You are here

Zero-G Space

Kontakt Instrument By John Walden
Published June 2024

Zero-G Space

Rating: ★ ★ ★ ★ 4/5 Stars

Sample libraries or virtual instruments with the word ‘space’ in the title could probably go down one of two routes; sounds for large open spaces here on earth or sounds for large open spaces in... well, actual space. Given the graphics behind the UI of Zero‑G’s Space, there are no prizes for guessing which route you get here. In short, if you require a collection of textural sound elements that might enhance your latest sci‑fi based film, video game or TV drama, you’re in the right place.

Designed for the full version of Kontakt (6.7.1 or later, although you also get all the samples in both WAV and AIFF formats), once installed, Space delivers some 4.5GB of sample content. For Kontakt, these have been organised across 27 individual nki instruments, each of which is themed to provide a particular type of sound. Via a simple browser within the UI, each of these instruments then gives you access to multiple presets (720 in total across the whole library) within the target theme. The instrument names give a pretty clear idea of what to expect — for example, Astral Pads, Cosmic Rhythms, Deeps Bass (ho ho!), Galactic Synths, Scary Monsters, Drones, UFOs & Aliens, Steller Hits, Wonders Of The Cosmos — and, when you select an individual preset within an instrument, this loads one of the underlying samples (many of these are impressively long) and an effects configuration.

Alien graphics aside, the User Interface is very straightforward, with a main page providing access to Amp and Filter sections, each with their own envelope and LFO options. Beneath the preset selector/waveform display, there are also buttons to switch each of the effect modules on/off. A second screen (accessed via the FX Rack tab at the bottom of the UI) switches to the full effects control set with plenty of editing and sound‑design potential.

While there is perhaps something just a little old‑school about the design of the instrument and the nature of the sample playback (there doesn’t seem to be any time‑stretching applied as the sample is triggered at different pitches, for example), the sounds themselves are rather impressive. Yes, the library is as much about adding sound‑design elements, textures or atmospheric drones to your overall soundtrack as it is creating the more melodic or harmonic content of a score but, with that duly noted, there are plenty of elements here that would happily complement some epic external spaceship footage, aliens in the shadows, or something big hitting something else big in a vacuum (I know that wouldn’t actually make a sound, but that doesn’t stop sound designers adding it).

For simplicity of use, and for a very modest price, in sonic terms, Zero‑G’s Space punches well above its weight.

There are, of course, other libraries and/or sound‑design tools that can generate these types of sounds. However, for simplicity of use, and for a very modest price, in sonic terms, Zero‑G’s Space punches well above its weight.