VIOLA TEXTURES BY EMERGENCE AUDIO

VIOLA TEXTURES BY EMERGENCE AUDIO

 

 

KK-Access Review

 

 

We have been closely following the various releases from Emergence Audio over the past couple of years, and have been impressed at just how their bespoke Infinite Motion Engine™ has been able to process the various instruments that have been fed through this unique Kontakt scripted sound system.

 

 

The very latest launch, is Viola Textures which also rounds off the previously released String family libraries, Violin, Cello & Double Bass, and has once again proven the exceptional qualities of this fascinating and creative audio process.

 

 

Viola Textures stretches, warps, morphs & bends the traditional timbres of this classical instrument into something that conforms to both the beauty & the beast,turning it’s hand to everything, from melancholy ambient to dark & menacing supernatural chills.

 

 

TECH SPECS

 

Running in either the full or Kontakt Player version 6.7 and above, the library is also compatible with Komplete Kontrol.

 

With a modest data footprint of just 3.44GB, Viola Textures has been recorded at 24bit 48kHz and compressed using the NCW lossless file format.

 

There is one master NKI preset, and a further 161 Kontakt NKSN snapshot presets.

 

Also included are 12 Emergence Audio sound designed Kontakt NKM multi presets, which I always appreciate and think of as somewhat of a a nice and very welcome little bonus.

 

 

DOWNLOAD & INSTALLATION

 

 

Getting Viola Textures onto your system post purchase is as easy as pasting your serial number into Native Access, and allowing it to do the work for you, automatically placing the end library folder into your default location.

 

Opening an instance of Komplete Kontrol in your favourite DAW will scan the presets into your KK database, and then you are all set to peruse those presets.

 

 

KOMPLETE KONTROL PLUG-IN EDIT NKS PARAMETER MAPPING

 

 

Page One – LFO/Master/Main FX

 

Knob 1 – LFO Cross fade Expressed as a percentage
Knob 2 – LFO Speed Expressed as Hz or beat values (dependent upon loaded preset)
Knob 3 – LFO Intensity expressed as a percentage
Knob 4 – LFO type (Shape)
Knob 5 – Master Volume
Knob 6 – Reverb
Knob 7 – Delay
Knob 8 – Distortion

 

Page Two – Layer 1 & Layer 2 Envelope

 

Knob 1 – Layer 1 Attack
Knob 2 – Layer 1 Decay
Knob 3 – Layer 1 Sustain
Knob 4 – Layer 1 Release
Knob 5 – Layer 2 Attack
Knob 6 – Layer 2 Decay
Knob 7 – Layer 2 Sustain
Knob 8 – Layer 2 Release

 

Page Three – Layer 1/Layer 2

 

Knob 1 – Layer 1 Volume
Knob 2 – Layer 1 Pan
Knob 3 – Layer 1 Tune
Knob 4 – Layer 1 Sound
Knob 5 – Layer 2 Volume
Knob 6 – Layer 2 Pan
Knob 7 – Layer 2 Tune
Knob 8 – Layer 2 Sound

 

Page Four – Layer 1 Filter/Layer 2 Filter

 

Knob 1 – Layer 1 LP Cut-off
Knob 2 – Layer 1 LP Resonance
Knob 3 – Layer 1 HP Cut-off
Knob 4 – Layer 1 HP Resonance
Knob 5 – Layer 2 LP Cut-off
Knob 6 – Layer 2 LP Resonance
Knob 7 – Layer 2 HP Cut-off
Knob 8 – HP Resonance

 

Page Five – Secondary FX/Tape FX

 

Knob 1 – Saturation
Knob 2 – Chorus
Knob 3 – Rotator
Knob 4 – Phaser
Knob 5 – Tape FX, Tape Warmth
Knob 6 – Tape FX, Tape Gain
Knob 7 – Tape FX, Tape Roll-off

 

Page Six – Lo-Fi FX

 

Knob 1 – Bits
Knob 2 – Sample Rate
Knob 3 – Noise
Knob 4 – Color
Knob 5 – Reverb Preset Select
Knob 6 – Reverb Size
Knob 7 – Delay Time
Knob 8 – Delay Feedback

 

Page Seven – Randomiser & Master LFO

 

Knob 1 – Random
Knob 2 – Master LFO On/Off
Knob 3 – LFO Sync On/Off
Knob 4 – LFO Intensity
Knob 5 to 8 – Unallocated

 

 

ACCESSIBILITY

 

If you have read our previous Emergence Audio reviews here, then the NKS mapping will hold no new surprises, everything remains identical, which is reassuring if you are already familiar with using the previous libraries in the series.

