CRITICAL MASS - Audioscapes is the latest in a long line of award winning cinematic sample libraries from Zero-G, featuring 3.6Gb of 24bit cinematic audio alchemy by the same producer as Dark Skies and Alien Skies. You are guaranteed quality from the outset.
Influenced by the latest in cutting-edge Hollywood sound design and film scoring, this library contains a wealth of sonic material ideally suited to cinematic and video game projects.
Critical Mass provides you with a vast expanse of new and experimental sound materials generated using the most bleeding-edge digital signal processing techniques. This colossal collection of sounds has themes ranging from chilling deep space horror all the way through to sumptuous heavenly atmospheres. It has been designed to suit all the needs of professional audio-video producers such as TV, cinema & game score composers and also EDM music producers who want to add something unique to their tracks.
This incredible library contains over 750 instruments in EXS24, Kontakt, HALion and NN-XT formats as well as over 700 Acidized Wav Files and Apple Loops all recorded in dazzling 24bit.
In addition to hundreds of atmospheres, soundscapes, textures, hits, stingers, pads and FX there are 30 production kits which present the sounds within short, musical/sound design ‘cues' to inspire the user's imagination and aid them in quickly and effectively achieving their creative goals.
So, reach for Critical Mass and make a quantum leap with your sound creation.
Influenced by the latest in cutting-edge Hollywood sound design and film scoring, this library contains a wealth of sonic material ideally suited to cinematic and video game projects.
Critical Mass provides you with a vast expanse of new and experimental sound materials generated using the most bleeding-edge digital signal processing techniques. This colossal collection of sounds has themes ranging from chilling deep space horror all the way through to sumptuous heavenly atmospheres. It has been designed to suit all the needs of professional audio-video producers such as TV, cinema & game score composers and also EDM music producers who want to add something unique to their tracks.
This incredible library contains over 750 instruments in EXS24, Kontakt, HALion and NN-XT formats as well as over 700 Acidized Wav Files and Apple Loops all recorded in dazzling 24bit.
In addition to hundreds of atmospheres, soundscapes, textures, hits, stingers, pads and FX there are 30 production kits which present the sounds within short, musical/sound design ‘cues' to inspire the user's imagination and aid them in quickly and effectively achieving their creative goals.
So, reach for Critical Mass and make a quantum leap with your sound creation.
Includes:
- Over 700 Acidized WAV files
- Over 700 AIFF Apple Loops
- 750 Kontakt Instruments
- 750 EXS24 Instruments
- 750 NN-XT Instruments
These are the main sections of the library:
Production Kits
The Production Kit organizational system used in this and numerous other Zero-G cinematic titles is somewhat unique in the world of sampling, and aids the user gain insight into the intended contexts of the provided sound materials. This, of course, is not to forbid the user to straying; indeed, we'd highly encourage the user to experiment! However, by presenting the sounds within short, musical and sound design ‘cues', we hope to inspire the user's imagination and aid him / her in quickly and effectively achieving his / her creative goals. Stylistically speaking, the Production Kits are somewhat diverse, yet retain a degree of cohesion through the common approach to sound development and organization. Kits Abstract 1 to 4 draw considerable influence from the ‘acousmatic' works of contemporary electro-acoustic musicians such as Ake Parmerud. Somewhat different in style are the hard-hitting High Impact kits, which incorporate a range of powerful, trailer-style impacts and gestures. As always, mixing and matching the sounds in the various Production Kits tends to yields interesting fusions that the user may well enjoy exploring.
Production Elements
The Production Elements section of the library provides an extensive collection of single-hit sound files, covering a broad range of styles and applications. Sets such as Barbed Wire and Horror Stingers blend elements of 20th century sonorism with contemporary film score. Such sets have clear applications in cinematic music. The sub-section SFX is comprised of a variety of futuristic FX sounds that may be useful in sound design projects. Other sets, such as Trailer Whooshes and Cinematic Risers, were created particularly with film and video game trailers in mind, although they may be equally appropriate for use in electronic dance music. However, while much of the content in this section was created with certain applications in mind, the user should feel free to mix, match, process and re-combine sounds to generate new and unique sonic creations.
Looped Sounds:
Axework
Since its conception, the electric guitar has rarely been considered an instrument to play by ‘the rules'. From Jimi Hendrix to Robert Fripp, the electric guitar has prevailed in generating infinitely diverse and extraordinary timbres. In this section, the listener will experience a taste of the electric guitar as it dances with digital signal processing.
