AIR Expanded

In A.I.R. Expanded sample programming and user interface have been completely redesigned and enhanced from the ground up with five independent screens of more than 40 assignable effects and performance parameters. In addition, Sample Logic has meticulously revamped every original A.I.R. instrument and introduced a whole new collection of performance-ready instruments and multis.
A.I.R. Expanded blends the three essential building blocks of music (Ambience, Impacts, and Rhythms) into one score-effectual toolkit. Powered by NI´s Kontakt Player, this extensive 6 GB virtual instrument contains over 900 award-winning instruments and multis that include atmospheric soundscapes, impactual transitions, tempo-synced rhythmic loops and much more…

• Over 900 Instruments
• 35 production ready multis
• Tons of Killer Combinations that Combine Several Ambiences with Impacts and Rhythms
• Customizable user interface with 40 onscreen effects & parameters, including an arpeggiator

A.I.R. covers all the bases, from sci-fi, piercing, distorted tensions, and chilling action sounds to light, sacred, and spiritual atmospheres. This library truly is “The all-in-one composers toolkit!”

* Media-Packs can be ordered additionally to a download-license only!

Press reviews:

"A.I.R. is a great collection of contemporary sounds that all but write themselves into music. Anyone involved with scoring for contemporary media, from trailers to games to dramatic shows, should get a lot of use out of this consistently high quality library." [Virtual Instrument Magazine] -featured in October ´06

Music 4 Games [A.I.R. Review]

"If Frodo Baggins, Morpheus, and a possessed Regan MacNeil were carpooling to Burning Man, A.I.R. could be the soundtrack." [Stephen Fortner] -Keyboard Magazine

"I really like the interface for A.I.R. - useful, simple, and intuitive.. I can twist any of the sounds into something new in just seconds without having to dig down into the patches. The rhythms and electronic pulses are punchy, organic, tight and always funky - and tempo synced! I also found many impacts and ambiences in A.I.R. that are dynamic, interesting and useful. For me, A.I.R. is a nice addition to current sample libraries.. and still has it´s own unique sound. I also find it easy to load up and navigate in Kontakt2, ever ready to rumble, scrape and groove... and so it is". sole composer of CSI: New York, movies include Ali, Finding Forrester, and Any Given Sunday, as well as for the Quake, Wolfenstein, Command & Conquer and Tom Clancy´s game franchises. [Bill Brown]

"I´m sure that within a year you wont be able to turn on the TV, the radio, your game console, or visit your local multiplex without hearing A.I.R. in the music." composer GOD OF WAR, GOD OF WAR II [Gerard K. Marino]

Video Demos

	AIR Expanded Multis in Action

More infos

Manual
Instrument Categories
Image Gallery
Review from Amazona.de (german)
Review from Amazona.de (german)

Systemrequirements

NI Kontakt Player 4 included in this product!

The latest version of Kontakt Player is available through your Native-Instruments Service Center.

PC

• Windows XP (SP2 )/ Vista/ Win7 (32/64 Bit),
• Pentium or Athlon XP 1.4 GHz, min. 2 GB RAM

Mac

• OSX 10.5 / 10.6
• Intel (!!!) Core Duo 1.66 GHz, min. 2 GB RAM

for all

• 1GB free disc space for player installation
• additional hard disc space according to the library size
• internet connection for product activation required (on any computer)
• DVD drive

Note on Support for KONTAKT Player products:
Native Instruments only provides Registration/Activation support for KONTAKT Player products. Technical support is managed by the manufacturer of the respective products/libraries.

System FAQs

Product activation:
An internet connection on any computer is required to authorize / activate the product (Challenge/Response).

Reviews

Sound on Sound

A rather impressive sounding strap-line claims that Ambience Impacts Rhythms (AIR) is an 'All-in-one composer's toolkit'. I'd prefer to have a few more tools than this in my arsenal, but I'd happily include AIR as one of them, because it does what it aims to do with aplomb. AIR is aimed primarily at media composers (film, TV, computer games, web sites, and so on) and it offers them a good combination of contemporary sounds (think of the dark swirling ambiences, tension-building rhythms and deep metallic clangs of CSI New York, or of the granular synth madness of Native Instruments' Absynth).

