马赛克低音合成器 Heavyocity Mosaic Bass Kontakt

我回顾了《重奥西的马赛克系列》中的前两个标题——马赛克钥匙和马赛克声音——分别于2019年11月和2020年2月两月发行。这两种乐器给我留下了深刻的印象。在每种情况下，各部分的总和都是一种非常有创意和鼓舞人心的乐器，可以很容易地在媒体作曲家和词曲作者/制作人工具包中找到家。当然，在享受了前两个冠军之后，我渴望看到最新的产品——马赛克低音——会带来什么。

重度马赛克低音样本库。

正如预期的那样， Kontakt 6 前端和声音引擎是相同的， 但底层样品的焦点是合成低音.3GB 的样本内容分为近 50 种不同的低音和亚低音声音，此外还有 50 多个无人机、噪声层和"攻击"声音。显然，这些可以在前端支持的三个声音插槽中以多种方式混合。重度包括近200个不同的快照预设，它们被组织成两个主要类别，标有"醇厚"和"侵略性"，每个类别都包含可玩性、节奏和垫子的子类别。

预设在演示马赛克低音可以做什么方面做得很好。"可播放"是更传统的低音乐器，尽管利用通过结合不同类型的声源和声引擎提供的众多处理和调制选项所提供的各种声音设计可能性。这里有一些很酷的声音，虽然马赛克低音可能不会是一个去播放EDM低音的声音，有很多在这里为其他音乐流派或媒体作曲家。垫类也可以如此。这些利用良好的包络调制功能，虽然伟大的低端垫，许多是可用在广泛的间距范围全方位的垫职责。

然而，对我来说，更好的是"节奏"类别。这些声音的组合，要么提供一个很好的节奏"脉冲"，或旋律音高，取决于每个音高模块的设置，为每个在一个特定的预设的三个声源。如果你不发出太多的封闭和弦在 MIDI 音符范围的下端 （在这一点上， 所有的低音可能会变得有点泥泞）， 这些都是超级鼓舞人心的， 并充分利用调制选项.媒体作曲家可以很容易地建立一个完整的线索的核心，从一个单一的马赛克低音预设，并，如果你准备深入到引擎自己（而不是只是冲浪预设），有一个巨大的范围，你自己的声音设计。

与马赛克系列中的其他标题一样，重度已经成功地在这里创造了一些真正有趣的东西。马赛克低音听起来很棒， 更重要的是， 以非常明智的价格投球。这是三个标题中的三个命中...我已经期待着任何可能到达系列的第四期。很棒的东西

I reviewed the first two titles in Heavyocity’s Mosaic Series — Mosaic Keys and Mosaic Voices — in the November 2019 and February 2020 issues of SOS respectively. I was suitably impressed with both instruments. In each case, the sum of the parts is a very creative and inspiring instrument that could easily find a home amongst both media composer and songwriter/producer toolkits. Of course, having enjoyed the first two titles, I was keen to see what the latest offering — Mosaic Bass — might bring.

Heavyocity Mosaic Bass sample library.

As expected, the Kontakt 6 front end and sound engine is identical, but the focus within the underlying samples is synth bass sounds. The 3GB of sample content is divided amongst nearly 50 different bass and sub‑bass sounds and these are complemented by a further 50+ drones, noise layers and ‘attack’ sounds. These can obviously be blended in a huge variety of ways within the three sound slots supported by the front end. Heavyocity include almost 200 different Snapshot presets which are organised into two main categories labelled ‘mellow’ and ‘aggressive’, with each containing sub‑categories of playables, rhythms and pads.

The presets do a great job of demonstrating what Mosaic Bass can do. The ‘playables’ are more conventional bass instruments, albeit exploiting the range of sound‑design possibilities provided by combining the different types of sound sources and the multitude of processing and modulation options provided by the sound engine. There are some very cool sounds here and, while Mosaic Bass is perhaps not going to be a go‑to for playable EDM bass sounds, there is plenty here for other musical genres or media composers. The same can perhaps also be said of the pad categories. These make good use of the envelope modulation feature and, while great as low‑end pads, many are useable over a wide pitch range for all‑round pad duties.

For me, however, even better were the ‘rhythms’ categories. These contain a combination of sounds that either provide a nice rhythmical ‘pulse’, or melodic arpeggiation, depending upon the settings for the individual arpeggiator modules for each of the three sound sources within a particular preset. Providing you don’t voice too many closed chords at the lower end of the MIDI note range (at which point, all that bass might get a bit muddy), these are super‑inspiring and make great use of the modulation options. Media composers could easily build the core of a complete cue from a single Mosaic Bass preset and, providing you are prepared to dig into the engine yourself (rather than just surf the presets), there is a massive scope for your own sound design.

Like the other titles in the Mosaic series, Heavyocity have managed to create something really interesting here. Mosaic Bass sounds great and, what’s more, is pitched at a very sensible price. That’s three hits in three titles... and I’m already looking forward to whatever might arrive in the fourth instalment of the series. Excellent stuff.

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