FANTASTiC | 01 July 2020 | 830 MB
《轨道》以其大胆、严肃的音乐合成设计方式受到世界各地制作人和作曲家的称赞。《轨道》广受好评的界面以脉冲和独特的音乐垫和氛围的形式，为您的指尖带来了电影、制作准备好的声音宇宙。它革命性的声音变形引擎创造出无限进化的声音，同时保留了驱动现代电影音乐的音乐性。轨道的声音范围从光亮和闪烁到黑暗，神秘和尖锐。不要错过哈利·格雷森-威廉姆斯(《纳尼亚传奇》、《天堂王国》、《怪物史莱克》)称之为“独特而鼓舞人心”的合成，而杰克·沃尔(《质量效应》、《使命召唤》)则宣称“华丽而有意义”。
在这个版本中，ORBIT成为了一个Kontakt播放器库，与外部遥控器兼容，并拥有显著的新特性和工作流增强——使用户能够比以前更快地创建新的、独特的声音。
合成引擎
轨道背后的核心引擎由四个离散的合成通道组成，它们以用户决定的节奏不断循环(或“轨道”，如果你喜欢)。每个声道都有自己干净的循环样本，这些样本是从101种声音中挑选出来的，这些声音被分为黑暗的、梦幻的、神秘的和侵略性的。从那里，声音被处理通过五个简单的参数:音量，平移，调谐(半增量)，滤波器截止频率，和共振。至于滤波参数，也可以为每个通道选择不同的滤波器类型:低通、带通、高通和陷波。每个频道都可以关闭，在四步循环中创建一个“休息”，并且声音可以通过频道顶部的交换箭头快速重新排序。
乍一看，这似乎是一个简单的四步序列——在某种程度上，确实如此——但当您操纵屏幕底部的轨道“模式”工具时，事情就变得更加有趣了。系统实际上选择了三种不同的交叉淡出模式，而不是简单的序列。对于有节奏的，以舞蹈为导向的纹理，有锯齿形和方形的选择，赋予更多的打击或切割的特征。对于横扫，缥缈的音景，正弦波模式平稳地过渡在每个通道。除了模式和节奏的循环，有攻击和释放控制，影响整体安培信封。总而言之,这是一个非常巧妙的方法变形和节奏纹理的方式让人想起数字波形合成器如Korg Wavestation或连续的先知和事实上,它几乎是不可能得到一个“坏”的声音与一个这么幸福的方法简单。
影响
在我增加Kontakt接口的尺寸并发现Orbit还包含了综合效果和额外的步骤序列器之前，我对synth引擎已经很满意了。处理工具的选择是相当标准的，有两种不同的失真效果，一个合唱/弗兰格/相位器，延迟，混响，和最终应用在链的末端的低通滤波器。这些都如预期的那样执行，作为任何给定预设的一部分听起来坚实。值得一提的是，混响包含了一堆非常好的卷积选项，在synth的特性中听起来非常好。唯一需要注意的是，你不能改变效果的顺序。幸运的是，Orbit的硬线系列除了最奇特的应用程序外，都是很聪明地组织起来的。
一步测序仪
轨道的变形能力还包括四个独立的步进序列器，每个步进器最多可达16步。您还可以更改每个排序器的注释值，为细微的、不断变化的补丁提供更长的时间。每个序列可以指定一个单一的参数，重点是synth的全局函数，如轨道模式、速率和深度，以及相当多的效果参数。此外，每个序列器包括一个广泛的步进处理选项阵列，允许逆序、随机化、奇数和偶数之间的交替，以及将整个序列向左或向右移动。更重要的是，所有四个序列是同时可见的(一个巨大的优点)，所以你可以快速创建极其复杂的节奏，因为你可以看到每个模式之间的关系。
结论
考虑到Orbit的设计背景，我从一开始就对它有很多期待，这是对Jeff Rona和Nathan Rightnour丰富经验的证明，这个软synth没有辜负它的宣传。在我安装它的第一个晚上，我花了好几个小时来试验它的可能性，我所尝试的一切听起来都非常优雅和专业。对于舞曲制作人来说，Orbit有能力做一些真正令人印象深刻的节奏技巧。对于原声音乐作曲家来说，这是一个真正的秘密武器，为巨大的声景。如果这些类型的音乐是你的专长，downloa
ORBIT is being lauded by producers and composers worldwide for its bold, no-nonsense approach to musical synth design. ORBIT’s acclaimed interface brings to your fingertips a universe of cinematic, production-ready sound in the form of pulses and distinctive musical pads & atmospheres. Its revolutionary sound-morphing engine creates sounds that infinitely evolve, while retaining the musicality that drives modern cinematic music. ORBIT’s sounds range from light and shimmering to dark, mysterious and edgy. Don’t miss the synth that Harry Gregson-Williams (The Chronicles of Narnia, Kingdom of Heaven, Shrek) calls “distinctive and inspirational” and Jack Wall (Mass Effect, Call of Duty) proclaims as “gorgeous and meaningful”.
