[音调合成器/吉他混合音色] Sam Thomas Music The Sound of Love Lost [KONTAKT]（3.57GB）

P2P | 14 December 2025 | 3.57 GB

“失恋之声”是一种独一无二的声音。它是一种音调合成器/吉他混合音色，演奏起来如同管风琴：运用数字和模拟处理技术，轻松营造出一种宏大而和谐的音场。

它出现在 Isamaya Ffrench 和 Sam Thomas 的歌曲《失恋之声》的高潮部分，也贯穿于他们的专辑《Mantle》以及 Sam Thomas 的其他作品中。它的灵感源于一段不断向上延伸的、略带失真的贝斯音色。在近二十年的时间里，Sam 对其进行了反复的调整和完善，如今，它已被精心采样（每个音符采样 13 次，覆盖完整的 88 个琴键/7 个八度），以充分利用力度感应（或固定）的集成哇音效果所能产生的所有泛音。每个音符都拥有 20 秒的自然延音，这既可以通过声音本身的力度实现，也可以通过使用 EBow 或延音踏板来实现：最终呈现出毫不妥协、极具音乐性的延音，以及在任何力度下都自然流畅的尾音。每个音符都使用音色极具特色的吉他录制，吉他/拾音器的选择与音符的音高相匹配。经过 Sam 独特的踏板配置后，声音会经过精选的吉他和贝斯放大器，然后再进行进一步的谐波丰富：通过精心挑选的外置均衡器和饱和/磁带效果器。最后，Sam 和母带工程师/音频大师 Anni Abigail 会对整个频谱进行均衡、拓宽和优化/润色。

它涵盖了从沉稳低保真、类似管风琴的声音（《Love》）到震撼人心、美轮美奂的音墙（《Lost》）的各种风格，既适合营造宏大的氛围氛围，也同样适用于其他多种用途。必要时，它能发出强劲有力的声音；而通过调整低力度/高音区，或利用内置的空间滑块，也能营造出更加甜美空灵的音色。

TSOLL V1 版本保持了简洁明了的设计，力求不影响音色本身的纯净度。不过，我们计划推出 V2 版本，并为其添加一个独立的音序器页面。该页面能够根据节奏变化同一音符的力度（以及相应的哇音值），从而形成动态的节奏序列。同时，将其连接到鼓垫也能达到类似的效果。此外，如果不需要力度感应哇音的表现力，也可以将其固定在所需的哇音值（13 代表最大程度的哇音效果）。

歌曲《Love Lost》的一个独特之处在于，它以标准的 A440 音调开始，最终以 A440 和 A432 的混合音调结束，从而营造出一种“下沉感”的宽相位效果。该效果已“随时”包含在乐器中：A432 滑块镜像了 A440 选项，但具有较低的调谐和反转的立体声场：将其自动化，为墙壁赋予一些埃舍尔式的能量。

需要 Native Instruments Kontakt Player 或 Kontakt FULL v6.7.0 及更高版本！

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.