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- KONTAKT FACTORY LIBRARY FOR KOMPLETE 8 MANUAL
- KONTAKT FACTORY LIBRARY FOR KOMPLETE 8 PLUS
- KONTAKT FACTORY LIBRARY FOR KOMPLETE 8 SERIES
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The string patches soar and sweep the basses are rich and grounded the synth sounds have grit and girth to them drums have a wonderful crunchy, almost vinyl, dirt. So although programming a Mirage is a bit of an exercise in masochism, playing one is just a joy. And finally, Ensoniq really did a job with the factory library, honing every sound to get the very best from the limited resources at their disposal. The warmth also comes from the Mirage’s analogue filter, which plays a vital role in giving the machine its expressive playability. It has, to our ears, more in common with machines like the Akai S900 and S950 (both 12-bit) than the Emulator. The earthy edge of the Mirage’s raw, 8-bit output, and the need to reduce sample rate (sometimes down as low as 10kHz) to squeeze more time out of that measly 128kB lent it a thick, warm sound with a particularly rounded and filled-out bass end. 16-bit companding DACs and 100kHz sample rates were all very well, but this was a thing you could actually buy. It was a pig to program and its on-paper specs make it look laughably, appallingly limited by today’s standards.Īll that said, though… it really did change the world.
KONTAKT FACTORY LIBRARY FOR KOMPLETE 8 MANUAL
The Mirage manual came with a handy tear-out-and-laminate reference sheet, which you were more or less obliged to stick onto the front of the instrument in order to be able to understand it. Its only display was a 2-character LED window, which displayed (in a flickering amber light) arcane and inscrutable hexadecimal numbers which – when decoded – told you what parameter you were editing. (Why?) It could, at its maximum 33kHz sample rate, store just 2 seconds of sound per keyboard half. The 8-bit Mirage sported a teeny-tiny 128kB of sample memory, which was permanently split into two 64kB chunks devoted to each side of the keyboard. This led to some pretty stark compromises. Every single element was cut back to the bone, the bare minimum, in order to fulfil the goal of getting a sampler into the hands of players for under a couple of grand. There were no light-pens, no CRT screens, no Fourier waveforms, no sweeping blue cases adorned with sliders and LCD displays. The Mirage was a lean, aggressive bid to make sampling available to ordinary people. But if it thought it was going to steal all the limelight, it was wrong – because elbowing its way into the party like a scrawny punk rocker who no-one invited, here comes the Mirage. Two astonishing machines hit the market more or less simultaneously: the superb Emulator II snuck it at just under $10,000 and captured the hearts (and wallets) of mid-range studios and musos who wanted in on the sampling action but couldn’t stretch to a Fairlight.
KONTAKT FACTORY LIBRARY FOR KOMPLETE 8 SERIES
Before its release, sampling was strictly the purview of the very well-heeled musician: a Fairlight Series II cost £30,000 (the price of a house) a Synclavier would set you back between $25,000 and $200,000 (yee-ouch) and there were no alternatives.Īll that changed in 1984. The Ensoniq Mirage was a landmark machine in the history of sampling.
KONTAKT FACTORY LIBRARY FOR KOMPLETE 8 PLUS
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The first digital sampler for the rest of us: the Mirage defines an era of popular access to sampling technology ‘I compared Sahara directly to the factory sounds that have survived in my Mirage’s library and, from the first sample that I tried, I was impressed… Sahara not only captures the underlying sound and the unexpected warmth of the Mirage, but also its sometimes imperfect soul.’ ‘The raw sounds are as delicious now as they were back in the mid-80s’ – Computer Music Magazine