

Frame Drums

Snares

Processed single hits (designed and heavily altered versions)

 

3. Damage Kits

Custom drum kits mapped across the keyboard for performance.

Over 50 individual kits, which include:

Epic Organic Kits (pure acoustic)

Epic Processed Kits (distorted, hybridized)

Mangling Kits (sound-designed destruction kits)

Each kit contains multiple mapped drums and effects.

 

4. Loops (Percussive Rhythms)

Pre-recorded and tempo-synced rhythmic loops.

Divided by style:

Epic Organic Loops (raw percussion ensembles)

Epic Processed Loops (heavily designed and hybrid)

Industrial Loops (mechanical, metallic, aggressive)

Electronic Loops (synthetic pulses and rhythms)

Hundreds of loops across multiple tempos and time signatures.

 

5. Hits & Transitions

Designed cinematic impacts, useful for trailers and scoring.

Big Hits (massive low-end crashes)

Stings & Transitions (for scene changes, cuts, climaxes)

Distorted/Hybrid Impacts

 

In summary, the Damage library instruments are:

Ensemble Drums (Organic & Processed)

Single Drums (Acoustic & Processed)

Damage Kits (performance kits, acoustic and hybrid)

Loops (Epic Organic, Epic Processed, Industrial, Electronic)

Hits & Transitions (cinematic impacts)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Kinetic Metal

 

I discovered Kinetic Metal through Native Instruments. It is part of the “Komplete / Cinematic” line. Native Instruments I use it when I need weird, evolving textures from metallic sources.

When I first load Kinetic Metal in Kontakt (or Kontakt Player), I see a clean interface with two main “wheels” called Forge and FX. Native Instruments These wheels let me morph and shape sounds. The idea is that each sound has four “personalities” (four layers), and the Forge wheel blends between them. Native Instruments The FX wheel gives me different effect versions (also in four states) to morph into. Native Instruments

The library is not huge in size — about 1.55 GB compressed. Native Instruments It contains 211 instruments made from unconventional metal sound sources. Native Instruments So each instrument is more about texture than simple percussion hits.

I like how Kinetic Metal feels alive. If I turn on the Motion setting, the instrument will automatically move (morph) the Forge or FX wheel over time. Native Instruments This means the sound shifts, changes, and evolves without me having to manually automate everything. I can also “unlink” them and control each wheel myself for more control. Native Instruments

Because the sounds are mostly metallic, they feel cold, industrial, and shimmering. They are not typical drums. They are more like metallic pads, noises, or tonal percussive voices. I use them when I want subtle motion, tension, or backgrounds in film or ambient music.

On the interface, I see several other controls:

Effect knobs (eight of them) that let me control reverb, delay, modulation, distortion, etc. Native Instruments

Macro controls.

The wheel positions are intuitive, so I can quickly explore new textures.

I can twist, bend, or automate everything in real time.

One thing I found interesting: each instrument starts from four sample layers (from real metal recordings) plus four artificial waveforms, so each layer is hybrid. Native Instruments This gives richness. The “personalities” are created by combining those four layers in different ways. The Forge wheel interpolates between those personality combinations. Native Instruments

In my workflow, I often start by picking an instrument and then immediately turning on Motion. Then I slowly tweak the wheels and effect knobs until a texture emerges I like. Because Kinetic Metal is light on memory (compared to big orchestral libraries), I can stack several at once and get evolving ambient pads, or subtle rhythmic motion, without overloading my system.

I use Kinetic Metal as a background layer under more defined instruments. For example, under strings or vocals I add a kinetic metallic texture to fill spaces and glimmer. I also use it for transitions—when I need a sound to shift from one mood to another, I move the wheels or automate them.

One limitation: it is not designed for heavy percussive hits or pure drums. If I want big cinematic hits, I use other tools like Damage. Kinetic Metal is about atmospheres, motion, and tone. Also, because it morphs, extreme tweaks sometimes produce strange or noisy artifacts, so I must listen carefully.

In summary: Kinetic Metal is an instrument I trust when I want moving, metallic textures. It is light, expressive, and gives me creative flexibility. It is not loud percussive power, but a tool to add color, movement, and tension. Every time I use it, I discover new textures I didn’t expect.

 

 

The library Kinetic Metal (by Native Instruments) is not built around traditional orchestral or band instruments. Instead, it’s a sound design instrument that focuses on metallic, evolving, and morphing textures. It blends acoustic recordings of metal objects with synthesis and creative effects.

Here’s the breakdown of what is inside the library:

 

1. Core Sound Sources

At the heart of Kinetic Metal are metals and found objects recorded and turned into playable samples. These include:

Struck metals (plates, bowls, gongs, bells)

Scraped metals (rods, sheets, springs)

Resonant metal objects (tubes, wires, bars)

Industrial and machine-like sounds

Designed metallic textures (processed, hybridized)

 

2. Instrument Categories

Kinetic Metal organizes its content into patches rather than conventional “instruments.” These patches are made up of layered metal sound sources plus synthesis. Categories include:

Tonal Metals – bell-like, resonant, pitched sounds (can be used melodically).

Atonal Metals – abstract, noisy, percussive textures.

Hybrid Metals – mixtures of acoustic strikes with processed synth elements.

Pads and Drones – evolving soundscapes with metallic resonance.

Percussive Metals – one-shot and rhythmic playable sounds.

 

3. Morphing Engine

The signature element of Kinetic Metal is the “MORPH WHEEL.”

This lets you blend four sound layers (each from the categories above).

By moving the wheel or automating it, you can smoothly morph between tones, from subtle to extreme transformations.

Each layer can be a natural recording, synthetic sound, or processed metal texture.

 

4. Effects & Processing

Every instrument in the library comes with creative effects that transform the sound further:

Filters (low-pass, high-pass, comb)

Distortion and drive

Modulation (chorus, flanger, phaser)

Reverb and delay

Granular and spectral treatments

 

In summary, the Kinetic Metal library instruments are not named like pianos, violins, or drums. Instead, the library contains:

Tonal Metals (pitched, bell-like sounds)

Atonal Metals (abstract, noisy textures)

Hybrid Metals (acoustic + synthetic blends)

Pads & Drones (evolving atmospheres)

Percussive Metals (strikes, hits, and rhythmic sounds)

All of these can be layered and transformed with the Morph Wheel, making Kinetic Metal a creative metallic sound design instrument rather than a collection of traditional instruments.

 

 

 

 

 

This Western category essentially covers orchestral, cinematic, band, choir, and Western-style popular instruments (strings, brass, woodwinds, pianos, guitars, bass, drums).