The Sound of Love Lost 是一款基于 Kontakt 平台的合成器氛围音源库，融合合成器与吉他混合音色设计，打造出厚重、宽广且极具冲击力的 Ambient 声场表现。音源覆盖完整 88 键范围，每个音符多重采样并拥有长达 20 秒自然延音，支持力度感应 Wah 效果与可调节调音模式（A440 / A432），适合影视配乐、氛围音乐制作、电子音乐与现代实验声音设计。
该 Kontakt 音源通过模拟与数字混合处理，结合真实吉他放大器、磁带饱和与精细 EQ 优化，提供从 Lo-Fi 风琴质感到大型墙式 Drone 氛围的多层次声音表现。无论用于电影高潮铺底、Ambient 声场构建还是现代合成器编曲创作，这款合成器音色库都能提供极具空间感与张力的声音解决方案。
Sam Thomas Music The Sound of Love Lost KONTAKT
KONTAKT – 3,57 GB
The Sound of Love Lost is a sound like no other. A pitched, synth/guitar hybrid that plays like an organ: utilising digital and analogue processing to create an effortlessly huge and harmonically encompassing field of force.
It features in the climax of the song ‘Love Lost’ by Isamaya Ffrench and Sam Thomas, as well as across their album ‘Mantle’ and Sam Thomas’ other work. It started life as the dirtiest bass sound that kept creeping further and further up the fretboard. It’s been tweaked and refined by Sam over nearly two decades and has now been meticulously sampled (13 times per note and across a full 88 keys/7 octaves) to take full advantage of all the harmonics that can be generated by the velocity-sensitive (or fixed), integrated wah effect. Each note has 20 seconds of natural sustain, achieved with just the force of the sound itself or by utilising an EBow or sustain pedal: the result being a no-compromise, musical hold and natural tail at every velocity. Each note was recorded on a max-character guitar, with guitar/pickup decision appropriate to pitch of note. After leaving Sam’s distinct pedal configuration it would pass through a blend of choice guitar and bass amps before undergoing yet more harmonic enrichment: through hand-picked outboard EQ’s and saturation/tape effects. As a final stage the full spectrum was EQ’d, widened and optimised/blessed by Sam and mastering engineer/audio priestess, Anni Abigail.
It stretches from a grounded lo-fi organ-ish sound (Love) to a face-melting, unrelentingly beautiful wall of sound (Lost), perfect for huge ambient drones but versatile too. It is HEAVY when needed, but can also be made sweeter and more ethereal: focusing on the lower velocities/upper registers and/or making use of the onboard space sliders.
V1 of TSOLL has been kept clean and simple so as not to detract from the purity of the sound itself, however there are plans for a V2 update with a separate sequencer page. This would rhythmically vary the velocity (and therefore the notch-wah value) of multiple instances of the same note, forming dynamic rhythmic sequences. In the meantime, hooking it up to a drum pad can also achieve a similar effect. Alternatively for other uses, if the expression of the velocity-sensitive wah isn’t wanted it can be fixed at a preferred notch value (13 being all balls to the wall).
An unusual feature of Love Lost (the song) is that it begins in standard A440 tuning and ends with a blend of A440 and A432 to achieve a ‘sinking feeling’ wide phase effect. This effect is included ‘on tap’ in the instrument: an A432 slider mirrors the A440 option with the lower tuning plus inverted stereo field: automate it in to give the wall some Escher-like energy.
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