INFINITE GUITAR BY EMERGENCE AUDIO

INFINITE GUITAR BY EMERGENCE AUDIO

KK-ACCESS REVIEW

Infinite Guitar is the newest release from Emergence Audio, and is arguably the most ambitious of the wide range of instruments that now occupy their product portfolio.

With this release, Over the course of the past year Emergence Audio founder Mike Vignola has painstakingly played,sampled, edited, and sound designed all of the electric guitar material and presets for the library himself, and in doing so has ended up with a product that at 46GB is their largest so far, with some of the sample lengths exceeding over a minute in duration.

As with all other Emergence Audio products, the main driving force behind these totally unique end result stem from their Infinite Motion Engine™, and their Non-Static Sampling™ technique, which cleverly transforms the original sounds into something infinitely different, whilst still succeeding in preserving the pure essence of the instrument.

TECH SPECS

The library requires Kontakt 8.4 or higher, either the full or free Kontakt Player edition.

It is compatible with all versions of Komplete Kontrol which host the above Kontakt versions.

46GB of disk space is required for installation, using the NCW lossless compression format for the 24bit – 48kHz audio samples.

There is 1 single Infinite Guitar master Kontakt NKI preset, with a further 260 Kontakt NKSN snapshots divided across 6 bank categories.

DOWNLOAD & INSTALLATION

Download is handled entirely through Native Access, just paste in your post purchase serial number to register, where it can immediately then be installed after locating the product and clicking the install button.

The final stage is to run Komplete Kontrol, whereupon the library will then be added to your factory browser ready for use.

FULL KONPLETE KONTROL NKS PARAMETER MAPPINGS ARE AVAILABLE AT THE END OF THIS REVIEW FOLLOWING THE MEDIA SECTION

ACCESSIBILITY

All aspects of Infinite Guitar are accessible as with the previous products in the collection, with one single exception on this occasion.

The usual ability to choose samples for each of the two layers has this time regrettably needed to be removed, this is for technical reasons connected with those unusually long Infinite guitar samples, which were causing some issues when being exchanged for an already loaded sample.

This naturally comes as a disappointment, however we do still have full access to the randomise feature, which remains a great method of generating some fresh new user presets, meaning further sound design is still a reality, albeit with this roll of the dice element thrown in.

INFINITE GUITAR- THE SOUNDS & PRESETS

For those readers already familiar with Emergence Audio products, you will feel right at home with such recognisable bank categories as Infinite Drones, Infinite Pads, Pulses, Swells, & Experiments.

New and directly pertinent to Infinite Guitar is the Afterglow category,

It is this section where it seems you would be most likely to find sounds which are more closely associated with traditional guitar timbres, in terms of their envelopes, with picked and muted tones being among the content.

Having said this, there are still plenty of inspiring atmospheric and mood invoking sustained pads to be found here, so in this respect I consider the spectrum of content to be quite broad.

Some of my favourite presets were ‘falling between Stars’ from the Infinite Pads bank, this had a huge and powerful almost orchestral sound, although not overtly string like in nature, which might seem to be a contradiction in terms, it possesses a commanding filmic presence, further enhanced when wide chords are played.

Final Ambers from the afterglow bank provides a nice fuzzy electric guitar vibe, it has a grittiness that is not overdone, and with it’s reasonably long reverb tail works nicely for sombre melodic statements, I could almost imagine Johnny Depp sauntering through a desert with a guitar looking cool & moody to plug his latest aftershave!

In the Experimental bank, I chose ‘Night Runner’ as a very probable future use candidate. This I think receives my gold award for the longest riser. It sounds rather like the Starship Enterprise engaging warp drive, however as the pitch reaches it’s maximum, the Infinite Motion Engine succeeds in morphing the start point again, so it never stops, but tricks your ears into believing that the sound is continually rising, I now just need to find the right project to make use of it!

Another one from the Experiments bank, Number 5 Alive, sounds somewhat like a broken speech engine, random syllables framed against a pulsing pad could make this a good track starter.

The Drifting is an Infinite drone preset, which like my favourite from the Pads, has a powerful presence, as it’s name infers, it drifts and evolves constantly, which at the peak of the cycle has a hint of searing distortion for that gritty edge.

The Pulses bank is the place to go when you want presets that are tempo synced to your DAW. Here most of the presets will have their LFO sync already turned on, and you can choose the rate of the pulse, from as minimal as four bars right up to 32nd notes including triple time, with a control for the intensity.

In the true spirit of emergence Audio, and as with all of their releases, there is also a folder containing Kontakt multi’s, which are a selection of lovingly crafted presets that combine several single yet complimentary patches in one playable preset.

These do not load into Komplete Kontrol, so will instead require loading directly into Kontakt running as a separate plug-in.

With the newer Kontrol MK3 S-Series, this has become something much easier to achieve, using the direct Kontakt integration, Kontakt behaves in a similar way to Komplete Kontrol in terms of the front end browser.

Selecting ‘Combo’ from the range of selectable Kontakt file formats, allows you to instantly see any of your libraries that may hold folders that contain these NKM multi files, and Emergence Audio products are certainly very well represented here.

INFINITE GUITAR – CONTROLS & EFFECTS

Infinite Guitar has a user friendly and well laid out interface, the first page dealing with Crossfade between the two available layers, Expression, LFO Sync & Rate, LFO wave, Global Reverb, & that magic Randomise control.

The two layers offer Volume, Pan, Tune, ADSR Envelope, & Low & Highpass filters with Cut-Off and Resonance.

Moving onto the effects section, Reverb has an extensive selection of reverb types to choose from, which can be applied either to both layers, or on an individual basis which is particularly useful.

