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支持系统：Windows.MAC

音源厂商：https://spectrum.art/

使用采样器：Kontakt 7. Kontakt 8加载

文件大小：4.5GB

该音色库的核心是 400 个独特且超长的采样。这些采样可以通过多种方式单独变形，并最多可与 3 个其他采样叠加。正如"入门技巧"指南所建议的那样，体验它的最佳方式是浏览 350 个预设，这些预设分为氛围、效果、贝斯、主音和 pad。然而值得注意的是，无论哪个类别，所有声音都明显偏向于质感/氛围，并且在感觉上偏向黑暗神秘。

加载 NKI 后，您将进入主页，轻松访问滤波器、立体声宽度、音量以及调制轮/音高轮设置。窗口中央是您可以选择播放四个层级中的哪一个的地方，但在当前版本中，此功能效果不佳。周围的慢/快环指示层级间交叉淡入淡出的速度，或者您也可以选择 cc11 手动进行设置。

LSP:Origins 主界面

在主窗口中，您可以深入了解 4 个采样层中每个层的细节。波形显示非常有用，并且可以轻松选择采样播放的开始和结束位置（甚至方向）。这意味着声音的组合非常丰富。您还可以在这里选择要调制的内容，我还没有使用过一个拥有如此丰富选项的音色库。我们有 40 个独立的音序调制通道和 4 个 LFO，每个通道都可以进行自身调制。每个层还可以访问 4 个效果链中的一个，每个效果链由 8 个独立的效果器组成，每个效果链都有自己的 4 个 LFO（可惜这些效果器的 LFO 对我来说不起作用）。哎！这实在是太多了，我觉得更简单的方法，即对整个音色进行整体调制，在实际操作中会更有用。

虽然有很多预设可供使用，但使用"我很幸运"按钮来生成完全随机的预设还是很有趣的。还有一个单独的页面可以让你控制随机程度，这在一定程度上可以指导你如何随机地获取新的声音。可惜的是，纯粹的计算能力会导致 Kontakt 经常崩溃，而我使用的是最新的 iMac，内存只有 24GB，所以希望开发者能够解决这个问题。

虽然 LSP:Origin 的音质和最终效果很难挑剔，但它并非完美无缺。其中很多缺陷都集中在 GUI 功能上，尤其是 LFO 和图层生成器，它们有点不稳定。

如果你想真正进行调整，你也需要耐心等待

如果你想真正进行调整，你也需要耐心等待，因为我发现它的界面不如一些竞品直观。如果他们能够改进功能，甚至改进 GUI 的设计，那就太好了。我还想问一下，用户是否真的需要所有调制功能，因为简单的声音混合就已经能带来非常复杂的质感。少即是多吗？我很高兴看到他们添加了另一个名为 Origin Light 的 NKI，它省去了所有调制功能，使用起来感觉没那么难。

我希望在未来的更新中看到一些功能。如果调制器中的同步选项卡能够将 LFO 显示改为音符值而不是停留在赫兹上，那就太好了。一个有用的更新是让样本的开始和结束循环能够轻松地与节奏同步。最后，在组合这样的声音时，每层简单的高通滤波器和低通滤波器会非常方便。LSP:Origin 确实有这个功能，但它们在效果链中只需点击几下即可使用，最好将它们添加到主页上每个样本的旁边，以便于使用。

这个音色库的灵魂在于样本本身，它们的质量和种类都非常出色。

撇开功能性方面的不足不谈，这个音色库的灵魂在于采样本身，它们的质量和种类都非常出色。总的来说，我认为 LSP:Origin 更像是一个氛围生成器，而不是一个垫底乐器。这里有很多很酷的无调性 FX 采样，它们与更多音色完美融合，这意味着它非常适合在电影、电视和电脑游戏的配乐中营造出那种唤起情感的质感基调。这些声音也非常适合作为预告片音乐的开头。我相信 LSP:Origin 会赢得 Spae 音乐奖。

The core of the library is the 400 unique and very long samples. These can be individually morphed in a number of ways and layered with up to 3 other samples. As the 'starter-tips' guide advises, easily the best way to get a flavour of this is to flick through some of the 350 presets which are divided into atmospheric, fx, bass, leads and pads. It is worth noting however, that whatever the category, all the sounds are distinctly on the texture/atmosphere side of things and in feel they err towards the dark and mysterious.

Upon loading the NKI you land on the home page giving easy access to filters, stereo width, volume and mod wheel/pitch wheel settings. The centre of the window is where you can select which of the four layers is playing, but in the current version this is not working very well. A slow/fast ring around it dictates the speed of cross-fading between layers, or you can also select cc11 to do this manually.

LSP:Origins Main Interface

The main window is where you can dig into the details of each of the 4 sample layers. It is useful to see a wave display and and being able to easily select where in the sample play begins and ends (and even the direction of it). This means the sheer combinations of sounds are vast. This is also where you can select what gets modulated and I have yet to use a library that boasts quite the variety of options here. We have 40 separate lanes of sequencing modulation, 4 LFOs and each of those can then be modulated itself. Each layer also has access to one of 4 FX chains comprising of 8 separate FX and each chain has it's own set of 4 LFOs (sadly these FX LFOs were not working for me). Phew! It is arguably just too much and I feel a simpler approach which modulated the entire patch as a whole would be more useful in practice.

Although there are plenty of presets to work through it was quite fun using the 'I Feel Lucky' button which generates a totally random preset. A separate page also gives you control of just how random it gets, which enables a degree of guidance as you lucky dip for fresh sounds. Sadly the sheer computing power to do this crashes Kontakt quite often and I am on the latest iMac with 24Gb of RAM, so hopefully the developers will look into this.

Whilst it is hard to fault the sound quality and end results of LSP:Origin, it is not without its flaws. Many of these centre around the GUI functionality, in particular the LFOs and layer builder being a little temperamental.

You will need to be patient too if you want to really tweak

You will need to be patient too if you want to really tweak, as I found the interface was less intuitive than some competing products. It would be great if they can improve the functionality and possibly the design of the GUI. I would also question whether users need every modulation under the sun, as the simple blending of sounds already gets you very complex textures. Could less be more here? I am glad to see they did include another NKI called Origin Light which does away with all the modulation and it does feel less daunting to get around.

There are a number of features I would like to see in future updates. It would be helpful if the sync tab in the modulators actually changed the LFO display to the note value and not remain on Hz. A useful update also would be to have the sample start and end loops easily synced to tempo. Finally, when combining sounds like this, simple HP and LP filters per layer can come in very handy. LSP:Origin does have this ability but they are a few clicks away in the FX chain and would be better added on the main page next to each sample for ease of use.

The soul of this library is the samples themselves and they are truly excellent in quality and variety.

Functionality grumbles aside, the soul of this library is the samples themselves and they are truly excellent in quality and variety. Overall I see LSP:Origin more as an atmosphere generator rather than a pad instrument. There are loads of cool atonal FX samples which blend beautifully with more tonal sounds here, which means it lends itself very well to creating those kind of textural beds essential to evoking emotion in scoring for film, TV and computer games. These sounds will also sit well in the beginning of trailer music pieces. I am sure LSP:Origin will win Spae