NightLife aims to be a night, rather than a recording of one.
A wolf howling across a valley, an owl in a wood, a fox screaming in a field, a loon over a lake, a pond full of frogs and a field of crickets — all of it computed while the instrument plays, so it runs for as long as you hold the note and never repeats.
It is built as four layers because a night is four different kinds of sound. The callers are wolves, owls, screech owls, scops owls, foxes and a loon, and each one plays measured pitch contours traced off real recordings — 48 of them, eight per animal. The chorus is frogs, built from eight measured pulse trains, because a croak is not a pitch contour at all but a train of pulses ringing a body. The insects are a narrow band of noise with a trill on it, which is what a cricket measures as. Under everything sits a bed taken from the quietest parts of all 45 reference recordings.
It features 75 parameters across the call, the voice, the phrase, the pack, the chorus, the insects, the bed, distance, a filter and a full ADSR, with a mixer for balancing the four layers against each other. 16 factory presets ship, each fitted and then rendered back and measured. Native CLAP and VST3 for Linux and Windows.
