INDUSTRY – POST APOCALYPTIC NOISE ENGINE BY RIOT AUDIO
KK-ACCESS REVIEW
This new library from Riot Audio could take you on a sonic journey through the heartland of dystopian landscapes, with vast machines pounding out metallic rhythms, doomsday sirens broadcasting warnings of impending danger, and deep heavy sub basses grinding their gritty dark melodies into a pollution choked post apocalyptic night sky!
Phew!, well as a review writer, I do occasionally welcome the opportunity to throw in a little artistic license now and again, but joking aside, Industry from Riot Audio could certainly be appealing for those needing to add some industrial magic, minus the light, into their projects.
TECH SPECS
Industry runs in either the full version of Kontakt 7.9.0 & higher, or the free Kontakt Player, and is compatible with all versions of Komplete Kontrol hosting the appropriate edition of Kontakt.
The library requires 7.25GB of disk space for installation, and uses the NCW lossless compression format for the samples.
There is one master Kontakt NKI preset, with a further 400 NKSN snapshots divided across eight categories.
DOWNLOAD & INSTALLATION
Download and installation is handled entirely through Native Access upon registration of your post purchase serial number, making things very easy and straightforward.
Launching Komplete Kontrol will add the Industry presets to your factory database, ready to use.
Full Komplete Kontrol NKS Plug-In parameter mappings are available at the end of the review following the media links
ACCESSIBILITY
Riot Audio have made a respectable job of mapping the important controls for this three layer Kontakt based engine to the Komplete Kontrol hardware.
It would have been nice to have seen access to the sample content browser, which contains the main internal sample pool directly navigable through the KK knobs (something we are thankfully now beginning to see more often from some developers), however, despite this, a decent supply of factory presets, and the availability of a randomise control, do help to mitigate what would otherwise been a more limited user sound design experience.
INDUSTRIAL REVOLUTION
As mentioned, Industry adopts a three layer Kontakt based engine, where selections from the main sample pool can be blended together and individually manipulated to conjure a wealth of Industrial inspired patches.
The featured Industry factory preset categories include:
Atmospheres, Basses, Keys, Mallets, Pads, Pulses – Non-tonal, Pulses – Tonal, & Risers.
This large collection of 400 presets have been crafted using the included bespoke sample content and Kontakt internal waveforms, which draws on Mechanical, Electrical & Synthetic sound sources.
More specifically,the included original sources are: Basic Synth, Complex Synth, Engines, Granular (Tonal), Loops, Granular (non tonal), and Noise.
These have, and indeed can be, combined together in a myriad of combinations (apparently in excess of 5 million possibilities), to come up with a diverse cross section of material.
The sample sources include various consumer electronics, DIY power tools, stone & masonry, and larger industrial machinery, as well as a complementary collection of synth, granular, loops and processed samples.
THE INDUSTRY ENGINE
The 14 pages of NKS mapping provide master control for mixing the levels, pan, compressor, and randomisation of all three sound layers, whilst digging deeper, each of the A, B, & C layers also feature more focused editing options.
ADSR, Pan, Octave Shift + or minus 3, Loop Speed, Sample Offset, Morphing, LFO Sync, & Filter control are among the mapped parameters you will come across.
There are also global controls for Saturation, Filter, EQ, Delay, & Reverb, to help you to hone the overall final timbre of the sound.
Here is a quick demo track, put together using only sounds from Industry:
ROLLING THE DICE
The randomise feature is a really useful tool to have included, and as the name suggests, turning this knob will draw random samples from the sample pool for selected layers, think of it as a kind of preset lottery if you like!
There is just a slight reduction in the functionality for blind users here, in as much as we are unable to accessibly select, or omit which layer goes into the sound tombola, as mouse users would otherwise be able to do.
This means that if there is a certain layer that you wanted to retain, it may well get included into the grand sample prize draw, and you may lose it.