In this release, ORBIT becomes a Kontakt Player library, gains compatibility with external remotes, and boasts significant new features and workflow enhancements – enabling users to create new, unique sounds faster than ever before.
Synthesis Engine
The core engine behind Orbit consists of four discrete synth channels that constantly cycle (or “orbit” if you prefer) at a user-determined tempo. Each channel contains its own cleanly looped sample, selected from the factory bank of 101 sounds, which are categorized as either Dark, Dreamy, Mysterious, or Aggressive. From there, the sounds are processed via five straightforward parameters: volume, panning, tuning (in semitone increments), filter cutoff frequency, and resonance. As for the filtering parameters, there’s also an option to choose a different filter type for each channel: lowpass, bandpass, highpass, and notch. Each of the channels can be switched off, creating a “rest” in the four-step cycle, and the sounds can be quickly reordered via swap arrows at the top of the channels.
At first glance, this would appear to be a simple four-step sequencer—and in a way, that’s true—but things get more interesting as you manipulate the orbit “mode” tools at the bottom of the screen. Instead of a simple sequence, the system actually selects from three different cross-fade modes. For rhythmic, dance-oriented textures, there are sawtooth and square options that impart a more percussive or chopped character. For sweeping, ethereal soundscapes, the sine wave mode smoothly transitions between each of the channels. In addition to the mode and tempo of the cycling, there are attack and release controls that affect the overall amp envelope. All in all, this is a really clever way to approach morphing and rhythmic textures in a manner that’s reminiscent of digital wave synthesizers such as the Korg Wavestation or Sequential Prophet VS. In fact, it’s almost impossible to get a “bad” sound with an approach that’s so blissfully straightforward.
Effects
I was having a blast with the synth engine alone, before I increased the size of Kontakt’s interface and discovered that Orbit also includes integrated effects and additional step sequencers. The selection of processing tools is pretty standard, with two different distortion effects, a chorus/flanger/phaser, delay, reverb, and a final lowpass filter that’s applied at the end of the chain. These all perform as expected, sounding solid as part of any given preset. It’s also worth mentioning that the reverb includes a bunch of really nice convolution options that sound extremely good in the context of the synth’s features. The only caveat is that you can’t change the order of the effects. Fortunately, Orbit’s hardwired series is intelligently organized for all but the most exotic applications.
Step Sequencers
Adding to Orbit’s morphing capabilities are four independent step sequencers, with up to 16 steps each. You can also change the note value for each sequencer, with longer durations available for subtle, evolving patches. Each sequence can be assigned to a single parameter, with an emphasis on the synth’s global functions like Orbit mode, rate and depth, as well as quite a few of the effects parameters. In addition, each of the sequencers includes a wide array of step processing options, allowing for inversions, randomization, alternating between odd and even, and shifting the entire sequence left or right. What’s more, all four sequences are visible simultaneously (a huge plus) so you can create extremely complex rhythms quickly, thanks to the ability to see each pattern in relationship to the others.
Conclusions
Considering Orbit’s design pedigree, I was expecting a lot from the outset, and it’s a testament to Jeff Rona and Nathan Rightnour’s vast experience that this soft synth lived up to its hype. The first night I installed it, I was lost for hours experimenting with its possibilities, and pretty much everything I tried sounded very polished and professional. For dance music producers, Orbit is capable of some truly impressive rhythmic tricks. For soundtrack composers, it’s a veritable secret weapon for massive sonic soundscapes. If either of those types of music is your specialty, download the demo and get your credit card ready.
Snap Judgment
PROS Intuitive and approachable interface, regardless of your synthesis experience. Great array of source samples. Four step sequencers can be applied to a wide range of parameters. Integrated effects.
CONS Effects and modulation tools are easy to miss, unless your Kontakt player window is sized correctly. Effects series is hardwired.
Bottom Line
A deep source of inspiration and song starters for both dance-oriented rhythmic and soundtrack-oriented atmospheric needs.
NOTE:
Here updated NKR, NKI, Nicnt and other.
