Particle Sound Forks KONTAKT

Particle Sound Forks KONTAKT

Forks is a unique Kontakt 5 instrument that uses a deeply programmable interface to combine both acoustic and synthetic elements to create sublime new sounds for composers and sound designers.

At it’s heart Forks is based on an extensively sampled collection of scientific tuning forks that have been used and abused and played in unique and creative ways, all captured in pristine 96kHz clarity. A plethora of thuds, rattles, jangles and buzzes all make appearances here in addition to the traditional pure ringing tones tuning forks are known for. These acoustic samples were then heavily processed and twisted to produce companion sounds that can be layered and added to the acoustic elements along with raw waveform samples from an Arp 2600 synthesizer. This makes it possible to create anything from detailed electric pianos and vibraphone-like tuned percussion to otherworldly soundscapes and pads. The included presets take advantage of this diversity and showcase the breadth of sounds that are possible while being easily tweakable from the logically laid out front panel.

Forks features a dual layer interface with individually linkable sections that is an evolution of Particle Sound’s original Carbon interface and affords considerable sound mangling power in an intuitive and straight forward way. Each of Forks 2 layers features dual sound sources, one of which is selectable from a drop down menu, sample start point modulation, state selectable filter, 3 envelopes, 2 LFO’s with available tempo sync and a dedicated controller section.

There is also a dedicated Global and FX page that features 4 freely assignable insert slots along with master delay and convolution reverb. Each of the insert slots lets you select between one of 18 different effects including Eq, dynamics, distortion, reverb, delay and modulation FX, while the convolution reverb features 51 custom impulse responses hand crafted to compliment the included sounds. In addition to more traditional reverbs these include some pretty out there special effects like granular delays and artificial environments created by attaching contact mic’s to an abused metal spring.

Forks Specs:

• 100 expertly crafted presets using Kontakt Snapshots
• 3,446 total samples
• 4.27GB lossless compressed .NCW files (7.17GB equivalent)
• Up to 24 random robins per instrument
• Up to 26 velocity levels per instrument
• 7 acoustic articulations captured at 96kHz
• 36 alternative, processed and synth multi-samples captured at 96kHz and 48kHz
• 51 custom impulse responses captured at 96kHz including special effects

Meet the articulations:

Felt
Each fork was struck with a felt timpani mallet at up to 15 velocity levels and 6 random-robins. These were recorded with a microphone as well as with a contact mic mounted at the hilt. The resulting sound has been pre-mixed to provide the best combination of attack with body and sustain.

Processed and alternative versions:

• Reverse – Reversed samples
• Repeats – Rhythmically looping mute samples
• Loop – Looped sample with a ‘lumpy’ sounding sustain
• Destructed – Epic processed sound that slowly decays into chaos
• Chord – A three note root, 5th, octave chord

CPU
Tuning forks were struck and then dragged across the top of an ancient plastic computer case creating a slightly harsh and grating sound that turns spooky when pitched down. The struck attack has been separated and can be mixed with the main sound. Up to 24 random-robins create an organic, ever changing sound.

Processed and alternative versions:

• Stretch – Original samples subjected to extreme time stretching
• Synth Sustain Infinitely sustaining samples with a synthetic, chorusing sound
• Reverse – Reversed samples
• Antiseptic – Processed sound with a gurgling, choir like tone
• Surge – Epic swell sound
• Freeze – Infinite sustain version of ‘Surge’

Table (Long and Short)
Created in a similar way to ‘CPU’ but this time the forks were dragged across a thin plywood card table for a warmer and more resonant tone. ‘Long’ and ‘Short’ versions with up to 15 random-robins and 5 velocity levels are available, again with mixable struck attack sounds. For the ‘Short version the forks were first struck and then placed against the corner of the table near the handle and then drug across it ending at the terminus of the tines. With the ‘Long’ version the forks were once again struck and placed on the table near the shoulder but were left in this position to vibrate and die out more slowly.

Processed and alternative versions:

• Stretch – ‘Long’ samples subjected to extreme time stretching
• Reverse – ‘Short’ samples reversed
• Warbler – Processed pad type sound with a slightly uneven, wavering pitch
• Spaceland – Spacious, sustaining choir like sound

Keys
A ring of small padlock keys was hung in the crook of each fork allowing them to buzz and tingle as the fork was struck with a mallet. Captured at up to 11 velocity levels and 6 random-robins. These can then be mixed with samples from the ‘Mutes’ articulation from above to produce a more ‘woody’ sound.

Processed and alternative versions:

• Low Fork – Only samples from the lowest fork are used which are stretched across the entire range, which makes for a more compact and sizzling sound
• High Fork – The same as ‘Low Fork’ but instead with one of the higher pitched forks used instead. Has a clattering, jangling sound at mid to lower pitches
• Jangle Layers – A multilayered looping, jangling sound created by combining several of the higher pitched forks samples
• Sustain – A processed, infinite sustain version of the main articulation
• Reverse – Reversed samples

Turning
As it turns out, sound does not radiate uniformly from a ringing turning fork. The sound is loudest from the narrow sides of the fork along the plane that it is vibrating. Imagine a figure 8 type microphone pickup pattern but one that creates instead of receives sound and you will have a pretty good idea of the what is going on here. We were able to take advantage of this property by setting up a stereo mid-side microphone array and then striking and hand turning each fork a few inches away to create a mini, tuning fork sized Leslie type effect. Up to 6 velocity levels and 4 random-robins.

Processed and alternative versions:

• Sustain – Seamlessly looped infinite sustain version of the main articulation
• Soft – Higher pitched forks are stretched across the entire range to provide a softer, gentler sounding attack and a slower modulation
• Modulo – A strange, motor like processed sound that jumps from speaker to speaker
• Mod RvLp – Reversed version of ‘Modulo’ with a cresting bi-directional loop
• Enoverb – Spacious sustaining sound that starts bright and darkens slowly over time

Arp 2600 Synthesizer and extra waveforms
Includes the raw oscillator sounds sampled chromatically from an Arp 2600 as well as a sine wave from a Korg Ms10 and a bonus wave captured from an Arp Odyssey.

• 26k Saw
• 26k Square
• 26k Triangle
• 26k Noise
• M10 Sine
• Wednesday Wave

Links

Demo Preview: