Virtuasonic Epic FX: Larger-Than-Life Low-Cost Sonic Theatricality

June 03, 2009
Virtuasonic Epic FX
p>Whenever my wife and I go to a theater and watch a movie, I'm very fond of listening to those whooshing sounds and hits that make a great emotional impact towards viewers. I also get into that habit of analyzing how that single-note hit or blasting tutti ever came to life such that I think in terms of how it was orchestrated or how it was synthesized. Trying to replicate such effects via usual orchestration or synthesis could be time consuming and could spell a missed deadline especially if you're into jingles or sound design. It's a relief that Virtuasonic Epic FX is now out there as a time-saving solution.

Virtuasonic Epic FX is a sound effects suite in Native Instruments (NI) Kontakt format that consists of about 420 sound effects designed to add that theatrical impact to things such as music production, TV post production, trailers, jingles, animation and video presentations. Derived from a huge variety of sources, this collection contains hits, blasts, transitions, and impacts organized as presets in NI Kontakt 2 and are available as well as directly accessible WAV files.

SPECIFICATIONS:

  • Presets: Blasts / Giants / Impacts 1& 2 / Noise Forms / Transitions 1, 2 & 3
  • 422 samples
  • Sampling rate: 24-bit / 44.1 KHz
  • Total size: 530 MBytes
  • Formats: NI KONTAKT 2 (version 2.4 required, compatible with KONTAKT 3), WAV 24 bit

An exceptional money- and time-saving tool, Epic FX from Virtuasonic is a must-have for sound designers, musicians, and other people looking for a shortcut to larger-than-life top-quality sounds. For a price of $79.95 ($89.95 from June 9th), it's an impressive low-cost alternative to a force of 100 orchestra musicians and synthesists who you would have to put in the payroll for their services. It also spares you from squeezing out your brain through your nose over your sheet music, synthesizer, and/or notation program in trying to figure out how to reproduce that shattering blast.

Mark A. Galang writes for Gearwire


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