AIR Expanded

Die All-In-One Lösung für Ambient- & Filmmusiker. Das Plug-In ist in die drei Bereiche Atmosphären, Effekte & Rhythmus aufgeteilt. Hierfür wurden über zwei Jahre lang Klänge gesammelt und bearbeitet. Die besten landeten in A.I.R., einem würdigen Atmosphere Konkurrenten!
In A.I.R. Expanded wurde die komplette Sample-Programmierung und das User Interface mit fünf unabhängigen Screens, die 40 zuweisbare Effekte und Performance Parameter enthalten, von Grund auf überarbeitet und optimiert. Zusätzlich hat Sample Logic jedes original A.I.R. Instrument akribisch aufpoliert, um eine ganz neue Kollektion von „Performance-Ready“ Instrumenten und Multis zu generieren.

A.I.R. Expanded integriert drei Basisgruppen der Musik (Ambience, Impacts und Rhythms) in einen Baukasten für Filmmusik und Effekte. Vom NI Kontakt Player angetrieben, enthält dieses 6 GB Virtual Instrument über 900 preisgekrönte Instrumente und Multis von atmosphärischen Klangteppichen über donnernde Effekte bis zu tempo-synchronen Rhythmus-Loops und noch vieles mehr…

• mehr als 900 Instrumente
• 35 Production-Ready Multis
• tonnenweise Killer Combis, welche verschiedene Ambiences mit Effekten & Rhythmen kombinieren
• modifizierbares User Interface mit 40 Onscreen-Effekten & Parametern, inklusive Arpeggiator
   

A.I.R. bietet die klangliche Basis für Sci-Fi, Piercing, Distorted Tensions und Chilling Action Sounds zu light, sacred, und spiritual atmospheres.
Diese Library ist wahrhaftig “The all-in-one composers toolkit!”

* Media-Packs können nur optional zu einer Download-Lizenz bestellt werden

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

Mehr Infos

Image Gallery
Instrument Kategorien
Manual
Tesbericht auf Amazona.de
Tesbericht auf Amazona.de

Systemanforderung

Dieses Produkt wird mit dem NI Kontakt Player 4 ausgeliefert!

Die aktuellste Kontakt Player Version erhalten Sie über Ihr Native-Instruments Service-Center.

PC

• Windows XP (SP2) / Vista / Win7 (32/64 Bit),
• Pentium oder 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

für alle Systeme

• 1GB freier Festplattenspeicher für die Player installation
• zusätzlicher Festplattenspeicher entsprechend der Library Grösse
• Internet Verbindung zur Produktaktivierung (auf beliebigem Computer möglich)
• DVD Laufwerk
   

Support-Hinweis
Native Instruments bietet Registrierungs- und Aktivierungs-Support für KONTAKT PLAYER Produkte. Der technische Support wird von den Herstellern der jeweiligen Libraries übernommen.

System FAQs

Produkt Aktivierung:
Zur Autorisierung / Aktivierung des Produktes benötigen Sie eine Internet Verbindung auf einem beliebigen Computer (Challenge/Response)

Testberichte

Testbericht in Beat 04-2010 Bewertung 5,5 von 6 Punkten!
Sound on Sound

Testbericht in Beat 04-2010 Bewertung 5,5 von 6 Punkten!

Der Name AIR steht bei der gleichnamigen Klangbibliothek von Sample Logic nicht etwa für heiße Luft, sondern für „Ambience, Impacts und Rhythms“. Auf den Käufer warten auf zwei DVDs ganze 6 GB an Klangmaterial, darunter über dreihundert Ambientinstrumente, einige davon mit kürzeren Variationen. Die Kategorie „Impacts“ beinhaltet hingegen hundert zum Teil auch chromatisch spielbare perkussive Instrumente sowie Drumkits, während sich im Ordner „Rhythms“ dreihundert perkussive Loops finden, die automatisch zum Hosttempo synchronisiert werden. Hier ist es spannend, diese auch einmal wesentlich tiefer oder höher als die Originaltonhöhe des Samples zu spielen. Einen guten Startpunkt für eigene Kompositionen stellen die sogenannten „Combination Patterns“ dar, die mehrere Sounds in einem Klangprogramm vereinen. Positiv fällt die sinnvolle Sortierung der Klänge in verschiedene Unterkategorien auf. Darüber hinaus enthält die Bedienungsanleitung anschauliche Beschreibungen der verschiedenen Kategorien, sodass man schnell Sounds findet, die den gewünschten Klangattributen entsprechen. Die angepasste Oberfläche des Kontakt Player 2 beherbergt eine ADSR-Hüllkurve, ein Tief- und Hochpass-sowie ein Resonatorfilter sowie die Effekte Phaser, Reverb und Delay. Abgesehen vom Delay, bei dem man auch die Verzögerungszeit und das Feedback einstellen kann, sind die Effekte ausschließlich in der Intensität regelbar – es sei denn, man besitzt eine Vollversion von Kontakt.

Fazit
Insbesondere Ambient- und Filmmusiker werden mit AIR bestens bedient. Die Bibliothek wird dabei ihrem hohem Anspruch gerecht, durch ausgezeichnet klingende, direkt spielbare Instrumente zu inspirieren. Eindrucksvoll ist auch die enorme Klangpalette des Instruments, die düstere Dronen, Sphärenklänge, wuchtige Schläge, abgefahrene Soundeffekte und energiegeladene Rhythmen abdeckt.

Bewertung: 5,5 von 6 Punkten!

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