The most well-known and significant sampler on the market right now is probably Native Instruments Kontakt. The sampler has access to thousands of paid and free sample libraries in addition to the developer’s sample libraries. Today, the majority of music producers use many of them on a regular basis. It follows naturally that I will discuss the top libraries available in this new year. The list consists of beat-making toolkits, analog synths, granular synths, scoring instruments, and ethnic sounds.
The software is available in two different versions from Native Instruments: the free Kontakt Player and the premium Kontakt. You can use the sample libraries in the free version, but you can only make significant internal changes to the samples in the commercial version. Be aware that, not all libraries are accessible in the free version. As a result, be sure to look in each library’s Compatibility section.
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Heavyocity Symphonic Destruction
Symphonic Destruction by Heavyocity is a highly functional toolset for contemporary film and trailer score. It blends classic and hybrid orchestral sounds with synths, powerful guitars, and impact noises. The peculiar processing from Damage 2 percussions makes the samples from Heavyocity’s Novo strings, Forzo brass, and Vento woodwinds libraries as bombastic as possible.
Instrument engines are divided into two categories in the library: designers and performers. Engines and equipment for specialized trailer/film score needs are contained in each folder. You’ll find them all, from sinister and ominous staccato sections to action-packed horns and hits. However, Symphonic Destruction is more than just a compilation of samples and loops. The many capabilities offered by each engine in the library enable you to adjust and personalize the samples or loops as you see fit. The ability to manipulate many settings with the turn of a knob or your modulation wheel is another benefit of macros. Using the library is a snap thanks to this feature.
You can create a wide variety of sound palettes using the Designer Engine, from complex horror drones to hybrid strings that resemble pads. Of course, you can create new patches using a variety of factory presets and samples. There are three channels on each patch where samples can be loaded. The Source menu is located at the upper left of the interface and allows you to examine, load, and distribute samples over the keyboard. The top right corner of the UI also has three menus: Cycle, Macro Sequencer, and Master FX.
You can use a sequencer to modify each channel’s start position, velocity, and panning on the Cycle page. The Macro Sequencer operates in a similar manner, modulating the Macro knob in the center of the interface, which controls six parameters: the Envelope, EQ, Filter, Drive, Gate, and Space. Keep take mind that the envelope, filters, and effects editors are accessible by clicking on each parameter.
You can select from a variety of instrument types using the Performer Engine, including Traditional, Hybrid, Damaged, Soundscapes, Hybrid Pedals, Damaged Guitars, etc. You may change the sounds and articulations of each of these by utilizing key switches. Additionally, depending on your preference, you can alter the dynamics using either your modulation wheel or your velocity.
You become more aware of how many audio possibilities there are as you make more attempts to explore this collection. This library is what I would call a complete sound module for movie or trailer music. Almost everything you’d need to create big hybrid cinematic scores is available. Similar to how utilizing each sound engine and experimenting with the buttons and knobs gets you up to speed, even though the method isn’t immediately evident. Also, if you need to slightly hype things up when you’re producing, consider turning up the exclusive Punisher knob. This is one of the Best Kontakt Libraries in 2023.
Output Substance
A full-featured bass sound production tool called Substance includes built-in samples of authentic acoustic instruments and gritty analog synth sounds. The Bass Engine user interface’s main screen features a strange arrangement of three instrument layers, their controllers, and macro faders that enable you fast alter the sound.
Additionally, you can add a MIDI CC to the macros so that your MIDI controller can control them. The power buttons to mute/enable the layers are located in the middle of the arrangement. You can access each layer’s volume by moving out a step. After that, by clicking on the source name, you can choose from a variety of sound sources. You can see the category of the sound source you’ve selected outside of this section, and the logo corresponds to that category. Four macro faders, each of which varies depending on the preset or your assignments, are located on the outer perimeter of the circular pattern.
This library’s three mixing-specific pages are EQ, Filter, and FX. Each layer’s EQ on the EQ page has three bands, and the global output EQ has four. For the low and high bands, you can select either shelf mode or peak mode. Similar to this, the Filter page has high-pass and low-pass filters for the global output in addition to multi-mode filters for each layer. It also includes a filter envelope.
