ORIGIN X – MODERN LOOP ENGINE BY ARTISTRY AUDIO
KK-ACCESS REVIEW
We recently reviewed Staccato the newest library from Artistry Audio, which features some great contemporary and very useful sounds that spanned a variety of genres.
This in turn spawned many requests for me to take a retrospective look ath their earlier debut library, Origin X, which is a loop based library, and is also versatile enough to be used across many different music genres.
With over 20 pages of NKS mapping included, it just may be enticing enough for Komplete Kontrol users to take the plunge, particularly as at the time of writing it is on a significant 60% discount over at Audio Plugin Deals.
TECH SPECS
Origin X runs in either the full version of Kontakt 6.4.1 or the free Kontakt Player, and as such is Komplete Kontrol compatible.
3.97GB is required for installation, using NCW format sample compression from the original 4.29GB.
There are two Kontakt master NKI files, one for the central Origin X library, the other is for use with Origin X User samples.
There are also a further 351NKSN Kontakt snapshot files which provide the presets that we use within Komplete Kontrol.
DOWNLOAD & INSTALLATION
Origin X can be authorised, downloaded and installed entirely through Native Access using the serial number provided in the post purchase email, which makes things so much easier.
Komplete Kontrol will re scan your content when the plugin is loaded into your DAW or choice, and Origin X will be available soon after in your factory browser, as a tagged Artistry Audio product.
KOMPLETE KONTROL PLUG-IN EDIT NKS PARAMETER MAPPING
PAGE ONE – Macros
Knob 1 – Macro 1
Knob 2 – Macro 2
Knob 3 – Macro 3
Knob 4 – Macro 4
Knob 5 – Play 1
Knob 6 – Play 2
Knob 7 – Play 3
Knob 8 – Play 4
PAGE TWO – Settings
Knob 1 – Master Volume
Knob 2 – Velocity Sensitivity
Knob 3 – Tune
Knob 4 – Glide
Knob 5 – Speed: 1/2, 1 x, 2x
Knob 6 – FX On/Off
Knob 7 – Macro On/Off
Knob 8 – Slice On/Off
PAGE THREE – Layer A Volume, Layer B Volume
Knob 1 – Layer A Volume
Knob 2 – Volume A LFO On/Off
Knob 3 – Intensity
Knob 4 – Fade In (milliseconds)
Knob 5 – Layer B Volume
Knob 6 – Layer B LFO On/Off
Knob 7 – Intensity
Knob 8 – Fade In (milliseconds)
PAGE FOUR – Layer A Pan, Layer B Pan
Knob 1 – Layer A Pan
Knob 2 – Layer A Pan LFO
Knob 3 – Intensity
Knob 4 – Fade In
Knob 5 – Layer B Pan
Knob 6 – Layer B LFO
Knob 7 – Intensity
Knob 8 – Fade In
PAGE FIVE – Layer A Tune, Spread, Speed, Pitch, Layer B Tune, Spread, Speed, Pitch
Knob 1 – Layer A Tune
Knob 2 – Spread
Knob 3 – Speed
Knob 4 – Pitch
Knob 5 – Layer B Tune
Knob 6 – Spread
Knob 7 – Speed
Knob 8 – Pitch
PAGE SIX – Amp A, Amp B
Knob 1 – Layer A, Attack
Knob 2 – Decay
Knob 3 – Sustain
Knob 4 – Release
Knob 5 – Layer B, Attack
Knob 6 – Decay
Knob 7 – Sustain
Knob 8 – Release
PAGE SEVEN – Shape Layer A
Knob 1 – Shape On/Off
Knob 2 – Low Freq
Knob 3 – Low Gain
Knob 4 – Mid Freq
Knob 5 – Mid Gain
Knob 6 – High Freq
Knob 7 – High Gain
Knob 8 – Unallocated
PAGE EIGHT – Shape B
Knob 1 – Shape On/Off
Knob 2 – Low Freq
Knob 3 – Low Gain
Knob 4 – Mid Freq
Knob 5 – Mid Gain
Knob 6 – High Freq
Knob 7 – High Gain
Knob 8 – Unallocated
PAGE NINE – Pitch A
Knob 1 – Pitch On/Off
Knob 2 – Pitch + or minus 12
Knob 3 – Attack
Knob 4 – Decay
Knob 5 – Sustain
Knob 6 – Release
Knob 7 – Unallocated
Knob 8 – Unallocated
PAGE TEN – Pitch B
Knob 1 – Pitch On/Off
Knob 2 – Pitch + or minus 12
Knob 3 – Attack
Knob 4 – Decay
Knob 5 – Sustain
Knob 6 – Release
Knob 7 – Unallocated