The front end is the familiar Native Instruments' Kontakt Player, though you can also load instruments into the full version of Kontakt, to manipulate things with its much deeper functionality. The sounds themselves are divided into three main categories which, not surprisingly, are the Ambiences, Impacts, and Rhythms from which AIR gets its name. Within each category is a series of sub-folders, each containing well-named patches. Given that these sounds are not designed to emulate any recognisable acoustic instrument, this categorisation shows good sense and makes locating your sounds intuitive. In fact, most of the time I was able to select a sound that was somewhere near suitable for my test composition without difficulty.

The samples have been mapped to take advantage of the Kontakt engine's tempo-matching functionality. This allows instant gratification, as you can pick any two or three sounds and they will gel seamlessly to the tempo of your host sequencer (or, in stand-alone mode, the master tempo of Kontakt Player). This means that it is possible to conjure up an atmosphere track with only two or three sounds, and with only two or three keys pressed down on your keyboard. Even if this isn't your final composition it will certainly help you to keep the ideas flowing, or help narrow down the brief from your client, thus avoiding nasty surprises later on.

While it is aimed at composers, AIR will have broader appeal, particularly for electronica artists. As well as some powerful bass sounds and the generous array of infectious rhythms, you can find plenty of good modern and retro-trance sounds here to tingle your tastebuds — think Orbital, Underworld and the like (a good thing, in my book!).

Of course, similar sounds are achievable if you have time, patience and a suitable selection of synths. Arguably, some of the joy of the creative process is bypassed by having ready-made sounds so easily available. However, this library is about the speed and ease with which you can knock together a useable tune, without sacrificing on quality of results: for me, it achieves on all these fronts and I don't know of another library that does this in quite the same intuitive way."

5 STARS Review: AMBIENCE IMPACTS RHYTHMS  Sound on Sound A rather impressive sounding strap-line claims that Ambience Impacts Rhythms (AIR) is an 'All-in-one composer's toolkit'. I'd prefer to have a few more tools than this in my arsenal, but I'd happily include AIR as one of them, because it does what it aims to do with aplomb. AIR is aimed primarily at media composers (film, TV, computer games, web sites, and so on) and it offers them a good combination of contemporary sounds (think of the dark swirling ambiences, tension-building rhythms and deep metallic clangs of CSI New York, or of the granular synth madness of Native Instruments' Absynth).

The front end is the familiar Native Instruments' Kontakt Player, though you can also load instruments into the full version of Kontakt, to manipulate things with its much deeper functionality. The sounds themselves are divided into three main categories which, not surprisingly, are the Ambiences, Impacts, and Rhythms from which AIR gets its name. Within each category is a series of sub-folders, each containing well-named patches. Given that these sounds are not designed to emulate any recognisable acoustic instrument, this categorisation shows good sense and makes locating your sounds intuitive. In fact, most of the time I was able to select a sound that was somewhere near suitable for my test composition without difficulty.

The samples have been mapped to take advantage of the Kontakt engine's tempo-matching functionality. This allows instant gratification, as you can pick any two or three sounds and they will gel seamlessly to the tempo of your host sequencer (or, in stand-alone mode, the master tempo of Kontakt Player). This means that it is possible to conjure up an atmosphere track with only two or three sounds, and with only two or three keys pressed down on your keyboard. Even if this isn't your final composition it will certainly help you to keep the ideas flowing, or help narrow down the brief from your client, thus avoiding nasty surprises later on.

While it is aimed at composers, AIR will have broader appeal, particularly for electronica artists. As well as some powerful bass sounds and the generous array of infectious rhythms, you can find plenty of good modern and retro-trance sounds here to tingle your tastebuds — think Orbital, Underworld and the like (a good thing, in my book!).

Of course, similar sounds are achievable if you have time, patience and a suitable selection of synths. Arguably, some of the joy of the creative process is bypassed by having ready-made sounds so easily available. However, this library is about the speed and ease with which you can knock together a useable tune, without sacrificing on quality of results: for me, it achieves on all these fronts and I don't know of another library that does this in quite the same intuitive way."

5 STARS