CONVERGENCE BY HEAVYOCITY
KK-ACCESS REVIEW
This first 2026 release from Heavyocity, turns the synth history clock back to the 1980’s.
In this era of big hair & shoulder pads, when it came to analog synths, musicians had to endure unstable oscillators, sync issues, and often some unavoidable natural low fidelity, all of which are now enjoying a modern retro renaissance appeal, well perhaps not quite so much the shoulder pads & big hair, and certainly the latter is not quite the option it once was for me!!!
Putting that self-deprecating humour aside, Heavyocity have taken an intrinsic look at the enduring appeal of the era, and combined it with their typically creative flair into a library which captures this vintage spirit (minus those technical issues), giving us Convergence, a product which embodies the classic analog sound and melds it with Heavyocity’s indisputable mastery of the cinematic.
TECH SPECS
Convergence runs in Kontakt 7.10.9 or above, either the full version or free Kontakt Player edition.
It is compatible with all versions of Komplete Kontrol when hosting the above Kontakt specifications.
The library requires 9.42GB of disk installation space, and uses the the NI lossless compression format for samples.
It is NKS 2.0 compatible.
There are two master Kontakt NKI presets, the Convergence Designer, and the Convergence Menu file.
Each of these yield associated collective presets in excess of 480 in the Kontakt NKSN snapshot format, which make up the factory content as found in the Komplete Kontrol factory browser.
DOWNLOAD & INSTALLATION
Convergence is registered, downloaded, and installed using the Heavyocity portal which was recently updated.
Once installed and placed in the preferred location on your system, the same serial number is used within Native Access to register the library, and also locate the path on your system.
Opening Komplete Kontrol will scan the new library into the Komplete Kontrol database ready for use.
KOMPLETE KONTROL NKS PARAMETER MAPPINGS ARE AVAILABLE AT THE END OF THE REVIEW FOLLOWING THE MEDIA SECTION
ACCESSIBILITY
Convergence utilises the now well established Heavyocity Gravity 2 Kontakt engine, which many may already be familiar with, in this respect there will generally only be changes in the NKS implementation that are relevant to the new Convergence library.
WHEN DECADES CONVERGE
With having in excess of 480 presets, the Convergence library has been divided into several bank categories in order to make life easier in finding the material you are looking for.
There are the following banks available:
Designer section:
Cue Creators
Rhythmic Pedals
Arps
Pads
Keys
Plucks & Stabs
Leads
Bass
Convergence Menus:
- Menus
- Single Sources
- Single Sources Short
CONVERGENCE SOUNDS
Although the specific details of the analog hardware used for Convergence is not stated, it appears to be a broad collection of both vintage and some more modern analog technology, covering both synths and outboard equipment.
Regardless of a complete asset role call, there are certainly some wonderful sounds among the factory presets, covering bass, arps, pads, leads, and of course those famous Heavyocity sound designed cue starters & Rhythmic loops that remain able to consistently blend so well across their entire, and now rather large product portfolio.
The content is overall to the usual high calibre in terms of sound design, although in some cases I did feel that the emphasis on the detune instability was a little overdone, which for those readers blessed (or perhaps cursed), with perfect pitch may find a little troublesome!
Thankfully, it seems that the first Macro knob which in most cases was set to 100% was the remedy, and reducing this brought things down to a (for me at least), usable level.
There is a preset playthrough available which I will link in the media section.
The Arps & Rhythmic pedals are presented in both straight and triplet time, and where all three sound layers are used it is possible to get some nice alternatives to the default preset just by muting one or more channels to your own taste, which can significantly alter the original mood of the playing loop.
There are 50 pads within Convergence to work with, and these are helpfully sub divided into banks for Blooms, Ambient, & Aggressive, and of course here you can also employ the same channel filtering tactic to add or subtract some tonal variation.
Also included are the banks Single Sources, and Single Sources Shorts, which also feature sub banks which include: core, Retro, Modern, Processed, & Textures, these are essentially all of the single sample sources that have been used elsewhere to construct the multi layered preset content for the library.
The Menus bank for us at least appears to be a little less useful, whilst the Core, Modern, Retro, & Processed sources have been assigned as a single midi note for each sound, the ability to choose a sound and then have it mapped as a pitched sample across your keyboard is not accessible via an NKS control, however for the most part these samples are still available in the Single Source and playable presets mentioned in the last paragraph.
Overall though, Heavyocity have again demonstrated an ability to meld their hallmark hybrid cinematic sound in a product crammed with retro flavours, and ensured once again a mix ready experience that media composers will love.
As always Heavyocity have put together a useful selection of walkthrough videos, covering presets, product overview, and inspiring methods of working with the library.
