The Elements EXP

SampleLogic is proud to present the 6 Elements of music.

This 14 GB/ 4 DVD library contains over 2000 instruments, tempo synced loops and multis, designed with you in mind. "The Elements" operates on both Mac and PC platforms and is delivered in Audio Unit, VST, DXi and RTAS format.

The Elements EXP is an entirely redesigned product that gives you not only all of the instruments from the original Elements, but with a completely new user interface, and an additional 350+ patches, bringing you a total of over 2000 instruments and multis.

Ambience   (456 patches)
Bass       (122 patches)
Harmony    (138 patches)
Impacts    (391 patches)
Melody     (353 patches)
Rhythm     (227 patches)
Plus additional 350+ EXP patches

The library comes preloaded with Kontakt Player 2 software and is ready to go out of the box as both, a standalone instrument and plugin. The library can also be loaded and customized in the full version of Kontakt 2.

"The Elements" is a collection that will transform your work, pushing the envelope beyond today´s standard of music and sound design. Since the instruments are broken up into intuitive elements, you won´t wast any time browsing through unneeded sounds. 

These cutting-edge instruments were crafted to exite, inspire and electrify, practically begging you to create.The library is packed with deadly, ear scraping ambience to serene melodic choirs, glitched out distorted beats to funky harmonic guitar licks, woofed out basses to spine bending transitional impacts, traditional brass ensembles to psychedelic spirals of exotic colors. And with a bunch of extra sounds made from unicorns, hobbits and dragons, this library is sure to be fun for the whole family! 

Hot off the press:
"The Elements is an interesting, ear-bending, evocative, and well-produced
library that´s squarely aimed at composers who write music for TV and
Film." --Keyboard Magazine

"The Elements is an awesome one-stop production resource for many musical
genres." --Remix Magazine

 

 

Video Demos

	Video Trailer

More infos

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Systemrequirements

NI Kontakt Player 2 is included in this product!

Minimum:

• Windows XP/ Vista, Pentium 4/ Athlon, Single 2,8 GHz, Dual Core CPU above 1.6 GHz per core
• Mac OSX 10.4 or above, G5 1 GHz or Intel Core Duo1,66, 1 GB Ram

Optimal:

• Windows XP/ Vista, Pentium 4/ Athlon, Quad Core CPU above 1.8 GHz per core
• Mac OSX 10.4 or above, any Intel Mac G5, 2GB Ram

Free hard drive space - depending on the regarding library content.

You can use this library with the free Kontakt Player 4 (or higher) which is compatible to all actual operating systems and interfaces on Mac & PC

Download free Kontakt Player Windows (362MB)
Download free Kontakt Player Mac INTEL (458MB)

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.

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

Reviews

Sound on Sound 2/2008

If the patch names within The Elements are anything to go by, the folks at Sample Logic have a pretty good sense of humour – ‘Hells
Panties’ and ‘Vista Crashed Again’ are good examples, but the are also plenty of patch names that reference their inspiration, including
a number that are clearly suggestive of the types of sounds used by Sean Callery in his music for the hit TV series ‘24’. Sample
Logic’s development team also seem industrious – The Elements contains over 13GB of sample data (supplied across some 1,700
instruments and loops. These are all presented to the user via NI’s Kontakt 2 Player front-end, so AU, VST, DXi, RTAS and
stand-alone modes are all supported. 

The material is organised into six categories; Ambience, Bass, Harmony, Impacts, Melody and Rhythm. The documentation suggests that these categories comprise the six key elemtns (hence the title of the library) that can be used to construct a compostion. While most of the material forms instrument patches, there are also plenty of loops, and these are tempo-matches to the project and mapped across the keyboard for pitch adjustment.
Despite the large number of patches, navigation is easy. The titles give a good guide as to the contents of the various ‘elements’. For
example, the 450-plus Ambience patches are dominated by soundscape-style materials. While some of these are pads, the patches also cross over into sound-design territory and there are also tempo-sync’ed beds. On the whole, the moods are dark and disturbing rather than relaxing – a comment that applies equally to patches in the other ‘elements’. There is little here by the way of straight, traditional instruments – even those based on strings or guitars have generally been processed – but the various choir/vocal patches are an exception. They appear in both the Melody and Harmony sections and contain some very atmospheric choir pads, as well as a small number of nice ‘world’ vocal phrases. The Impacts category is also worth a mention. This consists of nearly 400 ‘hits’ covering a huge range of styles and textures, from musical ear-candy through to some great sound-design material.
The Elements will probably appeal more to media composers than those looking to construct their next top 10 single. That’s not to
say there isn’t material here that could work in a song-based compostion – there are some great synth arpeggios ad bass sounds that would tick that particular box – but this library really excels for dark or dramatic underscore and sound design. Given the volume of
material, it also represents excellent value for money. For film and TV composers looking for a large bundle of sound that doesn’t
require them to spend a large bundle of cash, The Elements is an ideal solution.
John Walden
5 Stars

Review: The Elements  Sound on Sound February 2008If the patch names within The Elements are anything to go by, the folks at Sample Logic have a pretty good sense of humour – ‘Hells
Panties’ and ‘Vista Crashed Again’ are good examples, but the are also plenty of patch names that reference their inspiration, including
a number that are clearly suggestive of the types of sounds used by Sean Callery in his music for the hit TV series ‘24’. Sample
Logic’s development team also seem industrious – The Elements contains over 13GB of sample data (supplied across some 1,700
instruments and loops. These are all presented to the user via NI’s Kontakt 2 Player front-end, so AU, VST, DXi, RTAS and
stand-alone modes are all supported. 

The material is organised into six categories; Ambience, Bass, Harmony, Impacts, Melody and Rhythm. The documentation suggests that these categories comprise the six key elemtns (hence the title of the library) that can be used to construct a compostion. While most of the material forms instrument patches, there are also plenty of loops, and these are tempo-matches to the project and mapped across the keyboard for pitch adjustment.
Despite the large number of patches, navigation is easy. The titles give a good guide as to the contents of the various ‘elements’. For
example, the 450-plus Ambience patches are dominated by soundscape-style materials. While some of these are pads, the patches also cross over into sound-design territory and there are also tempo-sync’ed beds. On the whole, the moods are dark and disturbing rather than relaxing – a comment that applies equally to patches in the other ‘elements’. There is little here by the way of straight, traditional instruments – even those based on strings or guitars have generally been processed – but the various choir/vocal patches are an exception. They appear in both the Melody and Harmony sections and contain some very atmospheric choir pads, as well as a small number of nice ‘world’ vocal phrases. The Impacts category is also worth a mention. This consists of nearly 400 ‘hits’ covering a huge range of styles and textures, from musical ear-candy through to some great sound-design material.
The Elements will probably appeal more to media composers than those looking to construct their next top 10 single. That’s not to
say there isn’t material here that could work in a song-based compostion – there are some great synth arpeggios ad bass sounds that would tick that particular box – but this library really excels for dark or dramatic underscore and sound design. Given the volume of
material, it also represents excellent value for money. For film and TV composers looking for a large bundle of sound that doesn’t
require them to spend a large bundle of cash, The Elements is an ideal solution.
John Walden 5 Stars