ASSAULT: Trailer
ASSAULT: Multis in Action
ASSAULT: Overview
Demo Tracks
ASSAULT: Hybrid Transitions & Sound Design
ASSAULT is a massive suite of over 850 bone-crushing instruments and multis that transform sound design into superior cinematic percussive instruments. In creating ASSAULT, Sample Logic teamed up with veteran broadcast sound design and sound effect mastermind Rick Allen to record a monumental collection of real-world material ranging from rifles, flame throwers, hand guns, jets, dumpsters, and monstrous pipes to bells, chimes, glass, and an arsenal of traditional percussive instruments. From this material, Sample Logic spent numerous hours carefully manipulating and morphing the sounds to forge a sample library that will no doubt be your secret weapon. ASSAULT is geared for film, TV, game composers and sound designers.
ORGANIZED FOR DESTRUCTION
ASSAULT is intuitively organized and divided into a variety of unique categories such as: explosive impacts, rises & falls, interrupters, reverses, sweeps, scrapes, quick kits, tempo-synced arpeggiated rhythms and a collection of over 66 customized Multis that are deeply programmed and will send chills down your spine.
SUPERIOR DESIGN
ASSAULT hosts a collection of unprecedented interface controls providing over 40 unique sections of onscreen effects and parameters. The interface is built upon Sample Logic’s renowned “multi-core effect sequencer”, providing the ability to assign effects via tempo-synced step sequencers and LFOs to any instrument parameter, including the option to sequence the bypass function of each effect in real-time.
INTERFACE SCREENSHOTS
TRIGGERS
ASSAULT contains “Triggers” that provides 48 unique effect chains that can be triggered by any one or combination of the six on-screen keypads, or by key-switches. With the touch of a pad or key, Triggers can be instantly activated or bypassed, allowing for complete on-the-fly performance control with the ability to drastically effect the sound of any instrument instantly and non-destructively.
MULTI SCRIPT MACROS
One of the biggest features in ASSAULT are the powerful “Multi Script Macros”, first introduced in Cinematic Guitars 2. Now more lethal than ever, Multi Script Macros can be automated by using the new macro knob step sequencers, resulting in real-time macro sequencing and instrument parameter control. On top of that, each of the 6 Macro knobs can be assigned to any combination of instrument parameters within a multi. Multi script macros are completely customizable and can be easily created and saved, simply add or subtract them by using the plus and minus buttons on the multi interface. By design, any combination of instrument interface parameters can be assigned to a single macro. Whether performing live or automating a multi in a DAW, Multi Script Macros are the perfect production solution.
For those of you who prefer to simply pull out the big guns, ASSAULT comes with over 66 customized Multis that are already locked and loaded.
The Instruments
- Arpeggiated – Customizable tempo-synced sequenced impacts.
- Combos – A combination of sound elements that sustain and morph over time.
- Impacts
- Interrupters – Short non-tempo synced transition effects for bridging tempo/key variant music transitions.
- Reverses
- Rises – Falls
- Scrapes
- Sweeps
- Quick Kits – Instruments containing large collections of samples from one genre.
The Multis
Powerful preset templates combining various ASSAULT instruments into all-in-one presets.
- Construction Beds – Various instrument types mapped out across the keymap in zones.
- Instrument Stacks – Several instruments stacked on top of one another, sharing the same keymap range.
Artists
Harry Gregson-Williams
(Total Recall, Cowboys & Aliens, Unstoppable, The Town, Shrek, X-Men Origins, The Chronicles of Narnia, Deja Vu, Man On Fire, Kingdom of Heaven, Enemy of the State)
“A relentless tornado of industrial brutality, beauty and chaos.”
Deane Odgen
(Eastern Chronicle; The Hit List; The Final Moments of Karl Brandt)
“Punishingly brilliant! As a drummer, it’s tough for me to get amped about percussive libraries, but as soon as I loaded up ASSAULT the ideas ignited like a vapor fire. SAMPLE LOGIC has a lock on fashioning mercurial beasts that sweat and bleed and scream and terrorize — which makes them a hell of a lot of fun to tame… Well done!”
Clinton Shorter
(District 9, Saving Silverman, Contraband)
“ASSAULT is yet another absolutely fantastic release from Sample Logic. From its hits to its rises and falls, it’s just downright mean. I look forward to assaulting listeners soon.”
Mick Gordon
(Videogame composer: Need for Speed, Shift 2: Unleashed, Marvel Super Hero Squad, The Last Airbender)
“Assault is just BRUTAL! It’s full of creative smacks and whacks that punch right through the speakers and every patch is full of grit and attitude. This is perfect and is going straight into my template – well done guys!”
Trevor Morris
(Immortals, The Tudors, Alphas, Bad Boys II, The Hills Have Eyes II, 666 Park Avenue, The Borqias)
“I’m always trying to blur the lines, to discover the unalike in sounds and approaches to scoring. The guys at Sample Logic have once again created a killer, creative yet unique sounding instrument in ASSAULT. This is my kind of library”
Tom salta
(Ghost Recon: Advance Warfighter and Future Soldier, Tom Clancy HAWX, Prince Of Persia, Red Steel, Need for Speed: Underground 2)
“Sample Logic has created an immensely useful product with ASSAULT for anyone creating modern and aggressive trailer-style sound design.”
John Deboney
(Iron Man 2, Alex Cross, The Emperor's New Groove, The Passion of The Christ, Sin City, Bruce Aimighty, End Of Days, Star Trek: The Next Generation)
“The modern composer needs an extensive and eclectic arsenal and ASSAULT delivers on that in spades. Not only are the sounds unique, creative, inspiring and sit just right in a mix, but they’re just the beginning. With the FX and the endlessly easy to navigate tweaking, these sounds quickly become your own. On its own, ASSAULT is an incredible library off the shelf. However, with the sonic possibilities and the way the sounds work together, it’s quickly becoming a ‘go to’ library.”
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