Some sort of script to enable the locking of individual layers would be a good addition here, provided it could be mapped to NKS.
In practice though, it’s not too much of a real showstopper, as I was still able to generate some very usable results, incidentally, it is only the samples that get changed, the randomisation does not extend to other parameters that you may already have been painstakingly tweaking.
Using this feature, it was fairly easy to come up with quite useful drones, mechanical rhythms, airey leads, and pads, which could further be polished using the other NKS controls.
Checkout the walkthrough from Riot Audio which takes you through the features of Industry, and explores some of the sound content.
CONCLUSION
Industry represents Riot Audio’s biggest library to date, and looks to set the tone for future product releases.
They tell me that they do have an ultimate master plan to also make previous releases Kontakt Player & NKS compatible, which will take some time to implement, but is nevertheless exciting news, and certainly something to keep an eye on, they are also mindful and open to the benefits that NKS can bring to blind & visually impaired customers.
Industry can be a worthwhile addition to the creative palette of game, media, film, ambient, & soundscape composers alike, and is certainly accessible enough to allow users to come up with their own sound designed presets.
Industry from Riot Audio, is available for purchase directly from their website for £89.00
Industry Product Page:
Industry Product Walkthrough:
https://www.youtube.com/watch?v=Kde7WuImIs0#
KOMPLETE KONTROL PLUG-IN EDIT NKS PARAMETER MAPPINGS
Page One – Master, Layer Levels, Randomise
Knob 1 – Master Volume
Knob 2 – Master Pan
Knob 3 – Compressor
Knob 4 – Not Allocated
Knob 5 – Layer Level A
Knob 6 – Layer Level B
Knob 7 – Layer Level C
Knob 8 – Randomise
Page Two – Layer A – Envelope, Octave, Loop, Sample Start, Pan
Knob 1 – Attack
Knob 2 – Decay
Knob 3 – sustain
Knob 4 – Release
Knob 5 – Octave Up/Down + or minus 3
Knob 6 – Loop Speed (Beat values including triplets)
Knob 7 – Sample Start
Knob 8 – Layer Pan
Page Three – Layer A Morphing
Knob 1 – Direction (Left & Right)
Knob 2 – Amount
Knob 3 – Time
Knob 4 – Hold
Knob 5 – Pitch Base – Target, Origin
Knob 6 to 8 – Not Allocated
Page Four – Layer A – Movement, Filter
Knob 1 – Direction: Left & Right
Knob 2 – Sync: On/Off
Knob 3 – Amount (Sync off)
Knob 4 – sync Speed (Beat Values when Sync On)
Knob 5 – Speed (Stated in Hz when sync off)
Knob 6- Phase: Stated in Degrees
Knob 7 – Filter On/Off
Knob 8 – Frequency Stated in Hz
Pages 5 to 10 – Repetition of Layer A Controls for Layers B & C
Page Eleven – Saturation, Filter (Global)
Knob 1 – Saturation On/Off
Knob 2 – Amount
Knob 3 – Damping
Knob 4 – Not Allocated
Knob 5 – Filter On/Off
Knob 6 – Frequency
Knob 7 & 8 – Not Allocated
Page Twelve – EQ
Knob 1 – EQ On/Off
Knob 2 – Low
Knob 3 – Cue
Knob 4 – Mid
Knob 5 – Cue
Knob 6 – High
Knob 7 – Cue
Knob 8 – Not Allocated
Page Thirteen – Delay
Knob 1 – Delay On/Off
Knob 2 – Amount
Knob 3 – Sync Time (Beat Values)
Knob 4 – Feedback
Knob 5 – Diffusion
Knob 6 – Sync On/Off
Knob 7 & 8 – Not Allocated
Page Fourteen – Reverb
Knob 1 – Reverb On/Off
Knob 2 – Amount
Knob 3 – Length
Knob 4 to 8 – Not Allocated
(c) Chris Ankin
KK-Access.com
5TH December 2024
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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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