Orbital

Quote: "I try to write with Massive, it’s like my pencil, do you know what I mean? Then when I have the structure of the song or the idea I like to bust it out to analogue synths to see how it sounds. Sometimes you end up keeping the Massive because you’ve written with the character of it. It’s not the deepest sounding synth but it has a good vibe to it."

“We were given a beta copy of this and it’s one of the few soft synths that I always go to. I never feel like I’m compromising my sound by using this program rather than a hardware synth.”

“This is absolutely incredible. I did a film score recently with just analogue synths and Synplant. It has a different mindset and that’s what you go to it for, plus it’s got some amazing capabilities. There’s the way that it’s like a different sound on each note, which you can then spin while it changes the assignment of where the sound comes from. It’s a really quirky but infinitely usable soft synth.”

"I love the organic deep nature of the Tassman 4, which I have found very inspirational on my new album. The percussive abilities of this synth are truly remarkable. It seems to have a kind of melancholy attached to it that you would expect from a really old good "real instrument" if that makes any sense."

Quote: "I always use Valhalla reverbs..."

“Albino 3 has a really lovely sound to it. If I make a good patch on it, I usually can’t replicate it with my hardware analogue synths, which, to me, is the measure of a good soft synth.”

"On the software side, I love the Tassman 4, String Studio, Chameleon 5000, Reaktor, Kontakt, Absynth, Sculpture, and Albino."

"On the software side, I love the Tassman 4, String Studio, Chameleon 5000, Reaktor, Kontakt, Absynth, Sculpture, and Albino."

Orbital utilizes Analog Lab 4 for its extensive collection of vintage analog sounds, as highlighted in the Arturia overview.

"The new Monark has such definition and depth of sound — a joy to use."

“I probably ought to upgrade my Apple laptop, but I don’t actually use that much software, so it seems to be OK at the moment, really. I’ve got NI Komplete and the Arturia bunch on there... most of the stuff from Soundtoys. But it’s highly unlikely that you’ll ever find an Orbital song running 50 soft synths. The studio is full of analogue blunderbusses, so I might as well use them.”

Orbital is listed as using the C-Lab Creator music software, as documented in their equipment list on Hyperreal.

"On the software side, I love the Tassman 4, String Studio, Chameleon 5000, Reaktor, Kontakt, Absynth, Sculpture, and Albino."

"On the software side, I love the Tassman 4, String Studio, Chameleon 5000, Reaktor, Kontakt, Absynth, Sculpture, and Albino."

"On the software side, I love the Tassman 4, String Studio, Chameleon 5000, Reaktor, Kontakt, Absynth, Sculpture, and Albino."

Orbital utilizes the u-he Diva Software Synthesizer Plugin, as noted in the sound-dust article titled "FRICTION for DIVA." The article highlights the plugin's unique sounds that rival those of classic hardware synths.

"I love it! Went straight into a soundtrack I'm working on" - Paul Hartnoll - Orbital

"This is just what Omnisphere has been waiting for" - Phil Hartnoll - Orbital

On the reviews tab of the product page is this quote from Paul Hartnoll... "This is a beautifully recorded (and expensive sounding!) orchestra and to have it at your fingertips at the compositional level is quite remarkable and that is before you even consider the way you are able to shift and blend microphone positions to suit the mood of the job in hand. Virtual is not a word I use very often but the Symphonic Orchestra is virtually perfect!"