Knob 8 – Unallocated
PAGE ELEVEN – Compressor A, Compressor B
Knob 1 – Layer A Compressor On/Off
Knob 2 – Threshold
Knob 3 – Ratio
Knob 4 – Gain
Knob 5 – Layer B Compressor On/Off
Knob 6 – Threshold
Knob 7 – Ratio
Knob 8 – Gain
PAGE TWELVE – Filter A
Knob 1 – Layer A Filter On/Off
Knob 2 – Cut-Off
Knob 3 – Resonance
Knob 4 – Velocity Sensitivity
Knob 5 – LFO
Knob 6 – Intensity
Knob 7 – Fade In
Knob 8 – ReTrigger On/off
PAGE THIRTEEN – Filter B
Knob 1 – Layer B Filter On/Off
Knob 2 – Cut-Off
Knob 3 – Resonance
Knob 4 – Velocity Sensitivity
Knob 5 – LFO
Knob 6 – Intensity
Knob 7 – Fade In
Knob 8 – ReTrigger On/off
PAGE FOURTEEN – Drive A, Drive B
Knob 1 – Layer A Drive On/Off
Knob 2 – Saturation
Knob 3 – Output Level
Knob 4 – Distortion
Knob 5 – Layer B Drive On/Off
Knob 6 – Saturation
Knob 7 – Output Level
Knob 8 – Distortion
PAGE FIFTEEN – Low Fi A, Low Fi B
Knob 1 – Layer A Low Fi On/Off
Knob 2 – Bits
Knob 3 – Sample Rate
Knob 4 – Noise
Knob 5 – Layer B Low Fi On/Off
Knob 6 – Bits
Knob 7 – Sample Rate
Knob 8 – Noise
PAGE SIXTEEN – Delay A, Delay B
Knob 1 – Layer A Delay On/Off
Knob 2 – Feedback
Knob 3 – Wet
Knob 4 – Unallocated
Knob 5 – Layer B Delay On/Off
Knob 6 – Feedback
Knob 7 – Wet
Knob 8 – Unallocated
PAGE SEVENTEEN – Reverb A, Reverb B
Knob 1 – Layer A Reverb On/Off
Knob 2 – Length
Knob 3 – Size
Knob 4 – Wet
Knob 5 – Layer B Reverb On/Off
Knob 6 – Length
Knob 7 – Size
Knob 8 – Wet
PAGE EIGHTEEN
Knob 1 – Compressor, Limiter
Knob 1 – Compressor On/Off
Knob 2 – Threshold
Knob 3 – Ratio
Knob 4 – Mix
Knob 5 – Output
Knob 6 – Limiter On/Off
Knob 7 – Input
Knob 8 – Release
PAGE NINETEEN – High Pass, EQ, Low Pass
Knob 1 – High Pass On/Off
Knob 2 – High Pass Cut-Off
Knob 3 – EQ On/Off
Knob 4 – Low Gain
Knob 5 – Mid Gain
Knob 6 – High Gain
Knob 7 – Low Pass On/Off
Knob 8 – Low Pass Cut-Off
PAGE TWENTY – Tape Saturation
Knob 1 – Tape Saturation On/Off
Knob 2 – Gain
Knob 3 – Warmth
Knob 4 – Hi Freq Roll Off
Knob 5 – Output
Knob 6 to 8 – Unallocated
PAGE TWENTY ONE – Phaser, Chorus
Knob 1 – Phaser On/Off
Knob 2 – Speed
Knob 3 – Depth
Knob 4 – Wet
Knob 5 – Chorus On/Off
Knob 6 – Speed
Knob 7 – Depth
Knob 8 – Wet
PAGE TWENTY TWO – Reverb
Knob 1 – Reverb On/Off
Knob 2 – Pre-Delay
Knob 3 – Size
Knob 4 – L R Size
Knob 5 – High Pass
Knob 6 – Wet
Knob 7 – Low Pass
Knob 8 – Unallocated
PAGE TWENTY THREE
Knob 1 – Delay
Knob 1 – Delay On/Off
Knob 2 – Feedback
Knob 3 – Low Cut
Knob 4 – High Cut
Knob 5 – Depth
Knob 6 – Rate
Knob 7 – Wet
Knob 8 – Ping Pong On/Off
ACCESSIBILITY
Loop based sample libraries are generally quite difficult to fully implement via the NKS system, the ability to take full advantage of the often included modulation & step sequencing and macro systems being one such grey area, not to mention access to the loading and swapping of samples.
Artistry Audio have however come up with quite a comprehensive NKS mapping template that at least gives us access to some useful features, even if accessibility for blind users may not have been the primary intentional driving force.
THE ORIGIN X KONTAKT ENGINE
Like many libraries Origin X adopts a two layer sound engine, which is reflected via NKS where references to the A & B layers provide separate editing options.
Elsewhere in the Komplete Kontrol pages, included controls can be global affecting both layers in unison.
There can be up to 12 possible sample loops for each layer, and these are preloaded onto the keyboard starting at C4 and then C5 respectively for each preset.