Byte Drones
Drawing on the tenets of post-digitalism, these gritty, lo-fi textures contrast starkly with the generally high fidelity content of this library, and may be suitable as either abstract sound design ambiences or within an electronic musical context.
Core Drones
The rich, expansive ‘Core Drones' are amongst the densest sounds of this library. They may be utilized in a wide variety of contexts from film score to drum and bass.
Dark Atmospheres
The diverse selection of sounds in this section provides an ideal textural palette for dark ambient music, abstract sound design, and electronic dance music. Many of the sounds represent complete textural beds that possess sufficient complexity to standalone, yet retain the flexibility to easily mix with other material (particularly in the foreground).
Deep Space Horror
Summoning images of dark, foreboding space stations and remote, alien infested out-posts, these claustrophobic soundscapes provide the perfect accompaniment to any tense science-fiction horror scene.
Disturbed
These dissonant and unnerving textures require little explanation; deploy them with care!
Euphony
As the name may imply, the beautiful sonorities of ‘Euphony' are as evocative as they are pleasing to the ear. While perfectly suited to ambient and cinematic musical styles, these sounds may also find applications as background textures in various forms of electronic dance music.
Filtration Textures
Relying on advanced spectral filtering techniques, these brilliant textures exist in a fluid state of perpetual motion, energized by mystic and unseen forces.
Glassy
The sounds in this section were derived from recordings of shattering glass, and retain this characteristic timbral quality despite their subtle elegance.
Heavenly Pads
Based on digitally manipulated recordings of a traditional choral ensemble, these textures provide depth and perspective to the foreground; yet blend exquisitely with mid- and background material. These highly versatile textures may be appropriate in a myriad of settings.
Lazer Drones
These are among the few sounds in this library that are derived solely from pure, digital synthesis. Nevertheless, their rich spectra and perpetual motion provide for a highly dynamic sonic experience!
Lo Fi
‘Lo Fi' was created by manipulating and layering recordings of vinyl noise and crackle. The sounds in section may be used to introduce a healthy dose of dirty, low fidelity grime in either sound design or musical contexts.
Nocturnes
From Chopin to Bartok, night has proven a popular source of inspiration for musicians throughout the ages; use these beds to evoke similar nocturnal moods in ambient or cinematic musical contexts.
Organic Ambiences
The Organic Ambiences and Organic Drones comprise a collection of substantial, earthy textures, providing ideal background material for a broad range of musical styles.
Rain Dance
These bubbly, percolating textures were derived from recordings of a native American rain stick.
Teknodrones
Complimenting earlier sets such as ‘Byte Drones' and ‘Deep Space Horror', the agitated, high-tech Teknodrones evoke futuristic, dystopian imagery and find themselves perfectly at home in modern science fiction context.
*When ordering the download product from Big Fish Audio you will be given one or more links for each of your product purchases. The links will be active for 24 hours. During this time you should download the file and expand it. You can return to your Big Fish Audio account at any time and download your products. You will find your products in the "My Products" area of your account page.
- Over 700 Acidized WAV files
- Over 700 AIFF Apple Loops
- 750 Kontakt Instruments
- 750 EXS24 Instruments
- 750 NN-XT Instruments
These are the main sections of the library:
Production Kits
The Production Kit organizational system used in this and numerous other Zero-G cinematic titles is somewhat unique in the world of sampling, and aids the user gain insight into the intended contexts of the provided sound materials. This, of course, is not to forbid the user to straying; indeed, we'd highly encourage the user to experiment! However, by presenting the sounds within short, musical and sound design ‘cues', we hope to inspire the user's imagination and aid him / her in quickly and effectively achieving his / her creative goals. Stylistically speaking, the Production Kits are somewhat diverse, yet retain a degree of cohesion through the common approach to sound development and organization. Kits Abstract 1 to 4 draw considerable influence from the ‘acousmatic' works of contemporary electro-acoustic musicians such as Ake Parmerud. Somewhat different in style are the hard-hitting High Impact kits, which incorporate a range of powerful, trailer-style impacts and gestures. As always, mixing and matching the sounds in the various Production Kits tends to yields interesting fusions that the user may well enjoy exploring.
