MusicRadar Verdict
Big, brash and boldly contemporary, Gravity has Heavyocity pushing the envelope of Kontakt scripting and sampling again, and is without doubt one of their best yet.
Pros
- +
Huge soundbank, with an enormous variety of sonic possibility for cinematic score composers.
Cons
- -
Interface can be confusing.
MusicRadar's got your back Our team of expert musicians and producers spends hours testing products to help you choose the best music-making gear for you. Find out more about how we test.
A 9GB "scoring tools" library (ie, built on 'sound design' type material for cinematic projects), Gravity houses a hugely extensive soundbank and preset/snapshot list in an action-packed (if a tad overdesigned) scripted interface.
This includes the usual Heavyocity toys - Twist and Punish, Trigger FX, EQ/Filter section - plus the new Motion step sequencer for modulation of volume, pan and pitch.
The library consists of four sections - Hits, Pads, Risers and Stings - each further subdivided into individual instrument folders and Menu patches. With each sound type differing significantly in the engine it uses, the specifics of the interface vary quite a bit, which keeps things interesting but can get a little confusing.
Worthy of particular note is the Designer page, in which you can construct layered risers and hits by mixing up Subs, Impacts, Tails and Whooshes.
“If it wasn’t for that song, that would have been the end of the band”: How one track’s sudden gear-switch led Coldplay into their imperial phase
“He was like, ‘You’ve got it all wrong, man": Mumford & Sons reveal what Neil Young told them about the way they were approaching their live shows and album recordings
How to write a ‘sticky’ hit: Pure luck can put you in the charts, but sticking around to make the big bucks needs pure science