The Reverb can be turned off completely, so there are no awkward baked in ambience washes to deal with!

Other parameters here include Dry & Wet balance, Pre-Delay, Size, & Low & Highpass filters.

The Delay page is similarly fully featured, with sync Switch, Delay Rate, Damp, Pan, Dry & Wet Balance, Feedback, & again the option to apply delay to both or separate layers.

The other pages provide further effects such as Distortion, Saturation, Lo-Fi, Tape, Stereo Width, Rotator, Chorus, & Phaser.

   As always I would encourage you to checkout the media content from our section below for Infinite guitar in order to hear it in action for yourself.

Emergence Audio also offer customers the opportunity to try various instruments from their line up by grabbing a free copy of their Kontakt Player compatible Infinite Collection, this is a great way to explore the potential of how their products may work within your own music productions.

CONCLUSION

At risk of any review statement repetition, I always think of Emergence Audio libraries as colours in a musical palette.

Each is individual, you may not require all of them, but the wider your collection, the broader the range of choices.

Infinite Guitar adds a whole new colour and flavour to the Emergence Audio collection begging to be explored. The plentiful supply of factory content will provide many hours of fascinating and inspirational sound journeys.

The accessibility remains very good, with the slight exception of the lack of sample selection. In practice this only really manifested itself when after generating a new randomised preset, I was not able to dig down deeper to change an individual sound layer, however realistically this was more of a rarity.

If you are looking for a library that enables you to realise those electric guitar derived timbres, without the complexities of being a direct guitar emulation library, then Infinite Guitar is an excellent candidate as there is really nothing to directly compete with it’s unique sound.

It will serve users well for ambient, soundscape, cinematic, trailer, game, and an extensive range of media projects.

Infinite Guitar is available from the Emergence Audio website at an introductory price of $149.00 (regular price is $229.00), the intro offer ends on November 18th.

Infinite Guitar Product page:

Infinite Guitar – Emotional Sound Design:
https://www.youtube.com/watch?v=cu3_BLz9ySY

Infinite Guitar – Behind the Scenes:
https://www.youtube.com/watch?v=hvKWpkxMl_Y

Infinite Guitar – Trailer:
https://www.youtube.com/watch?v=3juEV2B-OUQ

Infinite collection Free Taster Library:
https://emergenceaudio.com/product/infinite-collection/

Infinite Guitar Quick Start Manual:
https://emergenceaudio.com/wp-content/uploads/2025/10/Infinite-Guitar_Quick-Guide.pdf

KOMPLETE KONTROL PLUG-IN EDIT NKS PAGE MAPPINGS

Page One – Master, Main Fx

Knob 1 – Crossfade (between two sound layers)
Knob 2 – Expression
Knob 3 – LFO sync On/Off
Knob 4 – LFO speed: In Hz or beat values dependent upon sync value
Knob 5 – LFO Intensity
Knob 6 – Main FX LFO Wave: Off, Sine, Triangle, Saw, Square, Random
Knob 7 – Reverb
Knob 8 – Random: On/Off – applies the randomiser to the currently loaded preset

Page Two – Layer 1 & Layer 2 settings

Knob 1 –
Knob 2 – Layer 1 Volume
Knob 3 – Layer 1 Pan
Knob 4 – Layer 1 tune plus or minus 1 Octave
Knob 5 to 8 – As above for Layer 2

Page Three – 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 to 8 – As above for layer 2

Page Four – Layer 1 & Layer 2 Filters

Knob 1 – Layer 1 Low pass cut-off
Knob 2 – Layer 1 Low Pass resonance
Knob 3 – Layer 1 High Pass Cut-Off
Knob 4 – Layer 1 High Pass resonance
Knob 5 to 8 – As above for layer 2

Page Five – Reverb

Knob 1 – Reverb On/Off
Knob 2 – Reverb Presets: multiple selections
Knob 3 – Dry/Wet Balance
Knob 4 – Pre-Delay
Knob 5 – size
Knob 6 – Low Pass
Knob 7 – High Pass
Knob 8 – Layer application: L1, L2, L1 & L2

Page Six – Delay

Knob 1 – Delay On/Off
Knob 2 – Dry/Wet Balance
Knob 3 – delay Sync: On/Off
Knob 4 – Time: Milliseconds or Beat values dependent upon sync mode
Knob 5 – Feedback
Knob 6 – Damping
Knob 7 – Delay Pan
Knob 8 – Layer Application: L1, L2, L1 & L2

Page Seven – distortion, Saturation

Knob 1 – distortion On/Off
Knob 2 – Drive
Knob 3 – Layer Application: L1, L2, L1 & L2
Knob 4 – Not allocated
Knob 5 – saturation On/Off
Knob 6 – Saturate level
Knob 7 – Layer application: L1, L2, L1 & L2

Page Eight – Lo-Fi

Knob 1 – Lo-Fi On/Off
Knob 2 – Bits: off, or selectable value
Knob 3 – Sample Rate: off, or a selectable value
Knob 4 – Noise
Knob 5 – Colour (tone)
Knob 6 – Layer Application: L1, L2, or L1 & L2
Knob 7 & 8 – Unallocated

Page Nine – tape

Knob 1 – Tape On/Off
Knob 2 – Gain
Knob 3 – Warmth
Knob 4 – Roll Off
Knob 5 – Layer Application: L1, L2, or L1 & L2

Page Ten – Extra Fx

Knob 1 – Stereo On/Off
Knob 2 – Width
Knob 3 – Rotator On/Off
Knob 4 – Amount
Knob 5 – Chorus On/Off
Knob 6 – Mix
Knob 7 – Phaser On/Off
Knob 8 – Mix

(c) Chris Ankin

KK-Access.com

29TH October 2025

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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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