CONCLUSION
Convergence is a further great addition to the Heavyocity product line, particularly if you have been inspired, or have perhaps received client project requests asking for ‘something in the style of’ Stranger Things, Bladerunner and other such titles in this classic genre, then Convergence is likely to serve you well.
If additionally paired with something like the Heavyocity Analog Hybrid Drums library, it can form a creative partnership that provides all of the tools for working with such a genre.
In terms of accessibility, for blind screen reader users, there are the usual limitations that we have I think become familiar with. Some are invariably going to be restrictions of the NKS environment itself, however others could now possibly be addressed by adding further host automation parameters that may offer more access potential with NKS 2.0 and the Kontrol MK3 keyboards finally being accessible to us.
Convergence by Heavyocity is available directly from their website, For the limited intro price of $119 (reg. $149).
Owners of Oblivion, Dystropia or Gravity 2 can also receive an additional $20 off with registered serial. (coupon code appears in your account with registered products)Â Offer Ends Feb 16, 2026.
Convergence Product Page:
Convergence Product Overview:
https://www.youtube.com/watch?v=dcst-7KJNtk
Convergence Preset Playthrough:
https://www.youtube.com/watch?v=SmzOmvROV30
Composing with Convergence – Tips & Tricks:
https://www.youtube.com/watch?v=LeJtdOTwn6A
Convergence User Manual:
https://cdn.shopify.com/s/files/1/0256/7634/9489/files/Convergence_UserManual.pdf?v=1770063143
KOMPLETE KONTROL PLUG-IN EDIT NKS CONTROL MAPPINGS
Convergence Designer & Convergence Menu mappings are identical, except the menus presets do not have the mixer page
*Kontrol MK3 keyboards may include additional controls via the extended NKS view, however these should still be present through a DAW parameter list for host automated controls
Page One – Macro Controls
Knob 1 – Macro Amount
Knob 2 – Modulation On/Off
Knob 3 – Modulation Amount
Knob 4 – Envelope
Knob 5 – Tone
Knob 6 – Drive
Knob 7 – Motion
Knob 8 – Space
Page Two – Macro LFO
Knob 1 – Macro LFO On/Off
Knob 2 – Sync On/Off(Hz)
Knob 3 – Rate in Hz or Beat Values (dependent on sync status)
Knob 4 – Spread
Knob 5 – Envelope
Knob 6 – Tone
Knob 7 – Drive
Knob 8 – Motion
Last Page of Macro (Page 3 on Kontrol MK3) Knob 1 – Space
Page Three- Mixer
Note that Kontrol MK3 keyboards also support Pan & Tune directly, older hardware will find these in their DAW parameter list.
Knob 1 – Random On/Off
Knob 2 – Drift
Knob 3 – Scatter
Knob 4 – Volume Channel 1
Knob 5 – Volume Channel 2
Knob 6 – Volume Channel 3
Knob 7 – Mixer X
Knob 8 – Mixer Y
(Channel 3 controls continue on next page for Kontrol MK3)
Page Four – Punish & Filter
Knob 1 – Punish On/Off
Knob 2 – Punish Amount
Knob 3 – Bass
Knob 4 – Response
Knob 5 – Tone
Knob 6 – Filter On/Off
Knob 7 – Cut
Knob 8 – Resonance
Page Five – EQ
Knob 1 – EQ On/Off
Knob 2 – Amount
Knob 3 – Low Gain
Knob 4 – Low Frequency
Knob 5 – Mid Gain
Knob 6 – Mid Frequency
Knob 7 – High Gain
Knob 8 – High Frequency
Page Six – Compressor
Knob 1 – Compressor On/Off
Knob 2 – Threshold
Knob 3 – Ratio
Knob 4 – Attack
Knob 5 – Release
Knob 6 – Make-Up
Knob 7 – Mix
Knob 8 – Unallocated
Page Seven – Modulation
Knob 1 – Modulation On/Off
Knob 2 – Rate (Hz)
Knob 3 – Amount
Knob 4 – Feedback
Knob 5 – Width
Knob 6 – Mix
Knob 7 & 8 – Unallocated
Page Eight – Delay
Knob 1 – Delay On/Off
Knob 2 – Time 1/1 to 1/32 (Including Triplets)
Knob 3 – Feedback
Knob 4 – Quality: Low, Medium, High
Knob 5 – Tone
Knob 6 – Level
Knob 7 & 8 – Unallocated
Page Nine – Reverb
Knob 1 – Reverb On/Off
Knob 2 – Pre-Delay
Knob 3 – Size
Knob 4 – Damp
Knob 5 – Modulation
Knob 6 – Mix
Knob 7 & 8 – Unallocated
(c) Chris Ankin
KK-Access.com
10TH February 2026
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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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