Production Elements
The Production Elements section of the library provides an extensive collection of single-hit sound files, covering a broad range of styles and applications. Sets such as Barbed Wire and Horror Stingers blend elements of 20th century sonorism with contemporary film score. Such sets have clear applications in cinematic music. The sub-section SFX is comprised of a variety of futuristic FX sounds that may be useful in sound design projects. Other sets, such as Trailer Whooshes and Cinematic Risers, were created particularly with film and video game trailers in mind, although they may be equally appropriate for use in electronic dance music. However, while much of the content in this section was created with certain applications in mind, the user should feel free to mix, match, process and re-combine sounds to generate new and unique sonic creations.
Looped Sounds:
Axework
Since its conception, the electric guitar has rarely been considered an instrument to play by ‘the rules'. From Jimi Hendrix to Robert Fripp, the electric guitar has prevailed in generating infinitely diverse and extraordinary timbres. In this section, the listener will experience a taste of the electric guitar as it dances with digital signal processing.
Byte Drones
Drawing on the tenets of post-digitalism, these gritty, lo-fi textures contrast starkly with the generally high fidelity content of this library, and may be suitable as either abstract sound design ambiences or within an electronic musical context.
Core Drones
The rich, expansive ‘Core Drones' are amongst the densest sounds of this library. They may be utilized in a wide variety of contexts from film score to drum and bass.
Dark Atmospheres
The diverse selection of sounds in this section provides an ideal textural palette for dark ambient music, abstract sound design, and electronic dance music. Many of the sounds represent complete textural beds that possess sufficient complexity to standalone, yet retain the flexibility to easily mix with other material (particularly in the foreground).
Deep Space Horror
Summoning images of dark, foreboding space stations and remote, alien infested out-posts, these claustrophobic soundscapes provide the perfect accompaniment to any tense science-fiction horror scene.
Disturbed
These dissonant and unnerving textures require little explanation; deploy them with care!
Euphony
As the name may imply, the beautiful sonorities of ‘Euphony' are as evocative as they are pleasing to the ear. While perfectly suited to ambient and cinematic musical styles, these sounds may also find applications as background textures in various forms of electronic dance music.
Filtration Textures
Relying on advanced spectral filtering techniques, these brilliant textures exist in a fluid state of perpetual motion, energized by mystic and unseen forces.
Glassy
The sounds in this section were derived from recordings of shattering glass, and retain this characteristic timbral quality despite their subtle elegance.
Heavenly Pads
Based on digitally manipulated recordings of a traditional choral ensemble, these textures provide depth and perspective to the foreground; yet blend exquisitely with mid- and background material. These highly versatile textures may be appropriate in a myriad of settings.
Lazer Drones
These are among the few sounds in this library that are derived solely from pure, digital synthesis. Nevertheless, their rich spectra and perpetual motion provide for a highly dynamic sonic experience!
Lo Fi
‘Lo Fi' was created by manipulating and layering recordings of vinyl noise and crackle. The sounds in section may be used to introduce a healthy dose of dirty, low fidelity grime in either sound design or musical contexts.
Nocturnes
From Chopin to Bartok, night has proven a popular source of inspiration for musicians throughout the ages; use these beds to evoke similar nocturnal moods in ambient or cinematic musical contexts.
Organic Ambiences
The Organic Ambiences and Organic Drones comprise a collection of substantial, earthy textures, providing ideal background material for a broad range of musical styles.
Rain Dance
These bubbly, percolating textures were derived from recordings of a native American rain stick.
Teknodrones
Complimenting earlier sets such as ‘Byte Drones' and ‘Deep Space Horror', the agitated, high-tech Teknodrones evoke futuristic, dystopian imagery and find themselves perfectly at home in modern science fiction context.
Download Sizes
| Version | Compressed Download Size |
| Logic Sampler/Reason/NNXT/EXS24/HALion/Kontakt/Apple Loops/WAV/Acid Download includes | |
| Part 1: 2 GB | |
| Part 2: 2 GB | |
| Part 3: 865.5 MB | |
| RAR UNarchive Instructions: | |
*When ordering the download product from Big Fish Audio you will be given one or more links for each of your product purchases. The links will be active for 24 hours. During this time you should download the file and expand it. You can return to your Big Fish Audio account at any time and download your products. You will find your products in the "My Products" area of your account page.
License Agreement
The Following End User License Agreement is included with Critical Mass: Audioscapes. This License is only valid for the individual who has purchased an unopened, new and lawfully made copy of Critical Mass: Audioscapes from a dealer or distributor authorized by Big Fish Audio.
