If you’re curious to hear some of them in action, you can listen to the audio demos of Reaktor at this link: Also, don’t forget that each ensemble may have its own snapshots.įrom ethereal drones and endless soundscapes, to granular FX, to powerful synths, the Factory Library is capable of covering an incredible range of sonic fields. Furthermore, as we will see, we are free to connect ensembles in edit mode, and to create custom systems by feeding an effect to another, a synthesizer into an effect, etc. This is also true for some effects from Blocks. It is important to note that Reaktor, when used in a DAW, can be either and Instrument or an FX (hence the Reaktor FX plugin), so with the ensembles in the Effects section we can process external audio material. The categories are:Įach category is a unique sonic world composed by weird and unusual instruments alongside more classic and familiar ones. The Reaktor Factory Library’s folder, on the left of the interface, shows a collection of categories in which the ensembles are organized. Just to remember how complex and comprehensive the Reaktor world can be, to the above mentioned number of the ensembles we can add a vast library of instruments programmed by the community ( ), Blocks, the Instrument modules (.ism) that we can freely arrange and connect to create our rack, the possibility to code our own instrument, and, lastly, third party complete instruments.Īfter having a look to Blocks and to a third party instrument, S-Layer, in previous installments, let’s now explore what the Factory Library has to offer. The core library of Reaktor has a lot to offer, probably months of sonic experimentations with more than 70 pre-built ensembles. In this fourth installment of Kritikal Reaktions we will explore two ensembles from the Factory Library, SteamPipe 2 and the reverb Space Masters 2. Reaktor’s extensive Factory Library is a treasure chest full of great instruments, some of them really unusual and exoteric. Reaktor’s power doesn’t come from Blocks or third party instruments, but from the possibility to create your own individual ensembles from scratch, programming or assembling them in unique, new systems. In this installment we will explore two ensembles from them. In fact, the piano I used is also from Kontakt ( The Giant) as well as the fantastic sounding reverb.Reaktor’s Factory Library is a treasure chest full of great instruments and FX, some of them really unique and exotic. Kontakt is a great tool for realistic acoustic instruments and spaces. These strings are also from the Kontakt 5 Factory Library. I also used some very soft compression, a bit of flanging, and reverb. I grouped them accordingly together and processed that group track with an equalizer, whose resonant filters I automated the position of. One is from Kontourand the other from Rounds. The bass is a blend of two modified presets in Reaktor 5. Then, I sent some of it to the return with the compressor on it to blend it with the affected drums. I loaded up their default kit and adjusted the pan positions, levels, and tones to my liking. I also added some reverb to the snare and cymbals.įurthermore, most of the cymbals and all of the toms you hear are coming from Studio Drummer in Kontakt 5. Then, I used Driverwith some frequency modulation and a decaying envelope to get that “wooshy” sound and sent the track to two returns – one with our bitcrusher on it and one with a compressor on it (both pre-mixer). Here are a couple more ways to group notes in ⅞ time.įirst of all, whis was composed using samples from the Battery 4Factory Library which I edited and processed heavily. Specifically, my song features the two grouping methods below. It is one of the more difficult time signatures to write in, but sticking to a certain grouping pattern makes it easy to feel. This means that there are 7 beats in one measure and each of those beats is written as an eighth note. It may come out sounding something like this… In this article, I will explain the ways to break down 7/8 and compose a piece using it. You can go from one meter to another or even use more than one meter at once. But, you can write music in any meter you want. This means that most of the rhythmic ideas repeat or “turn around” (cadence) in some multiple/factor of 4 – so, a grid system made of up segments that are 4 beats long is ideal for organizing them. The majority of popular music is in 4/4 time and does not modulate time signature.
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