The FX page then contains six effect processors per layer. Distortion, motion (chorus/phaser/flanger), pitch, compressor, delay, and reverb are some of these effects. Similar effects include distortion, compressor, delay, and reverb in the global FX section. If you frequently create music with bass at the forefront, such as trap, hip-hop, and even house, substance is a useful tool. Similar to that, it has intriguing acoustic basses, such as bass guitars, contrabass pizzicato, low brass parts, etc. I discovered that the results were wonderful for sci-fi/action trailer music and film SFX design when I combined these sounds with their electronic counterparts. There are also many controls available for modifying the presets.
Having said that, I would have adored to see a sample import function that allowed me to use my own sounds in addition to the samples from the library. In a manner, the library’s goal—to assist people in avoiding tiresome sound layering—is defeated by the absence of this capability. However, the default sounds are typically more than sufficient. Therefore, I advise you to try it.
Heavyocity Scoring Acoustic Guitars
The presets for Scoring Acoustic Guitars are divided into three major groups and are constructed from roughly 2.8GB of sample content. Each group uses a slightly different Gravity front-end for Kontakt. The majority of the controls are shared, but each has distinctive features, as well as a varied set of performance and note keymapping arrangements on the MIDI keyboard. However, the Gravity interface packs an incredible level of tweakability, allowing great mileage out of the underlying sounds, despite the relatively inexpensive cost.
Regarding the presets, there are a number of superbly playable “complicated” pad instruments that combine synthesizer layers with steel and nylon guitar samples to produce stunning textures. You also have access to a vast array of ‘pad components’ sounds that are far simpler but no less fantastic for situations where less is more. However, it’s not all pads, as there are a few preset groups with rhythmic elements. These range from straightforward strumming patterns with major and minor chords mapped across the keyboard to atmospheric rhythmic pulses built from single notes played in a variety of styles with keymapping-controlled pitch, as well as lovely melodic pulses and phrases. There is also a collection of guitar scapes that are clearly sound-designed and have a strong cinematic quality. A sophisticated effects engine, a “motion” engine with its own preset system, and a variety of renowned sample options round out this amazing package.
Scoring Acoustic Guitars, like the other Gravity Pack offerings, is most likely to be appealing to media composers or more avant-garde artists. The sound quality is unquestionably high-end, but the cost of access is not. Scoring Acoustic Guitars should therefore find a willing audience. Excellent content and excellent value for money, provided you’re prepared to take advantage of Gravity’s benefits.
If you’re looking for cinematic guitar sounds to use into your music production, look no further. The newest tool from Heavyocity to complete their Gravity line of award-winning instrument packs is Scoring Acoustic Guitars. Heavyocity was able to advance their sound design by fusing with each guitar strum and vibration. There are 1040 samples, 229 Kontakt files, snapshot presets, motion presets, and 2.81 GB of data total in this library. One of the best Kontakt guitar libraries available today, this library allows you to adjust the rhythm and resonance of nylon and steel-string guitars.
Wide Blue Sound ELYSIUM
A digital synthesizer called ELYSIUM was created specifically to concentrate on musical instrument motion. Obtain access to a huge collection of sampled instruments, including mallets, pianos, string sections, contemporary synths, basses, dreamy pads, endearing leads, and many more. Find the ideal instrument by using the sound browser, selecting your mood type, and searching. Open the FX section if you want to learn more about sound design in-depth. Choose from 300 more effects you’ve probably never heard before, or add a number of stompboxes, amplifiers, chorus effects, delays, and reverbs. Here is a detailed overview of the Kontakt library.
Some of the most powerful synthesizers eventually become preset synths, with capabilities created for patch designers rather than end users. Elysium is unique. Enter a galaxy of macro knobs, movement-generating devices, and entertaining methods to add movement, where even the most basic patches seem more alive than they would in any other synth. The ground-breaking, highly praised user interface for Elysium was created to provide you the most flexibility and power with the least amount of resistance.