"ZERO-G LICENSE AGREEMENT 1. The sound samples included on this product remain the property of Zero-G Limited and are licensed, not sold, to you for use on your sampling software or equipment. 2. A right to use the enclosed sounds is granted to the original end-user of the product (Licensee) and is NOT transferable. 3. The Licensee may modify the sounds. and MAY USE THE SOUNDS FOR COMMERCIAL PURPOSES WITHIN MUSICAL COMPOSITIONS, subject to section 7 below. 4. This license expressly forbids resale, relicensing, or other distribution of these sound samples, either as they exist on the enclosed discs, or any modification thereof. You cannot assign, lease, lend, rent, upload or download to or from any database or server, or transfer any or all of the sound samples to another user, or use them in any competitive product. 5. Licensor will not be responsible if the sound samples do not fit the particular purpose of the Licensee. The sound samples are licensed 'as is' without warranties of any kind. Neither the Licensor, or any distributor of Licensor's products, can be held responsible for any direct, indirect, or consequential loss arising from the use of any sound samples licensed from Zero-G Limited in whatever form. 6. The Licensee may use these sound samples for Foley and sound FX in TV or movie soundtracks, video game soundtracks, gaming machines, or toys, but Licensee may not re-distribute the sounds as sounds, multi-sounds, samples, multi-samples, programs or patches – meaning the Licensee cannot re-sell them as part of a sound sample library of any kind thereby effectively competing against Zero-G. Note also that use of the sound samples in isolation in video game soundtracks, gaming machines, or toys where they appear in isolation or as sound effects as part of a music game or remixing game is not permitted without first obtaining a separate written License (subject to availability) from Licensor. 7. Use of the sound samples in 'library music' (also known as 'music libraries' or 'production music'), which is intended for commercial exploitation by relicensing to multiple third parties, is permitted PROVIDED that the samples are used within a musical context and are not presented isolated or 'solo-ed'. The sound samples must be used 'in combination' within musical compositions. For such usage, any rhythm loop samples (which Zero-G regards as being musical clips in themselves) must also be combined with other types of samples or sounds to effectively form a new composition, rather than simply being looped in isolation."
"ZERO-G LICENSE AGREEMENT 1. The sound samples included on this product remain the property of Zero-G Limited and are licensed, not sold, to you for use on your sampling software or equipment. 2. A right to use the enclosed sounds is granted to the original end-user of the product (Licensee) and is NOT transferable. 3. The Licensee may modify the sounds. and MAY USE THE SOUNDS FOR COMMERCIAL PURPOSES WITHIN MUSICAL COMPOSITIONS, subject to section 7 below. 4. This license expressly forbids resale, relicensing, or other distribution of these sound samples, either as they exist on the enclosed discs, or any modification thereof. You cannot assign, lease, lend, rent, upload or download to or from any database or server, or transfer any or all of the sound samples to another user, or use them in any competitive product. 5. Licensor will not be responsible if the sound samples do not fit the particular purpose of the Licensee. The sound samples are licensed 'as is' without warranties of any kind. Neither the Licensor, or any distributor of Licensor's products, can be held responsible for any direct, indirect, or consequential loss arising from the use of any sound samples licensed from Zero-G Limited in whatever form. 6. The Licensee may use these sound samples for Foley and sound FX in TV or movie soundtracks, video game soundtracks, gaming machines, or toys, but Licensee may not re-distribute the sounds as sounds, multi-sounds, samples, multi-samples, programs or patches – meaning the Licensee cannot re-sell them as part of a sound sample library of any kind thereby effectively competing against Zero-G. Note also that use of the sound samples in isolation in video game soundtracks, gaming machines, or toys where they appear in isolation or as sound effects as part of a music game or remixing game is not permitted without first obtaining a separate written License (subject to availability) from Licensor. 7. Use of the sound samples in 'library music' (also known as 'music libraries' or 'production music'), which is intended for commercial exploitation by relicensing to multiple third parties, is permitted PROVIDED that the samples are used within a musical context and are not presented isolated or 'solo-ed'. The sound samples must be used 'in combination' within musical compositions. For such usage, any rhythm loop samples (which Zero-G regards as being musical clips in themselves) must also be combined with other types of samples or sounds to effectively form a new composition, rather than simply being looped in isolation."