LANDFORMS offers a bold new approach to working with orchestral samples. Part sampler, part synthesiser, it takes textural recordings inspired by the movements and shapes of nature and reimagines them within a multidimensional sound design environment.
LANDFORMS is more than just an orchestral sample library. It’s a complex orchestral sound design environment.
While conventional orchestral libraries statically reproduce the traditional sounds of the orchestra, LANDFORMS embraces the unique possibilities and idiosyncrasies of working with orchestral samples. The focus is not only on the performance of beautiful acoustic textures. It’s about pushing these textures through layers of unique processing to create constantly shifting, abstract collages of sound. It’s rooted in the orchestral domain, but feels simultaneously alien and unique.
EMERGING FROM NATURE
Influenced by the forms and textures of the natural world, articulations were curated and produced with specific compositional intentions.
Phrases that fuse together rhythmically and movements that overlap unpredictably to create progressive textural evolutions, mirroring the slowly building intensity of rising tides, the harmonic refractions of rippling water.
The core library comes packed with a deeply versatile collection of factory content, with more than 200 base multisampled articulations split across the families of the orchestra. Strings are broken down into individual trios of bass, cello and violin. The woodwinds section consists of a low ensemble of baritone saxophone, contrabassoon and bass clarinet; a high ensemble of oboe, clarinet and bassoon; and a trio of flutes. Brass consists of a low trombone section and a high ensemble of trumpet and flugelhorn. As well as this, articulations taken from sessions with a solo violinist and flautist are included.
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REAL EXPRESSION, REAL EMOTION
Recorded in the rich, warm acoustics of the Wood Room at Real World Studios and utilising ensembles of three players per instrument, the recordings of LANDFORMS are all about emphasising focus and detail while still maintaining the magic of the ensemble.
The intimacies of players’ individual performances were captured using hyper-focussed spot mics, whilst a range of mics placed throughout the Wood Room captured its sophisticated resonances. These can be combined to create a full-spectrum dynamic mix with a deep tonal range.
It’s not for the purists. It’s not about noiseless, robotic performances. It’s about real recordings and real expression. The rawness and detail of performances were intentionally captured in order to retain the authentic character and emotion of the instruments.
LANDFORMS includes over 400 sound designed preset patches, each of which can be entirely picked apart and adjusted within the engine.
Anything from distorted percussive pulses to obscure electroacoustic textures.
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EXPANDING ORCHESTRAL TERRAIN
On top of the orchestral articulations are 50 processed sound sources, each made up from six separately processed layers.
These were all created by passing the orchestral recordings through eurorack modules, granular synthesis engines, cassette machines, pedal chains and amplifiers.
MORE THAN JUST SAMPLE PLAYBACK
→ ENGINE OVERVIEW
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Redesign the formation of a sound environment with the spatial mixer. It takes an intuitive and creative approach to the mixing of microphone positions, unlocking new artistic possibilities. Place sound sources within a virtual two dimensional soundstage, immerse them in reverberant space, manipulate them with parameter adjustments, hone in on them to isolate individual players, drift back into the resonances of the recording space, or even send them physically sweeping throughout the space with LFOs or user-defined gestures.
IMPORT YOUR OWN SAMPLES
Simply drop a sample onto the interface to load it into the LANDFORMS engine.
You can load in up to twelve separate samples simultaneously — six for each layer — or you can swap out single elements of the native orchestral patches with your own samples. Then pitch-shift them, mix them, douse them in effects, and transform them using the sound design engine into something totally new.
A LIFE GIVING ENVIRONMENT
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LANDFORMS IN CONTEXT
Beneath the Sky
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→ FULL ARTICULATION PLAYTHROUGH
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TESTIMONIALS + REVIEWS
"AN INCREDIBLY INSPIRING INSTRUMENT THAT IS AN UTTER JOY TO USE"
— SOUND ON SOUND
"ONE OF THE MOST INSPIRING AND VERSATILE PIECES OF SOFTWARE IN MY TOOLKIT"
— CHRIS BEAR (GRIZZLY BEAR)
"THESE GUYS ARE IN A LEAGUE OF THEIR OWN WHEN IT COMES TO SOUND DESIGN… AND THAT LEAGUE IS MIIIILES ABOVE THE NEXT LEAGUE"
— STEPHEN BARTON (APEX LEGENDS, CALL OF DUTY: MODERN WARFARE)
"THE PRESET CONTENT IS UTTERLY CAPTIVATING… FROM LARGE SCALE ETHEREAL BACKDROPS, TO AGITATED ARTICULATIONS"
— COMPUTER MUSIC
"AN INCREDIBLE TOOL FOR CREATING TEXTURES, LIKE ALL OF SLATE + ASH’S INSTRUMENTS IT PRESENTS FAMILIAR SOUNDS AND ARTICULATIONS IN NEW AND THOUGHTFUL WAYS"
— JAKE MILLER (BJÖRK, ARCA, LONDON COMTEMPORARY ORCHESTRA)
"HANDS DOWN THE MOST INSPIRING SOFTWARE I HAVE EVER USED. LANDFORMS AMAZES ME EVERY TIME I USE IT, IT REALLY IS A SOUND DESIGNER’S DREAM"
— MEGAN LEBER
"THERE’S NOTHING VERY INTERESTING ABOUT MOST ORCHESTRAL LIBRARIES, NO MATTER HOW WELL THEY’RE CAPTURED. LANDFORMS HOWEVER IS LIKE A UNIVERSE UNTO ITSELF, FULL OF NUANCE AND DEPTH"
— TOM FURSE
"THE INNOVATIVE APPROACH TO SAMPLING AND UNCONVENTIONAL INSTRUMENT DESIGN IS A CLEAR WINNER IN TERMS OF NOT ONLY BEING SOMETHING DIFFERENT, BUT ALSO HIGHLY INSPIRATIONAL AND USEABLE INSTRUMENTS"
— SAMPLE LIBRARY REVIEW
Kontakt or Kontakt 6.5.3 or higher
Free Kontakt Player included
Intel Macs (i5 or higher): macOS 10.15, 11 or 12 (latest update); Apple Silicon Macs: macOS 11 or 12 (latest update); Windows 10 or 11, Intel Core i5 or equivalent CPU
68GB samples (104GB uncompressed)
222 core multisampled articulations
177 curated articulation combos
421 engine preset patches
DOWNLOADSLANDFORMS User Guide