Holding down any or indeed all of the keys will cause the loops to play in sync with your DAW tempo, and there are both keyswitch and NKS controls to change the playback rate from half time, standard time or double time, this may seem an obvious feature but is sometimes omitted by other sample libraries using an accessible means.
PITCH PERFECT
Several keyswitch features are also included to control loop playbackc speed, FX and pitch.
The F3 key toggles between speed and FX mode, and pitch, while each of these modes then has further keyswitches to employ control upon the current loops being played.
The inclusion of sample pitch control is especially important, as again we have seen other libraries where it has been impossible for us to alter sample pitch except via an inaccessible GUI which could impair any extended creative use.
The samples can be played using keyswitches over the range of an octave, and can also be tuned either globally or per layer by + or minus 36 semitones via the NKS controls.
Unfortunately we are unable to tune any individual samples within a layer via the NKS system.
There is a particularly nice feature called ‘Pitch’ (as opposed to tune), which has a dedicated page for both layer A & B.
This enables the quick creation of a tape stop effect when turned on, having a + or minus 12 note variable control, along with ADSR to time the decay of the pitch over time.
RANDOMISATION
You may recall my enthusiasm for the randomisation button found within Staccato the newer Artistry Audio product.
Although there is indeed a random button within Origin X, and again I am able to access it using OCR (Optical Character Recognition), in this scenario it appears to be a necessity that the selection of parameters to randomise need to be selected by clicking into the GUI.
Hence the ability to self generate new user presets in the same way as Staccato in this instance sadly eludes us.
There is an Origin X User Sample NKI preset, the intent here is that users are able to drag & drop their own loops into the engine, however we of course are not genrally able to take advantage of dragging & dropping, so again this will probably be a feature we are unable to utilise.
LOOPING THE LOOP
Origin X contains over 1400 loops which make their appearances across the included 351 presets.
As mentioned earlier, and in common with the vast majority of sample libraries, we are unable to select and load our own choices of sample loop via NKS due to limitations in accessing the UI sample browser.
Most of us get around this by loading several instances of presets that contain the loops we wish to use, it might not be the most resource friendly method, but it’s a workaround.
There are a plethora of high quality loop types, ranging from break beat drum kits, string melodies, arp riffs, vocals, FX and more. There is certainly plenty of material here that remains fresh enough for both current and retro styles of music.
Given the ability to tune and further effect the samples, it all adds up to quite a wealth of material which can find a place right up front or subtly buried in a mix, and if you need to get a media project out for a client in a hurry, then it can be a real time saver provided you do not find yourself suffering from any of those artistic ease of use guilt issues as you type out your invoice!
As always I would recommend checking out the links at the review footer to fully appreciate the sounds of the library.
CONCLUSION
This is another worthy library from Artistry Audio, which was in fact voted best virtual instrument of 2020 by Ask Audio.
Three years can sometimes be along time in sample library land, yet Origin X stands the test of time and can easily retain a useful place in any composers creative toolbox.
In terms of accessibility it is seldom that we witness perfection, however as Origin X was the Artistry Audio debut product, they managed to get a good deal right with the 23 pages of NKS mapping.
Origin X can be purchased from the Artistry Audio website at the usual retail price of $199.00
At the time of this review publication, and for a limited time, Audio Plugin Deals are offering a significant 60% discount on the usual retail price making Origin X just $79.99
Origin X Product Page:
https://artistryaudio.com/origin-x/
Audio Plugin Deals – Origin X Offer:
https://audioplugin.deals/product/origin-x-by-artistry-audio/?gad=1&gclid=Cj0KCQjwho-lBhC_ARIsAMpgMoc8rOCDBDcDp2bmkpzO4UqF4bchU130C2Gr_J9D2nGL25kOaAz9tzQaAoQYEALw_wcB
Origin X – Playthrough:
https://www.youtube.com/watch?v=j1lyogcfRiU
Origin X Sample Library Review:
https://www.youtube.com/watch?v=YgvSklH_IJE
Origin X – User Manual:
https://artistryaudio.com/wp-content/uploads/2020/09/Origin-X-Users-Manual.pdf
(c) Chris Ankin
KK-Access.com
4th July 2023
Disclaimer
The author can not accept any responsibility for subsequent purchase decisions made as a result of this review,or Any inaccuracies found therein. All opinions and product functions stated are based solely on information perceived as a blind user whilst using the product and/or gathered from official factual sources such as the developer, web or supplied product manual.
About the Author
Based in Buckinghamshire, England, Chris Ankin has worked as a freelance review writer and contributor with articles published in Sound On Sound, Home & Studio Recording and ST Format Magazines.
He has also successfully worked extensively in and around the music, recording, film Soundtrack scoring, Game & media composition, the creative arts, Charitable trusts,publishing, music streaming and property investments since 1982 whilst continuously and deliberately managing to evade any mainstream recognition under his own name by the use of various pseudonyms.
E&OE
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