Body Percussion Ensemble KONTAKT
Vida Hubbert
For over a decade, our mission has been to create an ever-growing selection of inspiring instruments, orchestral sections, drums, percussion ensembles, choirs, solo voices, folk and vintage instruments, experimental sonic contraptions, cinematic effects and sound-designed creations.
Ensembles: These contain multiple percussion instruments formed to produce the sound of a full traditional East Asian percussion ensemble. For more information on ensembles, refer to Ensembles.
Percussion: These are solo percussion instruments, mapped in more detail than the ensemble instruments. They contain patterns, fills, rolls, and single hits. For more information on the solo percussion instruments included, refer to Percussion Instruments.
East Asia Percussion: An ensemble of 16 percussion instruments from China, Japan, and Korea, including the Hua Pen Gu, Okedo-daiko, Tsuri-Daiko, Janggu (Sanjo), Xiao Tanggu, Kakko, Tsuzumi, Sogo, Buk, Bangu, Daluo, Xiaoluo, Naobo, Shoko, Jing, and Kkwaenggwari.
EAST ASIA gives you an extensive range of instantly recognizable sounds including drums, gongs, cymbals, and woodblocks. Choose from 24 percussion instruments that can be free-played individually or as part of bespoke ensembles. Each instrument and ensemble comes with an array of preset grooves which can be further tweaked with intuitive macro controls.
Requiem Professional contains the most comprehensive effects section ever sampled. The choral effects allow you to do incredible things with the choir, including assorted body percussion (ex. stomp, clap, teeth-clack, whispers, rain-claps, thunder fx, etc), consonant sounds, sweeps, numbers, trills, ambiences, glissandos, shrill, and gender separated effects.
An innovative collection of evolving percussion samples. Featuring a unique ensemble of instruments such as Orchestral Bass Drums, Taikos, Timpani, Gongs and Thunder Sheets. Perfect for creating dark cinematic soundscapes and atmospheres. The library was performed by world class percussionist Joby Burgess, who is known for his virtuosic performances across blockbusters such as Black Panther, Mission Impossible, Alien and many more. The library was recorded by Emmy nominated engineer Nick Wollage, who has recorded iconic soundtracks such as Solo: A Star Wars Story, Wonder Woman, How to Train Your Dragon and countless others.
THIS LIBRARY WORKS IN THE FREE KONTAKT PLAYER
This unique Kontakt plugin is a Taiko drum ensemble with more than 100 different hand drums and percussion instruments to play around with. Whether you want to add a touch of drama to your music or make action-packed movie scores, Taste The Fury is an incredible plugin!
The Vienna Art Orchestra was a phenomenal ensemble led by saxophonist, arranger and composer Mathias Ruegg. The original lineup changed over the years, eventually to form a group made up of a jazz big band, with added percussion and woodwind instruments found in the symphonic orchestra. From No Time To Rag Time was the first record I ever heard of them, and right away my first impression was that it is highly virtuosic and advanced music. I was amazed by the level of musicianship from all the players, the complexity of the solos and the interesting orchestration and arrangements.
The opening track, titled Variations about n 508-10 (4g) is a quirky cacophony of sounds that tips the hat on different genres. The piece opens with a fast and complicated line featuring a soprano singer, a xylophone and a woodwind instrument (possibly a clarinet) all playing in unison. The opening phrase leads to a more straightforward section that starts with a canon played by the oboe (imitating a typical jazz walking bass line) then the vocalist enters, and then the trumpet plays a short solo while the percussion provides a steady swing beat. The band goes back to the opening phrase and again is followed by the B section with the walking bass line and trumpet solo. It then repeats back to the first phrase, but this time the drum set plays hits and fills that come unexpectedly, bringing in the band to a chaotic section with a lot of playing by various instruments in full swing mode. Suddenly, the band stops and the piano plays a complex and lengthy solo, with heavy dissonances throughout. After the piano solo the band comes in again, and the saxophone takes the next solo while the ensemble provides support. The piece ends with the vocalist and the trumpet trading lines. We can recognize the influence of jazz and the sound of the swing big bands flirting with classical music, postmodernism aesthetics, atonality and free jazz.
The next section begins with the piano playing fast repeated notes in octaves for a brief moment and then comes to a halt. The electric guitar makes an entrance by itself, and then more of the vibraphone bowing before we hear delicate singing by female vocalists with the strings playing long notes, getting louder and doing glissando up the instrument. Suddenly, the throbbing low end sound is played again by the brass on the same pitch, while a flute plays fast flurries and the percussionist plays fast, loud and aggressively on the concert toms. The ensemble stops suddenly, leaving only a faint sound lingering, only to begin again on a loud tutti but this time on a different pitch. At this point, the shift in pitch feels like we have arrived to a climactic resolution, with the brass providing the low end and the piano playing rapid notes in octaves, while the strings play tremolos and trills and the soprano sings high notes with vibrato technique. I would compare this section to a fermata at the end of a concerto. This part is cut off abruptly, giving us a nice contrast, and the piece ends with a sort of codetta that has very soft singing by the alto, along with violin and cello holding long notes for a few seconds until the piece comes to an end.
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