- Zero-G is a name you would be justified in associating exclusively with sample libraries, but the boundaries between sample libraries and fully fledged, editable software instruments have become pleasingly blurred in recent years. That line is set to be tested further by Epica, a 13 GB sample library for Native Instruments' Kontakt. Developed for Zero-G by Sam Spacey, who was responsible for the popular Phaedra sample collection from five years back, Epica is, as its name suggests, a gargantuan sample library, with content sourced from a mix of classic synthesizers, including ARP's Odyssey Mk3 and the Sequential Circuits Pro-1, through to more recent classics including Yamaha DX synths, Roland's D-50 and the Virus Ti, plus the creator's own custom-built modular synth. The sounds have been further enhanced by an equally desirable hardware chain at the recording stage, with Eventide, Lexicon, UBK and Neve outboard gear used in the signal chain. It sounds like a labour of love for its creator, but when you also factor in that all loops within the library (where required for sustained sounds) were created by hand, and that 17,247 recordings have been incorporated into the 600 presets onboard, you'll understand why Epica has been years in development.
What's pleasing about auditioning its sounds is that unlike the vast majority of software synths, this collection doesn't attempt to blind you with all-singing, all-dancing patches. Instead, its single instruments library is organised into subgroups of sounds, which form solid, unflashy building blocks you can then layer into productions. The categories are Pads, Bright, Soft, Bass, Mono, Plucked, Sci Fx, Effected and Sequence, and there are a generous number of programs within each of these folders. Additionally, within the Multis tab, a further 117 presets are available, which combine complementary patches of instruments to provide richer sounds straight out of the box. In truth, you'll probably find yourself ignoring these to create your own bespoke multis in no time.
The quality of the sampling is hugely impressive—close your eyes, and you may be tricked into thinking you're listening to classic hardware synths, with the richness and depth you'd hope for. Of course, beyond a core flavour, the other huge advantage most analog synths offer is the ability to edit easily, with hardware controls designed to put you directly in touch with key parameters. So it's pleasing that Epica provides a software equivalent, with a familiar front-end to any patch you load.
Once you've chosen a patch, a white interface appears within Kontakt to provide plenty of tweakability. At the top in the left-hand corner, you'll find a five-stage envelope, with attack, hold, decay, sustain and release dials. In the top-right corner, two more controls determine how velocity will be routed, with To Filter and To Amp dials available to use independently or together. The second row of dials offers four-stage controls for the pitch envelope, while the Startpoint Mod reminds you that you're playing samples rather than synth oscillators by allowing you to move into a sampled sound, shaving the beginning off in the process. Below the pitch envelope, Epica features its own in-built delay, with a bypass switch to disable it, alongside time, feedback, pan and amount dials to configure repeats to taste. Below this is the filter section, which offers four-stage envelope controls, as well as (cutoff) frequency, resonance, envelope amount and a dial called KeyTrack. The Filter Type drop-down menu lets you choose from low-, band- and high-pass filter types, all available at two strengths, 12 dB and 24 dB. Finally, to the right of this are Epica's three LFOs, which devote themselves to pitch, filter and amplifier sections respectively. Each LFO can choose from one of five shapes, before amount, frequency, delay and the amount as routed to the mod wheel lie in wait for each LFO. The virtual hardware aspect of playing Epica can be pushed further still—this one-dial-per-function GUI simulates the feel of playing a hardware synth, allowing every knob to be assigned to a hardware controller over MIDI. So if you want to dispense with having to push or manipulate anything within Kontakt with your mouse, you very quickly can.
The sonic content itself is equally satisfying. Epica is awash with captivating, unfussy sounds. Rather than forcing his own personality onto you, Sam Spacey relies on the personality of his synth collection, leading to sequence sounds which bite and exude warmth; thick, wide pads; bouncing and throbbing basses; and leads which evoke bygone days. Only in the Effected folder does the library break free from its self-imposed discipline, providing programs which pass through warped Lexicon and Eventide treatments and are borne of wilder patch creations at the synth stage, too.
Otherwise, Epica shows remarkable restraint throughout. And this quality appeals to me hugely—I'd rather build effects chains of my own to process synth sounds than have to disable preset effect modules, only to discover that the core sound underneath lacks weight and substance. However, I do worry that some listeners will take more convincing and will find the demos online a little bland sonically compared to other synths they might be considering buying instead. If you're looking for a core collection of exhaustively sampled, painstakingly captured synth sounds taken from several decades' worth of classic instruments to act as building blocks for your own productions, Epica deserves your close attention.
Ratings:
Cost: 4/5
Versatility: 4/5
Sound: 4/5
Ease of use: 4.5/5