Convolution Space

Convolution Space – un territoire vierge de nouveaux paysages sonores !

Basé sur une banque de 8.5 gigaoctets de son travaillé avec amour et patience en Stéreo et 5.1 Surround, ce système est programmé avec le player Native Instruments Kontakt 2, avec 625 instruments conçus pour explorer cette matière sonore avec une infinie variété grâce au miracle de la convolution et de la recombinaison spectrale.   

Votre source pour votre musique de jeux, de film, de pub etc.
 
Sur le plan technique c´est difficile d´expliquer ce qui se passe puisque la convolution utilise des théories mathématiques très complexes. Mais ce plug reste enfantin à utiliser. Il suffit de charger un instrument, de le jouer au clavier et de jouer avec la molette de modulation - La texture évolue alors vers une nouvelle dimension et un nouvel univers - Vous entrez dans Convolution Space ! 

Convolution Space a été conçu pour produire tous les types d´atmosphères et est le premier à utiliser la convolution :

Exemple de catégories de sons :

• Abstract : Métaphysique et ésotérique. 
• Emotional : La beauté, la mélancolie, l´extase. Plus simplement des sons qui évoquent l´émotion – principalement positive.
• Fantasy : Magie et mondes parallèles, ce sont les sons de l´imagination.
• Mental: Sons de l´état d´esprit, allant du psychotique au spirituel en passant par le psychédélique
• Peur : Sinistre et malicieux, tout ce qu´il faut pour vos images d´horreur. A ne pas mettre entre toutes oreilles.
• SciFi : Pour les sons futuristes et la technologie.
• Underground : sombre. Les sons des profondeurs
• Deep&Rumble : Tremblement de terres et évènements cosmiques.
• Structures : Domaine de l´étrange.
• Technology : Les sons imaginaires des microprocesseurs qui communiquent entre eux. Lumières électroniques et machines du futur.                          

Le producteur : 
Magnus Lindberg, basé à Stockholm en Suède. Sound Designer depuis 15 ans, avec une obsession pour le sound design créatif ; ses clients : Microsoft, Nokia, MTV, Steinberg, Native Instruments et bien d´autres. 

Demos audio :
Chaque démo est réalisée avec UN seul instrument (preset). 

Plus d'information

Contents
User Interface
Download 5.1 Surround Demos
Download Update

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.

Système FAQs

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

Revue de presse

Wusik SoundMagazine12/2011
SoundOnSound 5/2009
Computer Music 12/2008

Wusik SoundMagazine12/2011

... This material was clearly assembled with loving care and is the product of many long hours in the field obtaining samples and in the studio assembling the many instruments. The utilioty of the package may be narrowly focused, but it provides an amazing palette of astonishing sound possibilities. Within that narrow focus, it’s absolutely brilliant!

complete review

SoundOnSound 5/2009

Regular readers will know that I’m partial to convolution in all its aspects, and have even given seminars exploring some of its more creative possibilities. So when Best Service released Convolution Space (CS) I was keen to give it a test drive. This 8.5GB library comes on two DVDs, offers 625 instruments and, like various other libraries offering special features, uses NI’s Kontkat 2 Player.

In essence, CS offers a number of uniquely playable atmospheres, each of which is created from a single sample that you can transpose and play polyphonically over the keyboard range. There are then ‘convolved’ with an impulse-response sample, and the balance between the dry instrument and the wet, convolved version can be controlled in real time using the mod wheel.

CS offers separate folders containing stereo and 5.1 surround instruments, and the entire library is presented both with convolution effects alone, and with added Kontakt effects such as EQ, Delays and phasers, all neatly sorted into folders with names such as Abstract, Emotional, Fantasy, and Scary. CS also provides ‘High CPU’ and ‘Low CPU’ versions. The latter gives slightly lower audio quality when the single instrument sample is transposed away from its C3 root note, but I doubt that most users would notice the difference in the context of a project, and it certainly reduces processor overhead considerably.

The source material for both instrument and IR samples is extremely diverse, exploring synths, machinery, people, nature and city sounds, most of it post-processed through more hardware and software to create complex textures and soundscapes. As anyone who’s spent time using convolution will already know, it’s tricky to predict exactly how the two signals will interact when convolved, since the results will depend on how the spectral content of each varies over time.

So, although Magnus Lindberg has worked hard marrying source and IR samples in his instruments, there’s potential for plenty of other interesting combinations. You can choose your own IR for any preset using the drop-down menus: there are 38 short ones and 55 long ones for stereo instruments, and 35 for the 5.1 surround sounds, giving loads f variety (surround instruments can still be monitored on a stereo system, but you won’t benefit from the wraparound and motion effects).

Don’t expect to play melodies or chords with this library, because that’s not the point. The overwhelming feeling is of ‘abstract’ sonic landscapes, and although a few sound organic in origin and can be played as lush and uplifting pads, most have an unearthly feel that’s either strangely alien or dark and disturbing – whispering machinery, rumbling drones, stellar winds and tortured souls – with the mod wheel variously introducing mutant reverbs, ringing harmonics and distant drones, which, with the longer IRs, have a lingering life of their own.

