Publisher: Spitfire Audio
Website: Spitfire Audio
Format: KONTAKT 5.6.6 +
Quality: 24 bit 48 kHz stereo
Description: Orchestral Library
Apocalyptic Low End
Albion 3 – consisting of a huge celli, bass, brass and woodwind sections, along with thunderous cinematic percussion, super-cool loops and some of the meanest low end hybrid synthesis. Iceni is an anthology of low end. If fat orchestral is your thing, mixing it up with dubstep and drum and bass, you need to put the keys into the lock of this monster!
After the success of Albion 1 & 2, Spitfire has decided to blow the bloody doors off, your speakers will never be the same again.
SPITFIRE PRESENTS ALBION VOLUME #3
APOCALYPTIC LOW END
Centering around a totally new set of samples recorded at Air-Studios Lyndhurst Hall, our aim, to make ALBION III the most earth shattering set of low end delights.
Albion has found favor the world over, whether it be as a one-stop-shop for media composers, a great starter for students wanting to break into media music. Or indeed the building blocks for a fine orchestral set-up. Albion is designed to fit perfectly with it’s BML and Definitive ranges.
Albion III – Iceni is designed for composers and music makers wanting to make enormous brooding low end apocalyptic sounds from a dystopian future to the fury of a bloody battlefield. Ideal for blockbuster style scores, games music and epic rock, pop and edm this library is one of a kind.
Where Albion I was a set of broad cinematic aerosol cans, Albion – Volume II – Loegria a finer set of detailed sable brushes. Albion III Iceni is a cricket bat, a mace, a large trunk of blunt tree to bludgeon to death any track or cue it comes near.
Our most expensive commercial venture to-date was recorded to tape via the rarest set of valve and ribbon mics in the hall at Air Lyndhurst, one of the greatest recording studios in the world (Batman Returns, Gladiator, Bourne Ultimatum, Harry Potter, Hunger Games).
The orchestral tool-set is primitively simple and effective; longs, legatos, shorts, with some mind boggling FX in the brass and woods. They’re designed for anyone to use regardless of their experience or understanding of orchestral disciplines and is scaleable on a variety of systems. This is a must-have library whether you’re writing trailers, computer games, TV or film drama or need the new tool for the next generation of Dubstep, Breakbeat, Crunk or Grime.
In addition to the orchestra there is also a host of compositional tools and accompaniments curated by our award winning team of composers and producers…
Features
BRUNEL LOOPS II
Featuring over 300 fat, grimy, epic and mangled LOOPS by some exciting emerging UK-based producer/ programmer/ composers including The Flight (Lana Del Ray, Rufus Wainwright, Skye, Jess Mills, Bjork), Stanley Gabriel (Kate Bush, Ladyhawke, Little Boots) and Christian Henson (Programmer on Spy Game, Narnia, Composer of Top Gear, Black Death, Devil’s Double).
DARWIN III
All new recordings to add to this thunderous series. The largest and lowest sets of drums available for use in London, including rare British marching toms. Played by the leader and members of the Olympic opening ceremony’s drum corps.
STEPHENSON’S STEAM BAND III
Derived from the orchestral sessions, combined with filthy analogue gear from the 60s and 70s (including processors owned and used by Jimi Hendrix). Stephenson’s III is the lowest and rudest selection of “synth” patches in the range. Ideal for room shuddering full bandwidth bass with contemporary vowel and notch filters for that orchestral BWOAR BWOAR BWOAR!
THE ALBION ORCHESTRA “ICENI” SESSIONS.
The Orchestra just got very very fat and very very frightening:
Winds: 2 contra bassoons, 2 contrabass clarinets, heckelphone, 2 bassoons, 2 bass clarinets, 1 bass saxophone.
Brass: 2 tubas, 2 cimbassi, 2 contra bass bones, 3 bass bones.
Strings: 0,0,0,24,8 Yes….. that’s no violins, no violas, but 24 ‘Celli, and 8 Basses. Recorded both tutti and in two ‘Celli sections with the ‘Celli split into two on either side of the room with the Basses in the middle. It simply has to be heard to be believed.
