Recording - August 2016 - 49

Risers offer a collection of sounds that
rise in pitch over time. You can adjust
the length of time it takes for the sweeping effect to take place, in either real
time (up to 30 seconds) or in temposynchronized bars. Use the Riser Breakout
page to load individual sounds into your
own custom Risers, which can be saved.
The Hits Breakout page also lets you
build your own presets. Hits are made
up of four elements-Subs, Impacts,
Tails, and Whooshes. You'll have a
great time customizing your own Hits,
and in the process will learn a lot about
the instrument's capabilities.
Pads offer Menus and Elements, as
defined above for Stings, as well as a
third category, Complex Pads, which
blend three different elements in a single
preset. Unlike the Risers and Stings,
however, the user is not able to load
sounds for custom Pads.
Pads let you break the barrier that
separates sound design from composition. Finding ways to combine Pads with
more traditional sounds in your arsenal
will allow you to create instrumental
combinations that are yours alone. Of
course, there are other software instruments that fall into this category, but the
Pads in GRAVITY open up a sonic world
that you should use as an element in
your palette, not so much as distinct
sounds that stand apart from the other
instruments you are using. You can incorporate Hits in a similar fashion. Four
main sections to your song? Why not
find a unique way to use Hits in combination with standard tom fills to create a
distinctive turnaround for each one?
Conclusion
If you're a pro who scores spots, commercial films, trailers, or video games, and
you work under severe time constraints,
just go out and buy GRAVITY. Its out-of-thebox content will prove invaluable.
If you're more interested in using
sound design elements in a more personal way, you might want to check out
Harry Gregson-Williams' score to The
Martian. His palette includes traditional
orchestral forces, synthesizers, and
sound design elements, much of which
will be close to hand in GRAVITY and
ready to play with and make your own.
GRAVITY isn't the only virtual instrument on the market that will help you
develop a scoring sound of your own,
but I'm not aware of any product that
offers this sort of selection of sounds and
sculpting tools within Kontakt.
Gary Eskow (eskow@recordingmag.com)
is a composer, sound designer, and recording musician working in the New York City
area. Check out garyeskow.com for more.
RECORDING AUGUST 2016

49


http://www.antelopeaudio.com http://www.clearsonic.com http://www.garyeskow.com

Table of Contents for the Digital Edition of Recording - August 2016

 Contents
Recording - August 2016 - Intro
Recording - August 2016 - Cover1
Recording - August 2016 - Cover2
Recording - August 2016 - 1
Recording - August 2016 - 2
Recording - August 2016 - 3
Recording - August 2016 - 4
Recording - August 2016 - 5
Recording - August 2016 -  Contents
Recording - August 2016 - 7
Recording - August 2016 - 8
Recording - August 2016 - 9
Recording - August 2016 - 10
Recording - August 2016 - 11
Recording - August 2016 - 12
Recording - August 2016 - 13
Recording - August 2016 - 14
Recording - August 2016 - 15
Recording - August 2016 - 16
Recording - August 2016 - 17
Recording - August 2016 - 18
Recording - August 2016 - 19
Recording - August 2016 - 20
Recording - August 2016 - 21
Recording - August 2016 - 22
Recording - August 2016 - 23
Recording - August 2016 - 24
Recording - August 2016 - 25
Recording - August 2016 - 26
Recording - August 2016 - 27
Recording - August 2016 - 28
Recording - August 2016 - 29
Recording - August 2016 - 30
Recording - August 2016 - 31
Recording - August 2016 - 32
Recording - August 2016 - 33
Recording - August 2016 - 34
Recording - August 2016 - 35
Recording - August 2016 - 36
Recording - August 2016 - 37
Recording - August 2016 - 38
Recording - August 2016 - 39
Recording - August 2016 - 40
Recording - August 2016 - 41
Recording - August 2016 - 42
Recording - August 2016 - 43
Recording - August 2016 - 44
Recording - August 2016 - 45
Recording - August 2016 - 46
Recording - August 2016 - 47
Recording - August 2016 - 48
Recording - August 2016 - 49
Recording - August 2016 - 50
Recording - August 2016 - 51
Recording - August 2016 - 52
Recording - August 2016 - 53
Recording - August 2016 - 54
Recording - August 2016 - 55
Recording - August 2016 - 56
Recording - August 2016 - 57
Recording - August 2016 - 58
Recording - August 2016 - 59
Recording - August 2016 - 60
Recording - August 2016 - 61
Recording - August 2016 - 62
Recording - August 2016 - 63
Recording - August 2016 - 64
Recording - August 2016 - 65
Recording - August 2016 - 66
Recording - August 2016 - 67
Recording - August 2016 - 68
Recording - August 2016 - 69
Recording - August 2016 - 70
Recording - August 2016 - 71
Recording - August 2016 - 72
Recording - August 2016 - Cover3
Recording - August 2016 - Cover4
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