UFO 61 is a vintage five-octave electronic organ from Italian instrument maker Vis-count. Built in the 1970s, this simple synthesizer has a smooth, quaint tone with a warm, pleasantly fuzzy texture. Like many early suitcase organs and portable synths that proliferated during the era, it has just a few core instrument voices, a single speaker, simple rhythm box and a basic selection of classic organ controls.
The 1970s saw an explosion of dozens of one-off and small label synthesisers coming out of southern and eastern Europe, especially in Italy. These pioneers in electronic musical instruments popularised synthesisers and brought the sound into the main-stream through both popular music and popular television and film soundtracks.
While that heyday ended just as quickly by the mid-1980’s with a wave of major brand consolidation and a collapse of the analog synth market with the arrival of cheaper and lighter digital keyboards, the golden age of analogue synths has left us with a whole galaxy of unique and rare instruments with a soul and personality that can’t (or won’t) be replicated any time soon in the modern digital or plugin synthesiser realm. The subtle and not-so-subtle limitations, flaws and exploratory nature of instruments like the UFO 61 make them both essential and uniquely capable of capturing the aesthetics and cultural moment of the 1970s. They’re just the ticket for classic sci fi soundtracks, electronic music and anything that needs a hint of mellow retro flavour.
At Soundiron, they love anything rare, weird and a bit mysterious. This one checks all three boxes. And now, let’s just get all of the more obvious puns out of the way: UFO 61 lifts off with an out-of-this-world sound that will abduct your heart, probe the outer limits of your inner space and launch your tracks into orbit.
They’ve packed the GUI with lots of great sound-shaping controls that give you the flexibility to warp the sound in many ways. You have control over Volume, Attack, Release, Transient Offset, Vibrato and Octave layering. The "Glide" control slider allows you to play legato and portamento leads. You’ll also find an adaptable LFO system, with selectable LFO shape, modulation target parameter, speed, intensity, tempo-syncing and fade-in time. You can also apply your choice of 13 lowpass, high-pass and FX filter, with assignable modulation control options, including velocity, mod-wheel, expression, after-touch, key position and step-sequencer table control. You can also use the customisable arpeggiator, with a built-in velocity sequencer table and control over arp direction, note timing, swing, randomisation and duration.
- 2 main powerful open-format Kontakt .nki instruments
- 20 Custom Sound-Designed FX and Ambient presets
- 1.74 GB Installed
- 544 Stereo Samples
- 24 bit / 48kHz Stereo uncompressed PCM wav audio
- Unlocked wav samples can be directly imported into almost any wav-compatible plugin or DAW.
UFO 61 was recorded in a dry studio using a pair of Neumann TLM 103 large diaphragm microphones. We recorded its stock presets with sustains and staccato samples for each key. The included octave, vibrato and FX rack give you an easy-to-use interface to completely customise and shape its fat analog sound to fit a variety of creative styles.
The library comes equipped with flexible control features, like Swell, pitch Glide, Attack, Release, Vibrato, and Octave. There’s also a complete DSP effects rack, including convolution reverb with dozens of unique spaces, such as cathedrals, churches, halls, bunkers, garages, tunnels, chambers, rooms and plenty of otherworldly FX impulses to fully explore and endless variety of strange and unexpected sonic manipulations.
• 2 Main Instrument Presets with advanced performance controls, vibrato, glide speed, LFO, Filter, Arp and full FX rack.
• 20 Custom Sound-Designed FX and Ambient presets.
• Sustains, staccatos and sound-designed samples.
• Turn the Glide slider up for monophonic legato functionality, or turn it down to 0 for standard polyphonic mode.
• The Octave knob gradually adds a lower and higher octave doubling effect for more body and power.
• Convolution Reverb with 119 different cathedrals, churches, chambers, rooms, halls and special effect impulses.
• A full multi-effects rack, with EQ, filter, phaser, flanger, delay, distortion, amp & speaker simulation and more.
This library is designed for the full retail version of Native Instruments Kontakt 5.5 or later. Kontakt is an industry-standard advanced virtual instrument software platform. You can view screenshots of this library's custom graphical user interface in the image gallery above. This library is packed with features to provide you a wide range of sound shaping parameter controls, each one totally automation-ready in your host environment or Kontakt's stand-alone mode.
This is a standard Kontakt open-format library, so the free Kontakt Player does not fully support it and can only run it in a limited "demo mode". However, the sample directories are unlocked so you can use them in other wav-compatible software, sampler and synth formats. The special Libraries tab doesn't support this open-format Kontakt library, but you can use the standard File browser tab and import this library into the Kontakt Quickload window for easy loading and navigation.
UFO 61 was recorded by John Valasis. John is a Greek-born composer, producer and sound designer. From his Athens based studio, he delivers scoring, foley and sound design services for many local and international clients. John's clientele includes prestigious brands like Native Instruments, Ableton, Soundiron, Virgin, Amazon Prime Video, Vice Magazine and BBC. John is also roster of Ninja Tune's imprint Just Isn't Music, alongside artists like Amon Tobin, Bonobo, Flying Lotus and The Cinematic Orchestra.
John's professional experience began in the 90s as a composer and producer for popular music and gradually expanded his skill-set across a large variety of genres. With the abilities he acquired through his 20-year professional career, as well as his genuine love for soulful music, he has crafted a strong, personal and diverse musical identity. When not working on tight deadlines, John uses Poordream as a vehicle to freely express his emotions and inﬂuences,to explore sound and composition beyond the boundaries of conventional electronic music.