Although it bypasses many convolution wonders such as pitch-shifted firework reverbs and drums that morph into piano chords (try Spirit Canyon Audio’s IR libraries for these), Convolution Space certainly lives up to its name. Its relatively high price reflects the amount of effort that goes into creating a large library, but for those who need galaxies of slowly evolving atmospheres, it’s a quick and easy-to-use introduction to an intriguing new world of convolution effects.

Rating: 4/5  Review: Convolution Space  Sound on Sound – May 2009

Regular readers will know that I’m partial to convolution in all its aspects, and have even given seminars exploring some of its more creative possibilities. So when Best Service released Convolution Space (CS) I was keen to give it a test drive. This 8.5GB library comes on two DVDs, offers 625 instruments and, like various other libraries offering special features, uses NI’s Kontkat 2 Player.

In essence, CS offers a number of uniquely playable atmospheres, each of which is created from a single sample that you can transpose and play polyphonically over the keyboard range. There are then ‘convolved’ with an impulse-response sample, and the balance between the dry instrument and the wet, convolved version can be controlled in real time using the mod wheel.

CS offers separate folders containing stereo and 5.1 surround instruments, and the entire library is presented both with convolution effects alone, and with added Kontakt effects such as EQ, Delays and phasers, all neatly sorted into folders with names such as Abstract, Emotional, Fantasy, and Scary. CS also provides ‘High CPU’ and ‘Low CPU’ versions. The latter gives slightly lower audio quality when the single instrument sample is transposed away from its C3 root note, but I doubt that most users would notice the difference in the context of a project, and it certainly reduces processor overhead considerably.

The source material for both instrument and IR samples is extremely diverse, exploring synths, machinery, people, nature and city sounds, most of it post-processed through more hardware and software to create complex textures and soundscapes. As anyone who’s spent time using convolution will already know, it’s tricky to predict exactly how the two signals will interact when convolved, since the results will depend on how the spectral content of each varies over time.

So, although Magnus Lindberg has worked hard marrying source and IR samples in his instruments, there’s potential for plenty of other interesting combinations. You can choose your own IR for any preset using the drop-down menus: there are 38 short ones and 55 long ones for stereo instruments, and 35 for the 5.1 surround sounds, giving loads f variety (surround instruments can still be monitored on a stereo system, but you won’t benefit from the wraparound and motion effects).

Don’t expect to play melodies or chords with this library, because that’s not the point. The overwhelming feeling is of ‘abstract’ sonic landscapes, and although a few sound organic in origin and can be played as lush and uplifting pads, most have an unearthly feel that’s either strangely alien or dark and disturbing – whispering machinery, rumbling drones, stellar winds and tortured souls – with the mod wheel variously introducing mutant reverbs, ringing harmonics and distant drones, which, with the longer IRs, have a lingering life of their own.

Although it bypasses many convolution wonders such as pitch-shifted firework reverbs and drums that morph into piano chords (try Spirit Canyon Audio’s IR libraries for these), Convolution Space certainly lives up to its name. Its relatively high price reflects the amount of effort that goes into creating a large library, but for those who need galaxies of slowly evolving atmospheres, it’s a quick and easy-to-use introduction to an intriguing new world of convolution effects.

Rating: 4/5 

Computer Music 12/2008

Most Kontakt Player 2-powered ROMpers don’t exactly go out of their way to be innovative, but Convolution Space has a few tricks up its sleeve thanks to its unusual use of Kontakt’s convolution reverb effect. The sounds are all of the atmospheric variety, with effects, soundscapes and a few pads being the order of the day. They’re intended to add texture or be used as backings, rather than be played like a conventional instrument. On the face of it, there’s nothing particularly cunning about the patches – indeed, each appears to be based on a single sample on C3, though we suppose that’s forgivable seeing as for the most part they’re not meant to be your typical chromatic, multisampled fare.

The interesting stuff happens when you flick up the mod wheel, which sets the balance between the dry signal and the wet, convolution-processed one. This can really bring the patches to life, and a number of both 5.1 and stereo convolution samples are available. The sounds are of a uniformly high quality and while Convolution Space may be expensive, it’s one of the best atmospheric ROMplers we’ve heard so far.

Rating: 8/10 Review: Convolution Space  Computer Music – December 2008Most Kontakt Player 2-powered ROMpers don’t exactly go out of their way to be innovative, but Convolution Space has a few tricks up its sleeve thanks to its unusual use of Kontakt’s convolution reverb effect. The sounds are all of the atmospheric variety, with effects, soundscapes and a few pads being the order of the day. They’re intended to add texture or be used as backings, rather than be played like a conventional instrument. On the face of it, there’s nothing particularly cunning about the patches – indeed, each appears to be based on a single sample on C3, though we suppose that’s forgivable seeing as for the most part they’re not meant to be your typical chromatic, multisampled fare.

The interesting stuff happens when you flick up the mod wheel, which sets the balance between the dry signal and the wet, convolution-processed one. This can really bring the patches to life, and a number of both 5.1 and stereo convolution samples are available. The sounds are of a uniformly high quality and while Convolution Space may be expensive, it’s one of the best atmospheric ROMplers we’ve heard so far.

Rating: 8/10