![]() It all happened in KONTAKT… until your fifth piece of software, Movement, which took the form of a VST/AU plug-in. In those first couple of months, we realised, “OK, this is either a much bigger project or we just stop right now.” What does each native instruments software do how to#Like any new company, it was challenging not just on the KSP side, but to actually build something that would be a good product.Īs we started getting further along and realising that we needed help, we ended up hiring a KSP developer, and from there we needed more – we needed designers, we needed to record lots of audio, and it became a matter of trying to figure out how to prototype something. In reality, it took two years and it cost a lot! Part of that was because we had no idea what we were doing. Yeah! I mean I started building it with the expectation that it would just be this fun thing for me – it would only cost a little bit of money and would only take a month or two. …and that would be REV – playable reversed sounds in easy reach. It was just an idea for something that I wanted to use rather than to sell to other people. I’d started dreaming about the sort of tool that I wanted to have for myself that would also encapsulate my own style. In the world I came from, you had to differentiate your sound from every other composer. What sparked off the first move into making tools of your own? Output aren’t leaving the NI ecosystem behind, as their effects and instruments are now NKS compatible, instantly controllable at the touch of a knob or a fader for MASCHINE or KOMPLETE KONTROL users. ![]() In the years since, Output has launched more KONTAKT instruments and traditional-format plug-ins, with releases like the fabulous multisampled Analog Brass & Winds, the rhythmic processor Movement, and even a desk – no kidding, Output’s Platform music production desk, which is built with making music in mind, started shipping in 2017. I’d worked previously as a content provider for some large software companies, so I had the right background in sound design for software – I wasn’t a million miles away to begin with.” ![]() “Originally, Output was never intended to be a company,” Gregg reminisces from his LA office. But the move from the silver screen to the world of music software wasn’t actually so unexpected… As a composer, Gregg worked with Hans Zimmer and created music for both film and TV. Gregg Lehrman is the man at the Output’s helm. ![]() Since their first piece of software – REV, a playable instrument of reversed sounds for KONTAKT – each of Output’s software instruments and effects has been noticeably more mature, and more effective, and all-round better. Some software companies remain consistent, reliably pumping out new releases of a decent quality. ![]()
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