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Bionic Plucks and Mallets

£99

A unique new concept: BIONIC is a “transient splicing engine”, i.e. it is designed to give detailed control over a range of parameters needed to mix and match a number of different initial transients to another set of tails/longer sounds.

Loaded with 80 sound sources (20 short, 40 medium length and 20 long) and 50 ready-made presets, this is our biggest and most ambitious project to date. With the ability to create a wide range of different novel sounds with just a few clicks, this is a must have instrument for serious producers and composers.

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Description

Introduction

BIONIC PLUCKS AND MALLETS is musical sound design tool, built on Riot Audio’s proprietary BIONIC TRANSIENT SPLICING ENGINE which effortlessly combines transients and tails from different samples to create novel hybrid sounds as well as faithful recreation of classics. It is designed to give detailed control over a range of parameters needed to mix and match a number of different initial transients to another set of tails/longer sounds. The emphasis is on a synthetic/organic overlap, with almost unlimited potential for invention – a total of 12 million possible new sonic combinations.

BIONIC PLUCKS AND MALLETS - Kontakt User Interface View Screen 1

 

SOUND APPLICATIONS

BIONIC PLUCKS AND MALLETS is designed with a wide range of contemporary music production applications in mind, including electronica, hip hop and R&B, as well as cinematic styles. The included presets cover smooth and dirty basses, gritty, reimagined Electric and Rhodes Pianos, celesta or glockenspiel-like bells and analog-style synth plucks, as well as a number of experimental, customised sounds.

SOUND SOURCES

The sounds for BIONIC PLUCKS AND MALLETS come in three categories – short, medium and long. The short sounds (20) are non-tonal and cover transients only, including a range of wool, wooden, rubber and finger taps and knocks.

The medium sound sources (40) are tonal and are drawn from plucked, fingered and mallet-hit acoustic, electric and bass guitars, alto and soprano glockenspiel, some sampled original analog synth plucks and a variety of unusual percussive sounds including a Japanese wind chime, metal kalimba, dampened piano, pitchfork and wine glass.

The long sound sources (20) are long sustained pads that can be used to add sustain to match the shorter sources. There is a selection of Ebow-ed strings (piano, guitars, violin), and several individually crafted classic synth-style sounds (bells, tines, organ, saw, sine, pulse).

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Bionic Engine

Main Page

BIONIC PLUCKS AND MALLETS is a detailed three-page instrument. There are four layers (A, B, C, D) , accessible on the main page: two transient layers, and two tail layers. Levels can be adjusted as balance between each of the tail/transient layers respectively, and globally between transients and tails.

Each layer contains sample offset and tuning controls as well as a “humanize” function which introduces subtle to not-so-subtle random pitch variations (especially helpful for making non-tonal transients more realistic).
BIONIC PLUCKS AND MALLETS - Kontakt User Interface View Screen 1

SOUND SOURCE BROWSER
Clicking on the sound source label for each layer brings up the source selection pop browser with 60 sound sources (20 short, 40 medium long sounds for the transient layers, 40 medium length sounds + 20 long sounds for the tail layers.


LAYER CONTROLS
Each layer also contains the following controls:

  • Humanize: Introduces subtle pitch variations that help give the instrument an organic, non-repetitive feel
  • Offset: Controls sample offset, which allows for detailed sculpting of the exact amount of the initial attack needed
  • Octave: Controls octave tuning (-2, -1, 0, +1, +2, 2)
  • Tune: Controls pitch in semitones (-12 -> +12)
  • Fine Tune: Controls fine tuning in %
  • Trim: Additional gain control for each layer

GLOBAL CONTROLS

  • A/B Balance: Controls the balance between the transient layers A and B
  • C/D Balance: Controls the balance between the tail layers C and D
  • Master Balance: Controls the balance between transients (A+B) and tails (C+D)
  • Clean/Full: Select full view with all controls (Full) or clean, simplified view (Clean)
  • Random (Transient)/Random (Tail): Selects random sound sources for each active layer. Great for experimenting and quickly finding new sound combinations (possible permutations: 12 million)
  • Preset Menu: Preset saving menu – 50 master presets, 9 user slots and 1 INIT patch included.

Settings page

The settings page is where the details of the transient splicing engine are determined. A range of controls allow shaping of the crossfade curve, point of crossover and initial transient, as well as filters for both transients and tail, plus envelope shaping for the overall sound.

There’s also a sophisticated velocity mapping section which allows for realistic mapping of velocity to HP/LP filters and volume.

GLOBAL CONTROLS

  • Crossover Point: Controls point at which we transition from the transient layer sounds to the tail layer sounds. Can be turned right up to the initial transient peak or left looser for more of the curve following the initial transient peak
  • XFade Length: Controls the amount of crossfade between transient and tail layers. The minimum setting results in a hard cut between the two sounds (recommended for cases where only a the first slice of the transient layer is required). The maximum setting leaves a greater length of the transient layer in play – this is great where a subtle, gradual blend of the transients and tails is required

VELOCITY MAPPING
Applies to all layers equally.

  • Volume: Controls the degree to which velocity determines volume.
  • Low Pass: Controls the degree to which velocity determines a low pass (i.e. high cut) filter. Great for creating natural sounding duller expression for lower playing velocities.
  • High Pass: Controls the degree to which velocity determines a high pass (i.e. low cut) filter. This function is helpful for reducing the body of lower velocity sounds somewhat – this is relevant for emulation of some mallet sounds where light touches are likely to result in less low-frequency resonance

VIBRATO
Applies to all layers equally.

