![]() Saying that, there’s nothing stopping you from using a thunderous double bass patch that resembles the footfalls of a dozen elephants in your band’s new demo recording. To be honest, I’ve barely had enough self control when messing with Analog Strings to make a sound I’d actually use in a song - everything about the instrument invites overkill and irresponsibility. Basically, it lets you break all the rules. You can turn a pad into an arpeggiated stutter or add a stupid amount of reverb. ![]() ![]() Start out by shifting the four macro sliders around, reverse the second sample or loop just a portion of it. But the really fun part is when you take a preset and play around with it. Texturally there’s everything you can imagine: smooth, pretty pads that’ll make you feel nostalgic after one chord spine-chilling Oriental plucked sounds foreboding and bassy cello tones with loops sprinkled on top tension-building looped staccato pitch glides and painfully harsh ‘I’m-getting-violin-lessons’ sounds that make you angry for no reason. There’s even a preset called ‘Unusable but Funny’ that you really have to hear for yourself. THE ADVENTUREĮvery patch is an adventure with Analog Strings. You can draw in custom patterns or choose from a bunch of presets including both chords and single notes. The Arp tab contains two arpeggiator engines, each capable of up to 16 reps and 32 steps. Options include a filter, EQ, distortion, compressor, delay, chorus, phaser, and reverb. FX is broken into two sub-tabs Layer FX to treat the two samples individually, and Global FX which affects the entire sound. The Edit tab lets you dive into the sample’s envelope, pitch, flutter, and stereo position/spread. It’s laid out logically and is easy to navigate. ![]() You can even reverse the sample or loop it.īuilding on the base tone of two combined sounds, Analog Strings offers heaps of other processing and effects options accessible via the tabs at the top of the GUI labelled Edit, FX, Rhythm, and Arp. Offset the sample’s start by sliding the playhead across the waveform. These are further broken down by envelope type One Shot, Pad, or Tape. You can toggle through a variety of options for either in the Source Menu, all of which sit in one of three categories - Orchestral, Synths, or Creative. TWISTED PAIRĮach Analog Strings patch is made up of two sound sources, visible as sample waveforms underneath the macro sliders. Depending on the source patch these will be a choice of Pitch, Pulse, Dirt, Tone, Wet, Delay, Shape, Filter, Spread, Reverb, Motion, Vibrato, Talk, Attack, Noise, Rhythm, FX, Glide, and my personal favourite, More. Visually, the most striking of these parameters are the four ‘macro’ sliders which affect the sound’s overall texture. Once you’ve arrived at your destination preset, you’ve got a huge amount of tweakable parameters to further alter it. Well done to Output for executing this extremely well, with enough sub-categories to be able to accurately zone into the preset ballpark, but not so many that the selection process becomes a chore in itself. Pick the adjectives which best describe the sound you’re chasing and the relevant preset list narrows down on the right. Thankfully Output’s reductive preset menu system is a pleasure to use. Reaching a desirable preset destination can be terribly hit-and-miss with instruments capable of an expansive range of tones. Each patch mashes both sound sources and provides a host of ways to further punish their purity with tools like distortion, arpeggiation, modulation, loopers, and effects. The samples consist of actual stringed instrument recordings along with synthesised strings. It’s a sample-based instrument for Native Instruments Kontakt, and a large one at that - around 39GB (compressed into a 20GB download). It’s about the furthest deviation from natural orchestral strings sounds you can get while still managing to sound like strings.Īnalog Strings is weird to describe. Everyone’s got strings samples, but I bet you don’t have anything like Output Analog Strings.
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