Metropolis Ark 3 (MA3 for short) follows the same broad concept as its predecessors but, as intimated, its large string, brass and woodwind sections are rivalled by a massive percussion contingent which includes taiko drums, timpani, low drums, orchestral bass drums, snares, toms and cymbals. A string quintet and grand piano are thrown in for good measure. The whole shebang was recorded at the Teldex Scoring Stage in Berlin using the same mic setups as the previous two volumes, which means you can mix the three collections’ samples with no sonic discontinuity.
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The Kontakt GUI for Metropolis Ark 3, showing the trademark circular dynamics display.MA3 works with the free Kontakt Player or Kontakt 5.7.1 full version, and occupies 60GB of disk space once installed. You can read the reviews of Metropolis Ark 1 and Metropolis Ark 2 in, respectively, the September 2016 and October 2017 issues of SOS. In this review we’ll also take a look at Orchestral Tools’ Berlin Orchestra Inspire library, which aims to bring the sound of the full Berlin Orchestra to smaller and mobile systems, and to provide a convenient sketching tool for those who need to create orchestral arrangements in a hurry.
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MA3’s contents are divided into four main sections, which the makers persist in calling ‘districts’, but this time the wheeze of adding Berlin street names to instrument sections has been dropped - quite a relief, as patch names like ‘Graefenberger Contrabass Clarinets’ tend to make the head spin.ĭelving into the individual instrument families located in ‘District IV’, we find a high string section of 21 violins & 14 violas playing together. This section lacks the melodic long-note options found in Metropolis 1 and 2, but compensates with some fearsome, immensely strong-sounding deliveries: attacking staccatissimos, dramatic accented short notes preceded by a single or triple upbeat, rapidly played bow ricochets and fast half-note-down slides straight out of the Bernard Herrmann/Psycho songbook. These articulations are played in octaves, with the large, confident viola section ensuring that the low register is never drowned out by the higher violins. The aforementioned styles are applied to nerve-jangling cluster chords in a choice of voicings, a confrontational sonority which Herr Herrmann would have appreciated.
Having done their scary thing, the high strings move on to play intensely powerful, surging crescendos and decrescendos of various lengths.
These artics are the business hold down a note or chord and they’ll bang out great, tightly-played staccato repeated short notes at your song tempo.Īll very good, but it gets better: the remaining articulations are tempo-sync’ed, looped note repetitions played as half notes and quarter, eighth and 16th notes with triplet options, performed in unison and in wide cluster voicings.
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