Zero-G Epica Virtual Sound Module
The Zero-G Epica Virtual Sound Module is the latest virtual synth from Zero-G, produced by Sam Spacey who also produced our highly acclaimed PHAEDRA synth.
- Huge collection of patches created with various analogue synths, digital synths, and hardware effect units
- 600 presets, 13GB library
- Over 17,000 24bit hand-edited, looped and multi-layered samples
- Easy to use, Kontakt-powered interface
- Read More
With over 17,000 24bit hand-edited, looped and multi-layered samples and an inspiring Kontakt-powered interface, Epica is Zero-G's best-sounding virtual instrument to date.
Zero-G's aim was to create a library that offered a fresh palette of sounds which were rich in timbre and had their own character, so that it would set your music apart from the masses. As such, Epica's samples were all recorded through an equipment chain of 100% boutique hardware with no plug-ins used in the creation of the source sounds. All samples were hand looped and, with Kontakt key mapping never stretching a sample more than one note from its root, they sound as real as the instruments they came from. In fact all of the non-looped samples are mapped to every key for 6 octaves with a large amount of them 3 to 4 x Round Robins on every key.
Epica features over 600 patches of pads, leads, basses, sequences and fx and, of course, it has the sound-shaping capabilities for you to create much more. Most virtual synths have lots of gimmicks but need a lot of work to make them fit into a mix and often sound weak and artificial. Epica however, sounds great straight out of the box. There's no need to reach for that EQ, compressor, or other plug-in, EPICA just sounds so good on its own!
The User Interface was designed to give you full control over a huge amount of sonic sculpting options without slowing down the creative process. It is both quick and simple to use but devastatingly powerful when you want to create your own presets... which you will find yourself doing within seconds. You only need the FREE Kontakt 5 Player to use EPICA, but it is of course also fully usable with the full version of Kontakt 5.
Technical recording data - in the words of Epica producer Sam Spacey:
'The samples were processed through various top of the range equipment including Eventide H8000FW, UBK FATSO, Neve 1073 preamp, Lexicon PCM 96 and various analogue guitar pedals. My particular favourite was the Eventide H8000FW which just adds a beautiful sheen to anything it touches, but a big shout has to go to the amazing UBK Fatso hardware giving all the recordings that lovely hardware thick feel to all that pass through it.
Samples were themselves sourced from various analogue synths from my home buit Modular system, Arp Odyssey Mk3, Sequential Pro-1, Yamaha CS-30, Oberheim's and Future Retro to digital synths like the Virus Ti, DX9 and Roland D-50. Real life recordings were also used.
600 presets using 17,247 recordings were made, all at 24bit 44.1khz totalling 13GB of raw sample recordings. No dead space and all obsessively hand looped by a human (me) rather than an auto looping program (no dodgy loop points here).
The samples are very long and have been obsessively sampled and looped by hand. A lot of the sounds use the actual analogue filter sweeps of the synthesizers that they were sampled from and implemented using sample start points assigned to either velocity or random so as to enable the true sound of the sampled synth. That being said, Kontakt 5's newly modelled filters are astoundingly good and give a huge palette of sonic possibilities to anything you create.
Some Multi presets have Reverb type effects from hardware units such as the Eventide H8000FW and Lexicon PCM96. Instead of recording the presets with the reverb on them I sampled the reverb separately. This enables you to dial in how much reverb and also to synthesize it as you wish, you will be amazed at how real this sounds and how much it can increase sound design.
A lot of libraries are recorded extremely hot, what do I mean by hot? There is no need with a 24 bit high end A/D converter to record right up to 0db, in fact nearly all sound cards sound better in the 12 to 6db range. The problem with recording so hot is that you can very easily overload plugins but within the context of the Kontakt 5 engine you can also overload the modules inside it, for example the Filters. Giving the recordings the correct headroom makes for a much more natural and honest to the source sound. The key to a great sound when using digital devices is to not overload any plugins with a signal that is too hot.'
Windows: Windows 7 or Windows 8 (latest Service Pack, 32/64-bit), Intel Core 2 Duo or AMD Athlon 64 X2, 2 GB RAM (4 GB recommended)
Mac: Mac OS X 10.7 or 10.8 (latest update), Intel Core 2 Duo, 2 GB RAM (4 GB recommended)
Supported interfaces and standards:
RTAS (Pro Tools 9 + 10)
AAX Native (Pro Tools 10)
64-bit AAX plugins (Pro Tools 11)