The FX samples are generally more unpleasant (in a good way), and show off Heavyocity’s programmers’ penchant for creative sonic destruction via over–the–top digital distortion.
There are also some beautiful synth confections such as the ring–modulated ‘Star Crossed’ and stellar ‘AgroCrux’. Some samples in the synth set sound not unlike racing cars, motor bikes and helicopters, while others resemble industrial machinery. The library’s risers are presented in three main categories: Organic Hybrid (featuring the strings and other unidentified instruments) Synthetic (featuring synthesized sounds) and FX (featuring atonal and noise–based sounds). These are uniformly scary–sounding, and the descending versions are particularly unsettling. Although you might not immediately recognise their contribution, the string players can clearly be heard in the Organic Risers section, performing ascending, descending and harmonic glissandi and atonal ensemble slides. Heavyocity’s new Motion step sequencer can automate tempo–sync’ed arpeggios, volume swells, rhythmic pulsing patterns, auto–panning, stutter and glitch effects for three independent patches.Speaking of orchestral sound, I was pleasantly surprised to find that Heavyocity hired a 12–piece string section featuring violas, cellos, double bass and eight violins for this library. When conventional synth glide effects put in an appearance, they’re usually buried under big, juddering noise–drenched soundscapes which sound like half–speed recordings of space ships taking off. Though achieved by non–traditional means, Gravity’s risers have a similar effect to grandiose, tutti orchestral crescendi, with big, sonorous dynamic builds intensified by cunning sound design. These noises are far more frightening and momentous than your average club riser, sounding less like the precursor to a hands–in–the–air dancefloor jolly–up than a portent of some hideous impending disaster. In the EDM world, a riser would normally be a stirring siren–like tone, often consisting of a single strident synth note steadily gliding up in pitch, which builds tension and excitement in anticipation of a chorus or banging drum entry.Ī quick listen to some of this library’s risers confirms that we are not in standard dance territory. Giving the lie to the old adage ‘what goes up must come down’ (clearly coined by someone unfamiliar with UK rail season ticket prices), Gravity’s collection of dramatic and complex effects places a big emphasis on risers. You can read the SOS reviews of these titles at Since many of Gravity’s technical features were originally developed for these products and have been explained in the reviews, we’ll concentrate here on the new library’s musical and sonic content. More recently, Heavyocity‘s DM–307 virtual drum and groove instrument featured a collection of modular–synth drums, live percussion and processed classic analogue drum machines, all given a 21st–Century cutting edge by some merciless processing. In contrast, the two–headed Aeon Collection introduced a large set of tempo–synced melodic loops and a smaller companion volume of percussive hits, kits, noises and textures.
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Having set out their stall with the Evolve cinematic percussion library in 2008, this adventurous outfit branched out into darker territory with the Evolve Mutations series before hitting new heights of sonic brutality with Damage, a library of ultra–aggressive, distorted, unpitched percussion. To understand Gravity’s heritage, it helps to know a little about Heavyocity’s product history. As with Heavyocity’s previous collections, the accent is on powerful, unpitched sound–design elements, augmented by a large and highly varied menu of pads and drones. Heavyocity soar into orbit with a collection of dramatic scoring elements.Ĭontinuing their incursions into the weird and wonderful world of mangled sound, Heavyocity’s latest library is a collection of dramatic hits, pads, risers and stings designed with the modern media composer in mind. The high red keys activate Trigger FX, while the green keys trigger Motion sequencer playback. The low octave of pink keys trigger custom layered sounds based on currently loaded elements.
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The depicted patch shows samples mapped chromatically to blue and cyan keys (C1–B1 Subs, C2–B2 Impacts, C3–B3 Tails, C4–B4 Whooshes). Gravity’s main page groups together effects, ADSR, unison and velocity settings, with pride of place going to the circular Punish dial.
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