Beyond the meticulous sampling, what are the most significant features that you and the 10 Phantom Rooms team added to this Kontakt release to make it a tool for modern composers?
Our main goal was never to emulate those synths in a sampled instrument, but rather to capture as many multi-samples – including filter movements, feedback loops, etc. – as possible.
We also went the extra mile to resample that material again and again, through outboard gear like modular walls, stompboxes, vintage reverb machines, and more.
I think the huge pool of samples is a very strong foundation for this instrument. Then that’s being “multiplied” with the onboard features like layering or sequencing, for example.