  • Speed: Controls the speed of the vibrato.
  • Amount: Controls the strength of the vibrato.
  • Fade In: Controls the delay and fade-in length of the vibrato effect

TRANSIENT CONTROLS
SHAPE

  • Sharp/Soft: Controls the curve of the attack of the transient layers. Lower settings result in a very sharp, short attack, whereas higher settings yield a more rounded, soft attack.

FILTERS

  • HP: Switches on a high pass filter for the transient layers
  • Freq (HP): Controls the frequency at which the high pass filter starts having an effect
  • LP: Switches on a low pass filter for the transient layers
  • Freq (LP): Controls the frequency at which the low pass filter starts having an effect

TAIL CONTROLS
FILTERS

  • HP: Switches on a high pass filter for the transient layers
  • Freq (HP): Controls the frequency at which the high pass filter starts having an effect
  • LP: Switches on a low pass filter for the transient layers
  • Freq (LP): Controls the frequency at which the low pass filter starts having an effect

ENVELOPE

  • Hold: Controls the length of the hold part of the envelope of the tail layers
  • Decay: Controls the length of the decay part of the envelope of the tail layers
  • Sustain: Controls the length of the sustain part of the envelope of the tail layers
  • Release: Controls the length of the release part of the envelope of the tail layers
  • +Sustain: Controls an additional sustain effect

Effects page

The effects page includes state of the art filters, EQ, saturation and delay + reverb controls using the latest Kontakt 6 effects, including Replika delay, Choral chorus, Flair flanger and Supercharger GT compressor.

MODULATION
Chorus – NI Choral/Flanger: NI Flair

  • Chorus/Flanger switches: Switches between chorus of flanger effect or turns them both off
  • Rate: Controls the speed for chorus/flanger
  • Amount: Controls the strength for chorus/flanger
  • Width: Controls the amplitude/width for chorus/flanger
  • Voices: Controls the number of voices for chorus/flanger
  • Feedback: Controls the amount of feedback for chorus/flanger
  • Mix: Controls the wet/dry mix for chorus/flanger

COMPRESSOR
NI Supercharger GT

  • On/Off: Switches chorus on/off
  • Input: Controls the input gain for the compressor. High levels feed higher levels of the input signal
  • Amount: Controls the ratio of the compressor (0:1 to 10:1)
  • Saturate: Controls the saturation applied at the level of the compressor
  • Attack: Controls the attack time for the compression – lower levels kick in earlier, while higher levels leave more of the transient intact
  • Release: Controls the release time of the compression
  • Mix: Controls the wet/dry mix for the compressor

SATURATION
Tape Saturation

  • On/Off: Switches chorus on/off
  • Amount: Controls the amount of saturation applied
  • Dampening: Controls the amount of dampening applied to the saturation (gentle LP filter)

FILTER
HP/LP/BP

  • On/Off: Switches between high pass/band pass/low pass filters or all off
  • Freq: Controls the frequency of all three filters

EQ
3 band parametric Equalizer

  • On/Off: Switches EQ on/off
  • Low/Mid/High: Controls the frequency center for each of the EQ bands
  • Q: Controls the width (Q) of each EQ band

DELAY
Replika Analog-style Delay

  • On/Off: Switches delay on/off
  • Diffuse: Toggles diffusion delay type and non-diffusion. Diffusion delay allows for reverb-type effects with short delay time values
  • Sync: Switches between time-based (ms) and tempo-based (note values) delay
  • Volume: Controls the volume of the delayed signal
  • High Cut: Controls the amount of high cut (low pass) applied to the delay
  • Low Cut: Controls the amount of low cut (high pass) applied to the delay
  • Time: Controls the delay time (ms/note value-based depending on Sync/un-sync toggle)
  • Feedback: Controls the amount of feedback for the delay

REVERB

  • On/Off: Switches reverb on/off
  • Volume: Controls the volume of the wet reverb signal
  • Size: Controls the size of the simulated hall
  • Predelay: Controls the amount of predelay applied to the reverb
  • Damping: Controls the damping applied to the wet reverb signal over time
  • Length: Controls the length of the reverb tail
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Audio Demos


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Videos

Announcement Trailer

Walkthrough

How To: Make a Bass Patch

Specifications

Features

  • Based on Riot Audio’s new proprietary BIONIC TRANSIENT SPLICING engine
  • Four layers of sound: two transient layers and two tail layers
  • 80 sound sources (20 short, 40 medium and 20 long)
  • 12 million possible sonic combinations accessible through “randomise” function
  • 50 presets included
  • Extensive sound sculpting controls, including crossover fade (between transient and tail samples), crossover point, tail envelope and transient attack curve (shape)
  • Vibrato, Velocity Sensitivity (Volume, Low Pass and High Pass) and Humanize Controls for in-depth realism
  • Total size of sampled content: 2.1 GB (1.56 GB compressed)
  • Replika Analog Style delay, Choral (chorus), Flair (flanger) and Supercharger GT (compressor) effects included
  • Requires Native Instruments Kontakt 6.5.2 (Full Version)

Sound Sources

  • Italia Mondial semi-acoustic bass
  • Hofner Verythin Electric Guitar
  • Vermona Perfourmer
  • Volca Modular Arp Odyssey
  • Rhodes Mk1
  • Epiphone acoustic guitar
  • Spanish guitar
  • alto/soprano glockenspiel
  • cello plucks
  • violin plucks
  • toy ukulele
  • piano
  • dampened piano
  • Portuguese steel string ukulele (braguinha)
  • glass bowls
  • tongue drum
  • pitchfork
  • wine glass
  • Japanese wind chimes
  • kalimba
  • Asian cowbell
  • finger cymbal
  • wool/wooden/rubber mallets/brushes
  • leather-bound books
  • soap containers
  • wooden treasure chest
  • ink glass
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