 

Specifically we are able to select which samples are loaded into each of the two layers, use the ADSR, Filter, LFO, FX, Volume, Pan & Randomise features, all of which collectively providesus with a good level of sound design opportunities.

 

VIOLA TEXTURES

 

I have enjoyed using all of these String texture libraries, however I think that Viola Textures is going to be my new favourite, the sound design of the included factory presets for this release are superlative, demonstrating all of the qualities that the Infinite Motion Engine is capable of bringing to the table.

 

The sounds are warm, lush and rich, with a strong focus on the animated movement of the instrument, and are able to present the listener with a continued evolvement of the sound from just a simple note or chord.

 

There are plenty of categories to explore such as:

 

Alternates, Correlated, Experiments, Infinite Drones, Infinite Pads, Pulses, Swells and there is also an initialised reset patch for your own creative starting point.

 

The list of available articulations that can be selected also appear to be more extensive than previous releases, we are able to select one for each of the two sound layers, and this affords us a high level of experimentation in how the instrument plays as it morphs between them.

 

As you can see from the following, it’s quite a comprehensive list, that features some more unusual player techniques:

 

FLAUTANDO
FLAUTANDO ALT
FLAUTANDO MUTED
FLAUTANDO MUTED ALT
FLAUTANDO NO VIBRATO

SUL TASTO
SUL TASTO ALT
SUL TASTO MUTED
SUL TASTO MUTED ALT

SUL PONT SOFT
SUL PONT SOFT ALT
SUL PONT SOFT MUTED
SUL PONT SOFT MUTED ALT
SUL PONT SOFT NO VIBRATO

TREMOLO

NORMALE NO VIBRATO
NORMALE MUTED
NORMALE MUTED ALT
DETACHED
DETACHED REVERSE

RICOCHET
RICOCHET REVERSE

PUNTA D’ARCO
PUNTA D’ARCO REVERSE
PUNTA D’ARCO ALT
PUNTA DARCO ALT REVERSE

 

 

Emergence Audio have created a insightful walkthrough for Viola Textures which takes you through the library concepts and demonstrates a bunch of the included presets, and as always I have included a link for this at the review footer.

 

 

CONCLUSION

 

 

Viola Textures is another great addition to the Emergence Audio library portfolio, and takes the beauty of the Viola on an exploratory sound journey way beyond it’s original invention in the 15 hundreds.

 

The Infinite Motion Engine certainly breathes new life into those traditional articulations and also offers some that are rarely found elsewhere, permitting a new level of experimentation without compromising upon the natural tones of the original instrument.

 

This library is ideally suited for films core, media composition, ambient and soundscape producers.

 

Viola Textures will work just fine on it’s own, or as a compliment to existing Emergence Audio libraries.

 

 

Viola Textures can be purchased from the Emergence Audio website at an intro price of $65.00 (usual price $99.00).

 

 

*Note: Emergence Audio are members of the Able Artist Foundation discount scheme

 

 

Viola Textures Product Page:
https://emergenceaudio.com/product/viola-textures/

 

 

Viola Textures Walkthrough:
https://www.youtube.com/watch?v=fX5kZ0yJH1k

 

 

Viola Textures User Manual:
https://emergenceaudio.com/wp-content/uploads/2024/01/Viola-Textures-Quick-Guide.pdf

 

 

(c) Chris Ankin

KK-Access.com

 

1ST February 2024

 

 

 

Transparency Statement

 

KK-Access believe in integrity, and through respect for our readers,that our product reviews should strive to be be honest and unbiased, and that any of our opinions should not be influenced by financial reward or other incentives from a plug-in or sample library developer for which a review of their wares may be a subject matter.

 

Therefore, we do not accept,, and will continue to decline any offers of affiliation links, for all products under review for publication on this website.

 

 

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.

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